Geigy heute
von Johann Rudolf Geigy, Markus Kutter
Verlag: Birkhäuser in Komm.
Unbekannter Einband 288 Seiten
Erscheinungs datum: 1958
In its heyday in the 1960s, Basel-based company Geigy (now part of Novartis, one of the world’s biggest pharmaceutical multinational) was not just at the forefront of drugs research – it was also one of the leading proponents of the International Typographic Style, Switzerland’s influential post-war graphic design movement (recently celebrated in an exhibition, entitled Types We Can Make by Lausanne design school ECAL at the MIT Museum).
With their asymmetrical designs, sans-serif typography and block colours, the brand’s Swiss Style advertising and packaging have inspired generations of designers. Now a new exhibition, ‘Good Design, Good Business – Graphic Design and Advertising by Geigy 1940-1970’, is opening in Le Lieu du Design, in Paris’ 12ème arrondissement. Curated by Andres Janser of Zurich’s Museum of Design, it explores Geigy’s innovative brand identity with the help of over 400 objects – including posters, leaflets, promotional gifts and postcards.
‘The design studio at Geigy was crucial for the development and, subsequently, for the international reception of Swiss Style in graphic design,’ explains Janser. ‘Geigy’s typography was as playful as it was controlled, and its design department was known for its use of scarce but strong visual elements, as well as bold colours – unsurprisingly, given that colours, in the form of fabric dyes, were some of Geigy’s most important products.’ Geigy’s packaging, produced in the late 1950s, also broke new ground: ‘It promoted the company brand instead of the product brand, which was a revolutionary step at the time.’
In the 1960s, the chemical company had over 150 employees working solely on the firm’s advertising campaigns, packaging and exhibition stands. Its large design team, which included modernist pioneers such as Karl Gerstner and Herbert Leupin, worked in collaboration with Armin Hofmann’s renowned Allgemeine Gewerbeschule school in Basel. It became a real launch pad for many talented local creatives, including Fred Troller, who worked in Geigy’s New York bureau and went on to design posters for Exxon and American Airlines.
‘Geigy’s design team wanted to avoid a too narrow idea of style, and so focused on the idea of “corporate diversity” as the basic principle of the brand’s corporate identity,’ says Janser. And this is evident in the exhibition’s varied displays, which include Gerstner’s Geigy Heute, a book featuring infographics, bold colours and unjustified text (hardly known-of at the time); Victor Vasarely’s Mitin poster (1947) with colourful tartan and typography; and Max Schmid’s packaging for the Pertofran antidepressant (1962), with a black and white ball-and-chain design that the user had to break to open the box.
Benjamin Bollmann
March 15, 2012
Michael Stoll, professor of media theory and infographics at the University of Augsburg in Germany, built his collection from pieces found on the Internet and flea markets. He has collected nearly five hundred works, making him one of the foremost infographics collectors in the world, alongside Americans Richard Saul Wurman, founder of the TED conference, and David Rumsey, an expert in geographical maps. Stoll is former president of the jury of Malofiej, the primary international infographics competition, and a consultant with major media groups.
How do you explain the growing presence of infographics in the media?
In our culture, the social status of a person depends on the depth and breadth of his or her knowledge. Someone who develops a quick method for learning things will have a better chance of success. Infographics are a quick and easy way to transmit knowledge, which is what the media is promising to deliver. A diagram placed on a front page sends a strong signal to clients, showing its intention to explain the world in detail.
But there aren’t any newspapers putting infographics on the front page.
Well, that’s why the media is having such a hard time.
In what other areas will infographics still continue to develop?
The biggest potential is in specialized publications, textbooks – an often underestimated market – and in brochures and websites presenting political and democratic issues. Another area is in change management in companies, where infographics can be an ideal internal communications tool. Today, companies must constantly reinvent themselves and adapt to market realities. To succeed at this, they must keep their employees informed. Firms like Sypartners in New York specialize in this area, and they primarily use visual methods.
Today we’re seeing lots of infographics that visualize enormous data sets. The result is often visually impressive, but difficult, if not impossible, to understand.
