Swiss Style Typography History

Swiss Style report narrativeWhat is it a good pictural creation? Good in writing(predicate) introduction or make-up is like a taste. H altogethermark of the taste rests in sensitivity, from feelings. Every matchless has a different taste, but it is indispensable for everyone. pictorial externalise hammers on an equal basis. We argon non natural(p) with the right taste as wellhead as in that respect are no born masters of lifelike trope. All of them have to be every of them self educated. Perfect bright consist of umpteen elements, as a result of harmony.This magazine traces the growth of the good graphic design. It depicts non that the growth, but in whatsoever(prenominal) case a fountains who ruleed the stylus, the people and ideas that warpd them and the interest generations who were attracted to Swiss graphic design.This progressive, radical heading Swiss ardor in any case cognise as an multinational carriage, was originated in Switzerland in the 1920s . This call became illustrious beca practice session of very natural endowmented Swiss graphic designers. It emerged from Russian s Constructivism, Germany s De Stijl and Dadaism.The International Typographic Style, or Swiss Style, stirs to the graphic design exertion that evolved in Switzerland during the 1950s. Emphasizing clarity of in recoilation, the International Style propagated an aesthetical of objective photography in place of object lesson lopsidedal come out of elements on a modular grid system of rules sans- seriph typography such(prenominal) as Akzidenz Grotesk and flush left, ragged right configuration of text. Admired for its simple, clean, factual, and exceedingly structured approach to organizing and presenting in cultivateation.The magazine is divided into three p stratagems. P cunning genius shows the origins of the Swiss style, general information rough the style, political and social influences. The pas metre variance represents the ce ntral figures in this movement and the brisk typography.6 Swiss styleIn the ring armor war period, late design began more(prenominal) real with study of industrialized society. Switzerland bacame an appropriate site for growth of an International style, by means of the country s position in the centre of atomic number 63 and its political neutrality.However, Swiss style started to grow in later the origin World War in Europe. Henry van de Velde (1863 1957) was a famous Belgian architect and designer. He was withal one of the most roaring and important practitioners of the dodge Nouveau style. He was known as the starting signal gear Art Nouveau artist to run away in an abstract style and actual the innovation of the union of form and function. His idea was to bring art to industry. Van de Velde was the master(prenominal) graphic designer who influenced boyish Swiss designers. He was one of the founders of the enhancive arts school of Weimar. This school was youth fulr called the Bauhaus. In 1907 he knowing the pertly building of The School of Arts and Crafts and became the offset printing music director of this school. Among the teachers in that respect were Russian, Wassily Kandinsky, Swiss cap of Minnesota Klee and Johannes Itten. Young Swiss graphic designers attracted the school and many of them studied at the Bauhaus. The influence from the Bauhaus was apparent in muck flower (1908 1994) and Theo Ballmer (1902 1965) clips. Max saddle, a painter belonging to the concrete Art movement in Z rich applied mathematical systems for the organization of outer space to his graphic design field of study. A nonher style which had an effect for the growth of an International style was Constructivism. Constructivism art refers to the optimistic, non-representational relief construction, inscribe, kinetics and painting. The artists did not believe in abstract ideas, quite they tried to link art with concrete and literal ideas. Construct ivist art is committed to complete abstraction with a devotion to modernity, where themes are lots geometric, experimental and rarely emotional. El Lissitzky (1890 1941) was the briny represetatives of Russian Constructivism. He brought a rising Typography and photomontage to Switzerland. Lissitzky attended to the fundamental transformation of cognition of literature. From acoustic percept of the past became visible words. Optical character of the parvenue typography was defined in his bulk from 1923. His be given spaciously influenced the Swiss style. Not only Wassily Kandinsky and Paul Klle who were teachers at Bauhaus, but to a fault L szl Moholo Nagy (1895 1946) had notable position there. He had similar visual conception as Lissitzky. He was oriented in interaction of photography and text. Moholo Nagy perceived photography like an objective representation which can rescue obscurdity of words. He brought typography to question, he defined a spick-and-span revolutionary i dea typofoto combine of typography and photographic images.It is an objective form of representation based at princip of converse.Both of these movements influenced a new directions of art and development of graphic design.A hold up of modern graphic design Gefesselter Blick (Captured Glance) was published in Stuttgard in 1930. It was Sponzored by the Swiss Werkbund s Advertising Designers Circle. Design from 1920s yields were displayed in the book.. The book was edited by architects Heinz Rasch and Bodo Rasch. They rounded up a recreate of twenty sestet artists of the avant garde. Most of them were Germans (Werner Graef), three Swiss (Otto Baumberger, Max Bill and Walter Cylian), 2 Dutch (Paul Schutema, Piet Zwart), Russian (El Lissitzky), and Czech (Karel Teige). Even though, the Swiss were influenced by many styles, their own style became unique.Gefesselter Blick displays the origins and growth of the Swiss style. 