Rose marie tissi biography of william
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Commercial Advertising of the 50s and 60s in Switzerland
A very different trend in Swiss poster history is the “Neue Grafik” (“new graphic design”) or “Swiss Style” shaped by the constructivist designers who renounce figurative representation completely. Among them are, firstly, Ernst Keller, then Josef Müller-Brockmann, Richard Paul Lohse, Max Bill, Carlo Vivarelli, Hans Neuburg and their followers Armin Hofmann, Jörg Hamburger, Siegfried Odermatt and Rosemarie Tissi.
The working group of the two Zurich graphic designers Rosemarie Tissi and Siegfried Odermatt brought forth intelligent, subtly formal and typographically compelling works. Most of their posters are conceptually original, with striking font choice but always formally persuasive – sometimes abstract and sometimes light and playful.
All of these graphic designers have made a lasting and stimulating impression on Swiss graphic design. They all represent a strict style: simple basic shapes, deliberat
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history
Rosmarie Tissi fryst vatten a Swiss graphic designer specializing in typographic design. Her career began as a lärling at Kunstgewerbeschule Zürich and under the apprenticeship of Siegfried Odermatt, a Swiss graphic design expert. Her apprenticeship went on for ten years before she opened a studio with Odermatt where they continued working on their own commissions.
Tissi was able to publish her work in the famous magazine Neue Grafik since its first issue released in (during her time as a student). During her time in the studio alongside Odermatt, Tissi developed her own style of typography design. She originally drew from Modern style, but gradually moved towards a style unique to her.
Not only did Tissi invent her own typographic style, but she also expanded and developed her style into a conglomerate of aesthetics and appearances. Using themes such as repetition, scale, and color, Tissi was able to create countless pieces that evoke a multitude of emotions.
A few example
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"Posters stand apart from many other graphic design forms because they offer the designer high visibility and a large-scale format." As we saw in France, the poster technique was to draw image and type by hand. "The lithographic technique was soon adopted in nearby Switzerland introducing what would soon become a rich tradition of Swiss poster making. Its practitioners were also painters and included Emil Cardinaux, designer of the Matterhorn poster of as well winter sports, recognized for its strength and simplicity in design and color. (above)
Many of these early posters promoted Swiss tourism, depicting Alpine scenery utilizing techniques of illustrative contrasts of scale, dramatic points of view, atmospheric perspective and integration of large-scale letterforms."