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The Bayard Art Consulting independent agency provide professional advice on acquiring and selling art wisely We place education at the centre of our service so that our clients are empowered to buy in security whilst feeding their individual collections and following their own passionsSteve Bayard is an independent global art consultant and author rights specialist committed to supporting clients at every level of market activity with his 10 figures plan: art advisory art finance art investment art services art rentals cyber entertainment music therapy education philantropy and sustainabilityLaunched in April 2019 The Bayard Art Consulting independent agency has an unrivalled track record across its events and services occupying a unique position within the art ecosystem of Berlin Our clients benefit from the shared in-house intelligence of our specialists and artists to offer strategic guidance around art From building a full customized collection and acquiring exclusive art to selling strategies and action plans investment opportunities and art financing or even contribute to the development and publishing of your project products services the agency is having the expertise and capacity to meet a wide range of international needs and interests following the new trends we detectedBayard Art Consulting is owned by its management we are now ready to welcome private investors to be backed by a few exclusives At the moment we operates entirely independently from auction houses dealers and galleries on a niche marketOur agency’s biggest force reside in the fact that the agency is able to maintain a transparent relationship with its clients and provide an unbiased approach to various art markets We operates on a global scale with other independent consultants globally in Switzerland Netherlands United States Germany Spain France and Canada |
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Dr Groh is passionate to drive 5Ds fuelling energy: Decentralization Decarbonization Disruption Democratization and Digitization! Dr Groh is credited with installing world’s first cyber-physical P2P solar sharing grid |
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Years ago my Hoosier mother and my Paranoia-Schizophrenia diseased father were at a crisis turning point in Oakland City Indiana If my mother had listened to the devil she would have said What do you want me to do God Sell this house all my antiques throw my sick husband in the car drive to Los Angeles and drag my unsaved Hollywood actor son around from church to church to try to get him saved And probably become homeless myself with all the other homeless people in Los Angeles Is that what you want God But the Lord seemed to say to my mother You take your sick husband to Los Angeles and I’ll take care of you Well no sooner did my mother and father arrive in Beverly Hills where I was living than within 24 hours the Lord got her a Beverly Hills apartment building where all she had to do was get the producers and actors who wanted to live in that plush penthouse and suites where all she had to do mother’s Beverly Hills job was to just have them sign the lease In return she got her own plush apartment and a nice salary So people back in Indiana said Hey did you hear about Iva Goble She’s doing quite well! She’s living in Beverly Hills! She took her son to church and he got saved and became an Assemblies of God minister! Then I was preaching on the street in Brooklyn and a rabbi asked to have the Orthodox Jewish Bible I was holding in my hand Then he went over to the trash can and started tearing the OJB up So the Lord got angry and had Youversioncom contact me that very night and ask to make the OJB digital on their online platform Then Biblegatewaycom saw it online and wanted it then Biblehubcom then Biblestudytoolscom then sermoncentralcom etc etc etc in a snowball effect where NO RABBI could ever again tear up the digital versions delivered wirelessly to cell phones and various portable internet devices all over the world! Now put that in your pipe and smoke it Mr Rabbi tearing up my Bible in the trash can Yeshua seemed to say So I concluded So really no place to boast all this all these millions of downloads is my mother’s ministry! If emphatically emphatically and unquestionably IF the Bashefer Creator is the necessary Being and cause of all contingent beings and if the contingent being Mankind scorned His sovereign and revealed will in the Kitvei Hakodesh Genesis 2:17 preferring moral autonomy then Mankind created with a nefesh surviving bodily death that returns to the Bashefer Creator Kohelet 12:7 is appointed once to die and then the judgment MJ 9:27 This Genesis 2:17 epochal command is to the entire old humanity in Adam Genesis 2:17 in whom the Bashefer breathed the breath of life But in the Bria Chadasha New Creation of the soul Moshiach Ben Dovid breathed on the talmidim Yochanan 20:22 so that all who died in Adam Genesis 3:19 might be made alive in Moshiach 1C 15:22 as Heaven Born Gerim of the true Jewish faith and not suffer Eybiker Shtrof Mt 25:46 Dan 12:2 The Orthodox Jewish Bible is becoming ubiquitous on the Internet to provoke Israel to faith The Orthodox Jewish Bible is not a fringe translation but a main stream version used by preachers all over the world GALATIANS WAS PROBABLY WRITTEN AROUND 49 CE JUST AFTER RAV SHA’UL’S FIRST SHLICHUS JOURNEY IT WAS PROBABLY WRITTEN FROM ANTIOCH IN SYRIA DOWN THROUGH THE CENTURIES THE CHUKIM OF THE TORAH ALONG WITH BRIS MILAH ARE THE COVENANT PRIVILEGES GIVEN BY HASHEM TO PRESERVE THE EXISTENCE OF YEHUDIM AS A PEOPLE–Acts 15:21 SEE AC 21:20-26 see Acts 16:1-3 and 1C 11:1 HOWEVER AS INDIVIDUALS JEWS NO LESS THAN NON-JEWS MUST NOT TAKE THEIR EYES OFF SAVING FAITH’S ALL-IMPORTANT ETERNAL BRIS MILAH EXCISION OF THE UNREGENERATE BASAR WHICH EXCISION IS HITKHADSHUT REGENERATION AND REBIRTH IN MOSHIACH IN THE RUACH HAKODESH THE ONLY SALVATION FOR ABRAHAM NO LESS THAN FOR ALL ABRAHAM’S JEWISH AND NON-JEWISH CHILDREN SEE YN 3:3 AND COL 2:11-13 Your donation will help us keep this mainstream translation in print for the Orthodox Jews in prison who are waiting to receive their free copy CLICK HERE TO WATCH DR PHIL GOBLE PREACH AT A BIBLE CONFERENCE IN Los Angeles Make a donation of 75 or more and get a complimentary copy of THE