Max Huber, a designer known for his excellent manipulation of presses and inks, layered intense colours and composed chaotic compositions while maintaining harmony through the use of complex grids that structured and unified the elements. At this time, there was also a greater interest in visual complexity. The school introduced Greek rhetorical devices to amplify concept generation and produce greater conceptual work, while the study of semiotics (creating and understanding symbols and the study of sending and receiving visual messages) allowed its design students to understand the parameters of communication in a more scientific and studied way. He was instrumental in forming Germany’s Ulm School of Design, famous for its ITS approach. Max Bill, another pioneer, brought a purist approach to design that he had been developing since the 1930s. Content-driven design is now a standard practice. For Keller, the solution to a design problem rested in its content. His contribution to design was in defining the problem. Ernst Keller, whose work in design spanned over four decades, brought an approach to problem solving that was unique. But its pioneers pursued ideologies that had much more depth and subtlety. ![]() ITS was built on the shoulders of the ‘less is more’ ideal of the German Werkbund and the Bauhaus school. ![]() ITS became known for design that emphasized objective clarity through the use of compositional grids and sans serif typography as the primary design material (or element). International Typographic Style (ITS), also known as the Swiss Style, emerged in Switzerland and Germany in the 1950s.
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