Karl Gerstner’s work is a milestone in the history of design. Designing Programmes is one of his most important works: in four essays, the author provides a basic. Designing Programmes has 29 ratings and 0 reviews. Karl Gerstnera (TM)s work is a milestone in the history of design. One of his most important works is. Karl Gerstner and Design Programmes. Karl Gerstner was born in Basel, Switzerland in His life was divided between being a painter and a graphic .
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New enlarged edition by D. Stephenson [originally published by Arthur Niggli, ]. White cloth stamped in black. Black and white and color illustrations throughout. Top textblock edges dustly and spotted.
Dust jacket lightly worn with a darkened spine. A couple of coin sized liquid spots to front jacket panel, with a Gerstner inked notation: How cool is that? Small short closed tear on front bottom edge.
A nearly fine copy in a very good dust jacket. The design of the book is traditional Swiss Modern — immaculately typeset and laid out on a consistent 2-column grid, a single type family [Akzidenz-grotesk] set with a minimum of scale and weight changes. Gerstner’s most important work includes: A detailed analysis of Gerstner’s design methodolgies including: Programme as typeface, Programme as typography, Programme as picture and Programme as method.
In these essays, the author provides a basic introduction to his design methodology. Instead of set recipes, the method suggests a model for design in the early days of the computer era. The intellectual models it proposes, however, continue to be useful today.
What it does not purvey is cut-and-dried, true-or-false solutions or gfrstner of any kind – instead, it develops fundamental principles in an innovative and future-oriented way. The book is especially topical and exciting in the context of current developments in computational design, which seem to hold out the possibility of programmed design.
With many examples from the worlds of graphic and product design, music, architecture, and art, it inspires the reader to seize on the material, develop it further, and integrate it into his or her own work. The more exact and complete these criteria are, the more create the work becomes. The creative process is to be reduced to an act of selection. There his supervisor was Max Schmid, who went on to head design at the pharmaceutical giant, Geigy, where the new Swiss graphic design developed as a house style.
Chance and enterprise gave Gerstner the finest teachers and the most inspiring and fruitful connections. He wasted none of them.
He visited Cassandre in Paris and came to know Tschichold in Basel. As the youngest member of the Swiss Werkbund design association, he met Max Bill and Alfred Roth, the veteran architect who edited the monthly Werk.
Pressed by Gerstner to report more on Swiss graphic design, Roth gave the year-old a whole issue of the magazine to edit and design. That November issue was a turning point. Swiss graphic design was presented, for the first time, as a logical development of Modernism. His design of Werk was radical, too. Gerstner used a complex grid to accommodate the varying proportions of the work reproduced and he ranged the text left, unjustified, — a novelty attacked by some of the pioneers.
The founding fathers of graphic design admired by Gerstner were all painters, more artists than designers. And he, too, has had a continuous career as an artist. His first book, published inwas a survey of the school of concrete-constructive abstract painting to which he belongs. The small, square Kalte Kunst? As an element of their typographic grids as well as their paintings, both Bill and Lohse used the square.
It is an exercise in styles: The chief outcome was Geigy Today, the first comprehensive demonstration of the new graphic design.
The square format book used all the techniques of information design that have become standard practice — charts, annotated photographs, diagrams organigrams, Gerstner calls them.
He set the type all Akzidenz in unjustified columns, the method he introduced at Geigy in In Gerstner and Kutter had put together pamphlets on planning, as radical in their typography — long lines of Monotype grotesque bold — as in their ideas. Inthey established their own design office and published another square book, The New Graphic Art, a survey that expanded the account Gerstner had given in Werk.
With a new partner, Paul Gredinger, an architect whose chief interest was in electronic music, the firm became GGK in While Gerstner inherited the Modernist European tradition, he also grasped the conceptual ideas of the American New Advertising, where the message is inseparable from the form. Square, chunky and elegant, Compendium is an inventory of the permutations of type images available to designers.
The possible styles and graphic treatments are exhaustively analysed. I offer shipping discounts for multiple purchases. Please contact me for details. Skip to main content. Email to friends Share on Facebook – opens in a new window or tab Share on Twitter – opens in a new window or tab Share on Pinterest – opens in a new window or tab.
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Designing Programmes | Lars Müller Publishers
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