Wednesday, March 6, 2013

Josef Müller-Brockmann and the the golden mean


In his 1960 exhibition poster entitled “Der Film,” Josef Müller-Brockmann designed to a grid based on the mathematical proportions of the golden mean. Explain the golden mean and how it is applied in this work. Include in your post an explanation of how the structure and typographic design effectively communicate meaning. Discuss and provide links to additional Müller-Brockmann examples and also locate contemporary design examples inspired by his work and the golden mean. 

P.S. creativebloq.com does a sweet job explaining and offering visual examples of the Golden Ratio. Check it here >





Additional Müller-Brockmann examples for inspiration: 





Contemporary examples inspired by Müller-Brockmann and the golden mean:
Müller-Brockmann's quote and cited contemporary examples can be found at: nomadcreatives.com/wp-content/uploads/2012/05/Muller-Brockman.pdf



79 comments:

  1. The golden mean is a mathematical ratio that’s commonly found in nature. Designers apply it to design as an underlying structure to create well-balanced compositions. The mean uses Fibonacci numbers, which uses a 1:1:61 ratio. It’s also known as the two-thirds rule, with a big section meant for the main, important content and a smaller section for not-as-important details (1).

    I’m a bit confused about how golden means are applied, but In Muller-Brockmann’s deFilm poster, I think it’s used so that the bottom portion is the bigger two-thirds part, and the top one is the smaller-one third. This seems the most probable to me, since the title carries the most weight. Your eyes go to that first, then spiral down to the small text underneath it, and then it goes up to the small copy on the top of the poster. In this way, the golden mean guides the users eye from the most important (the headline), to the least important.

    Muller-Brockmann’s Swissair poster uses multiple golden means overlapping each other; all three of them cover almost the whole composition (2). A modern example of designers using the golden mean is Twitter’s profile page layout (3). The smaller section is used for the sidebar, with the bigger section used for the main content. Many websites have adapted the golden mean in this way, with a content and sidebar blocked out.

    Sources
    (1) http://www.creativebloq.com/design/designers-guide-golden-ratio-12121546
    (2) http://www.burningsettlerscabin.com/wp-content/uploads/2010/06/Matter.jpg
    (3) http://media02.hongkiat.com/golden-ratio-in-moden-designs/hkdc-twitter-gr-500.jpg

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    1. It's confusing to me too regarding how golden means are applied, but now that you mention how much websites rely on them I can see that it is still in use and still relevant.

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    2. I find it really interesting how now all these popular sites gained so much attention, and perhaps the whole grid of the golden means had an ounce to do with it. Pretty smart on the creators part of on choosing this type of layout.

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    3. I like the way to compared Twitter profiles to the golden mean it helped me to see it more clearly.

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    4. Wow, now that you mention it, the golden mean really does apply to Twitter! I also looked at Facebook, and it could kind of be said for that too. There's the small sidebar on the left and then the larger bar with the newsfeed. Even if you take a look at dezignrogue, it uses the golden mean—with the professor's about me and list of different blogs, etc. on the side, and then all the posts. I guess this is a very popular layout for websites.

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    5. Twitter's use of the golden mean is very creative and effective. I would've never expected there to be such a science on a social media site of all places. Ironically, I bet most of the users are completely unaware of the use of the golden ratio in its design.

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  2. Katie, looking at the design I do see the two-thirds break down from top to bottom, but this also seems to be the case when viewing the design from left to right. Notice the size of the word "film" and the size of the left portion of "der" where there is no overlap into "film." Do you see it?!

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    1. Oh! I see it now. I didn't know that the golden mean can be applied like that, with the two sections overlapping each other. Doesn't that make it out of proportion though? It's a creative application of the mean, regardless.

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  3. The golden mean utilized mathematical spatial division to achieve an aesthetically pleasing proportion. The ancient Greeks considered the (roughly) 1.618 ratio the most beautifully proportioned rectangle (1). Many architectural structures have been modeled after the golden mean, such as the Parthenon, as well as many paintings, such as DaVinci’s Mona Lisa (2).

    In Muller-Brockmann’s “Der Film” poster, “the space is divided into 15 rectangular modules, with 3 modules across the top dimension and 5 down the vertical dimension. The top 9 modules approximate a square, the title fills 3 units, and 3 are below the title. ‘Film’ occupies two units, and the secondary typographic information aligns with the front edge of the ‘F’ in ‘Film’ (1).” Basically, the poster can be gridded with the golden rectangle and it would generally fall within the broken-down proportions inside of the larger rectangle. Muller-Brockmann uses visual hierarchy through typography in order to communicate. “Der Film” stands out boldly against the contrasting dark background, making it the first thing the viewer sees before their eyes move to the red text, a strategic move with color. The overlapping words are a nod to “cinematic techniques of overlapping images (3).”

    In these Vegh-Quartett and Zurich Concert posters, Muller-Brockmann also uses rectangular/square grids, which can be seen in the lower left hand corner (4). In contemporary design, the golden ratio can be seen in the Apple logo (5); although it is rotated a bit, you can still clearly see the proportions fitting in.

