hich was designed around the same time as Universal, although it contains capitals the font is still geometric and sans-serif, it doesn’t indicate a social or historical background just as Universal doesn’t, and it is easy to read. The underground map itself also does this as all the illustrations are shapes and colours there is no suggestion of a social or historical influence, this in turn means that this map was meant to be understand not just by the people who lived in New York, but commuters and more likely business people from other countries, as at the turn of the centaury industrialization had encouraged big business and trade and so by now countries all over the world where trading and communicating. People where travelling all over the world for business and so there was a need for design to be understood by a global audience, and so this is a drive towards internationalism.
‘Neue Grafik was a shiny, white-covered, near square- format quarterly… Text and captions, in monotype grotesque in German, English and French, are arranged in four columns’. Hollis, R. (2006) ‘Swiss Graphic Design: the origins and growth of an international style 1920-1965’. London, Laurence King. pp 206. Neue Grafik in translation, New Graphic Design was published August 1958; the cover designer was Carlo Vivarelli. The cover displays three different languages, a clear indication of a push towards internationalism, and a need to communicate between at least three countries, but it could include any country that spoke any of the three languages, meaning Neue Grafik had a larger audience than just England, Germany, and France. As well as this these languages where probably the most popular and used at the time and they will have all been developing countries in the modern world. And so the publication really did have a widespread audience. However unlike the other two examples of internationalism, this piece has a more focused audience, graphic designers. Although, its aim is to educate designers into designing in an ‘international style’, a style that could be understood and recognized by all, and therefore you could say that Neue Grafik was aiming, and encouraging for internationalism. The layout of the cover has been formed using a grid much like Massimo Vignelli’s Underground map of New York. The grid as L.Müller stated is essential in syntactical consistency. The use of a grid on the cover has helped to organize the type into three key columns, which each host a different language, which had never really seen before, it was a new concept of connecting countries and communicating to a larger audience than ever before. Again a geometrical way of organizing data has made the piece international, as it is understandable, and the geometry means there are no real social or historical contexts behind it, as geometrics don’t lend themselves to a particular context or place. The grid has also provided a clear layout just as the map is clear and universal typeface is understandable and very legible. As well as this the typography on this piece is similar to the pieces already discussed, the font is a sans-serif geometric typeface, and it was a favorite of many, if not all designers in the modern era, ‘the Helvetica typeface gave young designers an important means to further emphasize the message and functional values … it became so popular that, to many it seemed the only type necessary.’ Remington, R. Roger Bodenstedt, L. (2003) American Modernism, Graphic Design 1920 to 1960’, London, Laurence King. pp162. Again this argument has brought to light the fact that modern designers aimed to be upmost understood by a wide audience, just like Massimo Vignelli strived for and had aimed to do in his Underground Map of New Yorks subway systems. Aksidenz Grotesk was used for the cover of Neue Grafik the predecessor of Helvetica, again very popular at its time. Helvetica was used in the underground Map and Universal was designed around the same period and holds some of the key values already mentioned, such as functionality and understandability. The type