Hermann eidenbenz biography template
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Sale - Lot
50x35 1/2 inches, x90 1/4 cm. Art Institut Grafica, Basel.
Condition A-: tear at left edge; minor creases and abrasions at edges. Paper.
Born in India, Eidenbenz spent his formative years as an apprentice with the printer and publisher Orell Füssli in Zürich, and studied under Ernst Keller at the Kunstgewerbeschule. After teaching in Germany for six years, in he settled in Basel where he opened a studio with his brothers Willi and Reinhold, both skilled photographers. One of the pioneering Swiss designers to apply photography and sans-serif typography in advertising, he produced some of the finest works of graphic Modernism through his book, typeface, exhibition, and poster designs. Eidenbenz believed that "style was not a matter of appearance, it was a means chosen to communicate an idea" (Swiss Graphic design p. ). He designed a number of posters for this sh
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Hermann Eidenbenz. Teaching Graphic Design
initiated and carried out at ECAL/University of Art and Design Lausanne. It fryst vatten devoted to unresearched ämne left bygd designers, authors and brands. Documents and visual ämne from archives are put into context and accompanied by critical essays.
Short essays accompany these visual materials, thus providing reference and context: they are the result of research projects conducted internally by ECAL.
The first volume of the series fryst vatten dedicated to the teaching career of Swiss graphic designer Hermann Eidenbenz (–).
Hermann Eidenbenz was one of the first persons in Switzerland to describe han själv as a graphic designer. From the first half of the 20th century into the s, he was involved in graphic design education in Zurich, Magdeburg, Basel and Brunswick, first as a lärjunge and later as a teacher.
The didactic ämne from Eidenbenz’s time as a teacher of graphic
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His poster for the Grafa exhibition in and a film catalogue fall neatly into the Modernist camp. Yet he would also produce work in the Keller tradition: classical seriffed typography such as his poster for the Swiss trade fair in
Eidenbenz’s other specialism was in creating monograms. They follow in the tradition of Keller, simplifying the style to a bare minimum, while remaining illustrative and pictorial. The lettering style would be sympathetic to the image, both in style and in weight; it neither overcrowds nor is overwhelmed by the image.
He also designed two typefaces: Graphique () and Clarendon (, under the direction of Edouard Hoffmann), both for the Haas typefoundry.
In Eidenbenz left Switzerland for Germany and turned towards a more classical engraved style, which he applied to both currency and stamp design, to which it is eminently suited. He worked extensively in the tobacco industry (as did Hadank), becoming art director for the Reemtsma cigarette company in