    1) Megg’s History of Graphic Design, p383
    2) http://www.geom.uiuc.edu/~demo5337/s97b/art.htm
    3) http://ilovetypography.com/2013/01/12/a-firm-turn-toward-the-objective-josef-muller-brockmann-1948-1981/
    4) http://cdn.ilovetypography.com/img/2013/01/jmb_book_solo_300.jpg
    5) http://somekillerstories.com/wp-content/uploads/2012/03/Apple-Logo-The-Golden-Ratio.png?9d7bd4

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    1. I wonder if these designs look aesthetically pleasing because they used the golden mean, or just because they're well done, good designs. I feel like if even if the poster didn't use the golden mean but kept a similar layout, color scheme, and hierarchy, it would still be successful and pleasing. I feel the same way with the apple logo (I do think that constructing it out of circles makes it feel cleaner though).

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    2. Like Katie said, I'm not sure if could exactly pinpoint where the golden mean is in the Vegh-Quartett and Zurich Concert posters, but there is definitely some mathematically, interesting grids that are definitely working for this successful piece. It makes sense how continuously successful companies have bee utilizing the golden means layout in their logos, clearly their success lies not only with their marketing but something as merely as a logo.

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    3. Although I agree with the statements above to a certain extent, I still feel that what makes the designs so great is the strategic placement of each object. Whether or not the golden mean is as obvious or not in the design, it's the placement and geometric shapes that come together and make the poster so visually engaging. If they were not placed in such a way, objects would appear random and out of place.

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  4. Dana, do you see the value in using a grid as an underlying structure in a design composition? Would the Muller-Brockmann designs be as successful without this foundation?

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    1. I think using a grid is very helpful, especially when designing something that needs to retain consistency, such as a catalog or a book layout. It's also useful in posters to make sure the elements are lining up correctly (or the way you want them to). For the style of design that Muller-Brockmann creates, I don't think they would be as successful without a grid - their spatial divisions really count on accuracy and precision to achieve the full effect.

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  5. All extremely valid points cited here Dana. Consistency (between pages or versions within a series) is important for it helps the viewer understand each is a part of a larger whole. The grid also offers a sense of organization helping the eye better understand how the different elements within a composition relate to each other.

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  6. As seen in Josef Muller-Brokmann’s poster “Der Film”, the golden mean is harmoniously used. This grid base is basically a majestically proportioned rectangle that is close to the three-to five ratios that were based of by the ancient Greeks. The golden mean is effectively presented in Brokmann’s poster by utilizing the space into fifteen rectangular modules. Three of these modules across the horizontal and five down the vertical. (1)

    The first nine modules are occupied about the “der Film” type, which creates an almost perfect square. “Film” actually aligns in two units, while “der” aligns with the front edge of the “F” in “Film.” Clearly, the large, bright text projects and contrasts from it’s dark muted background, which forces the viewer to focus on that content. That text itself is pretty engaging and interesting as there’s a playful interlay of them that still makes it effective and readable. (1)

    In this particular Brokmann poster, the golden mean is used in three harmoniously ways as displayed similarly to the “Der Film” poster, this posters also creates dominant contents to focus on while dividing the poster into nearly perfect squares. (2) Even the Pepsi logo includes the golden mean, as it’s simplicity subconsciously creates a much more complex creation. (3)


    (1) Megg’s History of Graphic Design pg. 383
    (2) http://www.burningsettlerscabin.com/wp-content/uploads/2010/06/GoldenSectiondemo1.jpg
    (3) http://www.banskt.com/blog/wp-content/uploads/2011/07/pepsi_logo_golden_ratio.png

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    1. I have to admit that example number 2 is very appealing to me. Something about the lines being structurally organized and having a fair amount of contrast in relation to the image makes me want to spend a few more minutes looking at it. I have to admit i like the type as well, I would have probably placed it more centered connecting a line to it.

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    2. Maria, by number 2 you mean Jessica's second provided link to the Swissair poster, correct? The use of the colored and curved lines provides softer movement to the rigid, structured grid.

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  7. The Golden Ratio or known in the art field as the golden mean purposely describes aesthetically proportions of a piece of artwork. However this is an actual mathematical ratio. One easy way to picture the Golden mean is by identifying the common Geometric forms such as rectangles ,circles, triangles, pyramids, prisms, and polygons. The important matter is whether the artist of architect apply the correct math and also pleasing to the eye.
    the Golden mean has been studied over decades and has been found in the “design and beauty of nature” but it can also be utilized in order to accomplish balance and beauty in the designing of art pieces. “This is only a tool though, and not a rule, for composition”. (1)

    Josef Müller-Brockmann was born in Rapperswil, Switzerland in 1914 and studied architecture, design and history of art. His greatest works have been proportionated balance, harmony in all of the proportions which all could be measured. His ideas allow subjectivity to be “suppressed in favor of a geometric grid that determines the arrangement of the type and images.” The grid is an organizational system that makes it easier to read and convey the message. The golden mean makes it more simple and sophisticated (2)

    Art works by Josef Müller-Brockmann:
    1.http://www.internationalposter.com/downloads/imgs/ex_midcenturymodern/Juni.jpg
    2. http://wordsandeggs.files.wordpress.com/2010/02/josef-muller-brockmann-poster3-312x440.jpg
    3. http://www.johncoulthart.com/feuilleton/wp-content/uploads/2007/04/brockmann.jpg
    all of these displaying scale, white space and the use of the Grid.

