portions of pictorial and typographic elements, in the good selection and mixture of type faces and scripts, in the expressive photog raphy and the tasteful compositions of col our. The latter also applies to those posters which we have not reproduced in colour here. The colouring of the posters for the graphic Kindergarden in Bale and the theater in Zu rich is, for instance, so effectfuliy composed that the graphic, rather sober or complicated basic structure of the posters is so strongly enhanced that the posters will assert them selves even against their loudest competitors on advertisement pillars. The same applies to the poppy posters for Bally shoes and the Csuka shoe-store, although the bright ness of the colours here seems to be some what tempered by Swiss reserve. The same moderation characterises, it is true, all the posters presented here and is certainly the reason why some of them are simply too well- behaved. But where moderation produces esthetic quality, the results are excellent even in such areas where one would not normally expect the best. The poster for a night club in Luzerne is a case in point. No hierarchy of quality has been established for the 26 posters distinguished by the Swiss Depart ment of the Interior. We do not intend to at tempt a classification here but we should nevertheless like to call attention to some particularly successful solutions which would have been sufficient justification for the com petition all by themselves. There are, for in stance, the posters for Swiss milk by Martin Steinemann and for the Moretto Café by Orio Galli which convince by their classic simplic ity. Both solutions have already gone a long way towards creating a trade-mark or signet. 25

Gebrauchsgraphik de | 1971 | | page 31