pirelli publicity 139

Publicity:

pirelli, the international rubber and tire company founded in 1872, has played a considerable and important role in the history of Italian advertising graphics since the late nineteenth century. Yet, in general graphic design histories, Pirelli’s name is often overlooked.1

During ’s economic boom and social renewal by not hiring an external advertising agency, com- of the late 1950s, Pirelli was a breeding ground for missioning instead a vast number of independent design and commissioned work from some of the designers, each with their own unique ideas and deep most important graphic design figures in . The differences in style, proved to be a successful strategy. modern sensibilities of this city, distinguished by Initially, these activities were divided among various its intellectual and progressive attitudes, social and branches of the company, but with the inauguration cultural changes, and growing economy attracted of ‘Centro Pirelli’ in 1960, he and art directors such leading Italian, Swiss and other European designers. as Bob Noorda, among others, were able to centralize Open-minded companies such as business machine and manage Pirelli’s advertising and public relations. manufacturer Olivetti, luxury department store La Castellani also played a key role in the periodical Rinascente, pharmaceutical manufacturers Roche, Pirelli, Rivista di informazione e di tecnica [Pirelli, Glaxo and Dompé, cultural publisher Einaudi, and Magazine of Information and Technology], as its printers Alfieri & Lacroix were eager to hire the ­editorial director from c.1957 to 1968. Rivista Pirelli emerging design talent migrating to Milan. was a bi-monthly house organ, primarily for employ- ees and clients with an annual circulation of 15,000 During the 1950s, standardization of corporate com- copies from 1948 to 1972 (approximately 2,000 were munication programs was taking shape throughout sold to booksellers, newsstands and by subscrip- Europe and the United States. Braun (Otl Aicher/ tion).3 This technical magazine included important Wolfgang Schmittel), Geigy (Rene Rudin/Max articles and photographic essays on cultural, social, Schmidt), cbs (William Golden) and ibm (Paul and economic ideas in post-war Italy. Throughout Rand) were among the leading companies to integrate the years, the magazine was art-directed by a variety graphics across packaging, advertising and printed of designers including Ezio Bonini, Pino Milàs, Pino materials. Guidelines relating to color, typeface, or Tovaglia, and Teresita Hangeldian. Rivista Pirelli also layout were being established to unify corporate served as a promotional and public relations vehicle to marketing messages. In contrast, Pirelli developed communicate and advertise Pirelli’s vast assortment Greg D’Onofrio and Patricia Belen a visual identity based on the diverse and unique of industrial-related products and consumer goods: styles of individual designers. The only constant cables, toys, tires, hoses, conveyor belts, foam rubber, appeared to be the inclusion of their memorable, plastic boats, rain coats, hot water bottles, rubber thetics 1955–1967 highly celebrated, and, at times, criticized—word- soles for shoes, umbrellas, tennis balls, and more. s mark. The result was a recognizable language, unique- ly diverse in character and content, that was used for Given the enormity of its product range, Pirelli more than 1,000 separate items each year including: publicity had to reach both consumers and other advertisements, calendars, posters, point-of-purchase­ industrial companies. The different audiences ben- displays, trade catalogs, brochures, exhibitions, efited from the fact that Pirelli entrusted so many packaging, editorial, stationary systems, trademarks, designers with individual styles—the characteristic printed ephemera, and more.2 playful and poetic nature of the Italians, the logic and organization of the Swiss, and various combinations Pirelli’s new communications strategy can largely thereof. Pirelli designers experimented with virtually be attributed to Arrigo Castellani (1908–1968), Press all techniques available at the time: purely graphic and Publicity Director (Direzione Propaganda) from work focusing on the wordmark, type, and form; c.1951–1968. Castellani believed in the importance of photographic processes; printing methods such as European avant-garde traditions and aesthetics, and transparency, overprinting, and halftones; artistic the freedom for designers to experiment with their work resembling painting and line drawings; and own ideas. His decision to control Pirelli’s publicity contemporary illustration. The result was a concerted

