1: Swiss Style

Beethoven

A clean, black and white composition putting warped rectangular shapes to use. It is clear that the golden ratio has been used (the focus of the picture is approximately the bottom left where the text is) and this way it is easy to visually navigate around the round arrangement and into the text. In terms of text, the typeface seems to match the geometric style - it has an even x-height and the consistent lower-case letters adds a sense of elegance to it. The spacing between the smaller text also has structure - with the topic/name on the left, the details on the right, and the negative space in between in alignment to one of the edges above.

the smiths

At first glance, this photo is geometric and easy to read. The rotation of the shape and the different colours on the square make the composition interesting - it gives energy and direction yet still tells the viewer that the text should be read from left to right. For example, if the square were to be 'right-side' up, viewers would read it the same way, therefore the leaning of the square adds interest. The typography is also distinguishable and simple - making it easy to understand.

protegez l'enfant!

Also known as Protect The Child!, this has such a dynamic movement. This action effect was created by the feint lines of direction directed towards the child, and this was effective despite the poster being immobile. The size is also well used, where the motorcycle appears to be bigger (more superior, powerful) to the child in the distance. This suggests the motorcycle is going towards the child. The colours used are very effective as the small amounts of red and yellow portray danger, where the the same-coloured bike and child come out as a focus.

vision

It is evident that the grid system has been used here - the text is aligned to edge of the second third of the grid, and the negative space between the first two rows of squares are aligned with the first third. Furthermore, the entire design seems to be leaning against the left side - where some of the squares bleed off the left side - this creates personality rather than uniformity. The colours are red and blue - which are complementary colours (a pleasing palette). The use of overlapping under-100% opacity elements seem to be a regularly used feature in many other Swiss designs.

Akzidenz-Grotesk

Akzidenz-Grotesk is a typeface that has a consistent x-height (that is equal to its body height) and uses regular geometric forms like straight lines and circles. The effect that this has is that it is very clear and legible, therefore making it easy to read. It seems to be a commonly used typeface in many Swiss Style designs (like Beethoven).