8 swiss styleIn the first part of the magazine we introduc ed the origins and problems of the Swiss style in Graphic design. In this part we will mention the main artists, designers and propagonists of this movement.Ernst Keller (1931 2006) the father of Swiss design, was a graphic designer, artist and teacher. From 1918 and for four decades beforehand Keller taught a professional course in graphic design at the Kunstgewerbeschule Z rich (The Zurich School of Design) rejecting the notion of style in regard of design solutions derived from content. Keller was the most important single influence on the development of Swiss graphic design. The economically drawn images and inventive letter of his invoices knowing in the 1920s and untimely 1930s do an important section to Modernism. He mentored Armin Hofmann (fig. 1), Emil Ruder, and Joseph- pounder Brockman, all of whom were important figures in what became the International Typographic Style. importee of the International Typographic Style has been unfairly reduced to the aesthetic pr eferences unmixed in the outcomes of work by designers identified with the movement. To recognize its substance one postulate to study the specifics of its origin rooted in the curriculum developed at the Basel School of Design.One of the important figures of origins of the Swiss style was in addition Theo Ballmer (1902 1965). He was a designer, photographer and teacher. Ballmer studied at Bauhaus and at Kunstgewerbeschule in Zurich. He is known for his political beaks and expositions, using only simple images and lettering (fig. 4).Otto Baumberger (1889 1961) was one of the first Swiss who can be correctly set forth as a greenback designer. He designed more than 2 hundred posters, which helped to modernize the style. In its variety, Baumberger s work embodies and exemplifies the bill of Swiss poster art in the first half of the twentieth century, as the painterly artist poster gradually evolved toward graphically oriented embodied design.Max Bill was another Swiss graphic a rtist, industrial designer, architect, sculptor, and painter, in the first place important for his sophisticated, disciplined advertising designs. He studied at the Bauhaus until late 1920 s when he moved to Zurich where he became a teacher and select member of the Allianz host of graphic designers. Max Bill belonging to the Concrete Art movement in Z rich applied mathematical systems for the organization of space to his graphic design work.Herbert Matter was a innovator in the use of photomontage. His talented use of type earned him great supranational acclamation (fig.5). After working for the Swiss National tourer Office and Swiss resorts he moved to the United States in 1936 and started belief Photography at Yale University in 1952.12 swiss style was a spark advance German graphic designer who in addition exerted a strong influence on the Swiss school.Johannes Tzschichhold (Jan Tschichold) was born as a son of a Leipzig lettering artist and sign printer Franz Tzschichho ld and his wife Maria Zapff, in April 1902. His father s profession gave him an early introduction to the many forms of written scripts. Young Tschichold often helped his father and also attended a print museum in the Buchgewerbehaus ( arrest Industry Building) which were in the town. Consequently he had knowledges of typography from early age. Despite of his parents ideas, to have their son a professional art teacher, he decided to be educated as a lettering artist. bandage he studied (from 1919 to 1921) with Walter Tiemann, director of the Staatliche Akademie fur graphische Kunste und Buchgewerbe (Academy for Graphic Arts and Book production), he also attended courses in printmaking and bookbinding. Tschichold supported his preparation of the books of Edward Johnston (Calligraphy, nonfunctional Script and Applied Script) and Rudolf von Larisch (Study in Ornamental Writing) and piddled a number of calligraphic writings.Before leaving for Bauhas from 1921 to 1923 he worked in Leipzig as an assistant in inform courses of calligraphy at the Academy. In 1923 he became a freelancer designer in Leipzig. In the same year he visited Bauhaus order and influenced by the modern artists and designers Wassily Kandinsky (1866 1944) and L szl Moholo Nagy, he started to propagate a new visual thinking. It was an inversion in his actual invigoration. Soon, he was also introduced to the work of the Dutch graphic designer Piet Zwart 13 swiss styleexposition poster, 1937 While getting acquainted with work we can fall into overmaster of varied geometrics and simple effects. This poster looks like an absolutely pure compositors case of natural Typography. The design is simple and arithmetical.Tschichold, J. (1927) Napoleon Poster15 swiss style (1885 1977), and the Russian constructivists El Lisstzky. He worked with an assymetric composition, geometric shapes, the use of photography instead of