    Contemporary works:
    1. http://www.behance.net/gallery/Posters-of-the-world/3065003 by Robert Rusin
    2. http://www.dessign.net/gridstyletheme/neue-poster/ by Slava Kirilenko


    (2) http://eyemagazine.com/feature/article/reputations-josef-muller-brockmann

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    1. I like example two because the grid was able to make this picture look appealing and "catchy" to the eye. The man on the bike in the foreground and the car in the background are turned on an angle to make it seem like they were about to ride off in union with one another. I'm not really sure how I feel about the words up on the left hand corner, maybe it they were situated differently, it probably would have been a different picture. Overall the picture looks pleasing to the eye.

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    2. Amelia I totally agree with you referring to the placement of the text. It would have probably been better to place them above the hand, however i'm doubtful when it comes to think it interferes with the message we want to send across. Another solution could have been to make it smaller since the type of information seems like a repeated words i dare to say.

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    3. Yes, placing the text either above or below the hand on the right would bring it into the viewer's site line. We're looking at that spot already, no?! Why not let the type take a more active role in communicating the message?

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  8. The golden mean has a three-to-five ratio. A rectangle with this ratio was considered by the ancient Greeks to be the most beautifully proportioned rectangle.(1) In “Der Film,” Josef Müller-Brockmannt he space is divided into fifteen rectangular modules, with three modules across the horizontal dimension and five down the vertical dimension. The top nine modules approximate a square. The title fills three units and the three below. "Film" occupies two units, and the secondary typographic information aligns with the front edge of "F" in Film. The grid was the prioritization and arrangement of typographic and pictorial elements with the meaningful use of color, set into a semblance of order, based on left-to-right, top-to-bottom.(2) the grid system is, “a two-dimensional structure made up of a series of intersecting vertical and horizontal axes used to structure content. (3)The grid serves as an armature on which a designer can organize text and images in a rational, easy to absorb manner.”

    I was a tab bit confused to the use of the golden mean but researching it more helped me some what clarify it a bit. I don’t think I’d be ready to apply it myself but in the future I can see myself applying it.



    1 .Megg’s History of Graphic Design pg 383
    2. http://www.noupe.com/design/josef-muller-brockmann-principal-of-the-swiss-school.html
    3.http://www.deathsvertigo.com/mizzou/gd3/typographic_style/history_1960.html

    Examples
    http://1.bp.blogspot.com/-1gsvtwipjhk/Tg5pqKb8MrI/AAAAAAAACIc/6w3x8Zkoah4/s1600/josef_muller_brockmann_2846.jpg

    http://4.bp.blogspot.com/_RR0ClH8h3kg/SQ2BQNTYdNI/AAAAAAAABPs/QnTGcPuixUE/s400/josef_muller_brockmann_10.jpg

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    1. Arthur, the three-to-five ratio can initially feel complicated to implement but using it (or other underling grids) as a starting point to your design can help bring structure and order to the placed elements. I am pleased to hear you are open to trying it out. I'd love to see the end result when you do. The broken up type in your cited example takes a rather flat, neutral font and gives it some attitude!
      ( http://1.bp.blogspot.com/-1gsvtwipjhk/Tg5pqKb8MrI/AAAAAAAACIc/6w3x8Zkoah4/s1600/josef_muller_brockmann_2846.jpg )

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    2. I think there is software to help designers apply the golden mean to images without having to do the math, so that might be helpful in creating compositions with the golden ratio.

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    3. Glad I wasn't the only one confused when I first read about it. It was really a eye opener to see that the golden mean is all around us. From iPhones, cereal boxes to music, it's pretty interesting.

      -Jasmine Berry

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  9. Josef Müller Brockmann condensed design elements to focus on a core message with a clean and clear visual aesthetic.

    The Golden mean or Golden ratio is a common mathematical ratio found in nature that can be used to create pleasing, natural looking compositions in design work.
    Fibonacci numbers, like many elements found in nature, follow a 1:1.61 ratio. and as it forms such a common sight in nature, it feels pleasing to the eye when we use this same ratio in our design work.
    In more contemporary times, the Golden Ratio can be observed in music, art, and design all around you.
    Use of the Golden Ratio is well documented in art and design throughout history, and can be seen in everything from architecture to the grand masters(http://www.creativebloq.com/design/designers-guide-golden-ratio-12121546).

    http://www.flickr.com/photos/blankaposters/sets/72157605199393277/

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    1. Jason, excellent Josef Müller Brockmann examples cited here!

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    2. I agree with what you said about Brockmann condensing work to focus on the core message. But O also believe that he condensed for aesthetic purposes. Overlapping text doesn't make it easier to read but it can, if done right, be really visually appealing. I think a good example of this is the film poster above. He also uses the golden mean so it is almost like killing 2 birds with one stone, it works.

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  10. Muller Brockmann's poster, "Der Film", demonstrates the universal design harmony achieved by mathematical spatial division. The proportions are close to the three-to-five ratio of the golden mean, considered the most beautifully proportioned rectangle by Ancient Greeks.(1) You’ll usually find the golden ratio depicted as a single large rectangle formed by a square and another rectangle. What’s unique about this is that you can repeat the sequence infinitely and perfectly within each section.(2) The space is divided into fifteen rectangular modules, with three modules across the horizontal dimension and five down the vertical dimension. The top nine modules approximate a square, the title fills three units, and three are below the title. The word Film occupies two units, and the secondary typographic information aligns with the front edge of F in FIlm.
    The title projects clearly at great distances against the field of black, and the overlapping of Film in front of der is a typographic equivalent to the cinematic techniques of overlapping images and dissolving from one image to another. The graphic power of this poster's elemental simplicity successfully combines effective communication, expression of the content, and visual harmony.(1)

