I chose the following designs and designers for they "spoke" to me in the light that they are designs I connect with and have learned from in just this short amount of time.
Designer:
- André Gürtler
Swiss typographer and teacher recognized as an authority on type and type design, also an editorial collaborator for the Typografische Monatsblätter for over 20 years and designed numerous typefaces including Unica, as part of ‘Team 77’.
This cover is inspiring to me. When I first looked at this type I immediately thought it said "rise." This just goes to show you that visually, type can be expressed in multiple ways. Verbally, you will recognize the meaning. But it can also be expressed literally.
Designer:
- Heinrich Fleischhacker
(1940) Austrian typographer, graphic designer and teacher who attended classes at the Schule für Gestaltung Basel, worked for Herman Miller, taught and served as head of the typography class at the Schule für Gestaltung Basel.
I love the hand written effect. The "shorthand." It almost reminds me of a doctors note: written in a carefree scribble, yet important. It is simple: using type and lines to balance one another.
I love how he has considered all forms of communication. Sign language is a language and important for people to understand. With these drawings, he is visually writing a note. I love this concept he has formed.
Designer:
- Robert Büchler
(1914–05) Swiss typographer who studied and taught at the Schule für Gestaltung Basel, where he initiated classes that explored the new technology of phototypesetting. He is renowned for creating a body of work recognized as quintessential ‘Swiss’.
The simple quality of the white space and minimized, purposefully-restricted, color pallet is refreshing. There is but a small paragraph with a unique justification of a dramatic ragged right edge that perhaps emphasized a word or phrase. The orange is used to due the same, highlighting certain words.
I chose this design for I enjoyed the use of reflection and direction. Your eye naturally follows the larger type from left to right, up the vertical line of "l"s and finally to the right, off the page with "z"s. It is visually graphical even though it is obviously type. The letters are not only a reflection of themselves, but they also mirror the horizontal, smaller, type at the top.
Robert understands the rules of type and knows when is an appropriate time to break them. I enjoy how he has divided the text within this poster, separating, more like grouping, the information accordingly. He was not afraid to group the larger unites together (such as the one large box of text) but by sub grouping the type, he has made it easier to read the information.
This is beautiful. The simplicity, rhythm and symmetry provided by this work follows the Gestalt principles, leaning on them to guid the audience. It is visually appealing and the reader naturally follows the type, wanting to read it and decode its meaning.
Designer:
- Unidentified
I love the obvious use of a grid. It is simple and without any other pages, there are but unlimited guesses as to what the grid actually was, but it is systematic and industrial, just as type can be. To me, this reflects type and letter press. Red, the only color on this cover, represents the ink, or perhaps the rust that would be prevalent on the machines of letter blocks. The white lines and borders confine the spaces and images even though they seem to be bleeding off the page.
Designer:
- Siegfried Odermatt
(1926) Self-taught Swiss graphic designer who opened his own studio and later founded Odermatt & Tissi with Rosemarie Tissi.
Odermatt calls himself a self-taught graphic designer, although he attended various courses at the School of Applied Arts in Zürich. From 1943-46 he was a freelance collaborator with the painter Hans Falk. He then started to work independently. Since 1968 he has run a studio with Rosmarie Tissi. Both have a reputation as pioneers in graphic design. Odermatt has received numerous international distinctions and awards.
I am partial to the organic material that is used along side the industrial type face, Monotype Grotesque. It is raw in a unique form as the image takes up most of the cover space, leaving a small bit of white room at the top for type that may be smaller than 12pt font. The poster is about the image, and yet due to the coloring of the font we still recognize its presence. The bold white light that is left on the rope is shown again above the wood, and it acts as a perfect canvas for the information.
What I have gained:
Hierarchy plays a large role in each cover/poster design presented above. Whether by larger type, difference in x hight, color or justification, each designer knowingly decided to emphasizes certain pieces over others. Also, the overall principle that I found present in these pieces to be important was rhythm. The way in which the audience was able to follow the type and text, getting a sense of the movement and feeling each poster wanted to portray.
These designers are magnificent and to be researched and inspired by. I hope to bring a natural flow to my workbook and use these posters as a base foundation. I wish for it to be simple, yet bold and inspiring.
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