carmen

I learnt a lot this semester. I had done a lot of visual communication and art subjects in high school, however, I never really had a great or extensive understanding of any design styles and movements, and how they connected and impacted the world that I now live in. In particular, I loved learning about the styles that challenged society and its culture, and brought change around to what was considered to be traditional design. 

The transition to the digital platform was a little challenging at first, but seemed very normal by the end. I didn’t have any technical issues, but I sometimes struggled connecting with people. Even though I am glad we switched to a digital format for classes, I really like working directly with other people and bouncing ideas around, so I sometimes didn’t know which way to turn. I really enjoyed the activities we did in the tutorials, particularly the tasks about composition, audience perception and impact, and others which challenged my abilities in recognising an effective design and using Photoshop.

The ‘Ask Me Anything’ project was my favourite assignment. I really loved the research element because I got to explore all these smaller branches of design and understand how they influence and fit into the topics we had discussed in the lectures and classes. 

AKZIDENZ-GROTESK (ASK ME ANYTHING FINAL)

(THURSDAY 4TH JUNE 2020)

So I finished finished.

...which is good - I’m happy :)

Technically... I finished a couple days ago, but I made a few minor changes in terms of detail since then, so I finished again today. 

I had a few issues with the consistency between each page, in terms of formatting and the the black I have used throughout my design. I thought it was an export issue which I thought would be really hard to solve, but luckily my tutor had some insight into why it may have occurred, so it was a pretty easy fix in the end.  

I saw a couple of my peers publish their final products on ISSUU, so I thought, why not? I was only going to screenshot each page to upload here (Tumblr), so I digital upload seemed much more practical. 

THE EYE WRITER AND TEMPT1 

(TUESDAY 2ND JUNE 2020)

The concept of the Eye Writer is just so fascinating to me. 

Of course, I’ve seen machines controlled through eye movement before, mainly for communication purposes, but drawing....this is just a whole other thing!

The Eye Writer is an invention that uses inexpensive cameras and freely-available software to track the wearer’s eye movements. It was developed by Mick Ebeling as well as artists, engineers and hackers from the Free Art Technology Lab, Graffiti Research Lab and OpenFrameworks teams, including Evan Roth, James Powderly, Theo Watson, Chris Sugre and Zachary Lieberman. The project was originally designed to allow the paralysed graffiti artist, Tempt1, to draw again. 

The team behind the Eye Writer’s, were also able to project his images on to the side of buildings, not only allowing Tempt the ability to draw, but to see his work once again on the street’s canvas. In a later email, Tempt wrote to Ebeling saying, 

“That was the first time I’ve drawn anything in seven years. I feel like I had been held underwater, and someone finally reached down and pulled my head up so I could take a breath.”

The invention has been recognised internationally and has received numerous awards including the 2010 Prix Ars Electronica and the 2010 FutureEverything Award. TIME also listed the Eye Writer as one of the Top 50 inventions of 2010, and was featured in the CREAM International Festival for Arts and Media in Yokohama in 2009 and the ‘Talk to Me’ exhibit at MoMA in 2011. Mick Ebeling presented a TED talk in 2013 about the product, but has appeared on other occasions discussing other projects by his Not Impossible group. 

I don’t even know what to say about this. I’m just so happy that this is where both people and technology has gotten us. 

Images References:

https://blog.p2pfoundation.net/eye-writer-a-creative-solution-for-people-suffering-from-als/2010/01/25

https://www.instructables.com/id/The-EyeWriter/ 

Video References: 

(SUNDAY 1ST - MONDAY 2ND JUNE 2020)

At the weekend, I put the finishing touches on my ‘Ask Me Anything’ zine. It was quite exciting to see it all come together in the end. I had designed each spread on individual Adobe Illustrator documents, so I hadn’t really seen how they all looked together.  Luckily, I didn’t hate it :) 