    Examples:
    http://www.nomadcreatives.com/wp-content/uploads/2012/05/Muller-Brockman.pdf
    On the website above it shows many works of Brockmann's theatrical posters, using the grid system, as well as contemporary influences and examples of the grid system.

    http://www.behance.net/gallery/Bruce-Mau-Poster/5308647

    http://cargocollective.com/bethanygreene/40-Tips-and-Tricks-for-Getting-inspired

    (1) Meggs History of Graphic Design Pages 381-383
    (2) http://emptyeasel.com/2009/01/20/a-guide-to-the-golden-ratio-aka-golden-section-or-golden-mean-for-artists/

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    1. I absolutely love the third example you gave. It incorporates all aspects of the golden ratio, from the way it's set up in neat literal grids, down to it's basic typography. Even the color blue is appealing to me, which is funny because in my opinion, the color blue tends to draw me away from designs. I think that the typography in the title was well made in that the two l's in "ellen" create this movement where your eye is forced to move down the design.

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    2. Amelia, the union of the two I's and also the n in ellen and t in lupton work to give this type some visual punch. I'm particularly drawn to the way the "go, make, do, think, ask" text falls right in line with those two I's too.

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    3. The second example that you gave, the one from behance, I guess that's sort of an odd example of how the golden mean is used. The grid is definitely apparent, like Muller-Brockmann believed in, but the columns of text are so close in width, there isn't much contrast. I guess the numbers would qualify as the "3" and the other two text columns would be the "5" in the ratio?

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    4. I liked your third example for the Ellen lupton design. The parallel lines used to portay the l's in her name was a really good example of the golden mean being applied to design.

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  11. The Golden Ratio is a term also known as the Golden Section and Golden Mean. used to describe aesthetically pleasing proportioning within a piece. It is a three-to-five ratio. A rectangle with this ratio was considered by the ancient Greeks to be the most beautifully proportioned rectangle. It was used to create a natural feeling to work. It is a somewhat confusing term to understand and even harder to apply. It is easiest to understand it by by identifying the common geometric forms such as rectangles ,circles, triangles, pyramids, prisms etc.

    Meggs History of Graphic Design Pages 381-383
    http://arthistory.about.com/cs/glossaries/g/g_golden_ratio.htm

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    1. John, please remember to also discuss and provide links to additional Müller-Brockmann examples and locate contemporary design examples inspired by his work and the golden mean.

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    2. Here are examples of the various ways to use the grid system:
      http://www.thinkingwithtype.com/contents/grid/

      Examples of his work:
      http://www.designishistory.com/1940/joseph-mueller-brockmann/

      http://flyergoodness.blogspot.com/2009/11/josef-muller-brockmann-part-ii.html

      http://wordsandeggs.wordpress.com/2010/02/02/josef-muller-brockmann-pioneer-of-swiss-graphic-design/

      Contemporary work:
      http://www.spiralzoom.com/culture/contemporaryart/contemporaryart.html

      In the second link under Examples there are 5 different pieces designed by Müller-Brockmann. Each piece has its own personality although they were designed with the same process. Each pieces uses color differently to either provide a sense of movement or space. Shapes are used to create a sense of depth and in order to form letters. Even the more basic designs still rely on shapes and color in order to provide the eye with movement. Each piece is extremely structured yet not one of them is boring. These are perfect examples of how using the grid can be helpful without truly limiting ones design (like most people believe).

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  12. The golden mean is the three-five dimensional rectangle, considered to be near perfect to the ancient Greeks. “The space is divided into fifteen rectangular modules, with three modules across the horizontal dimension and five down the vertical dimension. The top nine modules approximate a square, the title fills three units, and three are below the title (1).” Der Film fits into the criteria, Film taking up 2 units itself. This design was created so that it could meet the communication needs of the time. You are able to read the poster title from a great distance, even the overlapping text. The overlapping text is similar to an overlapping technique used with photographs. The poster is simple, black, white and red, yet it is a beautiful design and it is also very symmetrical. This style of design, using the golden mean, is very effective. It is easy to read and the information is clearly laid out in a grid form. The design is simple and beautiful at the same time. My favorite poster by Brockmann is his Beethoven poster design. The text is really simple on the bottom of the poster but the circle shapes around it are beautiful. One of the examples I found (2) are poster designs that allow you to insert your own text and complete the golden mean. I think it is a really contemporary idea to do this and it is a neat way to customize something that has been done so many times before.

    (1) Meggs, History of Graphic Design Page 382
    (2) http://www.zazzle.com/golden_ratio_copper_blocks_poster-228076596075428359

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    1. What are your thoughts on using Copperplate for the type in the poster design you discovered? Does Copperplate fall in line with the International Typographic style?

