Tabloid Size: 11x17
Akzidenz-Grotesk is a realist sans-serif typeface originally released by the H. Berthold AG type foundry in 1896 under the title Akzidenz-Grotesk.
Bauhaus was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught.
1936: Josef Müller-Brockmann
Josef Müller-Brockmann was a Swiss graphic designer and teacher.
1947: Emil Ruder
In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts.
Adrian Frutiger, the foundry’s art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts — quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Peignot, and afterwards, it was produced by Linotype.
Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas foundry in Switzerland.
Haas set out to design a new sans-serif typeface that could compete with Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, it was created based on Schelter-Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, had no intrinsic meaning in its form, and could be used on a wide variety of signage. In 1960, the typeface's name was changed by Haas' German parent company Stempel to Helvetica — derived from Confoederatio Helvetica, the Latin name for Switzerland — in order to make it more marketable internationally.
1959: Die Neue Grafik
In 1959 four zürich-based graphic designers launched the first issue of Neue Grafik magazine. A Magazine devoted to the Swiss style of design and typography.
The team of editors constisted of Richard Paul Lohse, Josef Müller-Brockmann, Hans Neuburg and Carlo Vivarelli. The team signed some of their jointly written articles with the acronym "lmnv", formed from their initials."Neue Grafik" epitomizes Swiss typography of the 1950s. It was the new age manifesto for the design world and it was seminal in its influence on international graphic design after WWII. The publication of the magazine proved an international success making the Swiss Style the International Typographic Style.
2nd Design: [Artist] Swiss typeface designer Max Miedinger with Eduard Hoffmann
Tabloid Size: 11x17
Idea: Circle Design
3rd Design: [Our Choice] "Influences" - ?
? = e-Magazine / Brochure / Poster
Letter Size: 8.5x11
Idea: e-Magazine and everyone gets 2 pages with a font