18-01 Ernst Keller, poster, 1931—Ausstellungen (Exhibition) Walter Gropius 1930—Museum of arts and crafts Zurich, exhibition of student work from the building-commercial and the mechanical-technical department of the vocational school

18-01 Ernst Keller, poster for the Rietburg Museum, undated. Emblematic images are energized by repetitive geometric elements. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

18-33 Theo Ballmer, Museum Exhibition Basel Workshops, 1928

18-33 Theo Balmer, Buro poster, 1928

18-33 Theo Ballmer, Norm poster, 1928, rid openly expressed

18-33 Van Doesberg, Concret Art

18-05 Max Bill, exhibition poster, 1945. Diamond-shaped photographs form a wedge; some photographs are placed on the white ground to equalize the figure and ground. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

18-05 Max Bill

18-05 Max Bill, Mobius Strip

18-06 Anthony Froshaug, cover for the Quarterly Bulletin of the Hochschule für Gestaltung, Ulm, 1958. The four-column grid system, use of only two type sizes, and graphic resonance of this format were widely influential. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

18-23 Anthony Froshaug

18-23 Max Huber, Great prize of the autodrama

18-23 Anton Stankowski, For Tomorrow

18-23 Anton Stankowski, invisible processes

18-23 Anton Stankowski, invisible processes, basic geometric shapes on grid, 1971 from painting

18-20 Armin Hofmann, logotype for the Base Civic Theater, 1954. This hand-lettered logotype anticipates the tight spacing and capital ligatures of phototypography. The control of spatial intervals between letterforms is magnificent. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

18-24 Armin Hofmann, exterior sculpture for the Disentis, Switzerland, high school, 1975. The altered direction of the boards of the molds used to cast the concrete relief produces a vigorous textural contrast. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

18-21 Armin Hofmann, poster for the Basel theater production of Giselle, 1959. An organic, kinetic, and soft photographic image contrasts intensely with geometric, static, and hard-edged typographic shapes. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

18-22 Armin Hofmann, trademark for the Swiss National Exhibition, Expo 1964. An E for Exhibition links with the Swiss cross. The open bottom permits the white space of the page to flow into the symbol.

18-23 Armin Hofmann, poster for Herman Miller furniture, 1962. Shapes and silhouettes of Herman Miller chairs cascade through space, anchored to the format and the type by the red logo at the top center. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

18-23 Armin Hofmann, poster for Herman

18-33 Rudolph de Harak, book cover 1955

18-33 Rudolph de Harak, album cover 1956

18-23 Adrian Frutiger 1954, Univers

18-23 Adrian Frutiger 1954, Univers

18-23 Adrian Frutiger 1954, Univers

18-23 Adrian Frutiger 1954, Univers Edouard Hoffman & Max Miedinger, Helvetica, 1961

18-23 Edouard Hoffman & Max Miedinger, Helvetica, 1961

18-23 Hermann Zaph, Melior—it is based on his thoughts about the squared-off circle known as the super-ellipse. The type was originally intended as a newspaper text face by Linotype.

18-23 Hermann Zaph,.

18-31 Josef Müller Brockmann, public awareness poster, 1960. Red type declares “less noise,” while the photograph graphically depicts the discomfort noise causes.

18-31 Josef Müller Brockmann, public awareness poster His first poster success was for the Swiss Automobile club ("Watch that Child!") which gained him reputation as a designer.  This poster showed Muller-Brockmann's use of photography and typography, rather than illustration.   He believed in socially resonsible design and showed this through his health and safety posters. 1952

18-31 Josef Müller Brockmann, Beethovenposter The above poster for the Zurich Town Hall is perhaps Müller-Brockmann's most recognized, and most ripped off, piece of work.

18-33 Josef Müller Brockmann, “Der Film” exhibition poster, 1960. Against a black field, the word Film is white, the word der is gray, and the other typography is red. Order was always wishful thinking for me. For 60 years I have produced disorder in files, correspondence and books. In my work, however, I have always aspired to a distinct arrangement of typographic and pictorial elements, the clear identification of priorities. The formal organisation of the surface by means of the grid, a knowledge of the rules that govern legibility (line length, word and letter spacing and so on) and the meaningful use of colour are among the tools a designer must master in order to complete his or her task in a rational and economic manner. The grid, the prioritization and arrangement of typographic and pictorial elements, the meaningful use of color

18-33 Rosemarie Tissi

18-33 Siegrried Odermatt

18-33 Otl Aicher

18-33 Ralph Colburn

18-33 Ralph Colburn

18-33 jacqueline-casey

18-33 Emil Ruder

18-33 Arnold Saks

18-33 Dietmar Winkler

18-33 Dietmar Winkler