The 1950s saw the full emergence of a design movement that is arguably the most important graphic design style of the twentieth century in terms of its far-reaching impact, its longevity, and its range of practical applications. The style began in Switzerland and Germany and is sometimes referred to as Swiss Style, but it is formally known as the International Typographic Style. Its dominance in many areas of graphic design covers a twenty-year period from the early 1950s to the late 1960s, but it remains an important influence to this day. There are a range of specific visual hallmarks that characterize the style. These include the use of asymmetrical layouts built around a mathematically constructed grid; a clear and unadorned approach to the presentation of content; the use of sans-serif type, generally set flush-left and ragged-right; and a preference for photography over illustration.
The style’s total dominance throughout the 1950s is largely represented by the work of one central figure, Josef Müller-Brockmann, whose body of work is synonymous with the period. Some of his best-known work was commissioned by Zurich Town Hall from 1952 onward; he was asked to design a series of concert posters and came up with a visual method to represent the music using mathematically harmonious compositions. It is interesting to compare these posters to some of the jazz album covers emerging from the music scene in America around this time, which demonstrate how influential Müller-Brockmann’s work had become. Another significant series of poster commissions came from the Swiss Automobile Club who, as an organization, had become concerned about the large increase in the number of vehicles on Swiss roads and the issues that arose from that. His 1952 poster promoting child safety stands out as one of his best pieces.
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