International Typographic Style

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The International Typographic Style is a graphic design style that emerged in Switzerland and Germany during the 1930s-1950s and gained international prominence in the 1960s. It developed alongside other similar modernist movements, such as Russian Constructivism, Dutch De Stijl, and the German Bauhaus School, as a reaction to the perceived excess of previous graphic design trends at the time. It is characterized by its functionality, typography, simplicity, cleanliness, readability, and objectivity. It was pioneered by Jan Tschichold, Josef Müller-Brockmann and Armin Hofmann, further influenced by Max Miedinger and his colleagues, Armin Hofmann and Emil Ruder.

The term is often used interchangeably with Swiss Style, but they are sometimes considered to be different but closely related phenomenons. The International Typographic Style primarily emphasizes typography and visual communication, while the Swiss Style encompasses a broader range of graphic design styles from Switzerland, particularly during the 1950s and 1960s. Nevertheless, both movements have the same core principles of clarity, objectivity, and functionality.

This movement has left a lasting impact on various fields such as graphic design, art, and architecture. One example is Minimalism, a major art movement which began to develop in the 1960s, or Flat Design, a minimalist aesthetic that has been popularly used in brands, logos, technology, and web design since the mid-2010s.

History[]

The roots of the International Typographic Style date back to Switzerland during the interwar period of the 1920s and 1930s, and has been influenced by other similar movements like Constructivism, De Stijl, and Bauhaus. During this time period, the fine arts and graphic design began to be understood as separate concepts or relatively distinct fields, thus birthing grid-based design.^[1] Designers like Ernst Keller and Jan Tschichold began experimenting with new approaches to typography and layout, prioritizing clarity and legibility over the excesses of other visual trends of the time. It was in the 1950s, however, that the style truly flourished, with designers like Josef Müller-Brockmann, Armin Hofmann, and Emil Ruder leading the way. Other early pioneers include Théo Ballmer and Max Bill. They desired to convey information in a way that's universally acceptable and straightforward, establishing its use of grids, sans-serif typefaces, and objective photography for a more realistic view of the world. It was further influenced by two Swiss design schools: the Basel School of Design and the Zurich University of the Arts.

During the aftermath of World War II, international trade became a really strong industry in Europe, and graphic design and typography became relatively important fields. A style that conveyed clarity, objectivity, and symbols that could be understood regardless of culture/region were essential for visual communication between international partners. The style gained widespread recognition and influence in the 1960s, spreading beyond Switzerland and Germany to other areas of Europe and North America. It became one of the most dominant styles in graphic design for decades, influencing corporate branding, advertising, and publications worldwide. One of the earliest Americans to adopt this style was Rudolph de Harak. The Massachusetts Institute of Technology (MIT) also adopted it. Even today, the principles of the International Typographic Style continue to inspire graphic designers. Its legacy is notable in contemporary design trends like Minimalism and Flat Design, as well as in the ongoing popularity of sans-serif typefaces.

Visuals[]

The International Typographic Style is known for its clean and clear aesthetic. It prioritizes easy visual communication and readibility over decorative elements that could turn into clutter. The layouts are typically arranged using grids to create a sense of order, but it is combined with asymmetry to give the designs a more interesting appareance. Simple geometric shapes and large areas of flat color are very common features, giving the designs a functional and uncluttered look. Text is one of the most important elements, with sans-serif fonts like Akzidenz-Grotesk and Helvetica being used for their readibility. The "Helvetica" font in particular, named after the Latin word for Switzerland, has become synonymous with Swiss Design.

The text is often aligned to the left margin, creating a neat edge, while the right margin is allowed to vary,^[2] adding a bit of visual movement. Photographs, especially in black and white or monochrome color palettes, are preferred over illustrations or drawings for objectivity. In concept, this is also done to avoid the persuading influences of propaganda or commercial advertising. Sometimes, photos are combined in collages or montages to tell a visual story to the viewers. Simplified icons are also used to quickly and universally convey information, hence "international".

Typography[]

Typography is a really important part of the International Typographic Style, often serving as a primary design element beyond its functional use for conveying text. This style is distinguished by its preference for sans-serif typefaces, which are characterized by their clean, geometric forms and absence of decorative serifs. These fonts, including Akzidenz-Grotesk, Univers and Helvetica, are widely used for the sake of universal clarity and objectivity. The use of a mathematical grid system in the designs is also another important aspect.

Helvetica particularly became synonymous with the International Typographic Style and the Swiss Style. It was created in 1957 by Max Miedinger in Basel, Switzerland. Its neutral and versatile appareance made it ideal for conveying information across various contexts and interaction between international cultures. It is named after the Latin word for Switzerland.

Akzidenz-Grotesk, a sans-serif font released in 1896 by the Berthold Type Foundry, predates Helvetica but also influenced the visual language of the International Typographic Style. It primarily uses clean, simple forms and neutral characters.

The Univers font is a large sans-serif typeface family. It was designed by Adrian Frutiger in 1957, one of the most influential typeface designers of the 20th century. It was directly inspired by Akzidenz-Grotesk.

The Architype Bayer font is also used, but less prominently. It is a geometric sans-serif font, created by Freda Sack and David Quay in 1997, taking inspiration from the experimental works by Herbert Bayer from the 1920s.

Philosophy[]

The International Typographic Style embraced a philosophy rooted in the Bauhaus principle of "form follows function". This meant paying close attention to details, mastering design skills, and following a systematic approach. Education and technical training were important to ensure high-quality prints and an innovative use of fonts. The core of the movement's theory was the idea that design should be a smart and useful solution to a specific problem. Designers were encouraged to create unique solutions for each project, to align the design and its context with the message it was trying to convey.

Related Movements[]

Swiss Style[]

The Swiss Style (also known as Swiss School or Swiss Design) is a graphic design trend that originated in Switzerland during the 1950s and 1960s, associated with several notable Swiss graphists. The basic principles of the Swiss style include minimalist graphics, the use of a modular grid system, asymmetrical layout and sans-serif fonts.^[3] It has been widely adopted in corporate identity and branding, and it's often considered to be the basis of Flat Design, a current-day trend in UI design and technology.^[4]

However, the boundaries between the Swiss Style and the International Typographic Style are not completely clear and can be hard to define, especially when considering both terms are often used interchangeably and share the same core principles, which have also spread beyond Switzerland or Germany (hence international). Some consider it to be pretty much the same thing, a single movement, while others think the Swiss Style is just the continuation of the International Typographic Style during and after the 1950s.

New Wave Typography[]

New Wave, also known as Swiss Punk Typography or International Style Punk, was a movement that surged as a direct response to the perceived formalism, corporateness, and rigidity of the International Typographic Style. Graphists associated with this movement, including key figures like Wolfgang Weingart, Dan Friedman, and April Greiman, sought to defy the strict conventions of the Swiss Style's grid-based arrangement. It began to develop in the Basel School of Design in Switzerland during the early 1970s, and remained relevant during the 1980s. German graphist Wolfgang Weingart is often credited as the creator of this style; he took inspiration from the Swiss typography during the 1940s, but beyond that, he never forced his students to copy a specific style and never intended to create one himself.^[5]

The sans-serif fonts are still the most widely used ones in New Wave Typography, but it differences itself from the Swiss Style by ditching the widely used grid structure, using unconventional and bold elements, and incorporating influence from the punk subculture, psychedelia, and post-modernism. Although the movement was anti-corporate at heart, the similarities with the International Typographic Style were still very present, leading some to deem it a "softer, more commercialized version of punk culture".