Week 6 The Bauhaus and the New Typography - A History of ...

A HISTORY OF
GRAPHIC DESIGN
Chapter 16 – The Bauhaus and the New Typography
SUMMARY
The Bauhaus at Weimar, 327
Das Staatliche Bauhaus, a German design school whose
faculty and students shaped the modern design aesthetic,
opened on April 12, 1919, in Weimar, Germany. As
director of the Bauhaus, architect Walter Gropius sought
a new unity of art and technology to solve problems created
by industrialism. Earlier in the century, as discussed
in Chapter 14, the Deutsche Werkbund had attempted to
unify artists and craftsmen with industry and to elevate
the functional and aesthetic qualities of mass production.
Gropius had been an assistant in Peter Behrens’s architectural
office from 1907 until 1910 and was influenced
by Behrens’s theories of proportion and his advocacy of
a new objectivity. Henri van de Velde, who called for logical
design using new technologies and materials, was
also an important influence on Gropius.
The Bauhaus drew inspiration from expressionism
during the Weimar years (1919–24) and visionaries
such as Paul Klee, Wassily Kandinsky, Johannes Itten,
Lyonel Feininger, and Moholy-Nagy were among the
faculty. Stained glass, wood, and metal workshops were
taught by both an artist and a craftsman and organized
along medieval Bauhütte lines master, journeyman,
and apprentice. The heart of the students’ education
was the preliminary course established by Itten, whose
goals were to release each student’s creative abilities,
to develop an understanding of the physical nature of
materials, and to teach the fundamental principles of
design underlying all visual art. No distinction was made
between fine and applied art. By 1923, when the school
launched a major exhibition, the Bauhaus was evolving
away from concern for medievalism, expressionism,
and handicraft toward an emphasis on rationalism and
design for the machine.
The impact of László Moholy-Nagy, 328
In 1923, Moholy-Nagy replaced Itten and became
influential in the evolution of Bauhaus instruction and
philosophy. His passion for typography and photography
inspired an interest in visual communications and led to
important experiments in the unification of word and image,
which he referred to as typophoto—the objective integration
of word and image to communicate a message
with immediacy. He experimented with photograms and
photomontages, which he called photoplastics.
The Bauhaus at Dessau, 331
Due to tension between the school and the local Weimar
government, the Bauhaus moved to Dessau in 1925, and
the curriculum was reorganized. The Bauhaus developed
clearly understood formal principles that could be
applied intelligently to design problems. The Bauhaus
Corporation was formed to handle the sale of workshop
prototypes to industry. In 1926, the Bauhaus was
renamed Hochschule für Gestaltung (High School for
Form) and the influential Bauhaus magazine began publication.
This magazine, along with the series of fourteen
Bauhaus books, disseminated advanced ideas about
theory and its application to architecture and design.
Wassily Kandinsky, Paul Klee, Gropius, Piet Mondrian,
Moholy-Nagy, and Théo van Doesburg were editors and
authors of volumes in the series. In Dessau, Josef Albers,
Marcel Breuer, and Herbert Bayer joined the faculty.
Bayer became a professor in the newly formed typography
and graphic design workshop, which made important
typographic design innovations along functional
and constructivist lines.
The final years of the Bauhaus, 334
In 1928 Gropius resigned, and Swiss architect Hannes
Meyer became director. Bayer and Moholy-Nagy moved
to Berlin. Joost Schmidt followed Bayer as master of the
typography and graphic design workshop and helped
to further exhibition design during his tenure. In 1930
Meyer resigned, and the directorship was assumed by
Ludwig Mies van der Rohe, a prominent Berlin architect
whose design dictum “less is more” became a
major tenet of twentieth-century design. The Nazi party
increased its harassment of the school, and on August
10, 1933, one of the most important design schools of the
twentieth century shut its doors. Many of the faculty immigrated
to the United States, where they influenced the
course of American design and design education after
World War II.

A HISTORY OF
GRAPHIC DESIGN
Jan Tschichold and die neue Typographie (the new
typography), 335
Many innovations in graphic design occurred outside
mainstream society. The person who applied these new
design approaches to everyday design problems and
explained them to a wide audience was Jan Tschichold.
He wrote a twenty-four-page insert entitled “Elementare
Typographie,” which was published in the October
1925 issue of Typographische Mitteilungen (typographic
impartations) at a time when much German printing
still used textura type and symmetrical layouts.
