___________ was a leading design theorist and practitioner in Zurich, Switzerland. He sought absolute and universal graphic expression through an objective and impersonal presentation, communicating to the audience without the interference of the designer s subjective feelings or propagandistic techniques of persuasion, as in his 1960 public awareness poster Weniger Lärm ( Less Noise ). In his celebrated concert posters, like the Musica Viva concert poster of 1972, the language of constructivism created a visual equivalent to the structural harmony of the music to be performed. He worked extensively with mathematical grid structures. His 1960 exhibition poster der Film demonstrates the universal design harmony achieved by mathematical spatial division.
Josef Müller-Brockman