I took a lot of steps forward and backwards during the development of my zine. Sometimes I felt like I made a lot process, and other times.... it was like I was banging my head into a brick wall. I took a couple steps forward earlier on, establishing my questions, but really falling backwards again when I didn’t think some of them had large enough areas for me to expand upon. I was in this ditch for a while - I only really figured out my final question a week ago, which really frustrated me. I also had a lot of potential directions that I could have taken for my zine layout/design. I played with a lot of them, but they all fell a bit short of my expectations. Eventually, I chose to design the zine in the style of the International Typographic Style (ITS), as Akzidenz-Grotesk was really popular during this design movement. It also meant that I wouldn’t necessarily have to have a question specifically about the movement - I could instead just reference it here and there. Coming up with each page spread seemed to take more and more time, but I’m glad I took the time because, I’m really happy with where each page ended up. I was constantly referencing these ITS-inspired music posters, really focusing on the way the typography was used and its relationship to the shapes and space around it. I think it helped a lot, especially when I was really lacking direction on one of the final pages. I also struggled a lot writing the responses. It wasn’t to do with the research, I had enough, but I just couldn’t match the character’s voice. I don’t know why I did this, but from the start, I just imaged that Akzidenz-Grotesk would be this really grouchy, arrogant and impatient character, and it really threw me off when I came to actually having to write responses. I know that I had the opportunity to take any direction with his (I imaged him a he) voice, but I just had a feeling it wouldn’t translate well - I wouldn’t be able to portray the emotion I would imagine while writing, and it would all be a bit of a flop. So I left it. I re-created Akzidenz-Grotesk. This typeface is just over 120 years old, and has paved the way for many other typefaces, so I tried to make him seem more humble, appreciative and accepting. On one of my page spreads, I talk about Josef Muller-Brockmann being influenced by Ernst Keller. When crafting my answer, I wanted to reiterate the relationship between Muller-Brockmann and Akzidenz-Grotesk, so I only referred to Muller-Brockmann as Josef. I questioned if this was a good choice, considering I was using ‘Keller’ in the same paragraph, but in end, a friend would never really call their other friend by their last name, so I don’t think I made the wrong decision. 

I also wrote the questions and answers in Akzidenz-Grotesk (of course), because it was quite fitting and also aligned with the International Typographic Style-d design. I’m also genuinely quite proud of my type anatomy pun at the end. I trialled about two others and the one I used sounded the least weird. 

I produced a zine by saving an Adobe file as a PDF but I don’t know if this is the best approach, and whether I should be refining it in InDesign. I am also questioning if I should add in a contents page - I’ve made one, but I don’t know if it’s necessary and if it is common of zine-formats. I am quite keen to attend the pop-up class on Wednesday, just to get some last minute feedback on everything before final submission. 

THOMAS WELLMANN (”PIMO AND REX”)

(THURSDAY 28TH MAY 2020)

I really love this illustration. I really like the colour palette and the characterisation within the space. 

....I really like it.

I have been keen to get into illustration for a while now, but I’m not entirely sure how to start. I have been collecting similar kinds of pieces, gathering inspiration, hoping they will offer some direction. I found this piece on Pinterest, however, Wellmann’s own Tumblr page was cited. I looked his portfolio, and, I still really like his style and the pieces that he creates :))

Pinterest Reference:

https://www.pinterest.co.uk/pin/794463190506133657/

Tumblr Reference:

thomaswellmann.tumblr.com

Wellmann’s Tumblr Account:

ARTISTS’ BOOKS AT MASSART

(WEDNESDAY 27TH MAY 2020)

I enjoyed browsing through pages and pages of artists’ zines during the tutorial. Some very very striking and captured my attention immediately. I guess I just wasn’t expecting the archives to have so many collections that didn’t resemble traditional books or zines.

I thought Jessica Spring’s work was very interesting structurally and the way that it is formatted. To my surprise, I saw a few zines that resembled furniture and physical things, which I thought was...unusual, but why not? ‘All of Me’ by Kate Parker immediately reminded me of Pixar’s ‘Monsters Inc’, and I was drawn to Sol LeWitt’s purely because it had a fifteen-word title. 

It’s nice that the art style is so broad and many artists take their own direction with these kind of projects :)  

MANIPULATION USING ADOBE PHOTOSHOP

(WEDNESDAY 27TH MAY 2020)

During today’s tutorial, we were challenged to manipulate a given Photoshop file, to highlight and draw attention to certain elements. 

The first task was to make the photograph the focus of the communication. Of course, I originally started altering the physical size of the photograph, but I didn’t get very far. The original text size was a solid paragraph of type, so even when I adjusted the dimensions of the image, it didn’t really change the image’s prominence in the layout. I chose to cut the text, and space it out across the design, creating more negative space around the image. 