ORTHODOX JEWISH BIBLE with free shipping in the USA or just send US 30 payable to AFII check or money order with your shipping address to AFII PO Box 2056 NY NY 10163 to get your Bible and the same amount to get THE NEW CREATION BIBLE FOR MUSLIMS I seem to remember a room in Brooklyn Sometimes I think I’ve visited it sometimes I’m sure I’ve not In my mind’s eye it seems like Elisha’s room in II Kings 4:10: just a mittah bed a shulchan table a kisse chair and a menorah At times I’ve seen that room I’ve fixated on it examined every square inch of it with a strange spiritual hunger at least in my mind’s eye And often I look for that room when I walk the Jewish streets of Brooklyn late at night the streets filled with Jewish youth religious students walking briskly studying late and up at all hours of the night lending the dark streets with a strange and wonderful kind of energy as they hurriedly pass me by Sometimes in the shadows I look up at a large Jewish home in Brooklyn probably owned by some elderly Jewish woman and I peer up and spy a light burning in an upper window of the house And I think some Yeshiva student has been given an upper room by a Jewish lady like the Shunamite lady– remember she asked her husband to build an extra room a prophet’s chamber a small aliyyah upper room for the prophet Elisha Read II Kings chapter 4 And then I think about that and in my mind I enter the holy light of Elisha’s room and I see the mittah bed where the Shunamite’s son was laid out dead and Elisha’s staff was placed on the little Jewish boy’s head and then the breath of life was breathed into him in the Ruach Hakodesh and the Jewish youth stood up alive from the dead And I think of that Messianic resurrection and the coming spiritual resurrection of Israel And I think of Israel’s Techiyas HaMesim when all her true spiritual children will be kerovim el Hashem Eloheinu near ones of Adonoi our G-d with a new heart and a new spirit and a lev tahor and a ruach nekhon steadfast spirit see Psalm 51:11-12 Ezekiel 36:26 Yn 3:36 OJBC and the Ruach Hakodesh and a ruach nedivah a willing spirit see Jeremiah 31:31-34 When I think about the dry dead bones of zeal without knowledge of Israel blind in unbelief not recognizing her Moshiach her Ben Elohim Ben Yosef Ben Dovid Moshi’a Moshiach even though Moshiach also stood up alive from his mittah kever and was seen alive in Moshiach’s Aliyyah Upper Room in Jerusalem see Yn 20:19 Mk 14:15 Lk 22:12 OJBC when I think about that and when I think about this vast wonderful Orthodox Jewish population in Brooklyn I somehow see an upper room of revival above the Brooklyn shtetl below: that is the Brooklyn kosher butcher shop the kosher baker the Jewish bookstore the mikveh the shul the bais midrash house of study rabbinical academy the bais avot old-age home and all the Fiddler on the Roof New Vilna wonder of the fact that they still exist in spite of every marked-for-death Hitler and Osama bin Laden who would kill them– then when I think about all that I ask G-d to build something beautiful in cyberspace an upper room here for His Glory among His People Thanks for stopping by PS This morning in Manhattan a young woman was crossing 66th Street at Broadway With her back turned to the on-coming traffic she was swivelling to step out in front of a speeding bus Just then I screamed Watch out! She was so distracted she started to step in front of the bus a second time and I shouted Watch out! again This saved her life She saw it was true that I had in fact just saved her life but she was very blah blah blah blasé as she said Thank you But the Holy Spirit knew that this ministry is saving lives Please do more than stop by Please join us in saving lives Every supporter is like a battlefield chaplain get GO MOBILE WITH OUR FREE ARTISTS FOR ISRAEL APP Get all Dr Phillip E Goble’s books and Bible translations for easy access on your mobile device on GOOGLE PLAY MORE ABOUT DR P E GOBLE EXPLORE OUR WEBSITE get grafted in into the אויסדערוויילט פאלק WATCH THIS VIDEO IF YOU DON’T BELIEVE IN THE GOD OF ISRAEL HEBREW TANAKH DOWNLOAD THE BESURAS HAGEULAH PREACHING YOU DON’T OFTEN HEAR CHECK OUT YIDDISH SERMONS DR PHIL GOBLE HAS TRANSLATED WATCH THE FILM THE BOOK VERSION OF WHICH WAS PUBLISHED BY THE SAME PUBLISHER THAT DID MEL GIBSON’S PASSION LINDA GOBLE SINGS SONGS FOR THE TRIBES IF YOU ARE JEWISH DOWNLOAD YOUR FREE EBOOK if you are on a mobile device you might need to scroll down to the classic view IF YOU ARE MUSLIM DOWNLOAD YOUR FREE EBOOK if you are on a mobile device you might need to scroll down to the classic view or DOWNLOAD YOUR NEW CREATION BIBLE FOR MUSLIMS or WATCH THIS VIDEO TO SEE WHY YOU NEED IT AND WHY 1/4 OF THE WORLD DOES ALSO PayPalMe/artistsforisrael get OUR FREE AFII APP OR OUR OTHER FREE APP see THE NEW CREATION BIBLE FOR MUSLIMS FROM BARNES amp NOBLE DOWNLOAD YOUR FREE COPY OF THE COMPLETE BOOK FOR ARTISTS FOR ISRAEL see Everything You Need To Grow A Messianic Synagogue Seminal book on Messianic Congregations–Jeffrey S Wasserman author see CRUCIAL DOCTRINAL DIVIDE in Messianic Ministry and Subscribe to our Artists For Israel YouTube Channel watch DAYS OF MOSHIACH IN YIDDISH ON YOUTUBE watch DAYS OF MOSHIACH IN HEBREW ON YOUTUBE watch ARTISTS4ISRAEL THEATRE’S JEWISH TALMID OF THE TANNA RABBON GAMLIEL THE ELDER THE RABBI FROM TARSUS FULL MOVIE WITH HEBREW SUBTITLES read RABBI FROM TARSUS BOOK VERSION PUBLISHED BY THE SAME PUBLISHER THAT MADE MEL GIBSON’S PASSION MOVIE INTO A BOOK see Orthodox Hasidic Yiddish Bible on BIBLE HUB see Orthodox Jewish Hebrew Bible on BIBLE HUB see Orthodox Jewish Bible on BIBLE HUB see New Creation Bible for Muslims on BIBLE HUB see The New Creation Bible for Muslims free pdf see The Orthodox Jewish Bible free pdf see The Most Important Video Dr Phil Goble ever made see to make your own bilingual Yiddish/English 4 Spiritual Laws go to where it says I want to share the Gospel with a person who reads Japanese and then make the dropdown menu change from Japanese to Yiddish and download and print it out and cut it so you print three at a time making sure the Hebrew B’Siyata D’Shmaya BEIS SAMECH DALET is the first page reading right to left which means with the help of Heaven see OTHER AFII BOOKS AND MATERIALS PERHAPS YOU WOULD LIKE TO STUDY WITH US OR DROP BY OUR CONGREGATION IN BROOKLYN New York Your donation will help us keep this mainstream translation THE ORTHODOX JEWISH BIBLE in print for the Orthodox Jews in prison who are waiting to receive their free copy Make a donation of 75 or more and get a complimentary copy of THE ORTHODOX JEWISH BIBLE with free shipping in the USA or just send US 30 payable to AFII check or money order with your shipping address to AFII PO Box 2056 NY NY 10163 to get your Bible and the same amount to get THE NEW CREATION BIBLE FOR MUSLIMS |
