“For about three quarters of a century now, the phrase ‘Neue Schweizer Grafik’ (‘New Swiss Graphic Design’) has been more than a denotative combination of words — it has become a brand name. The non-German speaking rest of the world knows the same brand mainly as ‘Swiss Typography’, since a certain kind of typographic rigidity and sophistication is recognisable in the majority of graphic work that emanated from Switzerland between the 1920s and 1980s, from the ‘elementare typografie’ of such design pioneers as Jan Tschichold, Max Bill and Theo Ballmer, via the ‘Neue Grafik’ of Richard Paul Lohse and Joseph Müller-Brockmann to the teachings of Armin Hofmann’s, Emil Ruder’s and Wolfgang Weingart’s Basle School.”