Credits Armin Hofmann By the age of 27 Armin Hofmann had already completed an apprenticeship in lithography and had begun teaching typography at the Basel School of Design. His colleagues and students were integral in adding to work and theories that surrounded the Swiss International Style, which stressed a belief in an absolute and universal style of graphic design. The style of design they created had a goal of communication above all else, practiced new techniques of photo-typesetting, photo-montage and experimental composition and heavily favored sans-serif typography. He taught for several years at the Basel School of Design and he was not there long before he replaced Emil Ruder as the head of the school. The Swiss International Style, and Hofmann, thought that one of the most efficient forms of communications was the poster and Hofmann spent much of his career designing posters, in particularly for the Basel Stadt Theater.
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Hofmann has been described as one of the most outstanding personalities in Swiss graphic design history. The readability and cleanliness of the style as well as its asymmetric layouts, use of a grids and sans-serif typefaces have helped define how we design today.
Designers today are still taking the best elements from this era of design to create a whole new contemporary, visual aesthetic. Hofmann was born in Winterthur, Switzerland, in He then went on to open his own studio in Basel. In he began teaching at the Basel School of Arts and Crafts after he met Emil Ruder on a train and learned that the school was looking for a new teacher. Hofmann remained there for 40 years and eventually replaced Emil Ruder as the head of the school.
Hofmann felt that one of the best and most efficient forms of communication was the poster and he spent much of his career designing posters, in particular for the Basel Stadt Theater. The style of design that Hofmann and Ruder created aspired to communication above all else. It showed new techniques of photo-montage, photo-typesetting, experimental composition in general and of course heavily favoured sans-serif typography.
It could be said that Hofmann devoted his entire professional life to bringing a creative and artistic integrity to the world of graphic design. As a teacher, he has few equals. Yet it is difficult, really, to pin him down.
He retired in but his legacy lives on in his hugely influential body of work.
Principles and Practice
The book was originally a fundamentally new attempt to provide a methodical approach to challenges of graphic design. Graphic Design Manual Principles And Practice Armin Hofmann His colleagues and students were integral in adding to work and theories that surrounded the swiss international style which stressed a belief in an absolute and universal style of graphic design. Graphic design manual armin hofmann. Graphic reproduction is based on the small unit of the dot. He began his career in as a teacher at the allgemeine gewerbeschule basel school of art and crafts at the age of twenty six.
Created in , this may be his most celebrated work. Armin Hofmann, Giselle, Discovering Hofmann in a book curating various graphic masters, I was hypnotized by the sense of movement and clarity in this piece. Both clear and exciting. Captivated by the thought paid toward the subject matter, Armin Hofmann employed Modern objective principles while giving room for the subject to express itself freely. There is seemingly no designer present; just the subject expressing itself clearly, beautifully, and functionally.
Graphic Design Manual Armin Hofmann
The immeasurable influence on generations of designers is one of the many distinguishing qualities of his work. Moreover, he is looked up to by his students as the most inspiring graphic design teacher. Subsequently, he opened a design studio. After meeting Emil Ruder on a train, he found out that the Basel School of Arts and Crafts was looking for an art teacher. Thus, in he accepted the job as a teacher and continued to teach there for four decades.
Heroes – Armin Hofmann
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