Bob Noorda (1927-2010), was an internationally known graphic designer who helped introduce a Modernist look to advertising posters, corporate logos and in the 1960s along with Massimo Vignelli, the entire New York City subway system. Noorda took his Bauhaus training and created beautiful work for Pirelli, Olivetti and Alpha Romeo before founding Unimark in 1965 with Vignelli. Unimark were credited for awakening the corporate world to Modernist design thinking and for using distinctive type and images to create a consistent brand identity. His legacy lies with designs for the underground rail maps for Milan, New York and Sao Paulo that still remain today. A true legend of modernism.
Ann Suvarnapunya a designer that hails from New York has created this wonderfully understated brand that uses a black circle as a simple bold symbol for this modern mens grooming salon. The strong mark contrasting with the clean typography suggests an exclusive experience that keeps it simple and to the point. If you are ever in Minneapolis be sure to pop by for the full brand experience. Great work.
Studio Astrid Stavro based in the Balearic Islands create stripped back modern contemporary design with strong ideas that certainly have Swiss design at their foundation. I particularly like the concept work that they did for Fad Fest, an idea based on Tangrams, a Chinese puzzle made of seven geometric shapes that are put together to form a specific shape. Their website is fall of great work like this, so well worth a look.
Carlo Vivarelli (1919-1986) was a graphic designer, painter and sculptor who was born in Zurich and studied at the renowned Kunstgewerbeschule from 1934-39 and in 1946 became Art Director at the progressive avant garde Studio Boggeri in Milan. During this time and when he returned to his native Switzerland he became one of the leaders of the Swiss Modernists and in 1958 became a co-founder of Neue Grafik magazine. In his later years he concentrated more on his concrete art and sculptures.
Max Schmid (1921–2000) born in Rheinfelden near Basel served an apprenticeship in graphic design in the studio of Fritz Bühler where he also worked alongside Armin Hofmann. In 1948 he became art director of the pharmaceutical company Geigy design studio and for the next 23 years his designs opitimised what became known as the 'International Style'. For more of his outstanding work grab yourself a copy of 'Corporate Diversity': Swiss Graphic Design and Advertising by Geigy, 1940-1970.
Love these minimalist posters that show iconic architecture created with a modern illustrative slant, by Austrian design agency Exergian. Their website is well worth a look as they have some interesting work including a number of posters featuring geometric shapes to portray American TV programmes.
Fred Troller (1930-2002) was born in Zurich in 1930 and graduated from the Zurich School of Design in 1950. He worked for Geigy Chemical Corporation and later established his own design studio in New York specialising in logos, advertising, annual reports and book sleeves for clients like Exxon, General Electric, I.B.M and Doubleday. His style was typically Swiss; manipulating geometric forms with large Sans Serif typefaces. The work he designed for Geigy and the work he carried out in the US helped define the Swiss legacy in many US design agencies in the 60s and beyond. Great work from a true design genius.
Bob Noorda (1927-2010), was an internationally known graphic designer who helped introduce a Modernist look to advertising posters, corporate logos and in the 1960s along with Massimo Vignelli, the entire New York City subway system. Noorda took his Bauhaus training and created beautiful work for Pirelli, Olivetti and Alpha Romeo before founding Unimark in 1965 with Vignelli. Unimark were credited for awakening the corporate world to Modernist design thinking and for using distinctive type and images to create a consistent brand identity. His legacy lies with designs for the underground rail maps for Milan, New York and Sao Paulo that still remain today. A true legend of modernism.