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Table of Contents: Introduction Josef Müller Brockmann Max Bill Richard P Lohse Armin Hofmann Emil Ruder Karl Gerstner Hans Neuberg Carlo Vivarelli Wim Crouwel and the Dutch Total Grid Lella Valle Massimo Vignelli Pierre Mendell Alberto Longhi The Revival of Swiss Grid System in the Cyberspace Neville Brody’s Anti-Swiss Crusade Introduction After the second world war the Swiss Grid Style also known as the International Typographic Style was developed by Swiss designers such as Armin Hofmann Josef Müller Brockmann Max Bill Richard P Lohse Hans Neuberg and Carlo Vivarelli who began to experiment with typography and photo-montage Characterized by a cold emotionally sterile grid style they used structured layout and unjustified type that became very influential in the mid twentieth century and influenced a vast audience These pioneering graphic artists saw design as part of industrial production and searched for anonymous objective visual communication They chose photographic images rather than illustration and typefaces that were industrial-looking rather than those designed for books In short the visual characteristics of the International Typographic Style include: Asymmetrically organizing the design elements on a grid to create Visual unity in a composition Presenting visual and textual information in a clear and factual manner using objective photography and illustration and ensuring that it filters any propaganda and the exaggerated claims of commercial advertising Using sans-serif typography set flush left ragged right — The movement believed sans-serif typography expressed the spirit of a progressive age and that mathematical grids were the most legible and harmonious means for structuring information The initiators of the Swiss Grid Style were of the belief that the visual appearance of the work is not as important as the integrity of its philosophical tenets whereby Design is a socially worthwhile and serious vocation In design there is no room for eccentricity and/or idiosyncrasy Design should be grounded on universal artistic principles and using a scientific approach should provide a well-defined solution to a problem The designer is a visual communicator and not an artist The designer acts as an objective and reliable transmitter of important information between members of society The ideal of design is to achieve clarity and order A leading pioneer of the Swiss Style Josef Müller Brockmann was the founder and editor of the Zurich published journal Neue Grafik who introduced the Swiss Style into America He was concerned with functional and objective design that by restricting design elements in the confine of typographic grid would shift the focus of image on the core message displayed by a clean and sharp geometrical aesthetic The grid was used to define the constant dimensions of the design space and elements were inserted precisely into it so that all parts of a page would be integrated coherently according to the aesthetic order According to Müller Brockmann I have always aspired to a distinct arrangement of typographic and pictorial elements the clear identification of priorities The formal organisation of the surface by means of the grid a knowledge of the rules that govern legibility lines length word and letter spacing and so on and the meaningful use of colour are among the tools a designer must master in order to complete his or her task in a rational and economic matterThe greatest works of art impress through their balance their harmony their proportions all of which can be measured That is one of the reasons why paintings sculptures and buildings that are thousands of years old – by the Egyptians Chinese Assyrians and so on – are still fascinating to us today The objective was an effective and efficient visual communication: information presented this way was assumed not only read more quickly and easily but is also more easily understood and retained in memory Josef Müller Brockmann Josef Müller Brockmann was born in Rapperswil Switzerland in 1914 and studied architecture design and history of art at the University of Zurich and at the city’s Kunstgewerbeschule He began his career as an apprentice to the designer and advertising consultant Walter Diggelman before in 1936 establishing his own Zurich studio specialising in graphics exhibition design and photography According to his own account I became a graphic designer by accident At school I was loth to write much for compositions so I put in illustrations instead My teacher enjoyed them and thought I had talent He suggested that I should pursue an artistic career: gravure etching or retouching for instance So I was apprenticed as a retoucher in a printing works I lasted one day because I said that this wasn’t artistic work After that I was apprenticed to two elderly architects With them I lasted four weeks Then I went to see all the graphic designers I found listed in the telephone directory because I wanted to find out what they did Afterwards I enrolled to study graphic design at the Zurich Gewerbeschule As a graphic designer Müller Brockmann’s skills included letterpress silkscreen and lithography His geometric style was demonstrated in “Musica viva” a series of concert posters for the Zurich Tonhalle in 1951 It is arguably claimed that his work was an adaptation of concrete art which had been described by Theo van Doesburg around 1930 as works of art that are created by means of art’s most genuine means of composition and principles entirely doing without allusions to phenomenon of nature and their abstraction New realities were supposed to be created by forming colors space light and movement The style had to incorporate mathematical methods of spatial organization into graphic work which drew on the language of Constructivism to create a visual correlative to the structural harmonies of the music Müller