ESSENTIAL PRODUCT INFORMATION
[Knud Lönberg-Holm and] Ladislav Sutnar
[Knud Lönberg-Holm and] Ladislav Sutnar: ESSENTIAL PRODUCT INFORMATION [Why? What? How?]. New York: Sweet's Catalog Service, [1942]. Slim quarto. Oversized four-panel brochure with exceptional graphic design and typography. Pictured in György Kepes: LANGUAGE OF VISION [Chicago: Theobold, 1944] page 125. An impossibly well-preserved copy: faint wear to edges, otherwise a fine copy. Rare.
9 x 12 single fold brochure designed by Ladislav Sutnar for Sweet's Catalog Service in 1942. This was the first Sutnar piece for Sweet’s to advocate for his and Knud Lönberg-Holm’s theories of new information retrieval patterns. A very important document that predates Controlled Visual Flow by one year, and Catalog Design by two years.
Sutnar and Lönberg-Holm’s format contributions were “just as dramatic a change from previous product information presentation as was the introduction of the International Style in architecture.” — Joseph V. Bower, Sweet’s National Marketing Manager, 1984
“This study of catalog design describes the development of new information patterns through a technique based on analytically determined standards. Its structure follows the procedure of this technique involving: 1) analysis of the design problem, setting up new standards for function, content, and format; 2) the development of standard design elements; 3) the integration of these elements into new design patterns.” — Lönberg-Holm and Sutnar
Ladislav Sutnar (1897 – 1976) arrived in the United States on April 14th, 1939 as the exhibition designer in charge of the Czechoslovakian pavilion at the New York World’s Fair. Sutnar was the Director of the State School of Graphic Arts in Prague and enjoyed a reputation as one of the leading Czech proponents of Functionalist graphic and industrial design.
Unfortunately for Sutnar’s American assignment, Czechoslovakia had ceased to exist the previous month. Germany invaded Czechoslovakia on March 15, 1939, and divided the country into the Protectorate of Bohemia and Moravia and the puppet Slovak State. The dissolution of Czechoslovakia and the outbreak of World War II stranded Sutnar in New York City where he remained and worked for the rest of his life.
By 1939 many former Bauhaus faculty members—Marcel Breuer, Walter Gropius, Mies van der Rohe, László Moholy-Nagy, Joseph Albers, and others—had won teaching positions at various American Universities. These educators were instrumental in bringing European modernism to American architecture and design. America offered the Europeans not only a safe haven, but also great opportunities to make their modernist visions reality. The dynamically developing US building industry and the open mass-production market permitted the exiled Avant-Garde to continue pursuing their ideas in a democratically minded society.
It was in this exile community that Paul Rand introduced Sutnar to Knud Lönberg-Holm, the director of Information Research for Sweet’s Catalog Service, the mediator for trade, construction and hardware catalogs that were collected in huge binders and distributed to businesses and architects throughout the United States.
In 1941 Lönberg-Holm appointed Sutnar as chief designer of the Information Research Division. Together the two men used modern functional principles to solve the contemporary problem of information organization and —most importantly—retrieval. During the next 20 years at Sweet’s Sutnar and Lönberg-Holm defined and pioneered the field now called information design.
Sweet’s Catalog Service (established in 1906) was an information clearing house, evaluating hundreds of catalogs of individual manufacturers with the aim of making the resulting information searachable in an optimal way. Information organization was the central issue, and optimizing it through visual means was an important element in the enterprise, hence the need for a competent art director.
U. S. industrial catalog production in the early 1940s was not in tune with the faster rhythms of the modern tempo. According to an undated internal Sweet’s memorandum “ . . . an industrial catalog is far from an inspiring project, we picture it as cumbersome, colorless, indifferently-printed item of necessity nothing [other] than dreary inventory . . .”
Major flaws included a proliferation of long descriptive texts and mediocre layout, as the manufacturers usually commissioned their catalog production to local printers who simply followed their every whim. The need for informative, relevant and quick-to-read advertising, common in Europe for more than a decade, appeared in the U. S. only with the heightened tempo of production due to the war effort.
During their tenure at Sweet’s from 1944 and 1950 Sutnar and Lönberg-Holm wrote and designed three publications on information design, delivering the most definitive explanation of their mission and in turn they succeeded in revolutionizing the field of information design.
Catalog Design [1944] introduced the basic concepts in catalog design. Designing Information [1947] applied the basic concepts of information design to a broader range, and Catalog Design Progress [1950] further developed ideas in visual communication. All three books demonstrate the very thesis they had worked to develop at Sweet’s — information that is easier to read is easier to comprehend.
A true high point of American Graphic Design.