Tschichold’s insert generated a lot of enthusiasm from
printers, typesetters, and designers, and in 1928 he
published his book, Die Neue Typographie (The New
Typography), which rejected decoration in favor of
rational design planned for concise communication.
Other characteristics included asymmetry; the use of
sans-serif type flushed to the left margin; an underlying
vertical and horizontal structure; spatial intervals as
important design elements; and rules, bars, and boxes
for structure, balance, and emphasis. The precision and
objectivity of photography was preferred to illustration.
Tschichold’s own design practice set the standard for the
new approach in books, job printing, advertisements,
and posters. In 1933, armed Nazis arrested Tschichold. He
was accused of creating “un-German” typography and
denied his teaching position in Munich. After his release,
he fled with his family to Switzerland, where he began
to turn away from the new typography and to work in a
more humanistic tradition. Tschichold is recognized for
bringing the new typography to fruition as an expression
of the twentieth century and spearheading a revival of
classical typography.
Typeface design in the first half of the twentieth century,
339
The new typography influenced type design, and a series
of sans-serif typefaces were issued in the 1920s. Among
the new sans-serif typefaces were Gill Sans designed by
Eric Gill, who was influenced by Railway Type designed
by his teacher and friend Edward Johnston. Although
a sans-serif font, the proportions of Gill stem from the
roman tradition. Paul Renner designed Futura, which
became the most widely used sans-serif family. Rudolph
Koch introduced Kabel, a popular geometric sans-serif.
Important serif typefaces during this period included
Gill’s Perpetua, an antique roman face inspired by the
inscription on the Trajan column, and Times New Roman,
which was introduced in 1931 by the British Monotype
Corporation under the direction of Stanley Morison.
The highly legible Times New Roman became one of
the most widely used new typefaces of the twentieth
century.
The Isotype movement, 341
The Isotype (International System of Typographic Picture
Education) movement, which began in the 1920s and
continued into the 1940s, was established by Vienna
sociologist Otto Neurath to assist the public understanding
of important social issues relating to housing, health,
and economics following World War I. Scientist and
mathematician Marie Reidermeister headed the Transformation
Team, which was responsible for converting
verbal and numerical data compiled by statisticians and
researchers into layout form. Gerd Arntz designed most
of the pictographs, which he cut on linoleum blocks,
printed on a letterpress, and then pasted into finished
artwork. Neurath’s assistant Rudolph Modley established
criteria for successful symbol design: a symbol should
be effective in both large and small sizes, have unique
characteristics to distinguish it from other symbols, be
interesting, function well as a statistical unit for counting,
and work in outline and silhouette. The Isotype’s
contributions to visual communications include conventions
to formalize the use of pictorial language, including
pictorial syntax and the design of simplified pictographs.
Their impact includes research toward the development
of universal visual language systems and the extensive
use of pictographs in signage and information systems.
The prototype for the modern map, 342
Henry C. Beck’s diagrammatic interpretation of the
London Underground subway system replaced the geographic
approach to mapping. It served as a model for
other variations throughout the world and influenced the
visual presentation of diagrams and networks.
Independent voices in the Netherlands, 342
In the Netherlands, designers Piet Zwart, H. N. Werkman,
Paul Schuitema, and Willem Sandberg were influenced
by the modern movements and the new typography.
Piet Zwart created a synthesis of the Dada movement’s
playful vitality and De Stijl’s functionalism and formal
clarity. He agreed with De Stijl’s philosophy but never
joined the movement because he found it too dogmatic
and restrictive. Zwart, an architect by training, coined
the word typotekt, which not only expressed the fact
that he was an architect who had become a typographic
designer, but also expressed the working process of
the new typography as designs were constructed from
materials in the type case. H. N. Werkman is known for

A HISTORY OF
GRAPHIC DESIGN
his experimentation with type for purely artistic purposes.
He explored type as concrete visual form as well as
alphabetic communication. His process can be compared
to the creative process of the Dadaists—particularly collage.
