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Warja Honegger-Lavater (28 September 1913 – 3 May 2007) was born in Winterthur, Switzerland. She was a Swiss artist and illustrator noted primarily for working in the artist's books genre by creating accordion fold books that re-tell classic fairy tales with symbols rather than words (or even pictures).〔(【引用サイトリンク】title=Création graphique à la manière de Warja Lavater )〕 == Personal life == Honegger-Lavater spent the first nine years of her life in Moscow and Athens. In 1922, her mother (the author Mary Lavater-Sloman) and father Emil Lavater (an engineer) settled the family back in Winterthur. After attending High School, Honegger-Lavater studied graphic arts in Zurich from 1931 to 1935 at the ''Fachklasse für Grafik an der Kunstgewerbeschule Grafik'' (School of Applied Arts). It was here, in 1932, she began studying under Ernst Keller in a class of 28 of which 7 were women. Later in life, Lavater recalled this training: What we were learning was design, and so we began with the most important thing, drawing. Where do you put a sign in a rectangle? What is the standard solution to this exercise? Should the strongest element be the sign or the drawing? How can both be distinguished at a distance, yet integrated in a composition? Studying in Stockholm, Basel, and Paris, she opened her own studio for applied design in Zurich in 1937 with Gottfried Honegger, her future husband. It was here that Honegger-Lavater embarked on her first profession as a designer of symbols, logos, and trademarks. Among her initial creations were the three keys logo of the Schweizerischen Bankverein (Swiss Bank Corporation)〔 "The UBS mark was originally created for the Swiss Bank Corporation in 1937 by a Swiss illustrator, Warja Lavater, fresh out of Zürich's School of applied art."〕 and the logo for the Swiss National Exhibition of 1939.〔"Although the first prize in the competition for a symbol . . . was won by Herman Eidenbenz, Warja Honegger-Lavater's design was selected for use. The four rings were intended to represent trade, light industry, heavy industry, and agriculture."〕 After marrying Honegger in 1940, she bore two daughters: Bettina (1943) and Cornelia (1944). From 1944 to 1958 she worked extensively with the young person's magazine ''Jeunesse'' designing the covers, supplying illustrations, and being responsible for typography.〔(【引用サイトリンク】title=Warja Lavater )〕 Moving to New York in 1958, she began designing scientific illustrations for Dell Publishing ''Visual'' series. It was during this early period in New York that Honegger-Lavater became influenced by American street advertising and began to utilize pictograms as graphic representations of linguistic elements in her work. In 1962, the New York Museum of Modern Art published her ''William Tell'' as a single sheet lithograph, accordion folded in the "Leporello" style, with a legend listing the meanings of the various symbols (e.g., a single blue dot represents William Tell). The story proceeds chronologically as the book unfolds, and is told entirely by using the symbols without words. She produced a growing number of similar works throughout the rest of her career. By 1995 she was creating videos of colors and symbols moving across a screen, set to music. At the time of her death she was retired and residing outside of Zurich. She is interred at the Fluntern Cemetery in Zürich.〔(【引用サイトリンク】url=http://www.stadt-zuerich.ch/content/dam/stzh/ted/Deutsch/gsz/Natur-%20und%20Erlebnisraeume/Publikationen%20und%20Broschueren/Friedhoefe/Orientierungsplaene/09_09_FH%20Fluntern%20Persoenlichkeiten_08.pdf )〕 Her artistic estate is held by the Zürich Central Library.〔(【引用サイトリンク】url=http://opac.nebis.ch/F/?func=find-c&ccl_term=WAU%3DWarja+Lavater&CON_LNG=ENG )〕 Honegger-Lavater was a direct descendant of the Swiss poet and physiognomist Johann Kaspar Lavater. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Warja Honegger-Lavater」の詳細全文を読む スポンサード リンク
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