idea 24 : Pharmaceutical Advertising Design

[/wide] Paperback: 92 pages
Publisher: Seibundo Shinkosha
Language: Japanese English
Product Dimensions: 29.7 x 21 x 0.5 cm
Release Date: 1957

cover design: Jürg Hamburger

J. R. Geigy A. G. [Basel] E. Merck Pharmaceutical Co.
Sankyo Co. [Japan] Takeda Pharmaceutical Co. [Japan] Shionogi & Co. [Japan] Yamanouchi Pharmaceutical Co. [Japan] Sumitomo Chemical Industry Co. [Japan] Upjohn, Co. [U.S.A.] Dompe Pharmaceutical Co.
Jan le Witt
Tokai District Designers
Karl Gerstner, Enzo Rösli, Max Schmid, Andreas His, Jürg Hamburger
Fischer-Nosbish, Erich Buchegger
Brief History of Japanese Commercial Arts Vol. 8 A. Yamana
Experiment on Emphatic Presentation of Brand E. Kawasaki
Ihei Kimura: Started as a Commercial Photographer H. Ohta
Steel Skeleton in Modern Mood S. Imatake
It’s a Contest, Game, Catalog, Ad; All in One Printer’s Ink
Local News
Editor’s Note T. Miyayama


An art director is admittedly a creative man and an idea man who gives his own idea on advertising art to other artists, directs him to write it, and proves his own personahty well reflected on the final printed sheet. However, there are many times when a campaign can be brought to a success by an intensive work of an individual artist who constitutes a part of publicity department. Not that the individual function represents a well-organized team Work, but by this it is meant that the integration of a team Work often brings forth an order and this order gives the individual an environment where he can develop his personality freely and widely.

The most important function of the publicity staffs is, firstly, how they can create a visual structure, and secondly, how well they understand the company’s sales policy. Broader publicity campaign can be made possible only when they conduct it on such planning that they prepare more ideal and persuasive advertising and that they give end users an appropriate explanation and make them known well about their products.

The planned publicity like this is more educational. Of course, the visual beauty from the standpoint of formative art helps enhance the sales volume but it is not everything to make the products saleable. What’s more important here is the serious problems of how to cut down the cost and how to gain larger volume both on production and sales levels, and for this purpose every department of the organization, not t0 say of the local publicity department and even agency, must be pulled together for an overall cooperation. Accordingly, the advertising art should reñect the opinions of every cooperative concern and it should, by no means, be the one that pleases only the invididual artist Who makes it. lt must be more functional, more objective.

The publicity department that requires a versatile talent of artists must go in concert with company’s policies and perform them most effectively. Every sales message or story represents the company’s characteristics, sales policy, and feature of the product. Therefore, even the slightest ambiguous point must not be overlooked.
Traditional visual impact of Geigy advertising cultivated by the full cooperation of R. Rudin and Max Schmid is a great asset for the company more than it can evaluate.

It is firmly convinced that such design policy will play a greater role in the company’s future campaign. Apparently, it is a product of publicityconscious effort of the Geigy artists but now it became more than a driving
force for the promotion of enterpŕise. It is even a contribution to the
culture of modern society.


宣伝部長 R.Rubin 氏及び製作技術部長 Max Shmid 氏の協力によって培われた伝統や宣伝の視覚的特徴は、会社にとっては評価できないほどの偉大な資産であり、蓄積された資本であると考えられる。

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