Bruno Monguzzi (born 1941) is a Swiss graphic designer.
Monguzzi was born in Mendrisio, Switzerland in 1941. He later moved to Geneva with his family and attended the Graphic Design Course at the Ecole des Arts Decoratifs.
In 1960 he travelled to London and attended Gestalt psychology, typography and photography courses at Saint Martin's School of Art and the London College of Printing (now the London College of Communication).
After working with Dennis Bailey in London moved to Milan in 1961 to join the Studio Boggeri – at the time the leading design and advertising agency in Italy. In 1965 he was called to join the Charles Gagnon and James Volkus office in Montreal, to design nine pavilions for Expo 67.
From the early-seventies he worked independently from his atelier in Meride, a secluded village in the South of Switzerland.
http://en.wikipedia.org/wiki/Bruno_Monguzzi
Armin Hofmann (HonRDI) (born June 29, 1920)[1] is a Swiss graphic designer. He began his career in 1947 as a teacher at the Allgemeine Gewerbeschule Basel School of Art and Crafts at the age of twenty-six. Hofmann followed Emil Ruder as head of the graphic design department at the Schule für Gestaltung Basel (Basel School of Design) and was instrumental in developing the graphic design style known as the Swiss Style. His teaching methods were unorthodox and broad based, setting new standards that became widely known in design education institutions throughout the world. His independent insights as an educator, married with his rich and innovative powers of visual expression, created a body of work enormously varied - books, exhibitions, stage sets, logotypes, symbols, typography, posters, sign systems, and environmental graphics. His work is recognized for its reliance on the fundamental elements of graphic form - point, line, and shape - while subtly conveying simplicity, complexity, representation, and abstraction.[2] Originating in Russia, Germany and The Netherlands in the 1920s, stimulated by the artistic avant-garde and alongside the International Style in architecture.[2] He is well known for his posters, which emphasized economical use of colour and fonts, in reaction to what Hofmann regarded as the "trivialization of colour."[3] His posters have been widely exhibited as works of art in major galleries, such as the New York Museum of Modern Art.
http://en.wikipedia.org/wiki/Armin_Hofmann
Josef Müller-Brockmann, (May 9, 1914, in Rapperswil – August 30, 1996), was a Swiss graphic designer and teacher. He studied architecture, design andhistory of art at both the University and Kunstgewerbeschule in Zurich. In 1936 he opened his Zurich studio specialising in graphic design, exhibition design andphotography. From 1951 he produced concert posters for the Tonhalle in Zurich. In 1958 he became a founding editor of New Graphic Design along with R.P. Lohse, C. Vivarelli, and H. Neuburg. In 1966 he was appointed European design consultant to IBM. Müller-Brockman was author of the 1961 publications The Graphic Artist and his Design Problems, Grid Systems in Graphic Design where he advocates use of the grid for page structure, and the 1971 publications History of the Poster and A History of Visual Communication.
He is recognised for his simple designs and his clean use of typography, notably Akzidenz-Grotesk, shapes and colours which inspires many graphic designers in the 21st century.
http://en.wikipedia.org/wiki/Josef_M%C3%BCller-Brockmann
Wolfgang Weingart (born 1941 in the Salem Valley in southern Germany) is an internationally known graphic designer andtypographer. His work is categorized as Swiss typography and he is credited as "the father" of New Wave or Swiss Punk typography.
Weingart met Emil Ruder and Armin Hofmann in Basel in 1963 and moved there the following year, enrolling as an independent student at the Schule für Gestaltung Basel (Basel School of Design). In 1968, he was invited to teach typography at the institution’s newly established Weiterbildungsklasse für Grafik, an international Advanced Program for Graphic Design, where he remained a highly influential instructor until 2005. Between 1974 and 1996, at Hofmann’s invitation, Weingart taught at the Yale Summer Program in Graphic Design in Brissago, Switzerland. For over forty years he has lectured and taught extensively in Europe, North and South America, Asia, Australia and New Zealand.
According to Weingart, "I took 'Swiss Typography' as my starting point, but then I blew it apart, never forcing any style upon my students. I never intended to create a 'style'. It just happened that the students picked up—and misinterpreted—a so-called 'Weingart style' and spread it around."[1]
The Museum of Design in Zurich is presenting a retrospective of Weingart’s work from May 7 to September 28, 2014.Weingart: Typography is the first exhibition in Switzerland which features his personal work as well as results from his teaching.
http://en.wikipedia.org/wiki/Wolfgang_Weingart
Neville Brody (born 23 April 1957 in London) is an English graphic designer,typographer and art director.[1]
Neville Brody is an alumnus of the London College of Printing and Hornsey College of Art, and is known for his work on The Face magazine (1981–1986) and Arena magazine (1987–1990), as well as for designing record covers for artists such as Cabaret Voltaire and Depeche Mode. He created the company Research Studios in 1994 and is a founding member of Fontworks. He is the new Head of the Communication Art & Design department at the Royal College of Art.
http://en.wikipedia.org/wiki/Neville_Brody
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