He composed directly on the bed of the letterpress
with ready-made components, such as wood type, wood
blocks, and miscellaneous objects. He also created
monoprints, which he called druksels, using type, rules,
printing ink, brayers, and a small press. Paul Schuitema’s
graphic design had a constructivist approach. His client
work for the Van Berkel Patent Scale and Cutting
Machine Factory and the Dutch PTT (Post, Telephone,
and Telegraph) opened new vistas in advertising as he
experimented with overprinting; rigorous horizontal,
vertical, and diagonal movements; and objective photography
integrated with typography. He taught at the Royal
Academy of Fine Arts in The Hague for thirty years and
inspired several generations of designers. Willem Sandberg,
director of the Stedelijk Museum in Amsterdam
from 1945 until1963, developed a unique approach to
the new typography, which combined torn paper collage
letterforms with rough edges and crisp sans-serif type.
His “Experimenta Typographica,” a series of typographic
experiments in form and space that he worked on while
in hiding during World War II and working for the Resistance,
was published in the mid-1950s.
New approaches to photography, 348
Swiss designer and photographer Herbert Matter studied
with Fernand Léger, worked with Deberny & Peignot
type foundry as a photographer and typographic designer,
and assisted A. M. Cassandre in poster design
while living in Paris. When he returned to Switzerland,
he designed posters for the Swiss National Tourist
Office. His posters of the 1930s expanded the role of
photography as a graphic communications tool. Matter
used collage and montage, integrated photography
and typography, and used extreme contrast of scale to
enhance communication. Walter Herdeg, another Swiss
graphic designer, showed great expertise in the use of
photography in graphic design in his publicity materials
for Swiss resorts. During World War II, Herdeg launched
the bimonthly international graphic design magazine
Graphis, which sparked an unprecedented dialogue
among graphic designers throughout the world.
KEY TERMS (IN ORDER OF APPEARANCE; THE FIRST PAGE NUMBER OF THEIR APPEARANCE IS LISTED)
The Bauhaus, page 326, a school of art, design, and craft that sought a new unity among artists and craftsmen for building
a utopian spiritual society for the future. Stained glass, wood, and metal workshops were each taught by an artist
and a craftsman and were organized along medieval Bauhütte lines—master, journeyman, and apprentice.
“Bauhaus Manifesto,” page 326, written by Walter Gropius and published in German newspapers, this document established
the philosophy of the new school: that the complete building is the ultimate aim of all the visual arts, and that
proficiency in craft was the prime source of inspiration. Recognizing the common roots of both the fine and applied
visual arts, Gropius sought a new unity of art and technology as he enlisted a generation of artists in a struggle to solve
problems of visual design created by industrialism.
Utopia, page 327, a perfectly harmonious society, such as the one Walter Gropius tried to create in the Bauhaus.
Typophoto, page 329, László Moholy-Nagy’s name for an objective integration of word and image to communicate a
message with immediacy. He deemed it “the new visual literature” (Fig. 16-9).
Photoplastics, page 331, Moholy-Nagy’s name for his photomontage work (Fig. 16-12). He saw these not just as the results
of a collage technique but as manifestations of a process for arriving at a new expression that could become both
more creative and more functional than straightforward imitative photography. Photoplastics could be humorous, visionary,
moving, or insightful, and usually had drawn additions, complex associations, and unexpected juxtapositions.
Die Neue Typographie, page 335, developed by Jan Tschichold because he was disgusted with “degenerate typefaces
and arrangements,” this new style stripped typography of unessential elements. Sans-serif type reduced the alphabet
to its basic, elementary shapes. Designs were based on an underlying horizontal and vertical structure. Spatial intervals
were seen as important design elements, with white space given a new role as a structural component. Rules, bars, and
boxes were often used for structure, balance, and emphasis. Tschichold’s objective was functional design by the most

A HISTORY OF
GRAPHIC DESIGN
straightforward means. He declared the aim of every typographic work to be the delivery of a message in the shortest,
most efficient manner. He emphasized the nature of machine composition and its impact on the design process and
product (Figs. 16-25 through 16-34).
Gill Sans typeface series, page 339, designed by Eric Gill (1882-1940) and inspired by an earlier sans serif, Johnston’s
Railway Type (see Fig. 12-47). This type family, which eventually included fourteen styles, does not have an extremely
mechanical appearance because its proportions stem from the Roman tradition (Fig. 16-37).
Kabel typeface, page 340, a very popular geometric sans-serif typeface (Fig. 16-40) enlivened by unexpected design
subtleties, designed by the mystical medievalist Rudolf Koch (see Fig. 10-38).
Futura typefaces, page 350, designed by Paul Renner (1878-1956) for the Bauer foundry in Germany. Futura had fifteen
alphabets, including four italics and two unusal display fonts, and became the most widely used geometric sans-serif
family (Fig. 16-39).
