Joseph Müller-Brockmann was a Swiss graphic design who studied architecture, design and history of art at the University of Zurich. He began his career as an apprentice designer and advertising consultant to Walter Diggelman before establishing his own studio which specialises in graphic design, exhibition graphics and photography. He became the founder of New Graphic Design and was the author of the 1961 publications The Graphic Artist and his Design Problems and perfected the Grid System.
protégez l'enfant! , 1953
Translated to “protect the child!”, Muller-Brockmann created a poster campaigning the awareness of scrambling children. The over exaggerated vehicle wheel allows a balance to the poster and contrasts against the child in the corner. By making a yellow block this creates depth to these two images bringing them forward and highlighting the child.
beethoven, 1995
During the post WW2 period, Muller-Brockmann was producing work for cultural institutions and public information campagins. These included concert and ballet posters such as beethoven, where the concentric cirlces seem to interpret a visualisation of the composer's music. His use of negative and positive spacing is very interesting and geometricallywell structured which creates a backa nd foreground that seem to entwine together.
der Film, 1960
A clear and well laid typographic poster that creates a strong, neutral and bold narrative with the use of Helvetica type and soft silver blue colour. The use of overlaying the typography creates a sense of movement of the words bringing the “der” in front of the “film” with the use of the colour. The words placed ¼ up the page creates a weight to the page and successfully allowing it to be the main focal point. The
red small print balances and constructs the poster vertically.
A poster promoting a musical concert, Muller-Brockmann has used carefully the positioning of each sentence, allowing the reader to bounce off the page left to right. The colour is coordinated with this movement using a set of primary and neutral colour and using his favourite typeface Helvetica.
New York Exhibition Poster, 1980
A distinctive arrangement of typography which gives a clear identification of order and construction. The almost invisible grid system gives the viewer an exposure of how Muller-Brockmann constructs his work and why the grid system is so important to graphic designers. The spacing between each sentence creates a coiled effect, wrapping the viewer into the poster and having a sense of fun with the order of how it is read.
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