140 Style and Ae pirelli publicity 141 effort that focused on awareness, aesthetics, and The following images represent Pirelli advertis- style. It was more about the quality of the visuals and ing from 1955 to 1967. Full page advertisements are product—less about selling and the ‘Big Idea’, the 315 x 235 mm (12.4 x 9.4 in.) and are taken from Pirelli, popular advertising method formulated in the United Rivista di informazione e di tecnica, [Pirelli, Magazine States in the 1950s. Pirelli publicity represents an of Information and Technology]. All images, unless irrefutable appreciation of the creative practice, otherwise indicated, have been scanned from the capable of expressing the optimism in Milan and original items included in Display’s collection. Copyright successfully communicating clear product messages. for individual items remain with the original copyright The identifiable, yet individual, visual languages of holders. the artifacts of Pirelli’s publicity have symbolized an era and have left an undeniable influence on Italian As a common practice, many Pirelli designers routinely culture and graphic design history. included their signatures or names on their work, presumably as a way to publicize themselves and further identify their design. Aside from implying ownership, display is a curated collection of important modern, some may have wanted to differentiate their advertising mid-twentieth century graphic design books, periodi- work as art rather than science, signing their designs cals, advertisements, and ephemera. Documenting, in the style of artists. American graphic designers preserving, and providing public access to these who imbued their work with theories of the European original materials will help raise the profile of graphic avant-garde—including Paul Rand, Alvin Lustig, Lester design as a source of educational, historical, and Beall, and European émigrés such as Herbert Bayer scholarly analysis for teachers, students, designers, and Herbert Matter—­often made it a point to have their and independent researchers. To browse more than personal signatures printed. At Pirelli, Bob Noorda, 100 Pirelli publicity items, please visit: Lora Lamm, and Alan Fletcher were among those who www.thisisdisplay.org/tag/Pirelli used their personal signatures. Other designers chose to have their names or studio names printed small and 1. Patrick Cramsie, The Story of Graphic Design: From the Invention mostly vertically at the edge of the work. Confalonieri of Writing to the Birth of Digital Design (Abrams, 2010); Johanna In this advertisement for departure from the more Medium), and succinct text e Negri, Pavel Michael Engelmann, Pino Milàs, and Drucker and Emily McVarish, Graphic Design History: A Critical Pirelli bicycle tires (first familiar ‘speed and power’ is an early example of his Guide (Upper Saddle River, New Jersey: Prentice Hall, 2008); (among others) used minimalist sans printed as a poster in 1963), male attitudes of the time. dedication to modernist Stephen J. Eskilson, Graphic Design: A New History (New Haven serif typefaces for their names—a symbolic rejection massimo vignelli The riding of a bicycle sensibilities. Within a year and : Yale University Press, 2007); Roxanne Jubert, Typography and Graphic Design: From Antiquity to the Present of the artistic individual and affirmation of functional pays homage to Plinio with ‘no hands’ and skirt of designing this advertise- (Paris: Flammarion, 2006); Philip B. Meggs and Alston W. Purvis, aesthetics. Codognato’s (1878–1940) flowing in the wind, gives ment, Vignelli moved to Meggs’ History of Graphic Design (Hoboken: Wiley, 2012; 5th “Pneus Pirelli” cover a feeling of movement to lead the edition); and Bryony Gomez-Palacio and Armin Vit, Graphic design for the Italian and safety (with reliable Unimark International Design, Referenced: A Visual Guide to the Language, Applications, monthly magazine Touring bicycle tires, of course) office there. The rest is and History of Graphic Design (Beverly, Massachusetts: Rockport Club (No. 4, April, 1917). and captures the joyful, modern graphic design Publishers, 2011). Forty-seven years later, carefree outlook of the history. 2. a.w.m. Johnston,“Pirelli, The Graphic Face of an Industrial Vignelli, the primary figure social and cultural changes Enterprise” in Graphis 96, 1961, pp. 284–299. responsible for exporting taking place in Italy dur- 3. Ibid. Swiss/Italian modern- ing this time. Vignelli’s ism to the United States, unusual, yet striking, red reinvented the design and pink color combina- using his unadorned, tion, fresh photography trademark modern style. perspective, generous use The advertisement does of white space, rigorous a fine job communicating enthusiasm for func- Top Massimo Vignelli, Aldo Ballo (photo), Pneumatici (Tires), 1964. Page 139 Bob Noorda, Milioni di ciclisti scelgono (Millions to the new, free-spirited tional type (single–weight, Bottom Plinio Codognato, Pneus Pirelli (Tires), 1917 (Image Source: of cyclists choose Pirelli), 1957 female consumer, a radical tightly spaced Helvetica 1872–1972 Cento Anni di Comunicazione Visiva Pirelli)

