The roots of the International Style should be said to be in the same lineage with the modernist design movement, especially with the Bauhaus and the Dutch "style school" movement and other close relations. Two key figures in the Internationalist and Modernist graphic design movements, Theo Balmer (1902-1965) and Max Bill (1908-), were both Swiss graphic designers who graduated from the Bauhaus. Balmer was one of the first designers to adopt a completely and absolutely mathematical approach to graphic design construction. Max Bill, on the other hand, emphasized consistency and unity in design, and in 1950 he became the first rector of the Hochschulefur Gestaltung in Ulm in the Federal Republic of Germany. The Ulm School was in the same vein as the pre-war Bauhaus School of Design, with the main point being to treat design as an integral part of social engineering, while avoiding the simple and nakedly commercial tendencies of American design. The Ulm School of Design played a decisive role in establishing the internationalist design style.
A central part of the Internationalist style that emerged in the 1950s was the development and widespread adoption of sans serif typefaces. A new generation of graphic designers adopted a straightforward new sans serif typeface to achieve a high degree of unobtrusive visual communication. 1954, the Swiss graphic designer Adrian Frutiger (1928-), working in Paris, created a set of 21 new sans serif typefaces of different sizes, called the "Universal Type" (Uni). In the early 1950s, Armin Hoffmann and another Swiss designer, Max Medinger, collaborated on the "Neue Haas-Grotesk", which was officially launched in the Federal Republic of Germany in 1961 under the new name "Helvetica". The new name was Helvetica. This typeface was so well designed that it became the most popular typeface of the 1950s and 1970s. Several typefaces designed by Hermann Zaffer (1918- ) during the 1940s and 1950s are considered to be major developments in typeface design, such as "Palatino 1950", "Melior 1952", "Mélio 1952", "Mélange 1952", "Mélange 1952", "Mélange 1952", "Mélange 1952" and "Mélange 1952". Melior1952)", and "Optima1958", Zaffer's typeface design reached a high level of functionality and elegant detail.
As one of the most important centers of graphic design before and after World War II, the Swiss cities of Basel and Zurich played an important role in the formation of the Internationalist style, becoming a design center area that produced such important graphic designers. The international style of Swiss graphic design really took shape in 1959 when the Swiss magazine New Graphic Design was published. This publication is the basic position, center and birthplace of the Swiss internationalist graphic design style, and has an important role and significance in the history of graphic design.
Swiss internationalism graphic design in the United States caused a great shock, and in the United States to get high-speed development and extensive use. The earliest to promote the development of internationalism in the United States is Lore Martin (1922-). He began working as a graphic designer at the Cincinnati Museum of Fine Arts in 1947, where he abandoned the realistic illustration approach that was popular in the United States at the time in favor of adopting Internationalism to design the museum's exhibitions, publications, and posters. Another person who introduced the Internationalist style to the United States and popularized it was Los Angeles graphic designer Rudolf de Harrak (1924-). The Swiss Internationalist graphic design style became popular in the United States in the 1950s and continued for more than 20 years.
After the United States adopted the internationalist graphic design style, it greatly improved the popularization and promotion of American scientific and technological publications, and had a great and positive contribution to American science and technology and industrial production. Hangtu zhuanti3