Müller is a brief biography

Advertising Joseph Müller-Brookmann. It was he who invented Swiss Design - a style in which the entire graphic design of the second half of the century is built; Moreover, he actively carried him to the masses. The first name, which is associated with Swiss printing and international style, is, of course, Joseph Müller-Brookmann. He, like no one else, is the main propagandist of what is now associated with typographic of the X and 10s.

The influence of his work on modern design is endlessly, and a lot of what is happening in the typography is somehow based on its principles, the main of which is an unquestioning requirement of objectivity and neutrality, a total abandonment of antiquity in favor of a grotesque, a modular grid and documentary photography instead of freely interpreted illustrations. Musica Viva festival poster.

Unlike Basel representatives, Zurich designers adhere to strict designer dogmas and believe that creative freedom is a relic of the past and the modern designer should be subordinated exclusively to the parameters of the international typographic style. Müller-Brookmann is gaining greatest fame thanks to numerous concert posters and his publications, in fact, the manifesto of the international style.

Begegnung Mit Der Form. The cover, year, Joseph Müller-Brookmann, was born in the year in the small Swiss town of Rappersville near St. Gallen. He has been studying first for two years on a graphic designer, then for two years he has continued to qualify at the school of applied arts in Zurich and subsequently opened his own studio, which has become a forge of young specialists since the beginning of the 10ths, including designers such as Jorg Hamburger, Rudy Ryuegg, Nelly Rudin and many others.

Various giants, such as the Swiss railway, Rosenthal, IBM Europe and Olivetti, belong to the list of numerous customers of the atelier. Posters of the Musica Viva festival. In the middle of the X, a radical rethinking of the creative approach of Müller-Brookmann to the profession of a designer occurs, although he continues to believe that each designer must be able to draw, he adheres to the views that the modern world requires a progressive language of expression.

Expressiveness and form are important, but are secondary and are obliged to obey the content, and not interpret and decorate it. Gestaltungsprobleme des Grafikers. Cover, year documentary, clarity, clarity and rejection of excessive emotionality are the main parameters that translate the message. It is no coincidence that Müller-Brookmann not only teaches at the school of applied arts Zurich from up to a year, but also becomes an assistant professor in the newly organized progressive Higher School of Design in the German city of Ulme, whose influence is huge and extends far beyond Germany.

The approach of Müller-Brookmann to pedagogical activity is also interesting-he is firmly convinced that each teacher should be a practicing designer and does not have the right to be only a professional teacher. He limits himself only a few years of teaching and devotes himself completely to the profession, although he further engaged in theoretical work and publishes books devoted to urgent design problems.

Müller-Brookmann requires the designer of a huge horizons, the presence of versatile interests and believes that the designer should be at least competent in matters of economics, technology, history and culture, since the profession of a designer is, in fact, a relayer of ideas and content.

In addition, he believes that the designer should know the entire technical process of production from beginning to end in order to have full control over the entire process from creating the layout to the complete completion of the project. Strassenbau-Vorlage poster. Bauen in Unserer Zeit exhibition poster. Each of his work becomes a sign for the international style and a model of modern design.

His books are the manifestos of the Swiss school, promoting the ideas of a new, progressive approach in design, and he deliberately publishes books in several languages ​​at once in order to cover as a large audience of readers. In the year, Niggli publishes his book “Problems for the Designer”, illustrated both by the works of Müller-Brookmann and other designers close in ideology.

In this book, he talks about his principles of work, a modular grid, the construction of logos, a single corporate style, a systematic teaching of design and much more. The book, in the original, published in English, German and French, easily withstands numerous re -publications and becomes mandatory in the library of any designer engaged in typographics.

Musical concert poster. The publishers and founders of the magazine, in addition to Muller-Brookmann, are such designers and representatives of the Zurich school of typographics as Hans Neuburg, Richard Paul Loza and Carlo Vivarelli.The magazine in the design of Vivarelli and containing many iconic publications of numerous authors with international style samples have a grand influence on the development of world design.

Each issue of the publication becomes a concentrate of Swiss typography and instantly turns into a collection and museum artifact. Interest in the publication is so great in our time that the Lars Mueller Publishing House decides in the year to release a facsimile reprint of all magazine numbers. In the year in English and German, his book “Modular Systems in Visual Design” is published.

The book talks about the principles of constructing and using a modular grid and its advantages for solving certain graphic problems in planning advertising, various publications and exhibition exhibitions. Der Film exhibition poster. In these works, the influence of Bauhaus, Soviet constructivism and the Dutch movement de Steil is traced, but at the same time you feel the improvement of the expressiveness of the visual language.

The rudeness of the avant -garde, the “rough tongue of the poster” of the beginning of the 20th century are replaced by sober restraint, and in the typographic a certain ennoble of techniques is felt. Müller-Brookmann does not break the rules of the game, which the constructivists have been striving for at one time, but improves and polishing the existing technique.

Joseph Müller-Brookmann died in the year a recognized design master, awarded numerous awards, awards and titles, whose work is appreciated by several generations of designers and whose contribution to the development of modern typography is limitless. Students around the world study on his books and his works, and the principles of its design are an integral part of the modern visual language.

Notes: the main publications of Müller-Brookmann are still very relevant about his work, and interest in them does not weaken. To familiarize yourself with his approach in design, I strongly recommend the following books. It was released in Russian at the publishing house Artemy Lebedev.