Brockmann’s 1955 poster Beethoven was supposed to portray Beethoven’s music through a series of concentric curves and has been offered as an example such an adaptation and this assertion had been accepted at its face value by many pundits who were impressed by the novelty elegance and the simplicity of design As Müller Brockmann has stated: In my designs for posters advertisements brochures and exhibitions subjectivity is suppressed in favour of a geometric grid that determines the arrangement of the type and images The grid is an organisational system that makes it easier to read the messageThe grid is an organisational system that enables you to achieve an orderly result at a minimum cost The task is solved more easily faster and better It brings the arbitrary organisation of text into a logical system in keeping with the conflict It can demonstrate uniformity that reaches beyond national boundaries a boon to advertising from which IBM for instance has profited Objective-rational design means legible design objective information that is communicated without superlatives or emotional subjectivity From 1967 he was European design consultant for IBM He is the author of The Graphic Artist and his Design Problems 1961 History of Visual Communication 1971 History of the Poster with Shizuko Muller-Yoshikawa 1971 Nevertheless Müller Brockmann’s work was rigid and soulless suffering from certain self-imposed restrictions of the Swiss style and dogmas such as the rejection of symmetry since fascists had liked it! He has said: symmetry and the central axis are what characterise fascist architecture Modernism and democracy reject the axis I have taken my love of order to the point of manifest boredom producing design solutions which are valid but deadly boring Thanks to the passage of time I am now just about able to examine my posters for the Zurich Tonhalle to discover why some are better than others I am amazed how many are bad The Beethoven poster is good also the “Musica Viva” poster of 1970 with the green lettering on a blue background and the two Tonhalle posters of 1969 and 1972 with the rhythmic type Looking at this juncture at these posters when digital software packages can do any of them in just few minutes and with few of clinks it is easy to dismiss the whole exercise as boring and insignificant Of course the world would have become a boring place should all posters have adopted the Swiss grid style However we have to remind ourselves that when these posters appeared on the scene their geometrical aesthetics were quite novel and rare Perhaps ironically Müller Brockmann has stated that he did not like experiments such as that of Neville Brody’s typefaces that have the potential to rescue the grid style Typefaces designed for Neville Brody By the early 1990s Neville Brody was able with a straight face to recommend abandoning typography’s requirement of legibility — gloating as a chill shot down the spines of his type-pro audiences Müller Brockmann was totally dismissive of Brody’s powerful artistic impact The fact that not all viewers are of commercial types and not everybody is concerned with profit maximizing attitudes that just require to get the information in an efficient and cost effective manner the fact that there are also viewers that are interested in looking at a poster’s typeface from an artistic view point and reflect on them which in the process may also convey the message of an advertisement appears to have been totally alien to him He has said Some set themselves the task of making typography so unreadable that it is almost like a picture puzzle The illegibility is then sold as an artistic project I wouldn’t read something like that unless I had to The same rational criterion applies to wobbly forms and blurred contours: can I read this faster Text is communication of content a fact reflected in classical typefaces and legible typography typefaces designed for Neville Brody are not suitable for advertisements and posters They are exceptions to the rule and individual cases are not a basis for teaching graphic design These alphabets are confused aesthetically lacking and bad Playing around is always an excuse for too little understanding which makes people fall on imagination and speak of artistic freedom inspiration and good ideas Such typefaces are interesting as studies in legibility But I don’t see any sense in them They are a personal attempt to deal with a problem and I find them not only bad but senseless because they lack an area of application In an interview with Eye Magazine for their Winter 1995 issue just one year prior to his passing he was asked what order meant to him: Order was always wishful thinking for me For 60 years I have produced disorder in files correspondence and books In my work however I have always aspired to a distinct arrangement of typographic and pictorial elements the clear identification of priorities The formal organisation of the surface by means of the grid a knowledge of the rules that govern legibility line length word and letter spacing and so on and the meaningful use of colour are among the tools a designer must master in order to complete his or her task in a rational and economic manner Max Bill Max Bill 1908–1994 was born in Winterthur Switzerland An architect painter typographer industrial designer engineer sculptor educator and graphic designer Bill was initially a student at the Kunstgewerbeschule and apprenticed as a silversmith before beginning his studies in 1927 at the Bauhaus in Dessau Germany with teachers such as Wassily Kandinsky Paul Klee and Oskar Schlemmer Bill permanently settled in Zurich Switzerland in 1929 and in 1937 became involved with a group of Swiss artists and designers named the Allianz The Allianz group advocated the concrete theories of art and design and included Max Huber Leo Leuppi and Richard Paul Lohse In 1950 Max Bill and Otl Aicher founded the Ulm School of Design Hochschule fur Gestaltung-HfG Ulm in Ulm Germany a design school initially created in the tradition of the Bauhaus and that is notable for its inclusion of semiotics the philosophical theory of signs and symbols as a field of study Bill was of the view that It is possible to develop an art largely on the basis of mathematical thinking Over the 1967-71 period Bill taught at the Staatliche Hochschule fur Bildende Kunste in