142 pirelli publicity 143 In 1940, at the young age white bands implying of 21, max huber a street, succinct text, a arrived in Milan from lowercase sans serif, a flat Zurich, to colored background, and work for Studio Boggeri. a black-and-white product More familiar for his work illustration, Huber sug- with clients such as La gests the illusion of per- Rinascente and Borsalino, spective. Swift, forward he is also responsible for movement conveys the this little known advertise- superior handling of the ment, a Huber design of mini motor tire as it speeds the highest caliber. The ad- off the page. Huber pio- vertisement “Pneumatico neered this effortless, Scooter” (originally fluid style and his visual produced as a cartello or language is the basis for sign in 1957) is reminiscent much of Italy’s post-war of his celebrated Monza graphic design, where Race posters of 1948 and color is central and the 1957. Utilizing the simplest message is always clear. of elements—overlapping curved lines of colors,

Above Max Huber, Pneumatico Scooter (Scooter Tires), 1958 Bob Noorda, Più Veloce (More Speed), 1961 Max Huber, 500 Miglia di Monza (500 miles of Monza), 8.5 x 5.75 in (215 x 146 mm), catalog, 1958

Right Max Huber, Pneumatico Scooter (Scooter Tires), 1958. bob noorda worked Pirelli wordmark into a Noorda (possibly with the blurred traveling path—in in Milan for over fifty pure form—the shape of assistance of a photogra- effect a double exposure years with some of Italy’s a wheel or tread of tire pher) experimented with of the blur superimposed largest companies but his to express the idea of slow sync flash photogra- over (or under) the sharp relationship with Pirelli movement and speed. The phy, also known as front image. Noorda made the was among the most simplicity of this design curtain sync. Using a ordinary extraordinary and significant. From 1961 to is encapsulwwated by his hand-drawn, semi-circular hypnotic by transforming 1964, he served as Pirelli’s ability to utilize only the Pirelli logo, Noorda may the simple black wordmark art director and played logo, one color and no have spun the logo on a from dark and sharp to an instrumental role in superfluous decoration. rotating circular tabletop light and blurred. developing the company’s It was common for many while it was being pho- visual language, designing designers of this period tographed with the flash everything from adver- (including Noorda) to triggered near the start of tisements to tradeshow simply overlap and rotate the shutter duration. The exhibitions. In this design, multiple images to create effect of the flash freezes Noorda, in classic , an illusion of motion. the sharp logo while the magically transforms the Instead, with this design, slow shutter produces a

144 Bob Noorda, Azienda Arona - Confezioni e Impermeabili (Clothing and Raincoats), 1959.

Below right Franco Grignani, Impermeabili (Raincoats), 1956

Before becoming known different sizes, moving for corporate identity and under falling, color- transportation signage with ful, graphic raindrops. Unimark International, Noorda’s design is more bob noorda made typographic and lively, a significant impact on showing a static couple design in Milan, where he under the rain (words) moved to from his home falling down at various country of the Netherlands angles. This sparse design around 1954. In this ad- approach utilizes black vertisement for rainwear, type to communicate Noorda’s technique of the illusion of motion, A young, self-taught, wordmark, giving it using type as a metaphor a recurring theme in new meaning as a bright, pavel michael for falling rain recalls Pirelli publicity. Noorda’s landed multidimensional symbol, engelmann Guillaume Apollinaire’s typographic text-as-rain- in Milan’s liberal climate turning it vertically on famous calligramme concept and his decision to in the winter of 1952–53. a deep blue background Il Pleut (1918). Noorda’s have his signature and the He designed posters and to suggest snow falling designs may have been Pirelli wordmark follow advertisements for Pirelli against the night sky. The inspired by his contem- the haphazard patterns and other companies almost elementary clarity porary, Franco Grignani. of the rain are fittingly before moving briefly to of concept and combina- In an advertisement for playful for Milan design New York City in 1957, tion of pure graphics was rainwear, Grignani com- of this period. and then back to his native a specialty of Engelmann municated the concept Germany where he resided and commonly utilized using a repetitive, rhyth- until his untimely death by Pirelli throughout their mic pattern of a woman in in 1966. In this strikingly years of reconstruction— simple advertisement, a perfect partnership be- Pavel Michael Engelmann, Pneumatico Inverno Engelmann reinvented tween designer and client. (Winter tires), 1955 the iconic Pirelli

