{"collectionById":{"d4a5b68c-8afd-4bbe-a7ac-e9a8422fedde":{"id":"d4a5b68c-8afd-4bbe-a7ac-e9a8422fedde","name":"Blog Articles","fieldSchemas":[{"id":"112a5d36-c2fe-4270-89db-11332b6d141c","name":"Topic","type":"plain_text"},{"id":"0b77f83b-c31a-4889-b9b3-9a6d2e41fc86","name":"Author Bio","type":"rich_text"},{"id":"0a981f8a-7dbb-440d-a940-25d9060c9b11","name":"Author Job Title","type":"plain_text"},{"id":"402ba26f-8f6d-4f5f-bf20-62e6549f4ad4","name":"Slug","type":"slug","role":"slug"},{"id":"df1c88d1-4bd8-4ecd-9059-463b9589de92","name":"Author Name","type":"plain_text"},{"id":"1f58afa6-2748-4188-b4a4-f1e54e37eca9","name":"Hero Image","type":"image"},{"id":"3084d9ba-ab55-4e5a-931b-b9db3d09105f","name":"Article Content","type":"rich_text"},{"id":"b7712ee6-f9fd-4781-8c5c-e7e10ce8f81e","name":"Publish Date","type":"date"},{"id":"f2ba59b9-49cc-4ec6-9416-bda99d4c8383","name":"Title","type":"plain_text","role":"primary"},{"id":"676063ae-971f-41f4-a8ff-51f75c78431d","name":"Reading Time","type":"plain_text"},{"id":"7eeb4aed-e691-4ca9-b11a-c4bff166e4f6","name":"Summary","type":"plain_text"}],"itemById":{"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a":{"id":"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a","index":"'t","collectionId":"d4a5b68c-8afd-4bbe-a7ac-e9a8422fedde","fields":[{"id":"e96f570b-d503-4f91-ad01-98c749a09297","value":"Swiss Style and the New York School: Two Answers to the Same Question","itemId":"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a","fieldSchemaId":"f2ba59b9-49cc-4ec6-9416-bda99d4c8383"},{"id":"979cac16-3c7e-448b-95c8-7897e31410f4","value":"Hugo Villarreal","itemId":"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a","fieldSchemaId":"df1c88d1-4bd8-4ecd-9059-463b9589de92"},{"id":"589a97bb-d263-477d-b036-88dca75d1107","value":"{\"root\":{\"children\":[{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"I design interfaces, design systems and motion for enterprise products, and I teach graphic design at Universidad de Monterrey.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"root\",\"version\":1}}","itemId":"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a","fieldSchemaId":"0b77f83b-c31a-4889-b9b3-9a6d2e41fc86"},{"id":"69d7e996-d63c-4995-9584-849492a62711","value":"2026-08-31","itemId":"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a","fieldSchemaId":"b7712ee6-f9fd-4781-8c5c-e7e10ce8f81e"},{"id":"9061c8c5-9b89-4f0e-875a-25edb92aefd0","value":"2026-08-31","itemId":"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a","fieldSchemaId":"b7712ee6-f9fd-4781-8c5c-e7e10ce8f81e"},{"id":"35b5f39d-9fa6-44a0-90db-328020a0fb64","value":"Hugo Villarreal","itemId":"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a","fieldSchemaId":"df1c88d1-4bd8-4ecd-9059-463b9589de92"},{"id":"7708fcf0-4f31-457b-aa9d-0d7c425a6375","value":"Senior Experience Designer · Design Educator","itemId":"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a","fieldSchemaId":"0a981f8a-7dbb-440d-a940-25d9060c9b11"},{"id":"671c64ba-753e-4daa-84f4-bfd5109b7a56","value":"Postwar design split in two: Swiss objectivity and New York expression. Who made each, what they believed, and why you need both.","itemId":"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a","fieldSchemaId":"7eeb4aed-e691-4ca9-b11a-c4bff166e4f6"},{"id":"d98b7266-7f23-46a3-8e0a-ca75369342c9","value":"Design history","itemId":"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a","fieldSchemaId":"112a5d36-c2fe-4270-89db-11332b6d141c"},{"id":"ba9f4efe-7aae-4418-9066-6c15e65ce09e","value":"Design history","itemId":"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a","fieldSchemaId":"112a5d36-c2fe-4270-89db-11332b6d141c"},{"id":"7d3f81ef-d270-40ee-b29f-bceaa53266c9","value":"6 min read","itemId":"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a","fieldSchemaId":"676063ae-971f-41f4-a8ff-51f75c78431d"},{"id":"13147a7f-2c06-40fe-bb22-96d936214338","value":"{\"image\":\"41f669ed785b7eafe924679024bc6ea4f44c5b1d\",\"imageThumbnail\":\"7e2c1d6df72ce7a92f786a39c8f5f5aaae388dd7\",\"originalImageHeight\":1200,\"originalImageWidth\":1600,\"altText\":\"\",\"fileName\":\"swiss-style-and-the-new-york-school.jpg\"}","itemId":"92cb182c-ea27-4cc5-9d50-40c5dd1eef7a","fieldSchemaId":"1f58afa6-2748-4188-b4a4-f1e54e37eca9"},{"id":"4d4ccbd2-784e-4d76-8887-082ec7a6f3b9","value":"{\"root\":{\"children\":[{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Should a designer have a voice? After the Second World War, two groups of designers gave opposite answers. In Switzerland, the answer was no: the designer's job is to deliver information as clearly as possible and then disappear. In New York, the answer was yes, loudly: design is an idea, and ideas need personality.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Almost every design brief you'll ever get sits somewhere between those two positions. Knowing where they came from makes it easier to choose on purpose.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Where the Swiss Style came from\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h2\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"The groundwork was laid before the war. Posters had already learned to be direct during the First World War (Alfred Leete's \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Britons Wants You\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" with Lord Kitchener pointing at the viewer, 1914, is the famous example), and in the 1920s and 1930s the Bauhaus and the \\\"New Typography\\\" movement pushed for sans-serif type, asymmetric layouts and function over ornament. Jan Tschichold's book \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Die neue Typographie\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" (1928) turned those ideas into rules.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Switzerland, neutral during the war and with a strong tradition of printing, became the place where those ideas were refined into a complete system. By the 1950s, schools in Zurich and Basel were producing what's now called the \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Swiss Style\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" or the \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"International Typographic Style\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\". The second name tells you its ambition: one visual language that works everywhere.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"What the Swiss believed\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h2\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"The core idea: design should communicate information clearly and efficiently, without the designer's opinions or emotions getting in the way. In practice:\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Mathematical grids\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" organize every element on the page\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":1},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Sans-serif type\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\", set flush left with ragged right, in a clear hierarchy\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":2},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Objective photography\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" instead of illustration\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":3},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Asymmetric but balanced compositions\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\", with generous white space doing real work\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":4},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Design as a system\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\": modular, consistent and reproducible, so anyone following the rules gets a reliable result\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":5}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"list\",\"version\":1,\"textFormat\":1,\"listType\":\"bullet\",\"start\":1,\"tag\":\"ul\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"That last point is why the Swiss Style still matters so much. It's the ancestor of corporate identity manuals, signage systems and, yes, the design systems and 8-point grids you use in Figma.