 is ultimately meant to aid legibility and be easy for all to read. It is structured and geometric, which means it should have been easier to learn and read. The cover of Neue Grafik was black and white, colours which like the typography already discussed do not have social or historical backgrounds, they are the most neutral and they do not host importance to one country or another, this could be a purposeful aspect of the design as it needed to appeal to more than one country, again driving toward internationalism, and an ‘international style’. Unlike the Map of Massimo Vignelli but with the same neutral style, the colours on Vignelli’s map range and therefore as is a variety it could be said that this piece is also neutral as it does not specify a particular set of colours which would relate to one particular place or another. However unlike the other two pieces discussed, Neue Grafik according to Richard Hollis had not succeeded completely in its internationalist objective. ‘ The editors’ intention to make the magazine ‘an international forum’ was never achieved … all thirty-five illustrations are of Swiss work’ Hollis, R. (2006) ‘Swiss Graphic Design: the origins and growth of an international style 1920-1965’. London, Laurence King. pp 206. However the intent had initially been there to be international but perhaps the editors where too bias of their own work, but it could be said they had done this to show the rest of the world their new concept that would work internationally.
In conclusion as M.Vignelli had described the initial forces and main drives of modernity, industrialization which triggered a culture of mass production, new inventions such as the railway and the telephone led to the urbanization and connection of people in other cities and countries, and the general popular culture that had formed through new concepts such as leisure time, all led to a drive towards internationalism. E. Lupton and J. Abbot-Miller stated that the purity of geometry would make a typeface recognizable and understandable 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.
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