146 pirelli publicity 147 Swiss-born aldo Boggeri cultivated a knockout type, a grid “… Swiss graphic design calabresi is rarely creative haven for the system, magnified black- was often as perfect as any acknowledged in contem- best and brightest Italian, and-white halftones, tight spider’s web. But often of a porary graphic design his- Swiss, and European talent margins, color trans- useless perfection. The web, tories, yet he was a master including Walter Ballmer, parency, diagonal text, he [Boggeri] stated, was at combining both Swiss Erberto Carboni, Franco and unique perspective useful only when broken (logical and organized) Grignani, Max Huber, photography suggesting by the entangled fly. It is so and Italian (playful and Bruno Monguzzi, Bruno a car gripping the road that, upon Boggeri’s insti- poetic) elements within Munari, Remo Muratore, or hugging the banked gation, began for me, the his designs. Calabresi Xanti Schawinsky, Albe wall of a racing track. slow, long, difficult hunt, in moved to Milan around Steiner, Carlo Vivarelli, Calabresi’s admiration for the sterilized universe of a 1954 and joined the and many others—even tightly spaced, sans serif Swiss education, for an legendary Studio Boggeri, Saul Steinberg. Akzidenz-Grotesk was improbable fly. In front where he worked with a shared by many modern- of me, behind very thick variety of clients (Loro The designs for Piú Veloci ist Swiss designers of the glasses and in the midst of e Parisini, Luigi Franchi, Della Strada and Tractor era. ag, unlike Helvetica a permanent buzzing, Roche, etc.) before co- Agricolo Cinturato (the which had no shoulders sat Aldo Calabresi who, founding his cbc agency first radial ‘belted’ farm tire and could easily be tightly myopic as he was—to (Aldo Calabresi, Ezio (cintura) for agricultural spaced, was closely set my great admiration and Bonini, and Umberto tractors, (launched 1955) by cutting up letterpress envy—was a master at Capelli). Studio Boggeri demonstrate Calabresi’s proofs and making a new catching flies.” (Monguzzi, (founded in 1933 by quest to produce both mechanical. Cinquant’anni di carta Antonio Boggeri) was the organized and playful 1961–2011, pp. 3–4.) single most important designs experimenting Bruno Monguzzi recounts studio from with an arsenal of methods the conversation he had the time it was established including: limited color with Antonio Boggeri through the 1970s. palettes, overprinting when he first arrived in with black and white Milan in 1961: photographs

Opposite, top and bottom Aldo Calabresi for Studio Boggeri, Più Veloci Della Strada (More speed on the road), 228 x 228 mm (9 x 9 in.), brochure cover and interior, 1958

Below Aldo Calabresi for Studio Boggeri, Tractor Agricolo Cinturato (Agricultural Tractor Tires), 203 x 203 mm (8 x 8 in.), brochure cover, 1958

148 pirelli publicity 149 Swiss-born designer part of a chic lifestyle, lora lamm was an a time when Bianchis, important contributor Vespas, and Lambrettas to the Milanese design were widely favored by scene of the 1950s and Italians—before the flour- ’60s, beginning in 1953 ishing automobile tire when she joined Studio market of the early 1960s. Boggeri. Working in a Lamm’s whimsical illus- profession dominated by trations have a fashionable men, Lamm’s playful and and feminine appeal—less colorful experimenta- about product and more tion stands out among about individual aesthetics Pirelli’s publicity where and style. Her work for La she carried out a variety Rinascente, Italy’s most of assignments including elegant department store, advertisements, signs, where she was head of the and posters. Her personal creative department from advertisements for scooter 1958 to 1962 (following and bicycle tires depict Max Huber) further dem- a youthful, adventur- onstrates her unique and ous attitude, perhaps an cheerful approach. indication of how Lamm felt when she first arrived in Milan. She portrays Pirelli as an indispensable

Lora Lamm, Pneumatici per biciclette (Tires for bicycles), 1960.