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    2. It's interesting you mentioned the Beethoven poster, considering it reminds me a lot of the golden spiral, and Beethoven was believed to have applied the golden mean to his song "Symphony No. 5"

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  13. The Golden Ratio is a term (with an astounding number of aliases, including Golden Section and Golden Mean) used to describe aesthetically pleasing proportioning within a piece. Rectangles and squares are the most clear example, but the Golden Ratio can be applied to any number of geometric forms including circles, triangles, pyramids, prisms, and polygons. (1) Golden section proportions can be found in both nature and man-made structures. They exist in the proportions of human beings, the growth patterns of plants, animals, and insects, and structures like Stonehenge and the Parthenon. (2)
    It has been used by artists throughout history, and a lot of designers employed it in the twentieth century as well as today.Müller-Brockmann used the golden ratio in a lot of his designs. The poster for Der Film is a perfect example of that, the space is divided into a 3-to-5 ratio, the grid is complicated, but very aesthetically pleasing. Müller-Brockmann achieved visual harmony by using a seemingly asymmetrical layout. Despite the overlapping of letters, the type is very legible because of the difference in color. This image describes the use of the golden ratio in the “Der Film” poster: http://cdn.ilovetypography.com/img/2013/01/jmb_Figure_05_der_Film_300.jpg
    It’s obvious that the captions are also an important part of the layout, and they were places strategically on the grid. It’s interesting how such a simple design can look so pleasing because of its mathematical proportions.
    Müller-Brockmann also used the golden ratio in his other designs. In his advertisement for Swiss air he used the famous “spiral” to create the layout for the whole design, including the name of the company, as well as the photograph. (http://www.burningsettlerscabin.com/wp-content/uploads/2010/06/GoldenSectiondemo1.jpg)
    The golden mean has been used by many designers in posters (http://www.phimatrix.com/images/des-ygm-h.gif), magazine covers and layouts (http://samcox891.files.wordpress.com/2010/10/real-homes1.jpg?w=640) and company logos (http://www.davidairey.com/images/books/design-by-nature-13.jpg). The math behind it is confusing, but it’s clear that using a well-structured grid and thinking about proportions of every element is very important to good design.

    (1) http://arthistory.about.com/cs/glossaries/g/g_golden_ratio.htm
    (2) http://www.vanseodesign.com/web-design/golden-section-proportions/

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    1. How cool is it that the Golden Ratio can be applied to any number of geometric forms (circles, triangles, pyramids, prisms and polygons). Each form allows for more variety in design solutions and these options help break out of the traditional expected square/rectangle underlying grid.

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    2. Yes, the math is incredibly confusing, but any shape can be broken down with grids to create something pleasing to the eye

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    3. It's amazing to believe that there's such a complex mathematical science to the beauty we see in nature. It makes for a convincing argument in divine creation. It's hard to imagine that a haphazard coincidence yielded so much meticulously calculated elements of nature.

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  14. The Golden Mean according to Dictionary.com is “the perfect moderate source or position that avoids extremes; the happy medium.” (1) One of Josef Muller-Brockmann’s posters includes a motorcyclist along with two cars that show a bit of each side. You can see how the front car is coming and the second car behind. But the main object is the motorcyclist in the back because he is in the middle of the poster, he is the main point. Brockmann’s use of white background incorporated with the shades in the objects makes the bigger car part of the poster because if it wasn’t made like that it would feel like the car is not engaged with the poster
    The typographic is “Uberholen . . . ? Im Zweifel nie” which translates to “Overtake . . . ? Never in doubt.” The placement of the message is in the top left hand corner of the poster. I don’t like the placement because even though it is the main point of the poster but I feel like it should be placed somewhere else besides the spot where it is. I think Brockmann should have incorporated the message with the image to make it more interesting.
    The word “overtake” in the message means to “catch up with or pass,” this is referring to the motorcyclist who is trying to move pass the two cars but the cars are blocking him from moving forward. The next part of the message, “Never in doubt” reflects the motorcyclist’s actions to not give up even when obstacles are in the way.
    (1) http://www.flickriver.com/photos/20745656@N00/4491789571/
    (2) http://bravenewworldproject.blogspot.com/2012/05/josef-muller-brockmann-1914-1996.html
    (3) http://www.iainclaridge.co.uk/blog/1353

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    1. I'm right there with your thinking on the type placement! Always push to have the type and image work together to communicate the message. It will be more engaging and help offer a sense of immediacy which can draw the viewer into the message.

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  15. The Golden Ratio is a term used to describe aesthetically pleasing proportioning within a piece. Josef Muller-Brockmann, a leading pioneer of the Swiss Style, sought universal graphic expression through grid-based design. Founder and editor of the Zurich published journal Neue Grafik, Muller-Brockmann exposed the Swiss Style to America, allowing it to evolve into an international method of design. Muller-Brockmann and his colleagues incorporated modular systems within complex publishing projects, exhibits and single-format posters.

    His exhibition highlighted his varied skills, including letterpress, silkscreen, and lithography, as well as his adaptation of concrete art; an abstract geometrical style that incorporates mathematical methods of spatial organization into graphic work to determine a visual equivalent for music. In 1955, Muller-Brockmann combines elements of the grid and the golden section in designing Beethoven, a poster that portrays Beethoven’s music through a series of concentric.

    http://maryelizabethrose.com/Links/Behind%20The%20Grid/Artist1.html curves.


    http://www.aisleone.net/wp-content/uploads/2010/09/jean-widmer-kieler-woche-poster.jpg

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    1. A strong use of negative space is found in the Beethoven poster design. The arched forms somewhat embrace the type.

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    2. I really appreciate the second example that you posted. i feel that Muller-Brockmann is mostly known for his simple, geometric shapes; however, I feel this is a much more complex design although his ise of simple geometric shapes are still evident.

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    3. I really like what is being done in the second link with the use of the colored geometric bands, the way they are positioned creates depth and dimensionally thats something I really appreciate. The bold colors aslo make it a very strong piece.

