In the pre-television era, many of the finest talents on par with Picasso or Da Vinci found employment in the advertising world where their humor and commercial wit was brought to fruition. Poster art served diverse cultural needs, shaping the complete spectrum of ideological values—from politics to plastics. As a natural bi-product of urbanization, theatres in London and Paris made early advertising clients. Single object focus as a dedicated product channel came later. When world wars took center stage, political agendas forged unexpectedly new and different posters, acting as critical vectors ionto history, patriotism, and economic morale. Having remained politically neutral and not destroyed by war, Switzerland became a nexus of graphic design principles and typological science. Walter Hedeg’s international design journal, Graphis, was born in 1944, and New Graphic Design came in 1958. The 50’s were extraordinary years for the Swiss posturists, and many legendary fonts such as Helvetica were born of this era. Photographic technologies combined with mechanical breakthroughs in precision science led the Art Deco movement into a Machine Age of iconic geometry.