object lessons and sans serif typefaces (fig. 11).In the light of my kno wledge, it was a juvenile assessment to consider the sans serif as the most suitable or even the most contemporary typeface. Jan Tschichold (Jong, Purvis, Le Coultre, Doubleday and Reichardt, 2008 19)Tschichold was so impressed by Soviet constructivism and Russian Revolution, that he changed his name to Iwan (or Ivan) Tschichold in 1923.Tschichold became an important figure in the new movement known as the New Typography. A first spectacular publication of these views, Elementare typographie (Elementary Typography) , appeared in a special October 1925 issue of the German magazine Typographische Mitteilungen (Typographic News). This was a kind of typographical manifest and ca employ an uproar in the world of design. In the book Tschichold described the new ideas on typographic design.artists and designers had various opinion at the publication. Lissitzky was delighted at the beautiful brochure. The book was received well at the Bauhaus, but the German constructivis reacted critica lly. Nevertheless, the book had an impact on the emerging design. The second bookThe purpose of the New Typography is functionality.The purpose of any typography is converse (the means of which are visualized).This communication has to appear in the shortest, simplest and most compelling form.For typography to serve social purposes, the inner form of the material employed must arrange the content whereas the outer form must register a relantionship amidst the different typographic means.upcountry organization means using as a couple of(prenominal) grassroots constituents as possible typefaces, numbers, signs, l ines from the type cases, and the typessetter. In the modern world focus on optics, the precise picture, i.e. photography, must be considered as a basic constituent of the New Typography. (Jong, Purvis, Le Coultre, Doubleday and Reichardt, 2008 39)16 swiss stylewas the most important, split neue Typographie (The New Typography) was published in 1928. This book explai ned the function and communication of the New Typography. The book was used as a handbook for printers and publishing firms and even at the Bauhaus. In a small A5 format he described a modern typography in a short essay. Tschichold inspired by the functional determination of Bauhaus, formulated the basics of the modern visual communication in which aesthetics of modern abstract art were combined unitedly with requirements for legibility, simplicity and subject information. His manifest the New Typography reflected the dynamism of life time, preferences of precision and clarity of sensatial visual. He preferred objective resources as the sans serif and geometric typeface (Grotesk), assymetric composition and whitespace. His book was widely read and passing influential as a major step in modern ideals. The book became the bible of every young typesetter.From 1927 until 1933 Tschichold constituted the New Typography in Germany, Austria, Czechoslovakia, Switzerland and France. Becaus e of the influence of the Nazis in 1933 Tschichold submitted his registration to the Munich Meiterschule, to assume a teaching position at the new Hohere Graphische Fachschule der Stadt Berlin (Berlin Higher Vocanional School for Graphic Arts). Although Tschichold had a post in Berlin, he changed his mind and decided that he would rather stay in Munich. After the Nazi victory in defect 1933, Tschichold and his wife Edith were arrested and they were denounced as a Kulturbolshewist (cultural Bolshevists). Shortly after their arrest, they were released. Tschichold with Edith and their four year son immediately left Munich and on July 28, 1933 went to Basel in Switzerland. Their friend Hermann Kienzle, the director of the Allgemeine Gererbeschule (School of Arts and Crafts) in Basel,Poster for The Professional Photographer exhibition in Basel, 1938. A clear logic organization of the elements. The poster has geometrical structure, unyielding horizontal and vertical alignments. He used Akzidenz typeface (consended) and only lowercase.recommended Tschichold for a teaching post at the School of Arts and Crafts. Between 1933 and 1946, Tschichold produced many journal articles, in part due to monetary pressure.Two geezerhood after he had moved to Switzerland, he published the most important book Typographische Gestaltung (Typographic Design). At this time he began to work with more traditional typefaces and layout arrangements. This book was not only about the New Typography but also about use of photography as a design component. check to Eskilson (2007302) In this new book, Tschichold reiterated his support for the New Typography but also suggested that the assymetric, flush left layout was not only suitable design formula.Jan Tschichold was not only a typographer and a book designer. He was also poster designer. Before he left for Switzerland he had been makink posters for produce houses or some film posters. But his first large heraldic bearing was the poste r for Phoebus Palast cinema in 1927. It was the largest cinema in Germany. He weed for them posters, newspapers, advertisements and programs, we would called this as a corporate identity today. The other commisions were for the Volksverband fur celluloidkunst (People s Association for lease Art), or The exhibition Das Internationale Plakat.A poster is a