The second task was to make the text the primary element of the communication. I felt much more limited in this request. Photoshop is not my tool of choice, so I felt quite restricted in what I could do (because I didn’t know how to do much). In the end, I just made the type have a greater presence. I altered the font to a bolder and heavier weight. It has made me want to learn more about the programme though.

(THURSDAY 21ST - SUNDAY 24TH MAY 2020)

I am reaching the pointy end of this project and I’m really quite stressed about how it is coming together. I have completed the majority of the physical zine layout, but there is still much to do.

Similar to my last post, I have compiled a few more images of the process. I’m currently trying the figure out the layout for the final question, but...I feel like I’ve a brick right now. I have so much inspiration to draw from, but nothing seems to be working with my formatting and the amount of type that I will have to feature. 

This selection depicts most of the development for the cover page of my zine. The final product is likely to feature my surname, however, it has been redacted from the pictures here. When I started developing the cover, I envisioned the colour palette to match the final (references) page, however, I later discovered that this approach would be ineffective because they wouldn’t be viewed next to each other. I trialled a lot placements. Some of the posters I was using as inspiration showed the type extending off the page, but I didn’t think it worked particularly well in my design. I also removed the hyphen between ‘akzidenz’ and ‘grotesk’. While, it is most-commonly seen with the hyphen, the typeface is also recognised without it. I thought it made the design less cohesive, so I removed it. I really liked the vertical, and face-to-face placement of the type from the start, so it has been maintained throughout the planning. 

I did really like the orange on black, however, once I established that the pairing to the final page was more or less irrelevant, I tested the other colours that I were already in the colour palette. I did really like the green on black design, but I already had a double-page spread that was largely green. I also tested using a trio of colours. While, I didn’t think the outcomes from these experiments looked bad, I wanted to continue the minimal duo colour palette, so I reverted back to using black and a single other colour. Apart from orange on black, I found that blue on black was also really effective, so I am currently still debating which should be used in my final.  

I also considered the idea that my zine would present excerpts of a larger interview that I had with Akzidenz-Grotesk, but I thought it was distracting, so that direction was discontinued. 

This is a mock-up design of what I think the front cover of my zine is likely to look like. I have kept the ‘U’ of my last name purely for presenting the format, and my name in its entirety will be shown during submission. I created a contents page because I am unsure of the format that I will be submitting my zine in/how my zine will be viewed. It is possible that this page may be removed at a later stage. 

My final content page will be my references (I may have a black back page though), however, it will be presented on a double-page spread. The references will appear on right, and my fifth question will be on the left side. Below, is my slow development of the left page (where i am currently stuck):

I am trying a variety of methods, but some just don’t really work, particularly as I have to feature a larger written component. 

This screenshot also depicts a spread, that I have since changed. I originally used red, because of the direct reference to war, however, when everything (basically everything) is red, it’s very distracting and overwhelming to look at. I decided to keep the left-side red, purely because it is quite striking, but changed the right-side. I made it a purple colour, changing the ground colour to purple, and making the text and bars to black. I also chose to do this because red can be viewed as or have connotations as being quite brutal and bold, which could be related to the violence of wartime, however, the speaker is alive on the right-side, not battered and bloody, so it made sense to me to use a cooler tone like purple. 

THESE PEOPLE DO NOT EXIST 

(FRIDAY 22ND MAY 2020)

In the recent tutorial and lecture, we discussed the progression of design and where it will take us. We looked at ‘This Person Does Not Exist’. I think the first I’d heard of the website a year or two ago, when another artist mentioned using the programme in one of their own projects, and I took to Google for some understanding. I haven’t really needed to use it since then, except for the tutorial where we created collages. I did mine digitally, and had saved a variety of images from a variety of sources, including people from ‘This Person Does Not Exist’. 

Every time the page is refreshed, a new shockingly-realistic, yet artificially-developed face is depicted on the screen. Phillip Wang, a former Uber software engineer, designed the platform, and each image is created using a special kind of artificial intelligence algorithm, called ‘generative adversarial networks’ (GANs). Other technology companies including Google and Facebook, are also developing versions of this AI technique, with plans to integrate “fully fleshed out virtual worlds” in the real world, using automated methods instead of complex coding. 

It is so cool and exciting that this is where technological advancements have taken us, but at the same time, it is very frightening. 