Hamburg where he was the chair of environmental design As a graphic designer he enthusiastically embraced the tenets and philosophical views of this modernist movement The majority of his graphic work is based solely on cohesive visual principles of organization and composed of purist forms—modular grids san serif typography asymmetric compositions linear spatial divisions mathematical progressions and dynamic figure–ground relationships Simultaneous Constructions 1945-51 Three Groups 1947 Construction in Black 1939 Richard P Lohse Richard Paul Lohse 1902-1988 was born in Zürich Switzerland in 1902 In 1918 he joined the advertising agency Max Dalang where he trained to be an advertising artist but in his artistic career he started with figurative works and gradually moved to post-cubism style Lohse worked for the Max Dalang agency until 1927 where he became interested in the international avant-garde movements in both its artistic and political aspects In 1937 Lohse a key figure in the Swiss School and Leo Leuppi joined forces to establish Allianz an association of Swiss modern artists promoting publications exhibitions and the dissemination of avant-garde art He collaborated with Max Bill and Verena Loevesberg in the Zurcher Konkrete group which was affiliated with Allianz In 1938 Lohse and Irmgard Burchard his first wife organise the Twentieth Century German Art exhibition in London Soon after Lohse joined the resistance movement where he met his second wife Ida Alis Dürner In 1942 Lohse formulated his conception of constructive painting a style that was highly structural In the words of Fr W Heckmanns His horizontal and vertical structures follow each other in serial and modular orders within the rectangular limits of the canvas The essential content of his work is a rational interpretation of the relationship between artistic practice and the problem of the form of social organization in short a human attitude towards the balance of law and freedom In the years 1947-1956 Lohse was an editor and designer for the swiss architectural magazine bauenwohnen or constructionhabitation A special edition of the magazine was launched for Germany in 1952 Lohse’s style was characterized by his devotion to precision and clarity in his theoretical framework He saw structure not as a preliminary foundation but as a totality of concept in the image He conceptualized the canvas as a field of interacting modules in which the color and the form are complementary in creation of a formal color structure Richard Paul Lohse Fifteen systematic vertical color lines with diagonal violet 1975 Armin Hofmann Armin Hofmann was born in 1920 in Winterthur Switzerland During the 1937-39 period Hofmann studied at Kunstgewerbeschule in Zürich and apprenticed as a lithographer until 1943 From 1943 until 1948 He worked as lithographer in Basel and Berne and in his own graphic atelier In 1946 Hofmann joined the Allgemeine Gewerbeschule AGS in Basel where he and Ruder established a world renowned advanced course in graphic design Kenneth Hiebert a former student of Hofmann recalls that in the early sixties Hofmann would occasionally bring in a Cassandre or Stoecklin poster and perfunctorily tack it to the wall When the students cringed at this apparent maltreatment Hofmann would say “A good poster can take it” What he really meant was that the posters were not intended as museum pieces but as things that should weather the harsh treatment of the streets In the words of Paul Rand His goals though pragmatic are never pecuniary His influence has been as strong beyond the classroom as within it Even those who are his critics are eager about his ideas as those who sit at his feet He had a visiting professorship at the Philadelphia College of Art in 1955 Then came an appointment at Yale University where he regularly conducted working seminars in graphic art and became director of the advanced graphic course in 1967 He carried on teaching abroad in Ahmedabad India Hofmann’s book Graphic Design Manual: Principles and Practiceis is a seminal work in graphic design He has created many posters logos color concepts signage systems and art-in-building projects as well as participating in many exhibitions According to him “ primary in black and white posters is to counteract the trivialization of color as it exists today on billboards and in advertising Emil Ruder Typography has one plain duty before it and that is to convey information in writing No argument or consideration can absolve typography from this duty -Emil Ruder Emil Ruder 1914-1970 was a key player in the development of the Swiss Style Born in Zurich Ruder began his design education at the early age of fifteen when he took a compositor’s apprenticeship By his late twenties Ruder began attending the Zurich School of Arts and Crafts where the principles of Bauhaus and Tschichold’s New Typography were taught leaving an indelible impression on Ruder Academia would continue to play a major role in Ruder’s life though it would naturally evolve into the form of teacher rather than student In 1947 he took a position as the typography instructor at the Schule für Gestaltung Basel Basel School of Design He along with the great Armin Hofmann developed a program structured on principles of objectivity in design He broke away from the subjective style-driven typography of the past and encouraged his students to be more concerned with precision proportions and above all the role of legibility and communication with type Karl Gerstner Born in Basel Switzerland in 1930 Karl Gerstner was a painter and a graphic designer who studied design at Allgemeine Gewerbschule in Basel under Emil Ruder In 1959 he and Markus Kutter confounded Gerstner amp Kutter a design agency which later when the architect Paul Gredinger joined them changed its name to GGK Gerstner’s theory of ‘The Colour Form Model’ presented in his book The Forms of Colour is one of his most significant contribution to graphic design Inspired by the rich and colorful patterns of a Moroccan craftsman art in this book Gerstner explored the multifaceted and intricate relationships between colour and form as the basic structural components of Islamic art Analyzing graphical interrelationships among various dimensions of colour spaces and formal systems of perspective topologies fractals and so on he framed his theory in the