Graphic Design, which developed in Switzerland in 1950 was aimed at these tasks, and therefore the concept and methodology of the Swiss-style soon spread throughout the world.
One of the areas where the emerging international style was the most in-demand, was the pharmaceutical industry. The largest Swiss companies that manufactured chemicals and drugs (Ciba, Geigy, Hoffmann-La Roche, Sandoz) to establish a modern corporate style appealed to the leading masters of graphic design – A. Hofmann, C. Gerstner, N. Rudin, J. Hemburgeru, J . Müller-Brockmann, and others.
In Zurich in the 1950-s. the most prominent graphic designer was Josef Muller-Brockmann, who has chosen a new «anonymous» style. A graduate of the Zurich School of Art and Industry, since 1936 he worked as a freelance graphic designer. One of the most brilliant pages in the career was the creation of posters on the musical program of the Concert Hall (Zurich Tonhalle, 1950 – 1972) and the Opera House of Zurich (Opernhaus Zurich, 1960.). (Bringhust, 2004)
To create a visual image of the placards Muller-Brockmann used cascades of crescent shape, the cycle of arcs, the modulation wave-like lines. By the beginning of 1960, the concert posters by Muller-Brockmann become extremely font. The intervals in words, taking advantage of color and scale, sought to master rhythmic architectonic unity. Typographic composition, the formation of the principle of crossword, stepped lines, or in several columns, represented typical examples of functional typography. The strict and clear style of these years was the culmination of mathematical principles in graphic design. (Hollis, 2006)
By the middle of 1960, the usual practice of Swiss graphic designers is the use of the modular grid. The book by J. Muller-Brockmann «Challenges of a graphic artist in the field of design engineering» (Gestaltungsprobleme des Grafikers, 1961) first presented the .details of a modular system of construction in its diversity.