(FRIDAY 15TH - TUESDAY 19TH MAY 2020)

Over this past week I have been attempting to create page layouts for the current zine project. For ages, I was set on creating quite an illustrative zine, however, recently I changed that plan, and chose to base my page designs off the International Typographic Style/Swiss Style, as it speaks more to the time period that Akzidenz-Grotesk was most popular internationally. This change also enabled me to develop a question in my set. Instead of asking the typeface about the hallmarks of the International Typographic Style - which I would be visually depicting in my layout - I could ask about an artist who primarily used Akzidenz-Grotesk and whose work grew from the design period. 

I have done a lot of visual research about the International Typographic Style, to understand the way that typography and shape is used in the design. I remember hearing in a lecture recently, that we should be posting both our successes and failures to this page, so I have compiled a few images that explore some of the different directions so far that I considered. 

These two images depict some early drafts for my layouts. I played with layering shapes and reducing the opacity of layers to create another colour. Apart from the fact that it (left) looks....weird, this approach wasn’t a method used by designers in the period. Shapes were coloured solid, and didn’t normally fill the page, particularly as using the negative space in a concept was popular. I also trialled a variety of shapes, including this four-pointed star (right) and triangles, but they were really challenging to work with, and frankly, weren’t exactly the shapes used by designers during the International Typographic Style period...so I went back to rectangles. 

Grids were a hallmark of the International Typographic Style, so I felt that it was important that I feature one in some way. A week or so ago, I reblogged a post from @est​acabronseryo , that depicted a tiled pink room that bent round a corner. I really liked this concept, and attempted to recreate (top, left). I struggled a lot and was very unsuccessful in the end. Later, I rescaled the grid I had created for my last attempt, recoloured, cropped and rotated it, and simply placed in on a green ground colour. I didn’t find creating this page (bottom, left-side) particularly challenging...more or my issue was creating the right-hand-side page. It was important to me that these two pages looked related and mirrored the same colour palette and idea, but I didn’t want them to be the same in any other measure. I did have a variety of trials, but this is the only picture (top, right) I have from this process. In the end, I settled on a less chaotic design (bottom, right-hand-side) as I thought that a double-page spread covered in grid may be a bit overwhelming for an audience and hard to focus on the written text. Additionally, while I wanted the pages to share elements, I wanted them to be strong by themselves and compliment each other. I think I achieved this. 

I tested a variety of colours in this design, including walking away from clean contrast pairings between a bright colour and black, testing legibility and overall appeal. In the end, I found that using black was essential, as it created a base for another brighter colour and enabled it to be quite prominent in the design. Also, the typography should be the primary design element, and therefore, neither the elements of colour or shape should detract from the type. I also trialled different shapes, but ultimately returned to the rectangle. I just think it worked better in the tests that I did and was easier to manipulate. Similar to the green spread, I wanted these two pages to illustrate a relationship, hence why I also maintained the same colour palette. Asymmetrical balance was also prevalent during the design period so I wasn’t really restricted in my choice of design beyond the colour scheme. I furthered the pages’ relationship by depicting a voice (’hmmm...interesting.......very interesting’) travelling between the pages, as well as linking the question/answer on the left page, to the question/answer on the right page through ‘is this why...’. 

DIGITAL COLLAGE & NATHANIEL WHITCOMB

(WEDNESDAY 13TH MAY 2020)

In today’s tutorial, my teacher discussed collage versus appropriation, and covered the role of the Situationists in the society, following their actions and movements, as well as their method of détournement, where they hijacked societal values, culture and advertising of the time. We also looked at a variety of artists who used collage as their method of choice. My teacher showed works by Mary Lum, Eduardo Paolozzi, Hannah Hoch, Asger Jorn, and Nathaniel Whitcomb. 

I really liked Whitcomb’s works. I love the use of a neutral ground colour, and the layering of different pictures to create a somewhat, fluid, narrative. I tried to delve more into his work after class, but struggled, there’s not a whole lot on him. There’s not even a Wikipedia page :0 I did however, find an interview he did with Colectivo Futuro. In response to being asked about his inspiration, he responded, 

“Inspiration is a difficult thing to explain, it often happens suddenly and fades just as quickly, which is why my sketchbook is always within reach. Over the years I’ve found that certain things make me think more than others. Now I make it a point to surround myself with them, that way it happens more organically rather than trying to force something inspiring on myself....Silent films, soundscapes, a walk in unexplored woods, all leave elements unfinished that I can use for thought. I’m in a constant state of wonder, which seems like a good source of inspiration to me. But who really knows.”