comparatively independent area of graphic design, which is the most similar to creative art by using means of materialisation. The large format increases the effectiveness of communication of the poster. Tschichold tried to complete the primary concept by using of the principles of the New Typography, tokenishism and whitespace. His posters are organized into vertical and horizontal fields. He often worked with geometrical structure, each element is in plan type, spacing, colour, and even the meaning. In the organization of the elements, meanings are connected. Tschichold s poster designs rank among the finest in the history of graphic design. His background in typography permitted him to achieve preeminence with minimal means while consistently maintaining elegance and a maximum of expression.In the post war period, Tschichold worked for Penguin Books in London (fig. 14, 15, 16). This London s publishing looked for the best typographer and offered designers from Europe. Penguin,The New Typography, in its concern to satisfy the needs of our own period and to make sure that every single piece of printing is in harmony with the present Jan Tschichold (Jong, Purvis, Le Coultre, Doubleday and Reichardt, 2008 133)founded in 1935, was the first commercially successful paperback book company in Britain. (Eskilson, 2007 314) Penguin Books publisher Allen Lane and the famous English book printer Oliver Simon were suprised by Jan Tschichold s work. Tschichold established a fixed set of typographic standards, the Penguin compositions rules. He installed relentless typesetting rules and raised them to the formal le vel of the printing and publishing. These rules directed attention to side by side(p) composition, indenting, punctuation marks, spelling, capitals, small capitals, italics, folios, figures, references, footnotes, make up, and the printing plays and poetry. (Jong, Purvis, Le Coultre, Doubleday and Reichardt, 2008 269 270) In the few years spent working in London, Tschichold gained much respect and was named an honorary member of the London Double Crown Club, a selective group of English typographers and printers.In 1949 Tschichold felt that his work in Penguin was completed, it was the reason why he returned back to Switzeland.Between 1950 and 1954 he was an independent typographer in Basel. In 1955 Tschichold took a position as typographer at the Hoffmann-La Roche company in Basel.Jan Tschichold died on August 11, 1974, in Locarno, Switzerland.Josef M ller-Brockmann was a Swiss graphic designer. One of the leading graphic and typographic designer since the 1950s.Josef Muller was b orn on 9 May, 1914, in Rapperswill, Switzerland. His father Christian M ller had a successful career. His company CH. M ller Baugeschaft (building firm), employed dozens of men from Rapperswill and workers from abroad. Unfortunately, Christiann died two yers after his son was born, on 24 August, 1916. Mother of Josef was Ida M ller Shmucki a strong, independent woman. After her husband s death she became a widow woman at the age of thirty two. She stayed alone with eight children. Josef s talent emerged at the age of fourteen when attending high school. His teacher recognise his natural 25 swiss styleaptitude for drawing. Because of his mother s financial situation, Josef could not study at college. His older brother Paul (firstborn) was sent to university, although he was not as talented as his young brother. Then Josef move developing his illustration skills himself. Later an enthusiastic teacher at the Rapperswil Middle School recommended that Muller apply for an apprenticeshi p as a photographic retoucher. (Purcell, 2006 16) Muller spent only one month in a local printer s office than he left. He felt a need to continue with his artistic desires. The period between the world wars powerfully influenced M ller s development of art Tschichold s The New Typography and also the work of El Lissitzky or Otto Baumberger. M ller even advocated the opinion that Baumberger was the ingenious, unexcelled master of large, often monumental, picture speech communication with the minimum of illustrative and chromatic means he was the first and unsurpassed master of the objective informative poster. (Purcell, 2006 21)In 1931 M ller became an apprentice to the designer and advertising consultant of Alex Walter Diggelmann at Studio Diggelmann s Zurich offices.Although Josef M ller had the financial problem, in 1932 he was registered as a student at the University of Zurich and at the citys Kunstegewerbeschule. Josef went to the Keller s graphic class to ask him for entr ance to the class. Nevertheless, Ernst Keller had a serious class and threw him out. M ller was relentless and went to the school every day, and finally Keller allowed him to the course. The young student was delighted at the studies. He was interested in studies of painting, sculpture and design, anatomy, experiments in perpective, and studies of typography. In spite of that he was still unsure about his futurity direction. At the age of twenty M ller deemed advisable to establish himself, he would need to find a future work. At this time he replied to an offer to work as a designer for von Mauser Seeds Ltd. to hit a series of shop windows decorations. Josef M ller was convinced that his teachers Ernst Keller and Alfred Willimann strongly influenced him.In the era of