Isotype (International System of Typographic Picture Education), page 341, originally called the Vienna Method, a system
of using elementary pictographs to convey information originated by Vienna sociologist Otto Neurath in the 1920s.
He felt that the social and economic changes following World War I demanded clear communication to assist public understanding
of important social issues relating to housing, health, and economics. A system of elementary pictographs
to present complex data, particularly statistical data, was developed (Fig. 16-42). His charts were completely functional
and shorn of decorative qualities.
Typotekt, page 344, This play on words, which expresses designer Piet Zwart’s position as an architect who had become
a typographic designer, has a deeper meaning, for it also expresses the working process of the new typography. The
way that Zwart (as well as El Lissitzky, Herbert Bayer, and Jan Tschichold) constructed a design from the material of
the type case is analogous to the manner in which an architect’s design is constructed from glass, steel, and concrete.
Experimenta Typographica, page 346, Willem Sandberg’s series of probing typographic experiments in form and space
published in the mid-1950s (Figs.16-56 and 16-57). Sandberg was an explorer; his text settings were often completely
unjustified, and sentence fragments were arranged freely on the page, with ultrabold or delicate script introduced for
accent or emphasis. He rejected symmetry and liked bright primary colors and strong contrasts, as well as muted hues
and subtle juxtapositions. He combined crisp, sans-serif type with large torn-paper collage letterforms with rough
edges.
Graphis, page 348, a bimonthly international graphic design magazine launched by Walter Herdeg during World War
II. For forty-two years and 246 issues, he published, edited, and designed this publication, which sparked an unprecedented
dialogue among graphic designers throughout the world.
KEY PEOPLE AND THEIR MAJOR CONTRIBUTIONS (IN ORDER OF APPEARANCE; THE FIRST PAGE NUMBER OF THEIR
APPEARANCE IS LISTED)
Walter Gropius (1883–1969), page 326, founder of the Bauhaus school, who, recognizing the common roots of both the
fine and applied visual arts, sought a new unity of art and technology. He enlisted a generation of artists in a struggle
to solve problems of visual design created by industrialism. It was hoped that the artistically trained designer could
“breathe a soul into the dead product of the machine,” for Gropius believed that only the most brilliant ideas were good
enough to justify multiplication by industry.
Johannes Itten (1888–1967), page 327, developer of the heart of Bauhaus education, the preliminary course, the goals of
which were to release each student’s creative abilities, to develop an understanding of the physical nature of materials,
and to teach the fundamental principles of design underlying all visual art. With his methodology of direct experience,
he sought to develop perceptual awareness, intellectual abilities, and emotional experience. In 1923, Itten left the Bauhaus
because of disagreements about the conduct of this course.

A HISTORY OF
GRAPHIC DESIGN
Lyonel Feininger (1871–1956), page 328, Bauhaus teacher who learned about De Stijl and introduced it to the Bauhaus
community in the spring of 1919.
László Moholy-Nagy (1894–1946), page 328, Johannes Itten’s replacement as the head of the preliminary course was
this Hungarian constructivist. A restless experimenter who studied law before turning to art, Moholy-Nagy explored
painting, photography, film, sculpture, and graphic design. New materials such as acrylic resin and plastic, new techniques
such as photomontage and the photogram, and visual means including kinetic motion, light, and transparency
were encompassed in his wide-ranging investigations. Young and articulate, Moholy-Nagy had a marked influence on
the evolution of Bauhaus instruction and philosophy, and he became Gropius’s “prime minister” at the Bauhaus as the
director pushed for a new unity of art and technology.
Gyorgy Kepes (1906–2002), page 329, Laszo Moholy-Nagy’s assistant in completing the execution of his commissions
beginning in 1929. Later he founded the Center for Advanced Visual Studies at the Massachusetts Institute of Technology,
an association designed to promote creative collaboration between artists and scientists.
Joseph Albers (1887-1976), page 333, a former Bauhaus student and master, taught a systematic preliminary course
investigating the constructive qualities of materials.
Marcel Breuer (1902-1981), page 333, who was the head of the furniture design workshop at the Bauhaus, invented
tubular-steel furniture.
Herbert Bayer (1900–1985), page 333, a former Bauhaus student who became a teacher of typography and graphic design
there. His workshop made striking typographic design innovations along functional and constructivist lines. Sansserif
fonts were used almost exclusively, and Bayer designed a universal type that reduced the alphabet to clear, simple,
and rationally constructed forms (Fig. 16-20). This was consistent with Gropius’s advocacy of form following function.
