XI Международная студенческая научная конференция Студенческий научный форум - 2019

Considering the history of formation and development of the Swiss school graphic design, several objective factors should be taken into account. One of them was the linguistic unity of the Northern cantons in Switzerland and Germany. This means that the foundations of the new functional typography, founded by German graphic designers in the 1920s, were accepted and subsequently developed by Swiss artisans in the 1930s.

It is important to note that the Swiss school is an innovative trend in typography. The basic principles of the Swiss school are following the layout principle of the modular grid, a rigid hierarchical structuring of information, a flag set, the replacement of red lines in favor of whitespace lines, the dominance of non-geometric grotesques like Univers or Helvetica, the use of black-and-white photographs and illustrations instead of photo montage, a radical rejection of ornamentation and jewelry.

Undoubtedly, the founder of the Swiss school of graphic design is considered to be Jan Tschichold (1902-1974). His article "Elementary Typography" was published in 1925. It describes the basic concepts of the new style: simplicity, conciseness and light perception.

Jan Tschichold studied Art History and History of writing, the History of Ornament and Calligraphy. One of the most notable works of the artist in the field of typography were the film posters for the Munich Cinema Phoebus-Palast (Die Frau ohne Namen. 1927. Offset lithography (123.8 × 86.4 cm). Modern Art museum. Peter Stone Poster Fund).

Tschichold set up the rules of typography for the books of the publishing house "Penguin Books" and developed a new serial of the cover. (The cover of the book Hilaire Belloc "The Cruise of The Nona", 1958,14 x 1.9 x 21.6 cm).

The representatives of the Swiss school of typography use headsets without serifs in their works. So Jan Tschichold designed simple and easy to read fonts: Transit (1931), Saskia (1931-1932гг.), Zeus (1931), Uhertype Grotesk (1933-1936gg.), Sabon (1966-1967гг.).

No less valuable innovation of the Swiss school is a modular grid, which is now being used by absolutely all graphic designers. Joseph Muller-Brockmann outlined this fact in his theory.

The reduction of visual elements and their inclusion in the modular system creates the impression of unity, transparency, clarity and it many an order in design. Logically organized design supports the accuracy of information and disposes the reader to it. It is well illustrated in the Swiss magazine "Neue Grafik" (1958-1968. edited by G. Neuburg).

At the peak of the popularity of the Swiss graphics they began to offer their products abroad. The Swiss style was ideal to attract the attention of a multinational consumer.

The history of graphic design has been steadily attracting attention of the audience during for the last 10-15 years. The demand for graphic designers is constantly growing. One of the recognizable schools is the Swiss school. It has made a significant contribution to the development of graphic design worldwide. The achievements of the Swiss school artisans have been successfully used in advertising, Web-design and development interfaces for various electronic devices today. Having tried dozens of directions and used all the new opportunities, the designers returned to the same style, they started which contributed to brevity, light perception and free spaces.

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