Theo Ballmer (Updated)

Theo Ballmer

Theo Ballmer developed his modernist instincts when he worked as a graphic designer with one of Basel's largest pharmaceutical companies Hoffann-La Roche. This was when he developed a personal style characterized by geometric surfaces, in precise grid and a matching avant-grade typography. Ballmer briefly studied at the Bauhaus under Klee, Gropius, and Meyer, where he refined his style using De Stijl principles.  A History of Graphic Design: Chapter 54: A History of Typeface. 2014. A History of Graphic Design: Chapter 54: A History of Typeface. [ONLINE] Available at: http://guity-novin.blogspot.com/2012/03/history-of-type-face.html. [Accessed 2 February 2014].


Based on the research that I have done I fond that Theo Ballmer has been of great influence to modern design. Other than the fact that he has been a part of the International Typographic Style one can notice that his style is influenced by the Solvet Constructivism. He also mad strong use of the grid system and strong bold lettering are clearly seen in his work 

One can also notice that  Ballmer's work is based on asymmetrical layouts with sans-serif typefaces that stand out also there is purity in his work and the work is also readable. It is also hard not to notice that typography is the most important element in his designs.   

Thoe Ballmer created well balanced poster designs with geometric typography, which are influenced by Van Doesberg's experiments however, his appear to be more elegant and precise that at times the unbalanced types of Van Doesberg. According to Ballmer breaking the system at the right point is a way to make 

something exciting.

Josef Muller-Brokmann

Joseph Muller-Brockmann’s series of posters for the Zurich concert hall have endured as one of the most distinctive contributions to Swiss Graphic design. In these posters he attempts to find a visual equivalent to music. The series would continue over the next two decades, and Muller-Brockmann would pursue the goal of graphic purity. He replaced drawn illustration with a mathematical grid that echoed the rational structure of modern architecture. He reduced the colour palette to its most elemental - black and white - or at other times to one or two colours, and also replaced traditional typefaces with clean and straightforward sans-serif faces. The result was utterly straightforward and logical. The world had rarely seen posters that were more objective and pure in their approachSwiss Graphic Design. 2014. Swiss Graphic Design. [ONLINE] Available at:http://swissgraphicdesign.blogspot.com/. [Accessed 2 February 2014].

References

Swiss Graphic Design. 2014. Swiss Graphic Design. [ONLINE] Available at:http://swissgraphicdesign.blogspot.com/. [Accessed 15 February 2014].

Philip B. meggs. and Alston W. Purvis.eds., 2012. Meggs’ History of Graphic Design. Fifth Edition. Hoboken Canada: John Wiley & Sons,Inc.

A History of Graphic Design: Chapter 54: A History of Typeface. 2014. A History of Graphic Design: Chapter 54: A History of Typeface. [ONLINE] Available at: http://guity-novin.blogspot.com/2012/03/history-of-type-face.html. [Accessed 2 February 2014].