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3 The characteristics of this style are: - Sans serif type - Asymmetrical organization of elements - Underlying grid used to structure page - Objective photography and copy used to present information in a clear, factual way (no propaganda) - Type set in flush left, ragged right, occassionally flush right ragged left

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5 Critics of the Swiss (or International) Style complained that it was too formulaic with design solutions that all looked too much alike.

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8 Ernst Keller poster for the Rietburg Museum undated

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10 Théo Ballmer posters, 1928

11 Max Bill, book cover, 1942 and exhibition poster, 1945

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13 Max Huber annual cover 1951

14 Max Huber poster for auto races 1948

15 Anton Stankowski trademark for Standard Electrik Lorenz AG 1953

16 Anton Stankowski calendar cover for Standard Electrik Lorenz AG 1957

17 Anton Stankowski image from Viessmann calendar 1953 (graphic representing heat transfer through a furnace)

18 Anton Stankowski cover for Berlin layout (visualizing the Berlin Wall) 1971

19 composition with lowercase u in Univers fonts, 1960

20 Univers, designed by Adrian Frutiger was a complete family of fonts. Univers 55 is the baseline (Roman) Fonts to the left of 55 are extended Fonts to the right of 55 are condensed Fonts above 55 are heavier in weight Fonts below 55 are lighter in weight

21 Adrian Frutiger Schematic diagram of 21 Univers fonts 1954

22 Edouard Hoffman and Max Miedinger, Helvetica typeface, 1961

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28 Herman Zapf is a master of typography. Born in 1918 and still living, he is the designer of typefaces including: Palatino, Melior and Optima

29 Hermann Zapf Palatino, 1950 Melior, 1952 Optima, 1958

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31 Hermann Zapf page from Manuale Typographicum, 1968 (graphic for quote about the power of the printed word to govern time and space)

32 Hermann Zapf page from Manuale Typographicum, 1968

33 Emil Ruder book jacket for an anthology of dada poetry (reproduced in Typography: A Manual of Design, 1967)

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35 Fig Armin Hofmann, poster for the Basel theater production of Giselle 1959

36 Armin Hofmann, logotype for the Basel Civic Theater, 1954

37 Armin Hofmann, trademark for the Swiss National Exhibition, 1964

38 Armin Hofmann poster for Herman Miller furniture 1962

39 Carlo L. Vivarelli For the Elderly poster 1949

40 Carlo L. Vivarelli cover for New Graphic Design

41 Hans Neuburg, pages from New Graphic Design 7, 1960

42 Hans Neuburg, pages from New Graphic Design 13, 1962 (entries for logo competition)

43 Josef Muller- Brockmann American Books Today catalog cover 1953

44 Josef Muller- Brockmann Swiss Auto Club poster 1954 the friendly hand sign protects against accidents

45 Josef Muller- Brockmann public awareness poster for less noise 1960

46 Josef Muller-Brockmann Musica Viva concert poster 1959

47 Josef Muller- Brockmann Der Film exhibition poster 1960

48 Josef Muller- Brockmann poster for an exhibition of lamps 1975

49 Josef Muller- Brockmann exhibition poster 1980

50 Siegfried Odermatt, cover for Schelling Bulletin No. 4, 1963

51 Siegfried Odermatt, inside pages for Schelling Bulletin No. 4, 1963

52 Rosemarie Tissi Univac ad 1965

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54 During the 1960s, Rudolph DeHarak designed more than 350 book jackets for McGraw-Hill Publishing. He utilized the swiss sense of type and grid.

55 Rudolph DeHarak album covers, 1960s

56 Rudolph DeHarak book jackets for McGraw-Hill Publishers early 1960s

57 Rudolph DeHarak book jackets for McGraw-Hill Publishers early 1960s

58 Rudolph DeHarak book jackets for McGraw-Hill Publishers early 1960s

59 The Design Services office at MIT (Massachussetts Institute of Technology) helped to make the Swiss style prominent in the United States.

60 Jacqueline S. Casey announcement for the MIT Ocean Engineering program 1967

61 Ralph Coburn, poster for the MIT jazz band, 1972

62 Jacqueline S. Casey, poster for the MIT Open House, 1974

63 Dietmar Winkler poster for an MIT computer programming course 1969

64 Arnold Saks poster for Inflatable Sculpture exhibit, Jewish Museum 1968

65 The Swiss or International style created the perfect visual vocabulary for the upsurge in corporate design that occured during the 1960s. This was because of its legibility, visual strength and sense of order.

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Wednesday, April 6, 16

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