context of Wilhelm Ostwald’s 1922 rational theory of forms which provides a seemingly unlimited mathematical base for formal variations Gerstner discussed the work of a like-minded mathematician/artist Hans Hinterreiter who as an early adherent to Ostwald’s theory adopted deconstructive style of painting experimenting with forms and colors based on laws of color organ and form Hinterreiter was also inspired by the Moorish interpretation of Islamic ornamentation of the Alhambra after his 1934 trip to Spain Presenting his own colour-form theory Gerstner assessed Kandinsky’s idiosyncratic metaphysical assertions on the correspondence between colour and form squarered triangleyellow circleblue and suggested his own system of ‘Colour Signs’ Using computer programming he developed a system of new primary forms such as astroids diagons and sinuons and discussed their possible correspondence with aural and tactile sensory modes Gerstner’s book ‘Designing Programmes’ 1964 was a manifesto for system orientated design which he described as ‘programmes’ He defined a design ‘program’ as a set of rules for constructing a range of visual solutions and connected his methodology with the new field of computer programming and presented examples of computer generated patterns that were made by mathematically describing visual elements and combining them according to simple rules Gerstner’s grid for the journal Capital designed in 1962 is still often cited by some as near-perfect in terms of its mathematical properties The smallest unit in Gerstner’s grid or matrix as he called it is 10pt—the baseline to baseline measurement of the text The main area for text and images is a square with an area above for titles and running heads The cleverness lies in the subdivision of the square into 58 equal units in both directions If all intercolumn spaces are two units then a two- three- four- five- or six-column structure is possible without any leftover units Gerstner wrote: “The typographic grid is a proportional regulator for type– matter tables pictures and so on It is a priority programme for a content as yet unknown The difficulty lies in finding the balance between maximum formality and maximum freedom or in other words the greatest number of constant factors combined with the greatest possible variability” Of course sometimes grid becomes a trap — even for an imminent artist like Grestner Gerstner’s typographic experiments with unjustified ragged-right textHollis 2002 and his proposed Integral Typography which extended Max Bill’s ideas on typography Müller-Brockman and Müller 2000 have also been influential Like the Italian futurists Gerstner believed that typography can greatly contribute to the actual discovery of meaning with its whole impact to be greater than the sum of the words and the meanings We have to be careful in our aesthetic judgement — Is it grid that renders this work so astoundingly powerful I am sorry adhering rigidly to a grid system does not guarantee the success of a work Hans Neuberg Hans Neuburg 1904 – 1983 was born in Grulich Austria-Hungary which later became part of Czechoslovakia — the town is now called Králíky and after the division of Czechoslovakia most of the municipality become part of the the Czech Republic At the age fifteen Neuburg enrolled at Orell Füssli AG in Zurich and graduated in 1922 After graduation he worked at various positions in advertising freelance graphic design and magazine editor Over the 1958-65 he and is fellow artists Richard Paul Lohse joseph Müller-Brockmann and carlo vivarelli established “Neue Grafik” magazine After a brief two years period assuming the directorship of the Gewerbemuseum in Winterhur in 1962-64 during which he also taught at the Hochschule für Gestaltung in Ulm and writing a number of books including Graphic Design in Swiss Industry 1965 Publicity and Graphic Design in the Chemical Industry 1967 and Conceptions of International Exhibition 1969 he moved to Ottawa Canada to teach at Carlton University School of Industrial Design in 1971 Carlo Vivarelli Carlo Vivarelli 1919-1986 was a graphic designer painter and sculptor who was born in Zurich and studied at the renowned Kunstgewerbeschule from 1934-39 and in 1946 became Art Director at the progressive avant garde Studio Boggeri in Milan During this time and when he returned to his native Switzerland he became one of the leaders of the Swiss Modernists and in 1958 became a co-founder of Neue Grafik magazine In his later years he concentrated more on his concrete art and sculptures Wim Crouwel and the Dutch Total Grid The concept of the total grid has been the brainchild of Wim Crouwel a dutch graphic designer born in 1928 He is one of the five founders of Total Design a multi-disciplinary design studio in the Netherlands Crouwel studied fine art in Groningen before moving to Amsterdam in the early 1950s where he initially worked for an exhibition design company Because of his interest in architecture and his spatial sensitivities he applied for commissions for cultural institutions such as the Van Abbe Museum in Eindhoven in 1956 and the Stedelijk Museum in Amsterdam shortly afterwards for which Crouwel was solely responsible to develop an identity by posters and catalogues It was at the Stedelijk that Crouwel created his Neu Alphabet an unconventional typeface based on grid system In 1963 Crouwel founded Total Design a multi-disciplinary design agency that its hallmark was modular structuring and grids With a systematic approach to design projects it created the identity for a large number of Dutch companies including some multinationals like IBM and Olivetti Total Design altered the visual landscape of the Netherlands throughout the 1960-70 period In the 1970s Crouwel designed the Dutch Pavilion for the Osaka World Fair as well as numerous postal stamps for the Dutch post office and a controversial redesign of the telephone book using only lowercase letters Crouwel’s typeface was constructed using only horizontal and vertical lines creating an alphabet of all lowercases Although only half of the letters were recognizable with the emergence of personal computers his modern typeface was particularly aimed at digital systems in 1967 However for many Crouwel’s typeface appeared illegible It challenged the design establishment but Crouwel was happily engaged in the ensued controversy