Bayer omitted capital letters, arguing that two alphabets (uppercase and lowercase) were incompatible in design, and
two totally different signs (i.e., capital A and small a) expressed the same spoken sound. Dynamic composition with
strong horizontals and verticals (and, on occasion, diagonals) characterize Bayer’s Bauhaus period.
Joost Schmidt (1893–1948), page 334, Herbert Bayer’s successor as master of typography and graphic design at the
Bauhaus. He moved away from strict constructivist ideas and stocked the workshop with a larger variety of type fonts.
Exhibition design (Fig. 16-23) was outstanding under Schmidt, who brought unity to this form through standardized
panels and grid-system organization.
Ludwig Mies van der Rohe (1886–1969), page 334, a prominent Berlin architect who became director of the Bauhaus
school in 1930 after harassment from municipal authorities in Dessau. His design dictum “less is more” became a major
tenet of twentieth-century design. In 1931. the Nazi party dominated the Dessau City Council; it canceled Bauhaus
faculty contracts in 1932. Van der Rohe tried to run the Bauhaus from an empty telephone factory in Berlin-Steglitz, but
Nazi harassment made continuing untenable.
Jan Tschichold (1902–1974), page 335, applied the new Bauhaus design approaches to everyday design problems and
explained them to a wide audience of printers, typesetters, and designers in his 1928 book Die Neue Typographie (The
New Typography). His objective was functional design by the most straightforward means. Tschichold declared the aim
of every typographic work to be the delivery of a message in the shortest, most efficient manner. Types, he believed,
should be elementary in form without embellishment; thus, sans-serif type, in a range of weights (light, medium, bold,
and extrabold), proportions (condensed, normal, and expanded), and italic (in similar weights and proportions) was
declared to be the modern type. Tschichold showed how the modern-art movement could relate to graphic design by
synthesizing his practical understanding of typography and its traditions with the new experiments (Figs. 16-24 through
16-36).
Eric Gill (1882–1940), page 339, a complex and colorful figure who defies categorization in the history of graphic design,
but may be best known for designing the Gill Sans type series (Fig. 16-37). His activities encompassed stonemasonry,
inscription carving for monuments, sculpture, wood engraving, typeface design, lettering, book design, and extensive
writing. He argued that the uneven word spacing of justified lines posed greater legibility and design problems than the
use of equal word spacing and a ragged right margin (Fig. 16-38).

A HISTORY OF
GRAPHIC DESIGN
Stanley Morison (1889–1967), page 339, the typographic adviser to the British Monotype Corporation and the Cambridge
University Press, he supervised the design of a major twentieth-century newspaper and magazine typeface
commissioned by the Times of London in 1931 (Fig. 16-41).
Paul Renner (1878–1956), page 340, the designer of the Futura typeface, which had fifteen variations, including four
italics and two unusual display faces, and became the most widely used geometric sans-serif family (Fig. 16-39). As a
teacher and designer, Renner fought tirelessly for the notion that designers should not merely preserve their inheritance
and pass it on to the next generation unchanged; rather, each generation should try to solve inherited problems
and attempt to create a contemporary form true to its own time.
Rudolf Koch, page 340, a mystical medievalist who designed Kabel, a very popular geometric sans-serif typeface (Fig.
16-40) enlivened by unexpected design subtleties.
Otto Neurath (1882–1945), page 341, a Vienna sociologist and the originator of the Isotype effort, which involved the
use of elementary pictographs to convey information (Fig. 16-42). As a child, he marveled at the way ideas and factual
information could be conveyed by visual means. Neurath had ties with the new typography movement, for Tschichold
assisted him and his collaborators briefly in the late 1920s, and Renner’s new Futura typeface was adopted for Isotype
designs immediately after it became available.
Marie Reidermeister (1898–1959), page 341, a scientist and mathematician who headed The Transformation Team of the
Isotype project. This team converted verbal and numerical data compiled by statisticians and researchers into layout
form before it was refined by a graphic designer.
Gerd Arntz (1900–1988), page 341, a woodcut artist whose constructivist-inspired prints included archetypal geometric
figures, he joined the Isotype group in 1928, after which he designed most of their pictographs (Fig. 16-42).
