ff9rm r'AUSé ?nsD5,ltó/ii AGI various countries working in the field of the poster and other forms of graphic design who would welcome the opportunity of meeting one an other, particularly in cases where they admired a colleague's work with out actually knowing him. Their idea of meeting colleagues from different countries who were trying to solve similar problems, often in different ways, seemed desirable andwith communications still disrupted after the waralmost a necessity. Thus a nucleus of internationally known designers was formed and incorporated in Paris in 1952. Sixty-five mem bers were drawn from ten countries. Today the membership totals 128 from 16 countries. In 1955 the first AGI exhibition was held at the Pavilion de Marsan in Paris. Subsequent exhibitions have taken place in London, Lausanne, Milan, Amsterdam, Hamburg, Stuttgart, Vienna and Warsaw, and now in New York. In the last fifteen years, since the AGI was founded, the kind of work graphic designers are called upon to do has changed a great deal. Where previously individual and subjective solutions were required, our man- made environment now begins to pose large and important problems that can only be solved by analysis and objective, rational procedures. A designer today needs more than innate artistic talent: he must have an alert and disciplined mind, an inquiring intelligence and an almost scien tific approach to his work. While originality and artistic talent have always been rated high in the ranks of the AGI, its membership includes many outstanding designers who are quite willing and able to accept objective challenges. But per haps the greatest justification for the existence and continuation of the AGI is the fact that for most designers the only opinion that really counts is that of colleagues whose work they respecta platform that can only be supplied by the AGI. 1 Lbi'ft* j 19)-24) Further examples of early work by members of the AGI: 19) poster for Ma^da bulbs, in bright colours; 20) cover of the magazine Fortune; 21) cover of a booklet for Olivetti business machines; 22) poster for an exhibition of posters in Sweden, organized by SAFFT, an association of poster designers; 23) advertisement for a Swiss photo-engraver; 24) poster for Coca-Cola. 19)-24) Weitere Beispiele friiherer Arbeiten von AGI-Mitgliedern: 19) Plakat für Ma^da Gliih- birnen, in hellen Farben; 20) Umschlag für die Zeitschrift Fortune; 21) Umschlag für einen Pro- spekt für Olivetti Rechnungsmaschinen22) Plakat für eine schwedische Plakatausstellung, die von der SAFFT, einer Vereinigung von Plakatkünstlern, organisiert wurde23) Inserat für einen Schwei- zer Klischeefabrikanten; 24) Plakat für Coca-Cola. 19)—24) Autres exemples d'oeuvres rétrospectives des membres de l'AGI19) affiche en couleur pour les lampes Ma^da; 20) couverture de la revue Fortune 21affiche pour les machines de bureau Olivet ti; 22) affiche pour une exposition d'affiches en Suède23) annonce pour url photograveur suisse; 24) affiche pour le Coca-Cola. Designers/ GraphikerGraphis tes 19) JACQUES NATHAN-GARAMOND 20) WALTER ALLNER 21) GIOVANNI PINTORI 22) OLLE EKSELL 23) KARLGERSTNER 24) HERBERT LEUPIN 71

Graphis de | 1967 | | page 73