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.
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
24) HERBERT LEUPIN