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Introduction: New Perspectives on Swiss Graphic Design
Design Issues Pub Date : 2021-01-01 , DOI: 10.1162/desi_e_00620
Davide Fornari , Robert Lzicar , Sarah Owens , Michael Renner , Arne Scheuermann , Peter J. Schneemann

Why Swiss Graphic Design Again, Now? In reviewing the two publications—“Josef Müller-Brockmann” by Kerry William Purcell and “Swiss Graphic Design: The Origins and Growth of an International Style, 1920–1965” by Richard Hollis—Michael J. Golec noted that “when it comes to the graphic design of Josef Müller-Brockmann, we had to contend with what John Walker has referred to as ‘typological’ approaches-or studies and categorizations of designed objects according to type.” This approach applies not only to the work of Müller-Brockmann but also to the entire previous investigation of graphic design from Switzerland. Or, to put it more sharply, the construct of Swiss graphic design represents an outdated historiography based on a “sorting out of objects according to ‘authorship, chronology, national and individual styles, and authenticity’” more than any other label in design history.1 Golec goes on to ask the question, “what then constitutes an informed history of the graphic design of Müller-Brockman?” This special edition is an attempt to answer this question when related to Swiss graphic design. In graphic design history, the terms “Swiss graphic design,” “Swiss typography,” or “Swiss style” regularly denote an international style that can be applied to a variety of media, such as posters, books, corporate identities, and signage systems. This style emerged in Switzerland during the 1950s, was used by graphic designers in Switzerland and many other Western countries, and gained an excellent reputation worldwide. However, the term was used not only to define a certain, specific style, but also in many variations to describe graphic design from Switzerland in general, or design produced by Swiss graphic designers. This definitional blurring has in fact contributed to the success of the term. The nomination of “Swiss graphic design” as one of eight Swiss Candidatures proposed to UNESCO as an Intangible Cultural Heritage in 2014 confirms the relevance of “traditional craftsmanship.”2 From this perspective, it becomes clear that “Swiss graphic design and typography” has not yet come to an

中文翻译:

简介:瑞士平面设计的新视角

为什么现在又是瑞士平面设计?在审阅这两本出版物时——Kerry William Purcell 的“Josef Müller-Brockmann”和 Richard Hollis 的“瑞士平面设计:国际风格的起源和发展,1920-1965”——Michael J. Golec 指出“当涉及到在 Josef Müller-Brockmann 的平面设计中,我们不得不与 John Walker 所说的‘类型学’方法或根据类型对设计对象进行研究和分类进行斗争。” 这种方法不仅适用于 Müller-Brockmann 的作品,也适用于之前对瑞士平面设计的整个调查。或者,更准确地说,瑞士平面设计的结构代表了一种过时的历史编纂,其基础是“根据‘作者、年代、民族和个人风格对物品进行分类,和真实性'”比设计史上的任何其他标签都要多。1 Golec 继续问这个问题,“那么,什么构成了 Müller-Brockman 平面设计的知情历史?” 这个特别版试图回答这个与瑞士平面设计相关的问题。在平面设计史上,术语“瑞士平面设计”、“瑞士排版”或“瑞士风格”通常表示可以应用于各种媒体的国际风格,例如海报、书籍、企业形象和标牌系统. 这种风格于 1950 年代在瑞士出现,被瑞士和许多其他西方国家的平面设计师使用,并在全球享有盛誉。然而,该术语不仅用于定义某种特定的风格,但也有许多变体来描述一般来自瑞士的平面设计,或由瑞士平面设计师制作的设计。这种定义模糊实际上促成了该术语的成功。“瑞士平面设计”是 2014 年向联合国教科文组织提出的八项瑞士候选之一的提名,这证实了“传统工艺”的相关性。2 从这个角度来看,“瑞士平面设计和排版”已经很明显了还没有到
更新日期:2021-01-01
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