Typography
Inter typeface with precise scale ratios. Clear hierarchy through weight and size. Maximum legibility, zero decoration.
Precision
Grid Systems
Mathematical Order
Functional Design
Objective Communication
Visual Clarity Above All
Body Text
The Swiss International Style emerged in the 1950s as a movement toward clarity, objectivity, and universal communication in graphic design.
This design philosophy emphasizes cleanliness, readability, and objectivity. Sans-serif typefaces, asymmetric layouts based on mathematical grids, and the use of photography rather than illustrations became its defining characteristics. The style sought to present information clearly and logically, stripped of unnecessary decoration.
Design principles derived from the work of Josef Muller-Brockmann, Armin Hofmann, and the Basel School of Design.
Color Palette
A restrained palette of red, black, and white creates maximum contrast and visual impact. Functional. Unforgettable.
Neutral Gray Scale
Functional Colors
Buttons
Sharp edges. Clear hierarchy. Direct action. No rounded corners, no gradients, no shadows. Pure rectangular forms.
Primary Actions
Secondary Actions
Ghost / Outline
Sizes
Button with Icon
Button Group
Cards
Content containers with strict borders and clear separation. Information hierarchy through typography, not decoration.
The Grid as Foundation
Mathematical precision in layout creates visual harmony and guides the reader through content with clarity and purpose.
Form Follows Function
Every element serves a purpose. Ornamentation without function is eliminated.
Helvetica Dominance
The neutral character of grotesque typefaces allows content to speak without distortion.
Asymmetric Balance
Dynamic compositions achieved through calculated asymmetry rather than static centering.
Horizontal Card
Universal Visual Language
The International Typographic Style sought to create a universal visual language that transcended cultural and linguistic boundaries. Through systematic approaches to layout, typography, and color, designers could communicate clearly to any audience.
Form Elements
Clean inputs with strong borders. Clear labeling. Obvious focus states. User-friendly through simplicity.
Data Tables
Structured data presentation with clear headers and consistent alignment. Information architecture at its core.
| Designer | Country | Period | Status | Contribution |
|---|---|---|---|---|
| Josef Muller-Brockmann | Switzerland | 1914-1996 | Influential | Grid Systems in Graphic Design |
| Armin Hofmann | Switzerland | 1920-2020 | Influential | Basel School of Design |
| Max Bill | Switzerland | 1908-1994 | Influential | Ulm School of Design |
| Emil Ruder | Switzerland | 1914-1970 | Influential | Typography: A Manual of Design |
| Karl Gerstner | Switzerland | 1930-2017 | Influential | Designing Programmes |
Alerts & Notifications
System feedback with clear color coding and strong left borders. Functional communication without ambiguity.
The grid system provides the foundation for all layout decisions in Swiss design.
Your layout has been successfully aligned to the 12-column grid.
Using decorative typefaces may compromise the clarity of your design.
Grid alignment error detected. Please check your column spans.
Toast Notifications
Additional Elements
Supporting components that maintain the systematic approach. Badges, progress indicators, tabs, and pagination.
Badges
Progress Bars
Tabs
Pagination
Dividers