![]() |
Work From the International typographic style |
During the International typographic style hints of postmodern design started to emerge. This movement made use of natural and objective typefaces. They rejected disorder and subjectivity and favoured simplicity and scientific objectivity. Young graphic designers started to expand the range of possibilities in the 1960s and one of the earliest indications of that was Rosmarie Tissi`s advertisement in 1964.
This advertisement was made for E.Lutz and company. In this advert
we can see a number of symbols of headlines, text, halftones etc through the
means of illustrations. To the viewer it seems as if these images were randomly
placed. These images are therefore not aligned in boxes in the grid.
Furthermore, some of the rule lines are created by a means of illusion which
creates more interest to the viewers. No colours were used in this poster.
In addition the artist also made use of diagonals especially in the text at the
bottom right of the poster.
![]() |
Siegfried Odermatt trademark for the Union Save Company |
Another predecessor of Swiss design was Siegfried Odermatt when he
designed a trademark for the Union Safe Company. The letters in the word
‘union’ are squeezed together in order to show strength reflecting the potency
of the product. This is done at the expense of losing a little bit of
legibility. The typography used (which is sans serif) is placed in a diagonal
manner. This work is somewhat similar to the advertisement by Tissi especially
the way text is placed and the use of black and white.
Tissi and Odermatt then started
working on typeface design where their originality shined. They managed to
create innovative and unusual letterforms as can be clearly seen in the cover
issue of Graphis in 1980 by Tissi. The artist managed to make the typography
appear as if it is three dimensional. This type was very innovative at the
time. The word ‘Graphis’ is forming a perfect curve dividing the composition in
two creating a clean and ordered work. Also the grids used in order to show this
dimensionality are also visible.
![]() |
Schriftgestaltung 1972 Rosmarie Tissi
|
![]() |
Steff Geissbuhler, Geigy Brochure cover 1965 |
Steff Geissbuhler was another important swiss designer that
experimented greatly with intricate forms. In 1965 he created a brochure cover
for Geighy.In this cover one can see a flat black background with typography in
white which is distorted in such a way that it forms a circular tunnel in the
middle. The typography (which is in sans serif font) is forming a circle and it
is as if the text is being sucked by the black hole in the middle. This poster
is very interesting to the viewer.
These
designer`s works still look fresh and modern. Rosmarie Tissi`s work has
inspired artists such as Paula Scher for “its modernity, its beauty and
precision”. It seems as if this influence can be seen in her 1997 poster ‘Bring
In 'Da Noise, Bring In'Da Funk’ where the word 'noise' seems to be decreasing
in size whilst further text is placed diagonally in different directions as if
its cut out and pasted in different directions.
![]() |
Paula Scher 1997 poster 'Bring In`da Noise, Bring in'Da Funk` |
![]() |
Rosmarie Tissi, poster for Anton Schob printers 1985 |
I personally find these works especially interesting. Typography is not simply used to deliver a message but typography itself is part of the design which I found to be very intriguing especially in Geissbuhler`s brochure cover in 1965.
References:
Philip B. Meggs, 2011. Meggs' History of Graphic Design. 5 Edition. Wiley.
Samuel
Tam's blog: Field Journal. 2015. Samuel Tam's blog: Field Journal.
[ONLINE] Available at:http://samueltamsblog.blogspot.com/2013/11/normal-0-10-pt-0-2-false-false-false-en.html. [Accessed 17 January 2015].
Hall of Femmes | L’hommage: Paula Scher > Rosmarie Tissi. 2015. Hall
of Femmes | L’hommage: Paula Scher > Rosmarie Tissi. [ONLINE] Available at: http://halloffemmes.com/2014/10/lhommage-paula-scher-rosemarie-tissi/.
[Accessed 17 January 2015].
No comments:
Post a Comment