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Synopsis
Investigating how and questioning why Swiss design principles of the 1950s and 60s could be so influential across decades, especially in the English-speaking world.
"synopsis" may belong to another edition of this title.
About the Author
Demian Conrad is a designer, publisher, educator and artist. He founded Automatico Studio in 2017, as a Swiss based design studio with an international reputation for conceptual art works and essential design solutions. He is specialized in the design of visual identity, wayfinding, editorial and exhibition design, with a rich expertise in the fields of architecture, product design and contemporary art. His studio embrace its own independency and is detached from trends or commercial styles, creating enduring solutions and providing long-term value in both social and cultural arenas.
From the Back Cover
How can typesetting or a grid have such a strong and long-time impact on a global community and emotionalize it to such a degree? Which stories are hiding behind the success and failure of a design manifesto? How can cultural exchange bring new value to the field of graphic design? At the end of the day, is the contemporary scene still truly innovative or simply basking in past glories?
The concept of this one-week long artistic research project which raised these and many other related questions, was to hold conversations to discuss discuss anecdotes, stories, scandals and jealousies with typographers, graphic designers, artists, curators, and writers in a project space. Each guest was also asked to bring a design artefact that represents the diverse interactions of Swiss typography with the international design scene, all of which are presented in this volume. This builds a bridge between the typographic traditions and practices of the two countries, celebrating dialog and collaboration without ignoring divergence and conflicts.
"About this title" may belong to another edition of this title.
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Who the Hell is Muller-Brockmann?: Conversations about the Swiss Style
Seller: World of Books (was SecondSale), Montgomery, IL, U.S.A.
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Hardback. Condition: Good. What are the underlying reasons for the success or failure of a design manifesto? How can cultural exchange bring new value to the field of graphic design? At the end of the day is the contemporary scene still truly innovative or simply basking in past glories? Over the course of a residency at a London gallery, Swiss designer Demian Conrad invited an array of graphic designers and typographers past and present to share the anecdotes, stories and scandals that have marked the international design scene over the course of the last century. The result is Who the Hell is Müller-Brockmann?, an examination of the ways in which the Swiss Style influenced British graphic design and vice versa. This celebration of the ongoing dialogue and collaboration that has existed between the design traditions of these two countries also lays bare the divergences and conflicts that lie beneath the surface, and examines how such things as a typeface or a layout grid can come to have such an enduring impact on a global community and elicit such strong emotions.Each participant was asked to bring a design-related artefact that represents their personal connection with the Swiss Style, all of which are presented in this volume. These images and the dialogues they generate create a bridge between the typographic traditions and practices of Britain and Switzerland. Contributors:Bruno Maag, Fraser Muggeridge, Freda Sack, Holger Jacobs, Michele Jannuzzi, Richard Hollis, Robin Kinross Sara De Bondt. Seller Inventory # 00089662302
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Who the Hell is Muller-Brockmann?: Conversations about the Swiss Style
Seller: World of Books Inc, Montgomery, IL, U.S.A.
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Hardback. Condition: Good. What are the underlying reasons for the success or failure of a design manifesto? How can cultural exchange bring new value to the field of graphic design? At the end of the day is the contemporary scene still truly innovative or simply basking in past glories? Over the course of a residency at a London gallery, Swiss designer Demian Conrad invited an array of graphic designers and typographers past and present to share the anecdotes, stories and scandals that have marked the international design scene over the course of the last century. The result is Who the Hell is Müller-Brockmann?, an examination of the ways in which the Swiss Style influenced British graphic design and vice versa. This celebration of the ongoing dialogue and collaboration that has existed between the design traditions of these two countries also lays bare the divergences and conflicts that lie beneath the surface, and examines how such things as a typeface or a layout grid can come to have such an enduring impact on a global community and elicit such strong emotions.Each participant was asked to bring a design-related artefact that represents their personal connection with the Swiss Style, all of which are presented in this volume. These images and the dialogues they generate create a bridge between the typographic traditions and practices of Britain and Switzerland. Contributors:Bruno Maag, Fraser Muggeridge, Freda Sack, Holger Jacobs, Michele Jannuzzi, Richard Hollis, Robin Kinross Sara De Bondt. Seller Inventory # CIN3721210077G
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Paperback. Condition: new. Paperback. How can typesetting or a grid have such a strong and long-time impact on a global community and emotionalize it to such a degree? Which stories are hiding behind the success and failure of a design manifesto? How can cultural exchange bring new value to the field of graphic design? At the end of the day, is the contemporary scene still truly innovative or simply basking in past glories?The concept of this one-week long artistic research project which raised these and many other related questions, was to hold conversations to discuss discuss anecdotes, stories, scandals and jealousies with typographers, graphic designers, artists, curators, and writers in a project space. Each guest was also asked to bring a design artefact that represents the diverse interactions of Swiss typography with the international design scene, all of which are presented in this volume. This builds a bridge between the typographic traditions and practices of the two countries, celebrating dialog and collaboration without ignoring divergence and conflicts. Investigating how and questioning why Swiss design principles of the 1950s and 60s could be so influential across decades, especially in the English-speaking world. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9783721210071
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