and readily confessed that he attaches a higher priority to visual aesthetics relative to functionality Crouwel has stated I simply wanted to make a consistent alphabet on the basis of that grid of squares I did not want any cluttering of vertical stems and did not find a solution within the conventional structure of the characters So I began researching the past looking for alternative signs with which I could replace the conventional forms One could have made them up but I wanted them to have some kind of footing in the history of type His new typeface was redrawn by Brett Wickens and Peter Saville for the Joy Division album ‘Substance’ in the late 80s and then digitized and made available for use in 1997 by The Foundry Crouwel designed a number of other fonts including Gridnick an appropriate reference to his use of grid systems and Mr Gridnick became Crouwel’s endearing nickname —- Lella Valle amp Massimo Vignelli The graphic designs of the Italian graphic designer couple Lella Valle and her husband Massimo Vignelli are also based on concept of total design in the confine of a grid Born in Udine in 1936 Lella Valle studied architecture and met Massimo Vignelli who also studied architecture in Venice in the 1950s The couple moved to to the US during the 1958-1960 period where Lella Vignelli worked in New York for Skidmore Owings amp Merrill and Massimo Vignelli taught at the Chicago Institue of Design In 1960 they returned to Italy and opened a graphic design studio in Milan Five years later Massimo joined Bob Noorda and Jay Doblin in founding Unimark International a design consultancy in Milan In that same year 1965 Vignellies moved to New York in order to manage a Unimark branch that specialized in developing corporate logos and designing the corporate identity for the business clients According to Massimo they intended to return to Milan after a short while but that didn’t come to pass and they settled in New York for good In 1971 they rebranded the practice as Vignelli Associates which created corporate identities for firms such as American Airlines Bloomingdale’s Cinzano Lancia United Colors of Benetton Ford Xerox and the International Design Center New York While working for Unimark Vignellies redesigned the look of the NYC Metropolitan Transit Authority with a new subway map and train identification sign system They Replaced the previously chaotic typography with Helvetica and reduced the train routes down to solid color while geometric lines organized the map and allowed signs to be clearer and more distinct In 1977 Vignellies designed the Unigrid System for the National Park Service The module grid system allowed the the National Park to create brochures in ten basic formats and to keep a consistent recognizable structure across all it’s materials With their training grounded in architecture Vignellies established a vision of an organized systematic structural approach early in their design careers The underlying structure of many of their endeavors in corporate identity publication book design and interiors continues to be the a strictly grid-based design Lella amp Massimo began exploring the grid structure early in their career in Milan by working on corporate entities and projects for various cultural organizations These early works allowed them to build a design style focused on dividing space within a modular grid that was subdivided rationally into distinct zones Breaking down the page into smaller intervals of space permitted a clear translation of complex informational material Most of their designs utilize a limited color palette and use mostly five typefaces Garamond Bodoni Helvetica Univers and Century According to Massimo: Bodoni is one of the most elegant typefaces ever designed When I talk about elegance I mean intellectual elegance Elegance of the mind Some of the typefaces created by Zuzana Licko Vignellies are purists and have a distaste for the bitmap font tool used by Zuzana Licko to develop the font for the influential Emigré journal According to Massimo Vignelli Emigré and Rudy van der Lans are the worst thing to happen to typography Rudy van der Lans who moved to America in 1981 to study photography at the University of California Berkeley where he met and married Zuzana Licko founded the influential Emigré journal in 1984 Vignelli believes Jonathan Hoefler is someone who is carrying the typographic torch today Pierre Mendell “Quality graphic design stands out for the mindset it exhibits: stringent reduced in form always intense never pretentious In this way Pierre Mendell developed a most distinct style He flexibly dealt with particular tasks and through this eminently lived up to the challenge of respective themes Hence Pierre Mendell’s posters are so simple and convincing and will continue to be of great significance beyond this day” – Florian Hufnagl Die Neue Sammlung – The International Design Museum Munich Pierre Mendell 1929 – 2008 one of the world’s leading graphic designers was born in Essen Germany Mendell lived in France between 1934 and 1947 emigrated to the USA in 1947 in 1953 returned to France where he worked in the family textiles company in 1958 began studying graphic design under Armin Hofmann at the Schule für Gestaltung in Basle the Mendell amp Oberer studio was founded in 1961 in Munich For almost 30 years he played a role in creating the visual identity of the neue sammlung – the international design museum munichPierre Mendell has been designing the posters for the Staatsoper in Munich from 1993 to 2006 With over a hundred motifs to his name he has not only successfully created an unmistakable identity for the Munich opera he has also linked this opera house with a form of visual expression that is unparalleled in its originality and immediacy Mendell’s simple almost archaic visual language is admired over the world and his poster designs are represented in leading collections such as the Museum of Modern Art New York Pierre Mendell’s work is characterized by elements which are often missing in much contemporary graphic design: vibrancy communicative force poetry and humor His cultural posters and corporate design identities — including his designs for Vitra and Siemens for which he is probably best known — are timeless yet contemporary The success of his designs demonstrate that the strength of all graphic work depends