The Swiss Style

In the 1950’s a new style began to develop in Switzerland known as the Swiss Design, which was then referred to the International Typographic Style because traces of its primary design was also found in America.

It emphasized on: clean, readable and a non-representational art. In its earlier stages it made use of sans serif type, asymmetrical layouts constructed accurately upon grids. Eventually, typography no longer only featured in this style but began to include photography, almost replacing illustrations.

In order to create a visual impact, Swiss Designers wished to create a sense of rhythm of flow by using hierarchy and giving type different scales of size. They sought for unity, balance and order by using their grid. Non-representational photography was used as a form of communication.

This style was largely represented by Josef Müller-Brockmann who was influenced by Constructivim, De Stijl and Suprematism taking specific elements from each to produce this style.

Akzidenz-Grotesk is the first sans serif type which influenced many later grotesque typefaces and would eventually serve as the model for Neue Haas Grotesk, its name being altered to Helvetica. Max Miedinger had to compete with Akzidenz-Grotesk therefore he used it as reference and developed Helvetica, altering it to be much more balanced and neutral in design. Since this typeface was not constrained or associated to anything, detached from meaning, it was licensed to linotype because it was capable of being used in every form of design.

The word ‘Helvetica’ was derived from the Latin word ‘Helvetia’ which meant Switzerland. However this only brought dispute because they did not wish that it were connected to any meaning, especially not a country since its aim was to be a universal typeface. They debated and finally agreed to Helvetica.

It was used mainly by company brand names, because they felt that if they were associated to it they would also generate a popular identity for their company since the typeface was easily recognizeable and favoured.

It gained so much popularity and was used in every marketing products that it became annoying. It has been overused and repetitive in design, people are no longer intrigued by find it very boring. In my opinion I still find this typeface appealing and not fazed by its design. However I do agree that it has become widely used and thus these brand names no longer have their own identity, their own uniqueness, they longer stand out for the rest but are lost amidst the rest. Even though I like Helvetica, it is important that creative fonts should be different have their own character and possessing their own individual design.