Rudolf Modley (1906–76), page 341, one of Otto Neurath’s assistants, he came to America during the 1930s and established
Pictorial Statistics, Inc., which later became the Pictographic Corporation. This organization became the North
American branch of the Isotype movement. Modley believed a symbol should follow principles of good design, be effective
in both large and small sizes, have unique characteristics to distinguish it from all other symbols, be interesting,
function well as a statistical unit for counting, and work in outline or in silhouette.
Henry C. Beck (1903–1974), page 342, Draftsman who submitted an unsolicited design proposal for a new subway system
map to the London underground that replaced geographic fidelity with a diagrammatic interpretation. The central
portion of the map, showing complex interchanges between routes, was enlarged in proportion to outlying areas. Meandering
geographic lines were drawn on a grid of horizontals, verticals, and forty-five-degree diagonals, with bright
color-coding separating the routes. Beck’s development and revisions of the London Underground maps over twentyseven
years made a significant contribution to the visual presentation of diagrams and networks, for his discoveries
inspired many variations worldwide (Fig.16-43).
Piet Zwart (1885–1977), page 342, This Dutch designer created a synthesis from two apparently contradictory influences:
the Dada movement’s playful vitality and De Stijl’s functionalism and formal clarity. Rejecting the dull grayness
of conventional typography, he created dynamic and arresting layouts. With no formal training in typography or printing,
he was uninhibited by the rules and methods of traditional professional practice. The need for typography to be in
harmony with its era and available production methods was an important concern for Zwart. Realizing that twentiethcentury
mass printing made typographic design an important and influential cultural force, he had a strong sense of
social responsibility and concern for the reader. He recognized that twentieth-century citizens were inundated with
communications and could not afford the luxury of wading through masses of reading matter. Brief slogans with large
letters in bold type and diagonal lines were used to attract the reader’s attention (Fig. 16-49), who could then quickly
grasp the main idea or content. Explanatory matter was organized to make it easy to isolate essential information from
secondary material.
Hendrik N. Werkman (1882–1945), page 344, a Dutch artist noted for experimentation with type, ink, and ink rollers for
purely artistic expression in monoprints, which he referred to as druksels (prints). In September 1923, he began publication
of The Next Call, a small magazine of typographic experiments and texts. His process of building a design from
ready-made components can be compared to the creative process of the Dadaists, particularly in collage. Werkman

A HISTORY OF
GRAPHIC DESIGN
explored type as concrete visual form as well as alphabetic communication. A few days before the city of Groningen
was liberated by the Canadian army in April 1945, Werkman was executed by the Nazis. After his arrest, much of his
work was confiscated and taken to the headquarters of the Security Police and was destroyed when the building burned
during the fighting.
Paul Schuitema (1897–1973), page 344, an important Dutch graphic constructivist designer, he made significant use of
overprinting and organized his space with rigorous horizontal, vertical, and diagonal movements. Objective photography
was integrated with typography as part of a total structure (Fig. 16-54). For thirty years, Schuitema taught at the
Koninklijke Academie van Beeldende Kunsten (Royal Academy of Fine Arts) in The Hague, where he inspired several
generations of designers.
Willem Sandberg (1897–1984), page 346, the director of the Stedelijk Museum in Amsterdam from 1945 until 1963, he
emerged as a highly original practitioner of the new typography after World War II. During the war, while hiding and
working for the Resistance, he created his “Experimenta Typographica,” a series of probing typographic experiments in
form and space that was finally published in the mid-1950s (Figs. 16-56 and 16-57) and inspired his later work.
Herbert Matter (1907–84), page 348, a Swiss designer and photographer who thoroughly understood modernism’s new
approaches to visual organization as well as its techniques, such as collage and montage. His posters from the 1930s
use montage, dynamic scale changes, and an effective integration of typography and illustration. Photographic images
become pictorial symbols removed from their naturalistic environments and linked together in unexpected ways. Matter
pioneered extreme contrasts of scale and the integration of black-and-white photography, signs, and color areas
(Figs. 16-61 through 16-63).
Walter Herdeg (1908–1995), page 348, A Swiss designer, Herdeg achieved design vitality through the selection and
cropping of photographic images (Fig. 16-64). During World War II, Herdeg launched a bimonthly international graphic
design magazine entitled Graphis. For forty-two years and 246 issues, he published, edited, and designed this publication,
which sparked an unprecedented dialogue among graphic designers throughout the world.