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    4. The Beethoven poster is my favorite Brockmann design. I think it is a really good example of using the golden mean and abstract shapes together to create a really nice design. It shows that you can have a simple design that follows the same rules everyone else is following at the time but you can make it unique and beautiful.

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    5. I agree with Dan. I also think that the second link that you posted shows the complexity of his work incorporating geometric shapes.

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  16. Josef Muller-Brockmann was concerned with functional and objective design that by restricting design elements in the confine of typographic grid, would shift the focus of image on the core message displayed by a clean and sharp geometrical aesthetic. The grid was used to define the constant dimensions of the design space and elements were inserted precisely into it so that all parts of a page would be integrated coherently according to the aesthetic order. The objective was an effective and efficient visual communication: information presented this way was assumed not only read more quickly and easily, but is also more easily understood and retained in memory. (1)

    In his own words, he describes it as “The grid is an organizational system that makes it easier to read the message...The grid is an organizational system that enables you to achieve an orderly result at a minimum cost. The task is solved more easily, faster and better.” This is apparent in his one work, “Geschichte des Plakates”, where the word “Plakates” is on its side and the information is read in the middle near the bottom. It is legible and clear to read. (1)

    A contemporary design example inspired by his work is of “Buddy Carr Skateboards”, where one example is predominantly white, doesn’t feature many colors or textures, and uses a sans-serif typeface. All examples shown on this website strictly follow the grid system in that the words are perfectly lined diagonally in each section and uses limited amount of colors. (2)

    (1)http://guity-novin.blogspot.com/2011/07/chapter-42-swiss-grade-style-and-dutch.html
    (2)http://buddycarrskateboards.com/

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    1. Amelia, is the contemporary design you are referring to this one: http://buddycarrskateboards.com/Spinto

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    2. I like simplicity but when it comes to the placement of the words I think it should be more than letters in the poster.

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  17. The golden mean is a mathematical ration that purposely describes aesthetically proportions of a piece of artwork. The Golden Mean uses common gemotric forms like rectangles, triangles, and circles as a bases for art work in order to engage and please the eye. The golden ratio has also been used to analyze the proportions of natural objects as well as man-made systems such as financial markets.
    In Muller-Brockmann’s “Der Film” poster the proportions of the Golden Rectangle are evident. The Golden Rectangle has been said to be one of the most visually satisfying of all 
geometric forms. The empty black space makes up the larger rectangle and the poster’s heading makes up the smaller rectangle however still contains most of the weight of the design. The two rectangles pair up well together and act as a dominant/insubordinate design that is visually appealing.
    Evidence of the Golden Mean is also apparent in some of the other designs that you have listed. For example he designs the top left poster by breaking up the image using a triangle. Also, in the bottom left he utilizes the golden spiral to engage the viewer.
    Other examples in which Muller-Brockmann uses the golden mean can be found in the links in which posted below.

    http://machinatorium.files.wordpress.com/2009/08/blog_brockmann-arrows.jpg

    http://elliottdesign.us/core/wp-content/uploads/Josef-Müller-Brockmann-poster3.jpg

    http://www.internationalposter.com/downloads/imgs/ex_midcenturymodern/Musica%20Viva%201958.jpg

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    1. In your cited arrow design, how could would it be if the arrows pointed to the text?!

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  18. Ashley, how successful was Josef Müller Brockmann at applying the golden ratio to his designs? Does using this type of underlying grid in a design/composition make sense to you? What are the benefits of using it?

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  19. The golden mean, also known as Phi, is the universal ratio of 1 to 1.618. Shapes composed of Fibonacci sequence proportions are examples of the golden mean in practice. In theory, the golden mean’s principles are symmetry, proportion and harmony. In the design of Muller-Brockmann’s 1960 “Der Film” poster, the Phi fundamentals are present.
    The proportion of the title words boldly command the viewer’s attention with its contextually contrasting color and size. The overlapping has great potential to cause discordance but the difference in color enables it to blend perfectly. The overlap itself uses the golden mean in regards to its symmetry, how “film” overlaps just enough to leave its final three letters running concurrent to the word “der.” The proportion of the symmetrical red text is small but distinct upon the black background.
    Muller-Brockmann’s use of negative black space directs your eyes directly to the words, effectively communicating its message in a clear, direct manner. The minimalist proves less is more by getting straight to the point of the location, title and date of the exhibition.
    While a compelling piece of art, the Phi elements are perhaps more present in my (1) cited example than Der Film. The harmony among the three gradual hues of red enticing and alluring, conveying a warm emotion through color alone. The symmetry between the two columns is stark, and the two elements together (in addition with the black sans serif font, and selective white font placement) create a blissful harmony.

    (1) http://jamesbrook.files.wordpress.com/2010/12/josefmuellerbrockman2.jpg

    Contemporary designs using golden mean:
    (2) http://desmena.com/wp-content/uploads/2009/11/mario_botta_synagogue_tel_aviv_02.jpg
    (3) http://4.bp.blogspot.com/-tYFJYg6bGTY/TbSDa0NGp4I/AAAAAAAAAAw/xdHtZNsuIKI/s1600/villa+savoye-le+corbusier.jpg

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    1. In your (1) example, the structure is quite evident. Notice how the simple change from black to white in the upper left "Opernhaus Zurich" text focuses your attention. There isn't much else in the design composition commanding such attention allowing it to be the "star" element in the design.

