Graphic Design The Museum of Design in
Zurich presented 45 years of British history in the exhibition "Communicate".
Graphic culture. Werbewoche editor Luca Aloisi talked to
the London curator and author Rick Poynor about
the importance of the collection.WW: What do you think of when you hear the term Swiss graphic design?
I think of the tradition of Swiss graphic design and typography, from Max
Bill about Josef Müller-Brockmann and Emil Ruder, I think of
Order, clarity, discipline, beauty and modernity. All strong
virtues - and to a certain extent perhaps also an expression of
Rigidity. But I feel just as strongly inspired by Wolfgang Weingart's
break with these conventions. He expanded these
characteristics around anarchic, subjective and expressive
(expressive) traits. Personally, I feel more at home with the unpredictable
inventiveness of contemporary Swiss designers such as a
Cornel Windlin and Ralph Schraivogel at home than at the
traditional, more controlled Swiss graphics.
WW:
And how does independent British graphic design differ from Swiss graphic design?
Compared to the Swiss style, British design has never been so
doctrinaire or austere. British designers of the late 1950s and early
1960s looked at the issues of the "Neue Grafik" and were
The magazine and Swiss typography have undoubtedly had an influence on the design. This can be seen very clearly, for example, in Romek Marber's
structured Penguin book covers, which can be recognized on an equally
to create a permanent network of lines. British designers have everything
took over what they could use. But this was hardly out of
ideological motives. All these influences have then
mixed together, especially those who came from the USA. The
British design was a kind of hybrid, so to speak, and has remained so throughout the
decades until today. You can neither
predetermined style nor an attitude. Everything is possible.
On the other hand, this pluralistic form is a condition that can be
is now known everywhere - even in Switzerland.
WW:
This increasing mixing falls under the heading of globalization, in which
trends are following each other ever more quickly and are more networked. Gives
under these circumstances, there are still typically British elements in the
British graphic designer Rick Poynor:
The "Communicate" exhibition shows the work of more than 100
designers from the most diverse sectors - from the
the publishing business, music, the arts, corporate brands, even
initiated work and so on. These designers use a
such a wide range of graphical methods that it is impossible,
they are all based on one or two key visual characteristics
to summarize. Take, for example, the political or
social segments, here the work groups of a Robin
Fior from the 1960s and those by Jonathan Barnbrook from the
millennium from two different graphic galaxies.
Nevertheless, their conviction combines a thoughtful and skeptical
attitude and a rejection of any compromises. They want
make their own discoveries and experiences of being a designer.
WW: Is it this non-conformity that gives the exhibition title the obviously important attribute "independent"?
Admittedly, the term "independent graphic design" is probably less
be more widespread than independent film or indie music. But the
The lion's share of the most innovative, influential and sustainable
design of Great Britain over the past 45 years has clearly been
of designers who want to maintain their autonomy in their work in order to
first priority. Autonomous designers prefer to make their
studios relatively small, as a business founder
to remain the owner of their company and thus enjoy the full freedom
business development and orientation
preserve. The main reason for ethical and professional independence
was summarized by one of the exhibiting designers as follows: "We are
We are not accountable to any shareholder or parent company. We
exist solely to create good design."
Accordingly, the exhibition "Communicate" has set itself the goal,
to remind visitors of the importance of creative work that
in the spirit of independence, and the title signals this
circumstance very clearly.
WW: What inspired you to put together this extensive collection?
Rick Poynor: The main reason for the compilation of "Communicate" lies in the
importance of the works, in their undisputed high cultural value
and also lies in the great contribution that the independent designers
have contributed to this. I was also surprised to discover that
there has never been a comparable exhibition or book about
independent British design in this level of detail.
WW:
If there has never been anything like this before, what were your selection criteria for the works in the exhibition?
The aim was to present design works that are in some way
were innovative, outstanding in their execution and typology, and
examples. Work carried out in Great Britain and in some
were also influential abroad, which were more of a lasting than a
have generated temporary interest. Testimonies of their time, which
strongly contextualize the zeitgeist and the key argument of the
exhibition, the value of smallness.
WW:
That sounds very ambitious. But in view of the great importance and charisma of the British
pop scene, one wonders where independent British design would be without
the music industry?Rick Poynor:
There is something to it. In the 1960s, the music industry began to develop for the
most creative British designers to play an increasingly important role
play. People like Hipgnosis, Barney Bubbles, Malcolm Garrett,
Peter Saville, Vaughan Oliver and Julian House from Intro were in
this area. I don't believe that the formative
influence of their work and their models can be overestimated, even on
Designers who were not involved in the music industry.