The class project for today was to create a collage for ourselves. I took all my inspiration from Whitcomb. I had gathered images a day or two before, but I didn’t really have a direction. Adobe Illustrator is a software I am extremely comfortable using, but I wanted to try Adobe Photoshop, but despite receiving help, I just couldn’t make it work, so resorted back to Illustrator. 

I gave myself a brown-earthy-tone background colour and started using the clipping mask tool to dissect my images. I realised when I presented collage to the class that it was very cliché, very stereotypical......‘tumblr’. Later this evening, I developed the design, adding a F. Scott Fitzgerald quote, and making it more ‘tumblr’ than it already was. 

My second collage (bottom image) is by far my favourite. I think the composition works better, and there is much more of a narrative. When I was creating it, I didn’t have any direction, but then I came across a newspaper of some sort with the headline, ‘Martians invade Earth’. I thought it was quite funny, and thought that I could blend the image of the vintage women looking at a magazine in. I cut up elements of the article, and gathered images on UFOs and mountain ranges and a person in pajamas, matching the news article. I think there’s a much better story in this one. 

I really enjoyed this task. I didn’t have the materials to do the task physically, but I enjoyed doing it digitally. I have used digital collage methods before for projects, but I found this task much more fun and exciting. While it’s not really an approach I can take for my zine, I think I might create collages like this in the future. 

Colectivo Futuro’s Interview with Nathaniel Whitcomb:

https://colectivofuturo.com/nathaniel-whitcomb-is-a-colectivo-futurist/

TOM HAUGOMAT 

(TUESDAY 12TH MAY 2020)

I know I have spoken about Haugomat before, but his work really stands out to me. It’s a method and a style that I really want to explore. 

I really love this communication for Stanley Park Brewing. On top of me really liking the colour palette and emotion created from the illustrations, I really like how it has been translated from the flat box/container face to the bottle and cans. 

It’s something I hope I can grasp and put to use in the future.

Stanley Park Brewing (pub. 2018):

https://www.behance.net/gallery/65089225/Stanley-Park-Brewing

Tom Haugomat Behance:

LUCIO SCHIAVON (INTERNATIONAL JAZZ DAY)

(SATURDAY 9TH MAY 2020)

Once again, I was browsing through Behance, looking for modern takes on the International Typographic Style, as inspiration for my own project. I was rummaging through pages, finding nothing particularly striking...that I could draw from in my project. 

I did however, find this.

I like how fun and playful this concept is. The chaos created in the layers of stamped letters captured my attention. For me, it seems that the letters ‘J’, ‘A’ and ‘Z’, have replaced the music notes, reiterating the bold sounds and the connection to the client. The colour palette is strong, clear and visible. I also really like how the effect of the stamp, shown in the varying amounts of ink in each letter, has been maintained during the digital processes and into product distribution. 

International Jazz Day (pub. 2016):

https://www.behance.net/gallery/35246285/International-Jazz-Day?tracking_source=search_projects_recommended%7Cinternational%20typographic%20style

Lucio Schiavon Behance: 

ASK ME ANYTHING’ PROJECT - AKZIDENZ-GROTESK QUESTIONS

(WEDNESDAY 6TH MAY - THURSDAY 7TH MAY 2020)

I prepared five questions in relation to my topic - Akzidenz-Grotesk - in preparation for a discussion in Wednesday’s tutorial. I created five questions, some of which I really liked, and others which were subject to change after peer review. 

As of Wednesday’s class, these were my selected five questions:

Question 1: Where do your origins lie?

I chose to use the word ‘origin’ because I think it makes that question more open. There is still a lot of confusion regarding the creator and the exact location where the typeface was designed, and therefore, this wording would enable me to explore multiple locations more easily. 

Question 2: Your family is arguably H. Berthold’s most celebrated family. Why?

Akzidenz-Grotesk is widely regarded as H. Berthold’s most celebrated typeface family, but there is no definitive and singular answer to why. I will be personifying the typeface in my zine, and while it could be interesting to hear how they respond, I haven’t figured out how I will exactly answer this question.

Question 3: Where were you after the war? Dead or alive?

I really like this question. Although it is slightly grim in the way that it pairs its growth in the design world to soldiers at war, I think it highlights its evolution, that largely stemmed from a post-war world.

Question 4: What are the hallmarks of the International Typographic Style? ***

I initially starred this question because I wasn’t sure if it related enough to the topic, even though the typeface saw a peak in popularity during the movement. After class review, I would still be able to feature this question, but I would need to try and link it back to the typeface. 