Right Lora Lamm, Pneumatici per motoscooter (Tires for scooters), 1959

Opposite Pino Milas, Gil stabilimenti Pirelli nel mondo (Factories of the world), 1963

150 pirelli publicity 151 One of the most influen- with a formal ‘Swiss’ like Top Gerhard Forster, Stivali di gomma (Rubber boots), 1967. tial figures in post-war composition (perhaps British graphic design, representing a racing flag). Bottom Pirelli Logo, 1961 (Image Source: 1872–1972 Cento alan fletcher These direct, idea-based Anni di Comunicazione Visiva Pirelli) (1931–2006) had a brief designs with subtle stint in Milan where he graphic elements and worked for Pirelli and formal qualities would be- created his Più Chilo- come typical of Fletcher’s metri (More Kilometers) approach throughout his advertisements—one of career. Fletcher returned the many benefits you’ll to London in 1959 with receive with a better Pirelli as a client, and tread from a set of Pirelli in 1962 opened Great tires. Fletcher was able to Britain’s most sought-after address one communica- studio, Fletcher/Forbes/ tions problem with two Gill, the forerunner of slightly different design Pentagram, which went solutions. One more on to design a variety of playful with overlapped, materials over the years for rotated text (represent- the Italian manufacturer. ing a tire tread) and the other more organized

gerhard forster, Pirelli’s publicity and has a student of Armin provided countless Hofmann (Allgemeine opportunities for design- Gewerbeschule Basel) ers to tweak it in their own from 1957–1961, moved unique way. Although to Milan in 1963. In this some may argue the beau- advertisement for Superga ty of the wordmark with (logo designed by Aldo its peculiar width of letters Alan Fletcher, Piu chilometri (More kilometers), 1959 Calabresi for Studio and exaggerated, stretched Boggeri, 1961), the Italian capital P, it continues to brand of rubber soled be memorable by directly footwear that merged with communicating the idea of Pirelli in 1951, he replaced elasticity. The wordmark the LL in the Pirelli logo also successfully identi- with a pictogram of two fies not only a company, walking, rubber boots. but a country. Given that First designed in 1908, track record, the Pirelli the Pirelli wordmark has wordmark’s success may had a tumultuous his- lie in its ability to be easily tory. Praised,1 criticized,2 altered and controlled by modified over the years, the hundreds of designers twisted, twirled and dis- who have embraced its torted—this undeniably unique and memorable well-established word- qualities. mark has been the only constant visual element in

1. “Some of my colleagues may think this monogram somewhat antiquated but in my opinion it combines in an outstanding device all the requirements of an ideal situation: it is legible, original and completely unequivocal.” (Carlo Vivarelli, Neue Grafik/New Graphic Design/Graphisme actuel, ‘Basic Principles in Designing Monograms’: June, 1962, No. 12) 2. “Specimens from a horror chamber of contemporary lettering: Logotypes that failed.”; “Pirelli: The main part of the P is so absurdly elongated that the word becomes incomprehensible.” (Jan Tschichold, A Treasury of Alphabets, Good and Bad Letters: 1995)