WW: How widespread was the acceptance of this new design style in visual communication in England in the 60s and 70s?
That depends on which style and which
specific social milieu we are talking about. In the 60s
The reactions to the new graphic design were generally positive. The
Time was obviously right. The economy was booming. A new optimism
new forces were united, the importance of the image of the
in advertising, fashion, retail, TV and pop music
fascinated large circles. But the design industry itself was already in
the 70s was a broad field with the most diverse
styles and designers. It is amazing how long the
professional mainstream still needed to realize the importance and
The applicability of the innovations accepted by designers such as
Neville Brody, whose focus was on pop culture.
Even in the 1980s, the old guard of design was still struggling
with the "frivolity" of so-called style graphics. The traditional
Design thinking still favored the strong approach,
clear, big creative ideas. This older generation of designers could
simply don't understand how someone like Brody could have graphic
could send out signals to a young target group that, for its part, had no
had problems deciphering the communicated codes.
WW: Were these the motives that also drove the younger generation of designers away from the
Entry into the captivating machinery of the large design industry
Rick Poynor:
As was to be expected, the motives have changed. Some
Designers are very politically engaged - I have the two Robin
Fior and Jonathan Barnbrook. David King, who has a series
created for anti-fascist organizations
is another example from the exhibition for
socio-critically motivated graphic design. Other creatives
on the other hand, simply want to work as freely and independently as possible and
can perceive their topics of interest without purpose and application, i.e.
visual design without ulterior motives of application, business and
Benefit. Despite the wide margin, they all believe that their voices,
their forms of expression would be lost if they were to be used in a large
advertising network would work and would be able to adapt to the ideas and agenda of the
others would have to adapt.
WW: Has this critical attitude not changed over the years?Rick Poynor:
Not really. Even if today's designers with a strong
I believe that the ideological and political motivations are much rarer,
that the spirit of stubborn and uncompromising independence
is still very much alive, as can be seen from the more recent works in the
exhibition.
WW: Where and how has independent British design influenced advertising and commercial communication in general?Rick Poynor:
I do not believe that a generalization in this context
makes sense. A few specific examples can better answer the question
answer. Fletcher Forbes Gill, who later became Pentagram
should be for all small, committed, creative,
motivated design studios of the 1960s
preserved. Even today, most British designers, without realizing it
followed in the footsteps of the style-defining FFG. Later followed
Brody, who had a huge influence on the design of the 1980s
had - not just in the UK, but all over the world.
His contemporaries Peter Saville and Vaughan Oliver left their mark on the
Graphic designers in the music business. The members of 8vo, the
strongly leaned on Swiss typography, had a great influence on the
effect. They introduced the modernist approach to typography in the
British graphic design again. You can recognize their influence
even 20 years after their work. In the 1990s, The
Designers Republic has a computer-driven technoid style, which in
quickly grew into an international phenomenon and designers in the
Switzerland, Germany, the USA and Japan. And so
and continues to do so. "Communicate" brings together a wealth of
designers whose work is exemplary and groundbreaking for British design.
as it was for international design.
WW: Independent graphic designers have had a difficult relationship for a long time.
to the commercial mainstream. Today, however, they rely on the
same communication mechanisms of international corporations and
The latter are exaggerated and cynical. Is this the crowning glory of the
independent graphic design and this represents a loss of its
Identity and inspiration?Rick Poynor:
I hope not, and I don't believe it either. It will always be
independent-minded graphic designers who are critical and self-determined
creatively go their own way. Culture should not be finely packaged from
predictable sources and directions. If it wants to expand its broad
purpose, it must not be limited to a few people.
Mainstream companies first checked for their profit potential
become. A culture that lacks independent voices would
quickly get into big trouble. And if that applies to music, film and
literature, then it also applies to design, as a vital aspect of
of our culture. That is a global fact. That's why I hope that
visitors in Switzerland can also enjoy the exhibition in
understand this sense, have a good time and learn from some of the
most prominent British designers.
Powerful graphics
Since the 1960s, the UK has been one of the most innovative
and most diverse graphic cultures in the world. The exhibition
with more than 600 exhibits - from LP sleeves to magazines such as The
Face to posters and music clips for Kraftwerk - shows the
Development of independent British graphics over the last forty years
years and their influence on contemporary culture. "Communicate"
is on display at the Museum für Gestaltung, Zurich, from March 18 to May 7.
to visit. Info: www.museum-gestaltung.ch.
Luca Aloisi