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"The typefaces\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h2\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Three sans-serifs carry this story:\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Akzidenz-Grotesk\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" (released by the Berthold foundry in 1898) was the older workhorse the Swiss designers adopted.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":1},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Helvetica\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" was designed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas foundry, originally as \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Neue Haas Grotesk\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\". It was renamed Helvetica (from \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Helvetia\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\", the Latin name for Switzerland) in 1960 for the international market. It's often described as neutral, which is exactly why it ended up everywhere, and exactly why people still argue about it.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":2},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Univers\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\", by Adrian Frutiger, also appeared in 1957, designed from the start as a large, coordinated family of weights and widths. A system, not a single font.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":3}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"list\",\"version\":1,\"textFormat\":1,\"listType\":\"bullet\",\"start\":1,\"tag\":\"ul\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"The people\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h2\"},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Josef Müller-Brockmann\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" is the name most tied to the grid. His concert posters for the Tonhalle in Zurich, many for the \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"musica viva\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" series, turn music into rhythm, geometry and type, with no ornament at all. His book \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Grid Systems in Graphic Design\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" (1981) is still one of the most useful manuals on the subject.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":1,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Max Bill\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" studied at the Bauhaus in the late 1920s and became a direct link between it and postwar Swiss design. He co-founded the Ulm School of Design (Hochschule für Gestaltung Ulm) and was its first rector. His work fuses concrete art and functional design: pure geometry in service of communication.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":1,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Armin Hofmann\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" taught at the Basel School of Design for decades and made posters of extreme economy, often just black, white and one strong form. His \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Graphic Design Manual\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" (1965) documents how he taught.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":1,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Emil Ruder\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\", also in Basel, wrote \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Typographie: A Manual of Design\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" (1967), which systematized the principles of the Swiss school, especially around rhythm, contrast and white space in type.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":1,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"The case against the Swiss\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h2\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"The Swiss Style had critics from the start, and the criticisms are fair:\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"It could feel \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"cold\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\", even dehumanized.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"value\":1},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Extreme legibility with no context can create \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"distance\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\": you understand every word and feel nothing.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"value\":2},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Its claim to be \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"universal\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" was, in practice, a Western European point of view presented as neutral.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"value\":3}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"list\",\"version\":1,\"listType\":\"bullet\",\"start\":1,\"tag\":\"ul\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"That last one matters. \\\"Neutral\\\" design always reflects somebody's taste. Pretending otherwise just hides whose.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Meanwhile, in New York\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h2\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"If Switzerland said there's no room for emotion in design, New York answered: here's all of it.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"After the war, New York became the center of the art world, and its designers worked in close conversation with painting, photography, film and advertising. What gets called the \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"New York School\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" of graphic design (the 1940s through the 1960s) was eclectic, emotional, witty and personal. Expressive type, illustration, strong photography and big ideas.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Magazines as laboratories\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h3\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Much of this started in magazines, where art directors, photographers, illustrators and typographers worked as equals.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Alexey Brodovitch\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\", art director of \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Harper's Bazaar\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" from 1934 to 1958, treated fashion photography and layout as one composition, using white space and cropping with cinematic drama.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":1},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Cipe Pineles\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" is often cited as the first woman to become art director of a major American mass-market magazine (\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Glamour\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\", 1942) and was the first woman admitted to the New York Art Directors Club. She later led \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Seventeen\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\", commissioning fine artists to illustrate a magazine for teenage girls.