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Die Hieroglyphen von heute
, as a visiting lecturer in Edmonton, Canada, I first noticed the prints on cardboard boxes put out for garbage pick-up. Soon cutting them out and collecting them became an obsession. I spent fifteen years rummaging around in piles of garbage all over the world and ended up with some 15´ bits of this precious matter. are reproduced in this book. One of the reasons for publishing them lies in the hope that they will inspire professional designers to take a more meaningful approach to signs, people who usually confound simplification with schematization and design their pictograms to death. The information on cardboard packaging on transport has virtually no effect on the sale of a product. In consequence, it is of little interest to professional designers. The prints are created by people doing an unofficial job that requires no specific training. Even with the most extreme reduction to essentials, their drawings are capable of conveying sensuality, surprise, and precise information. Over the years I have come to deeply appreciate and, indeed, admire these unsung designers. It
30 Years of Swiss Typographic Discourse in the Typografische Monatsblätter
The Typografische Monatsblätter was one of the most important journals to successfully disseminate the phenomenon of Swiss typography to an international audience, as well as spread the burgeoning ideas of the New Wave style. In existence for almost eighty years, the journal was a vital forum for concepts and discussion. Throughout these years, the Swiss typographic journal witnessed significant moments in the history of typography and graphic design.
30 Years of Swiss Typographic Discourse in the Typografische Monatsblätter provides a condensed overview of the period between and , an era of transition. In the second half of the 20th century factors such as technology, socio-political contexts, and aesthetic ideologies profoundly affected and transformed visual language.
This publication features a selection of covers and key images from the journal and presents work by a number of well-known designers such as Emil Ruder, Wolfgang Weingart, Hans-Rudolf Lutz, April Greiman, and Jost Hochuli. 30 Years of Swiss Typographic Discourse in the Typografische Monatsblätter enables a greater understanding o
&#;We experience history through all the things we see and hear day after day, and through what the media report to us about them day after day. Maybe I&#;m addicted to reading the papers because no other medium presents such a mixed bag of &#;big&#; and &#;small&#; stories. (…) The idea behind is simple: for every workday of the year, one page of a daily newspaper in Zurich has been reproduced, showing events of local and international political significance. That makes up the first volume. A 10 x 15 mm section has been cut out of each of these pages and enlarged to fill the book format of x mm. The clippings have not been selected at random. They are meant to offer a visual commentary on the largely verbal news in the first volume. the outcome is volume two and also a history of the year a story in signs and pictures.&#;
Hans-Rudolf Lutz
&#;While we tend to have a better grasp of visual and textual relations in volume 1, volume 2 gives us more insight into structures and pictorial signs that signalize something, that appeal to or even assault the emotions.&#;
Fritz Billeter
2 volumes
pages each
20,8 x 29,4 cm
brochure
Sr
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