Question 5: Why are there so many variation of your typeface? 

There are many variations of the typeface, extending beyond the physical form of the letters, and excluding bold and italicised versions. This relates to the origin question, as the foundries produced different versions of typeface. I think this question is weaker than the others as it wouldn’t necessarily portray enough information of the topic. 

During discussion, it was suggested that I create a new question about the foundries in Germany at the time, or tie in this information with the first question relating to origins. 

ERNST KELLER

After the class discussion, I decided to do more research to see if I could develop or change some of my questions. Ernst Keller’s name had come up in my searches previously, but never in depth. 

Ernst Keller’s is widely regarded as the “Father of Swiss Design”. His teachings at the Swiss art school, Kunstgewerbeschule, from 1918, were shown to mark the beginning of grid systems and his belief that design should place a larger focus and importance on the use of typefaces. Some of his students would become leading designers in the International Typographic Style movement:

Armin Hofmann and Emil Ruder

Josef Müller-Brockmann

Max Bill and Otl Aicher

JOSEF MÜLLER-BROCKMANN

Müller-Brockmann, featured the grid system and the Akzidenz-Grotesk typeface heavily throughout his work. He took over Keller’s teaching position at Kunstgewerbeschule, but later opened his own design firm, helping to spread the Swiss Design aesthetic beyond European borders by establishing the Neue Grafik (New Graphic Design) journal. This journal was a trillingual magazine that was co-edited by Franco Vivarelli, Hans Neuberg and Richard Paul Lohse. 

I have decided that I may alter my original set of questions. I could feature the Berthold’s question/answer as part of the origins question, and create a question that centre more around a designer, such as Josef Müller-Brockmann, who was popular during the Swiss Design period/International Typographic Style, and heavily used Akzidenz-Grotesk.

THE INTERNATIONAL TYPOGRAPHIC STYLE/SWISS STYLE

(MONDAY 4TH MAY 2020)

The International Typographic Style, also known as ‘Swiss Style’ was a graphic design movement that first emerged in Germany, Russia and the Netherlands in the 1920s. It was popularised again in Switzerland in the 1950s, leading to its renaming (even though both titles are interchangeable and are still used today). It evolved as part of the modernist graphic movement and it emphasises cleanliness, readability and objectivity. The style is often reflected in asymmetrical layouts, grids, sans-serif typefaces (including Akzidenz-Grotesk) and ‘flush left’ typographic alignment. The style was initially dubbed ‘The International Typographic Style’ as many early works would feature typography as the primary design element alongside written text. Influences of this movement can still be seen in the contemporary world, in design strategy and theory. It has also been linked to the evolution of other design movements including the Dutch artistic movement, ‘De Stijl’, Bauhaus (the German-based movement) and Constructivism (Russian art and architecture philosophy). 

I did consider The International Typographic Style when I was reselecting my topic for the ‘Ask Me Anything’ Project. It was on list, however, slipped my mind during class discussion. Researching it now is making me question my topic choice of the typeface, ‘Akzidenz-Grotesk’. I will not be changing my topic again though. 

I have been questioning my zine’s final presentation since I re-chose. When I was initially choosing between Hokusai and charcoal, I had a clear direction of presentation in mind, however, since I have changed to exploring a typeface, my direction has seemed a bit foggier. My research into The International Typographic Style may offer me a presentation format. Akzidenz-Grotesk was largely popularised during the movement, and therefore, the zine’s design could reflect this style, considering how significant it was. When I was previously looking for presentation ideas, I thought I would explore digital illustration, reflecting the modern world and the typeface’s existence. However, illustrations were not as popular during the The International Typographic Style and therefore, I am now leaning more towards visually reflecting the movement that made the typeface internationally popular, in my presentation. 

I found these music posters by Mike Joyce, inspired by the Swiss Style, when I was trying to gain an understanding of the visual style of the movement. It is clear how prevalent the use of bold type and shapes are across the designs, and images and illustrations are not evident at all.

https://www.printmag.com/typography/swiss-style-principles-typefaces-designers/

https://99designs.com.au/blog/design-history-movements/swiss-design/

https://www.printmag.com/typography/swiss-style-principles-typefaces-designers/

https://medium.com/@charchitgarg27/international-typographic-style-cd99a24721ad