152 pirelli publicity 153 This advertisement color, diamond-shaped announces the construc- floor plan as the building’s tion of ‘Centro Pirelli’, graphic identity. Pirelli’s new corporate office building (started in “… Ponti had managed 1953, completed in 1958), to make his architecture perfectly situated in the more effective in corporate city center and the first image making than any building you see as you advertising agency’s work. exit Milano Centrale (the The stylized lens-shaped central train station). Also plan became uno slogan known as Italy’s first mod- grafico, as Ponti called it, ern skyscraper, the Pirelli which he emblazoned on Tower or ‘Pirellone’ (‘Big all his printed materials. Pirelli’) was developed by A clear architectural architect Giò Ponti, with image promoted the com- the assistance of structural pany, and the company’s engineers Pier Luigi Nervi publicity promoted the and Arturo Danusso. Since architect in an orchestrated its inauguration in 1960, campaign of stylish, Pirellone has become a sunny modernity. Of symbol of contemporary course, Ponti concurred, Milan, Italy’s strong post- architecture is an efficient war economic growth and advertising tool.” (Kirk, a corporate symbol of the The Architecture of company, whose publicity Modern Italy, Vol. 2, p. department operated from 170.) the 25th floor. This is one of the few advertisements seen without the iconic Pirelli wordmark. Instead, the design incorporates Ponti’s stylized, three

Unknown (possibly Gio Ponti), Nuova Sede Pirelli (New Pirelli Headquarters), 1955 confalonieri and important tool for design- Confalonieri and Negri, Canestri in polietilene (Plastic containers), 1960 negri Italian born, ers looking to accurately also known as Studio present the practicality Industria, surrounded of products and the way themselves with industrial- people looked at them, related clients as early but it was a method rarely as 1955. This objective, used for Pirelli designs neutral design demon- of the period. At a time strates the duo’s restraint when illustration and and Swiss sensibilities graphics reigned supreme, down to the smallest detail Confalonieri and Negri’s of the intended placement withdrawal of personality, of their minimalist, sans where the design focuses serif, vertically printed attention on the product, signature Confalonieri e is refreshing—a master- Negri. The unadorned, fully arranged, economical functional advertisement and rational product rep- places the polyethylene resentation that commu- gasoline container de- nicates much with little. signed by Roberto Menghi for Pirelli (c.1959), front and center. Objective photography has been an

154 pirelli publicity 155 pirelli employed numerous graphic designers, illustrators, photographers, Unknown, Ades-sint (Adhesive tape), 1960 architects, and industrial designers for their publicity efforts from c.1955–1967. These creative professionals participated in a wide variety of disciplines, including but not limited to: print, editorial, publishing, product design, television, packag- ing, tradeshow graphics, and window displays. Here is a partial list of individuals (mostly graphic designers) and studios that played an important role in the success of Pirelli publicity.

