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For exam­ple, the large head­line in one of his Cit­roën adver­tise­ments stated ‘Don’t buy this car’ which was fol­lowed with ‘if you don’t expect some­thing out of the ordi­nary in a car’ in smaller type. Ger­st­ner saw typog­ra­phy as a way to express a whole greater than the sum of words and mean­ings. A mes­sage in the form of text can con­vey a mean­ing or some infor­ma­tion, how­ever, when typog­ra­phy is used in an informed man­ner, Ger­st­ner felt that it could greatly con­tribute to the con­nec­tion between the words and the actual mean­ing. “He also pro­posed what he called Inte­gral Typog­ra­phy which extended on Max Bill’s typographic ideas. “He pop­u­lar­ized the use of unjus­ti­fied ragged-right text in typog­ra­phy” writes History of Graphic Design on Gerstner’s very Swiss influence in design. Under his influence typography and graphic design transformed in systematic symmetry. His everlasting body of work influenced numerous forms of art.

He set up his own graphic design studio in 1949, and by 1963 he had part­nered with Markus Kut­ter, a writer and edi­tor, to form the agency Gerstner + Kutter which then became GGK with the addi­tion of archi­tect Paul Gredinger.Įventually GGK became one of the most successful advertising agencies in Switzerland, with offices in other European countries and the US and his pioneering work – in particular, his designs for Geigy- made him one of the most important exponents of modern commercial graphic design in Switzerland. One of the most important innovators in typography, commercial art and corporate design, Karl Gerstner was a genius.Ī painter and graphic designer alike Ger­st­ner stud­ied design at All­ge­meine Gewerb­schule in Basel under Emil Ruder.