World War II Josef M ller continued to work on the projects in Zurich, although he was a member of army. Because of the Switzerland position and its neutrality he was relatively calm. However, influenced by the anxi enty about Naciz, influenced by the Swiss population isolated from the rest of the world he began to investigate his work in depth and sought of merits of the case. During this period M ller met the violinist Verena Brockmann, his future wife. Together with her father, Professor Dr. Heinrich Brockmann Jerosch and architect Johann Albert Freytag, he found a system of form and function. The products of graphic design are compromise between form and function, consequently analogous to architecture. The form would follows the function. So graphic design did not have only function to inform but also an education mission to cultivate an everyday life of someone. During this period Josef married with Verena, he changed his name to M ller Brockmann. On 8 May 1945, M ller Brockmann, on with the rest of Europe, celebrated the end of war. (Purcell, 2006 51)Swiss designers reputedly confused graphic design and advertisement. Despite of the visual communication is closely associated with adve rtisement. Graphic design and advertisement are components of general questions for common visual communication. In the post war period M ller Brockmann focused on visual identity. For the first time he used advertisement for propagation of Hermes typewriter. Josef M ller Brockmann worked for Hermes for six years. The work for Hermes was influenced by surreal aesthetics as most of his work from this period for example Die Kleine Freiheit (small Munich theatre).As a young person I had no clear perception of my future I only knew that my professional career depended on my energy, self criticism, discipline, and permanent desire to learn.Josef Muller Brockmann(Purcell, 2006 11)Afterwards he switched the direction of his work and began to think about constructivism and international talking to. Nevertheless, instead of abstraction M ller Brockmann used to work with simplicity, geometric forms and to create a harmony of space similar to music. This harmony between art and music he firs tly used in commission for the poster for concert of Johann Sebastian Bach in 1950. The same principle was consequently used for Zurich Tonhalle posters. (fig. 23, 25). This transitional style abstract shape or drawn illustration still evoked his influences than the international Swiss style. M ller Brockmann continued with work for Zurich Concert Hall for more than twenty five years. He has modernized his style in 1953 for exhibition poster actd Das Plakat (fig. 24). The commission consists of six posters, each one was a single letter of the exhibition title P , L , A , K , A , T . Each letter was given to different designers such as Hans Falk, Adolf Fl ckiger, and Celestino Piatti. M ller Brockmann made T , he underlined his illustration by using light. The title of the exhibition is in Akzidenz Grotesk typeface, placed in the highlited T. He used capital letters for both words of Das Plakat. Information about the interruption times and dates are vertically down the main strok e. M ller Brockmann did not use only illustrations but he exposed these two images (illustrations) in the darkroom, photo its and retouched the protography.In 1952 he designed public signage for the Swiss railroad car Club Accidens Gauge. This Accident Gauge was installed on the Paradeplatz in Zurich, where it warned of the hazards of driving by presenting a numerical summary that highlighted each week s organic automobile related accidents and deaths. It was designed and constructed in an abstract three dimensional designs influenced by Russian Constructivistics in the 1920s. (Eskilson S. J. , 2007 303) M ller Brockmann made also an excelent use of Akzidenz Grotesk. This typeface is actually appropriate for this kind of advertisement the numerical statistics without emotions. Josef M ller Brockmann also collaborated with Automobile club of Switzerland for a poster design that would refer to padestrians, cyclists and drivers in one traffic (fig. 18, 21). These posters have wonder ful use of perspective, the xanthous road urge the situation figured at the poster it made it effective. Brockmann worked with E. A. Heiniger on most of the Automobile Club of Switzerland posters. M ller Brockmann continued to create unconventional designs for them for several years.M ller Brockmann s geniuses grew in and through the years he became a modernist. For the Zurich Concert Hall posters he used all lowercase for the text and geometric abstract forms instead of the illustrations. Beethoven poster (fig.26) for the Zurich Tonhalle represents the epitome of the Swiss style curves and asymmetry. By the 1950s, he was established as the leading practitioner and theorist of the Swiss Style, which sought a prevalent graphic expression through a grid-based design purged of extraneous illustration and subjective feeling. His Musica viva (fig. 20, 27) poster series for the Zurich Tonhalle drew on the language of Constructivism to create a visual correlative to the structural harmon ies of the music.In 1960 M ller Brockmann designed a typographic poster for exhibition at the Zurich Kunstgewerbemuseum, der Film (fig. 28). It is perharps one of his most celebrated designs. The poster type and space overhaul in an inventive and original manner.The grid system is used by typographer, graphic designer, photographer and exhibition designer for solving visual problems in two and three dimensions.