Franco Albini (Italian) 1905–1977, architect Riccardo Manzi (Italian) 1913–1993 Selected Bibliography Walter Ballmer (Swiss) b. 1923 Roberto Menghi (Italian) 1920–2006 Vergani, Guido, et al. Pirelli 1872–1997: 125 Years of L’Ufficio Moderno. Pubblicità in Italia, Pubblicité en Aldo Ballo (Italian) 1928–1994, photographer Pino Milàs (Argentinian) dates unknown Enterprise. Milano: Pirelli-SpA-Libri Scheiwiller, 1997. Italie, Werbung in Italien, Advertising in Italy 1954–56 Fulvio Bianconi (Italian) 1915–1996 Bruno Monguzzi (Swiss) for Studio Boggeri b. 1941 to 1969/1970. Derek Birdsall (British) b. 1934 Ugo Mulas (Italian) 1928–1973, photographer Anceschi, Giovanni. “Il campo della grafica italiana: Antonio Boggeri (Italian) 1900–1989 Bruno Munari (Italian) 1907–1998 storia e problemi.” in Rassegna, Problemi di architettura Monguzzi, Bruno and Nicoletta Cavadini Ossanna. dell’ambiente Anno III, no. 6 (Aprile 1981), pp. 5–19. Cinquant’anni di carta 1961–2011. Fifty years of paper Ezio Bonini (Italian) 1923–1988 Remo Muratore (Italian) 1912–1983 1961–2011. Italy: Skira, 2011. Aldo Calabresi (Swiss) for Studio Boggeri b. 1930 Ilio Negri (Italian) 1926–1974 Noorda, Bob and Vanni Scheiwiller, eds. 1872–1972 Erberto Carboni (Italian) 1899–1984 Bob Noorda (Dutch) 1927–2010 Cento Anni di Comunicazione Visiva Pirelli. Milano: Morteo, Enrico. Italian Uniqueness: The Making of a Confalonieri + Negri Piero Ottinetti (Italian) b. 1927 Pirelli-SpA-Libri Scheiwiller, 1990. National Identity. 1961/2011 Fifty years of Italian know- how through the Premio Compasso d’Oro adi. Venezia: Giulio Confalonieri (Italian) 1926–1972 Gio Ponti (Italian) 1891–1979, architect Longoni, Anna and Vanni Scheiwiller, eds. Pirelli Marsilio Editori, 2011. Martin Engelman (Dutch) 1924–1992 Michele Provinciali (Italian) 1923–2009 Antologia di una rivista d’informazione e di tecnica Pavel Michael Engelmann (Czech) 1928–1966 Fulvio Roiter (Italian) b. 1926, photographer 1948/1972. Milano: Libri Scheiwiller, 1987. Museum für Gestaltung Zürich. Poster Collection 14, Zürich—Milano. Baden, Switzerland: Lars Müller Alan Fletcher (British) 1931–2006 Roberto Sambonet (Italian) 1924–1993 Conradi, Jan. Unimark International: The Design of Publishers, 2007. Fletcher/Forbes/Gill Raymond Savignac (French) 1907–2002 Business and the Business of Design. Baden, Switzerland: Colin Forbes (British) b. 1928 Leone Sbrana (Italian) b.1919 Lars Müller Publishers, 2010. Museum für Gestaltung Zürich. Poster Collection 10, Gerhard Forster (Swiss) 1937–1986 Coen Smit (Dutch) dates unknown Michael Engelmann. Baden, Switzerland: Lars Müller De Iulio, Simona and Carlo Vinti. “The Americanization Publishers, 2004. André François (French) 1915–2005 Albe Steiner (Italian) 1913–1974 of Italian Advertising during the 1950s and the 1960s: Raymond Gfeller (Swiss) b. 1938 Studio Boggeri Mediations, Conflicts and Appropriations.” in Journal of Piazza, Mario. La Grafica del Made in Italy: Communi- Bob Gill (American) b. 1931 Studio CNPT (Giulio Confalonieri, Historical Research in Marketing. Vol. 1, issue 2 (2009). cazione e aziende del design 1950-1980. Made in Italy Franco Grignani (Italian) 1908–1999 Ilio Negri, Michele Provinciali, Pino Tovaglia) Graphic Design: Communication and Design Oriented Hollis, Richard. Graphic Design: A Concise History. Companies 1950–1980. Milano: aiap Edizioni, 2010. Giancarlo Guerrini (Italian) b. 1926 Armondo Testa (Italian) 1917–1992 London: Thames & Hudson, Ltd. 2001. Revised and Arno Hammacher (Dutch) b. 1927, photographer Pino Tovaglia (Italian) 1923–1977 expanded edition. Shaw, Paul. Helvetica and the New York City Subway Max Huber (Swiss) 1919–1992 Unimark/Milan System. New York: mit Press, 2011. Hollis, Richard. Swiss Graphic Design: The Origins and Giancarlo Iliprandi (Italian) b. 1925 Massimo Vignelli (Italian) b. 1931 Growth of an International Style, 1920–1965. New Haven Waibl, Heinz. alle radici della comunicazione visiva Lora Lamm (Swiss) b. 1928 Heinz Waibl (Italian) b. 1931 and London: Yale University Press, 2006. italiana. The roots of italian visual communication. Serge Libiszewski [Sergio Libis] (Swiss) b. 1930, Como: Heinz Waibl / Signo, Centro di Cultura photographer Iliprandi, Giancarlo. Visual Design: Fifty Years of Grafica Como. 1988. Production in Italy. Milano: Idealibri. 1985. Arnaud Maggs (Canadian) for Studio Boggeri b. 1926 Johnston, A.W. M. “Pirelli.” in Graphis: International Journal of Graphic Art and Applied Art. Vol. 17, no. 96 (July/August 1961), pp. 284–299.

Jubert, Roxane. Typography and Graphic Design: From Antiquity to the Present. Paris: Flammarion, 2006.

Bob Noorda, Pneumatico Rolle (Rolle tires), 1959

156 pirelli publicity 157