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":2},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"George Lois\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" made \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Esquire\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" covers in the 1960s that worked like political cartoons, one image and one idea.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":3},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Herb Lubalin\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" made type itself expressive, with tightly fitted, playful letterforms, and designed the magazine \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Avant Garde\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" (1968) and its famous logotype.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":4}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"list\",\"version\":1,\"textFormat\":1,\"listType\":\"bullet\",\"start\":1,\"tag\":\"ul\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Paul Rand: the designer as thinker\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h3\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Paul Rand combined modernist geometry with wit and storytelling. His identities for IBM (1956, with the striped version in 1972), UPS (1961) and ABC (1962) are simple without being empty. More than any single logo, his contribution was the idea that a designer is a thinker, not just a skilled hand, and that clients should buy the idea, not the drawing.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Saul Bass: design in motion\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h3\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Saul Bass brought graphic design to the movies. His title sequences and posters for directors like Otto Preminger and Alfred Hitchcock (\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"The Man with the Golden Arm\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\", 1955; \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Vertigo\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\", 1958; \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Anatomy of a Murder\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\", 1959) compress an entire film into a few cut-paper shapes and some rough, active type. Maximum story, minimum time.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Milton Glaser: color and humanism\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h3\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Milton Glaser co-founded Push Pin Studios in 1954 with Seymour Chwast and others. Push Pin mined Victorian, Art Nouveau and comic-book sources that modernists had dismissed, and mixed them with hand lettering and bright color. Glaser later co-founded \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"New York\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" magazine (1968) and drew the most copied logo in history, I ❤ NY (1977), on a scrap of paper in a taxi, as the story goes.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Pop Art in the background\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h3\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"The New York School ran alongside Pop Art. Warhol, Lichtenstein and James Rosenquist took advertising and comics seriously as material, and that attitude fed straight back into posters, packaging and editorial design: repetition as a strategy, comic-book type, commercial culture as a legitimate subject.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"What each got right\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h2\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Put the two side by side and neither one wins:\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Goal\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\": Swiss Style: Clarity and objectivity; New York School: Ideas and emotional connection\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":1},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Tools\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\": Swiss Style: Grid, sans-serif, photography; New York School: Illustration, expressive type, wit\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":2},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Designer's role\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\": Swiss Style: Invisible engineer; New York School: Author with a point of view\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":3},{\"children\":[{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Risk\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\": Swiss Style: Cold, falsely \\\"universal\\\"; New York School: Style over substance, ego\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"textFormat\":1,\"value\":4}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"list\",\"version\":1,\"textFormat\":1,\"listType\":\"bullet\",\"start\":1,\"tag\":\"ul\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"The Swiss gave us systems: grids, consistency, typography that works at scale. New York gave us concepts: the idea that a single image can hold a whole argument, and that a designer is allowed to be smart and funny in public. By the 1980s, the New York attitude had also become one of the foundations for postmodern design.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Most good work today uses both. A Swiss skeleton with a New York idea on top is a pretty good description of many of the identities you admire.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Try this\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h2\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Take one poster you made, or one you like, and redesign it twice. Version one: strictly Swiss. Grid, one sans-serif, one photo, no decoration. Version two: strictly New York. One big idea, expressive lettering, as much personality as it can hold. Put them next to each other and decide which one actually serves the message. Then ask whether a third version could borrow the best of each.\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1,\"textFormat\":0,\"textStyle\":\"\"},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Further reading\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"heading\",\"version\":1,\"tag\":\"h2\"},{\"children\":[{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Josef Müller-Brockmann, \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Grid Systems in Graphic Design\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" (1981)\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"value\":1},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Emil Ruder, \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Typographie: A Manual of Design\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" (1967)\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"value\":2},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Paul Rand, \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Design, Form, and Chaos\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" (1993)\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"value\":3},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Milton Glaser, \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Art Is Work\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" (2000)\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"value\":4},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"R. Roger Remington, \",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"American Modernism: Graphic Design, 1920 to 1960\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" (2003)\",\"type\":\"text\",\"version\":1}],\"direction\":null,\"format\":\"\",\"indent\":0,\"type\":\"listitem\",\"version\":1,\"value\":5},{\"children\":[{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Helvetica\",\"type\":\"text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\" (2007), documentary directed by Gary 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