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  20. The Golden mean is an actual ratio used to design a pleasing proportional piece. Its number equivalent is 1. 618, the decimal never repeating. For example, if you draw a rectangle “a line in this plane so that one square and one rectangle resulted, the square's sides would have the ratio of 1:1.” The part that that remains will be proportionate to the original rectangle, meaning it will be 1:1. 618 (1). The golden mean works on multiple shapes, such as, circles, squares, triangles, polygons and prisms too.

    The golden mean is applied to “Der Film” by Josef Müller-Brockmann because the posters applies the three-to-five ratio, divide into 15 units (3 across and 5 down) with the “secondary topographic information aligning with the front edge of the F in film” (2). The simplicity of the black background helps the title project clearly, with der and film overlap blending well.

    Here are a few more examples of Müller-Brockmann’s work http://leevidalenergybrief.wordpress.com/2013/01/02/josef-muller-brockmann-road-safety-posters/josef-muller-brockmann-poster3-312x440/ and http://leevidalenergybrief.wordpress.com/2013/01/02/josef-muller-brockmann-road-safety-posters/josef-mc3bcller/. An example of a contemporary design poster is http://jamesbrook.files.wordpress.com/2011/01/wordsarenotsignsgoldensection.png.

    (1) http://arthistory.about.com/cs/glossaries/g/g_golden_ratio.htm
    (2) http://ilovetypography.com/2013/01/12/a-firm-turn-toward-the-objective-josef-muller-brockmann-1948-1981/

    -Jasmine Berry

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    1. Jasmine, you mention the field of black in the background of the Der Film poster. I agree with your sentiment. The black allows the letterforms to stand out and command attention. I don't know if this would be as successful without the black.

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    2. (http://leevidalenergybrief.wordpress.com/2013/01/02/josef-muller-brockmann-road-safety-posters/josef-muller-brockmann-poster3-312x440/)

      I this example you site on of my favorite techniques used to make the object in the foreground appear " larger than life'. The symmetry was well placed, integrating the concept of the golden mean, and most of all It looked cool.

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  21. Josef Muller-Brockmann sought an absolute and universal form of graphic expression. His photographic posters treat the image as an objective symbol, with neutral photographs gaining impact through scale and camera angle. In his exhibition poster Der Film, he uses mathematical spacial division, and the proportions are close to the three to fine ratio of the golden mean, considered the most beautifully proportioned rectangular modules, with three modules across the horizontal dimension and five down the vertical dimension. The top nine modules approximate a square, the title fills three units, and three are below the title. Muller-Brockmann (as well as other artists) believed that in a work of art or architecture, if one maintained a ratio of small elements to larger elements that was the same as the ratio of larger elements to the whole, the end result was extraordinarily pleasing to the eye. Here is a link to a great site with a wide variety of works by Josef Muller-Brockmann: http://www.noupe.com/design/josef-muller-brockmann-principal-of-the-swiss-school.html. I've listed a few links to examples in which the use of the golden mean is evident.

    http://4.bp.blogspot.com/_ef-5iDMJssw/TCzYAYn0UVI/AAAAAAAAAhg/hc3EhBhPN94/s1600/spring_dance_informal.jpg
    http://grainedit.com/wp-content/uploads/2008/10/jean-widmer-posters-1-thumb.jpg
    http://annaereed.files.wordpress.com/2011/01/otto-treumann-poster1.jpg
    http://annaereed.files.wordpress.com/2011/01/otto-treumann-poster1.jpg

    Megg's History of Graphic Design
    http://arthistory.about.com/cs/glossaries/g/g_golden_ratio.htm

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    1. Brilliant examples cited here Sam!

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    2. All of your examples are great and really show Brockmann's universal form. The golden mean is definitely put into good use. It's a great way to guide the viewers eye and exclude the important information from secondary information. Good use of negative space and hierarchy of the text really helps us as viewers.

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    3. I really like your last example, the different colors provide a sense of movement and the colors work well together and do not over power each other. I also like that the colors take your eyes off the page but the use of negative space regains your attention and guides your eye to the text at the lower half of the page.

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  22. The golden mean, also known as the golden ratio or divine proportion, is a mathematical constant that appears repeatedly in nature and artwork. It is known to be a proportion that is the most visually pleasing to human beings. The exact number of the golden ration is 1.618033987. In Josef Müller-Brockmann’s poster, “der Film,” the golden ratio is used in the way that the composition is divided into fifteen rectangular modules with three modules across the top dimension and five down the vertical dimension. The top nine modules create somewhat of a square, the title encompasses three modules and there are three more below the title. As far as typography goes, the way the artist overlaps the words mimics the “cinematic techniques” of overlapping pictures going from one scene to another. The choice of color in the poster and type really helps the title stand out against the dark background.

    A few more examples of how he uses the golden mean in posters are as follows:

    http://1.bp.blogspot.com/-1gsvtwipjhk/Tg5pqKb8MrI/AAAAAAAACIc/6w3x8Zkoah4/s1600/josef_muller_brockmann_2846.jpg

    http://farm3.staticflickr.com/2772/4530968903_a062e5fa60_z.jpg

    SOURCES:
    http://www.hongkiat.com/blog/golden-ratio-in-moden-designs/
    http://jamesbrook.files.wordpress.com/2010/12/josefmuellerbrockman2.jpg

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    1. Your first example uses very vibrant colors against an off white background which helps the text be what stands out. The way Brockmann angled the text so that we might even have to turn our heads to the right is a pretty fun way to play around with the viewer. The use of grids in my opinion is put into good use, I like that the black text is over the bigger colored text. Hierarchy is put into good use here where the smaller text is put on the bigger text and it helps guide our eyes to secondary information.

