Swiss Graphic
Design: The Origins and Growth of an International
Style 1920-1965
by Richard
Hollis
Yale University Press, New Haven CT, 2006
272 pp., illus., 650 b/w, 100 col. Trade,
$50.00
ISBN: 0-300-10676-9.
Reviewed by Roy R. Behrens
Department of Art, University of Northern
Iowa
ballast@netins.net
While reading this book, I was reminded
of a lecture, some years ago, by American
designer and illustrator Milton Glaser,
whose work in some ways represents the
opposite of "Swiss style" design.
In that lecture, Glaser suggested that
styles of art may have split up into two
opposing philosophies at the beginning
of the 20th century. One direction, associated
with Art Nouveau and Expressionism, is
almost always drawing-based. The second,
allied with Cubism and Constructivism,
is far more likely to rely on geometric
abstraction, collage, and photography.
The Bauhaus was a somewhat inadvertent
mix of these two tendencies, while subsequent
European designers and architects (who
had been inspired by Constructivism, New
Typography, Concrete art, and other innovations)
were more exclusive in their quest for
objective, efficient, and logical forms.
Early in this book, the author describes
a meeting he had in 1958 with Richard
Paul Lohse, an important Swiss painter
and designer, who "emptied a box
of matches onto a table and exclaimed,
Abstract Expressionism!meaning
Jackson Pollockthen rearranged the
matches in a perfect rectangular pattern
to the approving shout of Mondrian!"
(Are these not the same two categories?).
This book is a rich and provocative look
at the history of this second tradition
(within the confines of design), which
emerged in Switzerland in the 1920s and
30s, where there was an abundance of pharmaceutical
and engineering clients, and eventually
had an enormous effect on worldwide graphic
design, with the result that it is often
called "International Style."
In this book, one learns about the widespread
use in publication and advertising design
of sans serif typefaces, grid-based page
layouts, white space, diagonals, asymmetry,
exaggerated linespacing, and so on. The
author, who wrote an earlier valuable
book called Graphic Design: A Concise
History (2002), not only provides
a sequential narrative with full-color
illustrations (as one might expect of
a serious book), he also "shows and
tells" far more in the margins through
concurrent, thought-provoking notes. For
example, in the periphery of every spread
are smaller subsidiary illustrations,
biographical summaries, excerpted quotes,
and unusually interesting captions about
each artifact. There is no shortage of
interesting books about Swiss design,
but this is one is more comprehensive,
more complete and perhaps more persuasive
than any other I have seen. It is an invaluable
resource for anyone with a serious interest
in graphic design.
Reprinted by permission from Ballast
Quarterly Review from Vol 21 No 3
(Spring 2006).