able to all, then to add to this R. Roger Remington and L. Bodenstedt, argued that modern designers had relied on structure to create pieces that where at their purest form, universal type is also supposed to be a pure geometrical typeface and so it could be said that to be understandable to a wide range of people pieces of design need to be stripped back and simplistic, also the use of geometry is highly emphasized. As again M. Vignelli had stated when describing the Underground Map, he had pointed out that the use of a grid had been very important in the organization and structure of a rather complex piece of information, a grid is also key to the front cover of Neue Grafik, and the use of columns where mentioned by D. Crowley and P.Jobling. However it could be said that one of the main changes in design and one that mostly pushed towards internationalism is typography. In all three pieces the typography is sans serif, simplistic and geometric. Even though each of the three works span across a period of 40 or so years, the typography had remained true to the ideals, and they where almost pure forms. The fonts all connect with each other in some way and this meant that they where all aiming for a similar ideal, which was to be understood and to be clear. R. Roger Remington and L. Bodenstedt, R. Hollis and E. Lupton and J. Abbot-Miller, all stated that the type was an important element of the piece they had analyzed, they had also said that the style of the typography had been important in aiding communication to a larger audience of people, by being simplistic and structured. The use of these typefaces had become so popular that most modern designers used them in their work and that only, especially Helvetica, as used in Massimo Vignelli’s work, this shows across the world people where agreeing on the typeface and believing it was the best, due to its pure, geometric and very legible/ understandable form. This is an international agreement and again a key factor in the drive towards internationalism.
Universal Typeface, 1925, Herbert Bayer
New York Subway Map, 1972, Massimo Vignelli
Neue Grafik, Issue No.1, August 1958, Carlo Vivarelli
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Crowley. D, Jobling. P, (1996) ‘Graphic Design: Reproduction and Representation since 1800’, Manchester, Manchester University Press.
Heller. S, Seymour, C. (1994) ‘Graphic Style: From Victorian to Post- Modern’ . New York, Harry N. Abrams Inc. Publishers
Hollis, R. (2006) ‘Swiss Graphic Design: the origins and growth of an international style 1920-1965’. London, Laurence King
Lupton E. Abbot-Miller J. (1991) ‘The ABC’s of Bauhaus and Design Theory’. London, Thames and Hudson.
Magazine Archive, (2011) Neue Grafik Magazine Available at:
http://magazinearchive.co/portfolio/neue-grafik-magazine [Accessed on: 7 January 2013]
Mirko. I, Heller. S, (2007) ‘The anatomy of design: uncovering the influences and inspirations in modern graphic design’. Rockport, Massachusetts, Rockport Publishers
Remington, R. Roger Bodenstedt, L. (2003) ‘American Modernism, Graphic Design 1920 to 1960’, London, Laurence King.
The New York Times (2012) The Subway that Rattled New Yorkers, Available at: http://www.nytimes.com/2012/08/06/arts/design/the-subway-map-that-rattled-new-yorkers.html?_r=0 [Accessed on: 15 January 2013]
Vignelli, M. (2010) ‘The Vignelli Canon’. Mulgrave, Victoria, Images Publishing