本篇代写论文-瑞士风格是如何影响当代平面设计的?讲了鲍尔默(Theo Ballmer)是早期对瑞士风格做出重要贡献的人之一。上世纪20年代末，西奥•鲍尔默(Theo Ballmer)在德绍•包豪斯(Dessau Bauhaus)学习，师从沃尔特•格罗皮乌斯(Walter Gropius)。在他的工作中，他将De Stijl原则应用到他的许多平面设计工作中，这些工作利用了水平和垂直对齐元素的网格。本篇代写论文文章由新西兰第一论文 Assignment First辅导网整理，供大家参考阅读。
One of the important contributors to the Swiss style in the early days was Theo Ballmer. Theo Ballmer studied at the Dessau Bauhaus in the late 1920s under Walter Gropius. In his work he applied the De Stijl principles to much of his graphic design work which utilized grids of horizontally and vertically aligned elements. The De Stijl art movement was one that was focused on simplicity and abstraction. Simplicity and minimalism are core to the Swiss style too and there arises the contributions to Swiss style (White, 2011). The De Stijl moreover was focused on the idea of how to express a utopian thought by means of the art; this was in many ways once again a culmination with the Swiss style because the harmony for the art movement was achieved by means of reduction and abstractions to minimalism. Consider the reduction of elements to their basic forms such as geometric patterns and in primary colours. The overall effect this had on the creation of posters was that it resulted in creation of simple posters that refined content to be more minimal and specific as with the Swiss style. The reductionist style had much impact on Swiss style. Consider the work of Max Bill, student at the Dessau Bauhaus (1927 to 1929), who developed a concept that he called art concrete which involved the creation of a universal style based on mathematical principles. The term art concrete was initially introduced by artist Theo van Doesburg. It was introduced in the year 1930 in the Manifesto of Concrete Art. The manifesto was published in the first and only issue of the magazine Art Concert. The very basic of the art concrete movement is that the line or a flat are of a single colour held more meaning. Nothing was considered to be more concrete or real compared to a plain line or the flat colour (Eaton, 2008). This form of brining importance down to a single line, a flat plane and single colours was seen to be lead to a major contribution for Swiss style in the form of an international exhibition in Basle in 1944. Artists Max Bill was the flag bearer for the Swiss style here. He presented the style as concrete art, an element of Swiss style. This was a visible tangible art form, which stood to create sensuousness in art. The works of the above artists, (the concrete form and the de stijl) were some of the most basic building blocks for the Swiss style. Both incorporated the minimalistic patterns that Swiss styles came to be more renowned for. However Swiss styles are not just an incorporation of simplicity, the styles also incorporate elements into it representing flamboyance and more (Miller & Lupton, 1994). Flamboyance in the Swiss style was introduced by researchers such as Max Huber. The flamboyance was introduced in the form of more energetic styles in the design. The graphic design work was produced with more distributed and jagged ends in them. Here again the minimalist patterns are kept but there are jagged styles introduced which seems to introduce a better personality to the design. There was also a form of even distribution introduced here. It was not just in the art work, like the lines and colour that this form of a jagged energetic style was introduced, the typefaces used by Huber also seemed to reflect this energetic sense. It was the sans-serif typefaces such as Akzidenz Grotesk, and set text flush-left and ragged-right. In addition to studying at the school, Huber was also seen to experiment with different techniques which lead to better embellishment of the work. The experimentation in many ways was giving due credit to the early development motto of the Swiss style which was to keep the most basic patterns and at the same time also give importance to the content. He experimented with photomontage techniques (McCoy, 1990). In the 1940, posters were created in more exuberant forms using the technique of photomontage. The photomontage technique was one in which the graphic designer would basically make use of multiple photographs (or as in this case multiple posters). Here collages like joining of elements are seen and unique applications are hence created. The idea here is to create the illusion that the entire poster elements are parts of the same photo. The posters had a form of layered composition in them. The photomontage created by means of the layers was seen to create an intriguing form and function. The composition created better complexity (Keren & Shengxue, 2014). They made use of overprints and shapes that gave the work a different look compared to the other posters at the time. However, this difference in look was not achieved at the means of decreasing the simplicity of the work as this was against the very principle of the Swiss style. The simplicity was still retained and only the jagged ends created the needed difference. One of his most notable works is that of the poster for Autodromo Nazionale Monza (National Racetrack of Monza.) promoting races.