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  23. What an odd way to break up the letterforms in the

    mu
    si
    ca

    vi
    va

    poster! Reflective of an eye chart?!

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  24. I think using this ratio/grid definitely makes sense. It's quite aesthetically pleasing, and is a good way to guide the viewers eye and separate important information from secondary information. When a grid is set up in a even ratio, it could be overwhelming—everything may look the same to the viewer and could get confusing. As designers, we must always be aware of hierarchy!

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  25. The second example is a really interesting piece. It makes you stop for a second to try and make sense of the message or actual word being form, and demands the viewers attention. The supporting text seems to work well on this piece as well because of the variety of colors used in order to express hierarchy, telling your eye where to start and end.

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  26. The golden mean basically has a three-to-five ratio: encompassing rectangles and squares, but not limited to shapes such as triangles,in orders to create proportional and aesthetically pleasing sections within a piece. This tactic stems from the ancient Greeks whom believed that the
    rectangle was the most beautifully proportioned. Josef Muller-Brockmann had sought to create an universal format for design, in particular posters, in which the image and typography is treated (whether it is drawn done or photographic) objectively. It can be cropped, scaled and angled to the desire of the designer in order to create a particular look or message. He incorporated the ideology of the golden mean in order to create a system of order that did not limit the creativity. In the Der Film poster, for instance, he uses mathematical division given with the use of the three to five ratio of the golden mean and constructed thee widely creatively, inspirating, and impressive posters. He other works are just as forward-thinking and well constructed (and examples can be found at this wed address: http://internationalposter.com/search-results.aspx?defaultview=browse&title=Muller-Brockmann,%20Josef&artists=450).

    Here are a few of my favorites from the site!
    http://internationalposter.com/poster-details.aspx?id=SWL14505
    http://internationalposter.com/poster-details.aspx?id=SWL14646
    http://internationalposter.com/poster-details.aspx?id=SWL01774


    Megg's History of Graphic Design
    http://arthistory.about.com/cs/glossaries/g/g_golden_ratio.htm

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  27. The Golden mean is a mathematical ratio that is commonly found in nature. Josef Muller Brockmann brought is the most prominent figure in bringing the concept of the Golden Mean to art although it is said to have been around for centuries. The egyptians are said to have built the pyramids with the Golden Mean model back in 3000 B.C. The mean consists of a ratio of 1:1.618 in which Josef sought to achieve universal design harmony by mathematical spatial division; for him, this would be a standard for all things design. Brockmann's Der Film poster used the elements of the Golden Mean in order to create a visually dynamic, yet extremely structured by design. That poster is widely known as one of his most noted works. The Golden mean is said to be found in other mediums such as music and architecture as well as art.

    Here are some examples of how the Golden Mean (Ratio) is used in nature
    http://io9.com/5985588/15-uncanny-examples-of-the-golden-ratio-in-nature

    SOURCES:
    http://emptyeasel.com/2009/01/20/a-guide-to-the-golden-ratio-aka-golden-section-or-golden-mean-for-artists/
    http://www.math.vt.edu/people/gao/math/godensection/
    http://ilovetypography.com/2013/01/12/a-firm-turn-toward-the-objective-josef-muller-brockmann-1948-1981/
    http://kjwarman.wordpress.com/2012/12/23/grid-systems-and-layout/

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  28. According to Wikipedia, the golden ratio is when “the ratio of the sum of the quantities to the larger quantity is equal to the ratio of the larger quantity to the smaller one.” It is based on a Fibonacci sequence. The numbers commonly associated with Fibonacci sequence is 1:1.61, and it is found commonly in nature. Because of this, it is very pleasing to the human eyes. Because of this, many artists and designers exploit it. The arrangement of design between typography and image can be pleasing to the eyes if a designer has the knowledge of golden ratio. Josef Müller-Brockmann provides us with a possible example here: http://www.flickr.com/photos/blankaposters/2514381798/in/set-72157605199393277
    This website shows a few other examples of golden ratio found in art works:
    http://artschoolathome.wordpress.com/2008/07/08/golden-ratios-in-art/

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  29. Golden Ratio is a proportion in which the ratio of the longer side to the shorter is the golden ratio – believing this proportion to be aesthetically pleasing. Mathematicians explain it in dimensions of a regular pentagon and in a golden rectangle, which can be cut into a square and smaller rectangle with the same aspect ratio. The golden ratio has also been used to analyze the proportions of nature objects as well as man-made systems.

    In Josep Muller-Brockmann's work, in Der Film, the space is divided into fifteen rectangular modules, three modules across the horizontal dimension and five down the vertical dimension. The top nine modules come across as a square. The title fills three units and the three below. "Film" occupies two units, and the secondary typographic information aligns with the front edge of "F" in Film.

    The best page is to see/understand golden ratio is on this page: http://www.burningsettlerscabin.com/?p=3565
    Josef Muller-Brockmann: SWISSAIR


    Additional works based on the golden ratio:
    Anton Fedorov: http://pinterest.com/pin/327636941610751646/
    http://gentlepurespace.com/blog/archives/golden-ration-insects-and-bug-illustrations

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