on an overarching concept not on current fads Pierre Mendell’s awards include the Gold Medal from the Art Directors Club Germany the Gold Medal form the Art Directiors Club New York Best German Poster of the Grand Prix International de l’Affiche Paris and the German Poster Grand Prix Pierre Mendell’s work has been exhibited in the Munich City Museum the International Design Centre Berlin the Galleria Aiap Milano the Muzeum Plakatu Warsaw the Museo Nacional de Bellas Artes Buenos Aires the Centro de la Imagen Mexico City and the Visual Arts Musuem New York His work is represented in the Graphic Design Collection of the Museum of Modern Art New York Pierre Mendell taught from 1987 to 1996 at the Yale University Summer Design Program in Brissago Switzerland Alberto Longhi Per favore fatemi sapere dove posso trovare una biografia e una fotografia di grande designer grafico Alberto Longhi S’il vous plaît laissez-moi savoir où puis-je trouver une biographie et une photo de ce grand designer graphique Alberto Longhi Guity Novin Grid Systems The Revival of Swiss Grid System in the Cyberspace Swiss style focus on clarity eye-friendliness readability and objectivity has made it a powerful tool for web-communications which enhanced by its strong reliance on elements of typography and universality Grid systems in web design have spawned a number of the Cascading Style Sheets CSS frameworks For instance the 960 Grid System Fluidable Columnal and Cardinal are efforts to streamline web development workflow by providing commonly used dimensions These CSS frameworks are designed to simplify the creation of webpages based on a grid system A number of websites have been created using the framework Some of the exemplars are good examples on how using a grid system can produce aesthetically beautiful websites Grids are used to present content in a consistent and predictable manner helping to organise content in a methodical fashion It affords conformity and uniformity increasing the usability of any given system by placing items and information in a predictable manner reducing the cognitive overload of users “According to the principles of consistency systems are more useable and learnable when similar parts are expressed in similar ways learn new things quickly and focus attention on the relevant aspects of a task” Lidwell Holden and Butler 2010: 24 The style can be easily identified for its simplicity and clarity of purpose These two principles are often manifested in the use of asymmetric layouts grids sans-serif typefaces left-flushes and simple but impactful photography These elements are produced in a simple but highly logical structured stiff and harmonious manner It is clear that the Swiss Style is information-oriented This is why designers should think of the information dissemination using its artistic principles Go to the next chapter Chapter 43: Graphic Design and the Postmodern Epoch Neville Brody’s Anti-Swiss Crusade The digital revolution and the introduction of the Macintosh computer in the mid-1980s made the construction and deconstruction of typographical elements easier than it had been in the past Embracing technology that was growing exponentially more sophisticated designers realized more and more complex typographic experiment Neville Brody’s FF Blur is one example Influenced by the late-1970s punk rock aesthetic Brody began his career at the London College of Printing and later designed record covers for various artists while art director of Fetish Records The letterforms of FF Blur—fuzzy around the edges like an out-of-focus photograph—seem to celebrate their own imperfection speaking to his unique background FF Blur resembles type that has been reproduced cheaply on a Xerox machine—degenerated through copying and recopying Soon after Joan and Erik Spiekermann launched FontShop in 1989 Brody and Spiekermann cofounded FontFont which would grow into the world’s largest independent collection of original typefaces until its acquisition by Monotype in 2014 Brody’s other major achievement in this field is FUSE the quarterly magazine for experimental type design he cocreated with Jon Wozencroft Brody Fonts’ decision to join Type Network was no coincidence It was the culmination of a longstanding professional relationship and friendship between Neville Brody and Type Network cofounder David Berlow a shared history spanning three decades The seeds of their collaboration were sown in 1987 when Berlow met Brody and Spiekermann at an ATypI conference in New York “Two years later we met again in San Antonio ” Berlow explained in an interview with Yves Peters “This time I had retail fonts to offer them” In his characteristic irreverent style Berlow continued: “By then FontShop was starting to talk about their global conspiracy to have an international distribution network” Brody released his first retail typefaces through Linotype He based Industria on headlines he had drawn between 1980 and 1986 as the art director for the influential British fashion bible The Face Arcadia and Insignia originated as a banner and a headline type for Arena magazine which he art-directed from 1987 to 1990 after his departure from The Face Following his stint at Linotype Brody moved on to cofound FontFont the first independent foundry aside from Emigre established by type designers In short order FontFont became the cool foundry everyone wanted to work with Peters remembered a conversation he had with Brody during the early days of FontFont: “He explained to me that he wanted the independent foundry to be a bit like a record label To help designers break away from the tired old mainstays FontFont planned to release new designs on a regular basis ‘hit singles’ so to speak Changing trends would cause those typefaces to fade into the background making way for fresh new type in tune with the times in a perpetual cycle of typographic renewal The current font market is remarkably close to his original vision” Brody enlisted Berlow’s company Font Bureau to work on the typefaces he planned to release through FontFont “We helped him make sense of his wild geometric designs” said Berlow Font Bureau produced FF Typeface Four FF Typeface Six and FF Typeface Seven in 1991 and FF Gothic and FF Pop in 1992 Brody’s FF Blur also developed during this period proved to be a milestone: Paola Antonelli eventually acquired i |
