10.)
This last one is characterized and evokes family or household everyday use.



11.)
His illustrative works include campaigns for the Zurich Police which depict petty crimes as wire-framed cartoons.



12.)
This one shows a cartoon pick pocket in a newspaper page.



13.)
In the 1950s, Muller-Brockmann made an abrupt shift in his designs. These examples of Zurich June Festival concert posters from 1950 show the same type of wire-frame characters in expressive fashion.



14.)
The following years in ‘51-’53, illustration was omitted and replaced with structured objective form.

15.)

In ‘52 Muller-Brockmann began to experiment with and use Akzidenz-Grotesk typeface, and it became his preferred choice for its modern appeal and unbiased form. He designed this accident barometer for the Zurich Police as a means to promote traffic safety awareness. Akzidenz-Grotesk was simple enough for stats and allowed for viewer impact by its message.

16.) [No Image]

By this time, Swiss Design included and Muller-Brockmann used precision layouts and neutral objectivity, leaving out subjective individual expression. The structure used geometric grid systems to simplify and align elements of typeface and graphics. Illustrated representations of renditions were substituted with photographed images for their precision. Many designs were asymmetrical. This became the preferred format for its clarity over elaborate designs and ornamentation.

17.)

This 1953 poster by Muller-Brockmann for traffic safety called “Watch That Child” shows two photos, asymmetrical in size and range, composed to make a dramatic, angled view. The simple yellow band at the bottom grounds the figures, and the white font stands out on top the dark photo.

18.)

“The Friendly Handsignal” of ‘55 has an outstretched, gesturing hand presiding over the bustling traffic underneath. The font stands alone and travels in the direction of the hand to emphasize it.

19.)

This poster of ‘57 questions risky overtaking by wedging the small motorcycle between to cropped cars. This emphasizes the tight squeeze and again the yellow bottom grounds them.