Data visualization is in an experimental phase. The current situation can be compared with graphic design in the 1980s, with the spread of computers and the first desktop publishing softwares. At the time, everyone was doing graphic design without necessarily knowing the basic principles. In data visualization, we’re seeing a similar phenomenon, with the advent of new softwares and dedicated computer languages.
Raw visualization – without much pre-selection – is dangerous in the sense that it gives more visual weight to large quantities than it does to small ones. Yet the information with the greatest absolute value is not necessarily the most interesting or that which should be emphasized. Good journalists know this well: the best stories to tell are not found on main street but in the back alleys.
What lessons can we learn from your collection?
First, that the history of infographics is much older than one might think. This discipline wasn’t born with the advent of computers. It also wasn’t invented by the newspaper USA Today in the 1980s and 1990s, like some people claim. Infographics began to play a role as soon as printing presses were used to print books. Its evolution is rich and varied.
What always fascinates me is the care and exactitude with which graphic designers worked back then, in spite of a lack of appropriate technologies. Producing those graphics involved a considerable amount of work that had to be done by hand, preceded by a painstaking preparatory phase. That resulted in a high degree of precision, which we no longer find in contemporary work – something I find disappointing.
What do you mean by precision?
Precision in infographics involves three factors: the source of the data, their analysis, and their visual representation. The source must be reliable and the data correctly processed. The choice of diagram and the way in which it’s used must follow clear rules that are anything but random. Typically, some graphic designers go wrong when they use circles to visualize and compare numbers. They make the radii of the circles correspond to quantities, rather than the surfaces, which they should do in order to respect visual proportions.
And don’t forget that the reader cannot verify the accuracy of the data. On the other hand, the reader can quickly judge the precision of the visual representation, which itself reflects the overall quality of the infographic.
Do you know the ideal way to create an infographic?
In the media, management plays a key role. Infographists must be included as full members of the editorial staff, at the same level as journalists. An infographist is just a visual journalist. But the media often look at infographists as service providers, upon whom the editors can call when they need a graphic. This model can’t work, because the infographists should handle the entire process, from choice of subject matter to the graphic representation, and including the research and analysis of data.
Isn’t this a bit idealistic? Few people have expertise that is this broad.
It’s difficult. The reason is simple: infographics is not yet considered as a discipline in itself. The very first academic programs appeared in the 1990s. Today there are still only about ten universities in the world that offer an exhaustive curriculum in this field.
What about a closer collaboration between journalists and infographists?
This configuration could work, but is complicated to put into practice. The issue isn’t just whether the two will work well together. A trained infographist can also recognize subjects that are better suited to a graphic, where a traditional journalist doesn’t see them at all. These are primarily abstract subjects that don’t necessarily involve visualizing numbers, but offer large explanatory potential, such as a cross-section view through a building. Some journalists don’t even know how to evaluate the quality of graphics in their own publications. They’re much better at judging photos, whereas in principle they should be able to judge with the same rigor in both cases.
Did the famous “Swiss style” graphics developed in Switzerland in the 1950s have an influence on infographics?
There are many historical infographics produced in the Swiss tradition. I’m thinking for example of a brochure designed by Karl Gerstner in 1958 on the activities of the chemical company Geigy. It was a difficult piece to find and one of the most valuable that I possess. In it, one sees above all a concern with clarity: the shapes and colors are reduced to bare essentials; the design doesn’t interfere with the content, in fact, just the opposite. Although this style has been perpetuated up until now in graphic design, it was quickly lost in infographics. Nonetheless, its principles were completely in line with the needs of this kind of representation.
‘Show, don’t tell’ is learned by any commercial writer. The Lecturis Documentary aims to show with examples that this decree is also a recommendation for prefering photographs above texts.
This publication contains a personal collection which visually supports a categorical treatment of business books and which shows the special role of photography in this book genre.
- Author(s):Rens Holslag en Jaap van Triest
- Pages:48
- Size:210 x 297 mm
- Edition:gehecht
- ISBN:9789070108632
- Year:2011
- Design:Jaap van Triest
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