(Brockmann, 2001 13)34 swiss styleOne important part of the Swiss Style is its remarkable use of photography. Following the modernist ideas in which photography was a much better tool to portray reality than drawings and illustrations, the Neue grafik magazine, a very important Swiss graphic design publication at the time, dedicated a big part of its content to photography and its exertion in design.tem. The grid system allowed him to organize his subject matter to create more effective design, not to be overwhelmed by the seeming madhouse and complexity of design decision s. The predecessor of this system was Piet Mondrian, the grid is often recognised in his paintings. His compositions are composed of horizontal and vertical lines and rectangular planes. agree to M ller Brockmann the grid system is about structure and mathematical thinking. This is the expression of a professional ethos the designer s work should have the intelligibly intelligible, objective, functional and aesthetics quality of mathematical thinking. (Brockmann, 2001 10)M ller Brockmann was a prof of graphic design at the Kunstgewerbeschule, Zurich from 1957 to 1960. Later he was a design consultant to IBM Europe from 1967 1988. He published various books about his work and won a lot of awards. He is the author of The Graphic Artist and his Design Problems (1961), annals of Visual Communication (1981) or A History of the Poster. He also founded the Muller-Brockmann Co advertising agency in 1967, changeless until 1984.The new typographyThe New Typography came about as a reacti on to the communication credos of Modernism which called for designs to be timeless minimal and geometric.The first principles of the New Typography appeared in Merz magazine in 1923. El Lissitzky promoted there more dynamic typography. In his work El Lissitzky pioneered a new approach to typographic art which had a huge impact upon graphic design. Lasl Moholo Nagy supported in addition typophoto, phototext too. At the same time as typophoto, Moholo Nagy introduced the idea of the photograph not only as illustration but, alternatively, as phototext , replacing words, as an unambiguous form of representation, which in its objectivity (Sachlichkeit) leaves no room for personal accidental interpretation. (Hollis, 2006 40) In both Lissitzky and Laszlo Moholy-Nagy we see furiousness placed upon the element of expression the expression of content through form.In contrast, Jan Tschichold was more concerned with order and organization. He used sans serif type, asymmetric compositions, th e benefits of white space and the limiting of typefaces. Tschichold in his book, earlier mentioned, Die neue Typographie (The New Typography) formulated the basics of these rules and modern visual communication, influenced by functional disregard of Bauhaus. Many of these principles of the New Typography are explained in this book. He introduced a theoretical look at typography devoid of concerns for printing practicality. These principles were also presented at the exhibitions in Switzerland, where it came to subconsciousness of audience. It was Tschichold who acted as a guide to a typographic practise which followed the demand for a new unity of art and technology. (Hollis, 2006 38) Tschichold denote in his book a new sans-serif typeface as Akzidenz Grotesk (now known as Helvetica). Tschichold reiterates that clarity is the highest goal and Akzidenz Grotesk has this clarity. This typeface became the 39 swiss stylemost common for the New Typography and later for Swiss graphic de sign and the International Style. In fact, when Jan Tschichold wrote Die neue Typographie, he ignored any use of non sans-serif typefaces. With this philosophy, graphic designers were aiming the clarity, simplicity and universality. The Swiss Style advocates that the typeface does not have to be expressive in itself, it must be an unobtrusive instrument of expression.Helvetica was created in 1953 by Miedinger with Eduard Hoffmann at the Haas sche Schriftgiesserei (Haas type foundry) of M nchenstein, Switzerland. Haas designed a new sans-serif typeface that could compete with Akzidenz Grotesk in the Swiss market. Originally called Neue Haas Grotesk, the typefaces name was changed by Haas German parent company Stempel in 1960 to Helvetica derived from Confederatio Helvetica, the Latin name for Switzerland in order to make it more marketable internationally. Helvetica became the most widely used sans-serif typefaces ever. Akzidenz Grotesk was performed by Max Bill and Josef M ller Broc kmann throughout their careers.Designer Paul Renner, while calculative his typeface Futura, relied heavily on precise drafting tools such as the compass, T-square and the triangle. This allowed Renner to escape the traditional methods of type design in favor of the rigidity of mechanical constructions. Geometrical Futura was the next popular choice for graphic designers.The Swiss typographer Adrian Frutiger was one of the most prominent typeface designers ever generally because of his famous typeface Univers. He studied calligraphy at the Z rich Kunstgewerbeschule. His interest in sculpture helped construct his style as