Street posters near City Hall Park, New York 1866.
times, advertising has been individually painted on the wall or laboriously
hand-carved in stone and marble. Egyptians and Romans were particularly
nimble-fingered in this technique.
Posters conquer Europe
of printed paper was made possible only in 1440 with the invention of
the printing press by Johannes Gutenberg in Mainz, Germany. It was only
later that posters began to boom, mostly only with text, which focused
on official statements and political slogans (eg "down with the king")
and later also announcements of organizers from the entertainment area.
Senefelder invented lithography, the technique had been developed in the
19th Century. The artistic possibilities and its visual impact inspired
artists throughout Europe. Important for the poster, which boomed mainly
with political content during the French Revolution and the unrest that
followed, and later during the industrialization.
Flyposting is an expression of urban culture
Around 1880 also in the cities of Switzerland mainly posters with political content were placed. As the rival political parties pasted posters over each other, the authorities enacted laws on poster advertising.
When the trained bookseller, printer of flyers and newspapers Ernst Litfass, in 1855 asked the police chief of Berlin a permission to establish public advertising pillars, he promised to curb the wild flood of posters on the trees. It was the birth of the still widespread advertising pillar. The artful poster hanging had his golden age in Switzerland at the time of Dadaism in 1917, especially in the stronghold of Dada Zurich.
About 50 years later with the advent of photocopiers, the small poster was realisable for everyone. Fast and cheap communications, advertising messages could be political, commercial or reproduced invitations to cultural events. Like that DIN A3 was widespread as a small poster format. Later on offset printing was getting cheaper because of falling paper prices and the rising demand for printed matter. Now everybody could print with small budgets and even larger formats.
While in most neighboring countries permeated the A1 format, In Switzerland it was A2 (approximately 42 x 59 cm) as standard of flyposting: large enough to be well perceived - small enough to fit almost anywhere.
In Switzerland there is against every free market principle, a quasi-monopoly on poster sites in towns. A single billboard company dominates the big poster landscape. Contracts which have been partially closed almost 100 years ago with various municipalities, secured a large company posting privileges on public ground. Through solid relationships of the poster company with the political elite, these contracts could be renewed regularly. Today they still provide a massive competitive advantage over other billboard companies, who are limited to billboard on private ground only.
Through the quasi-monopoly situation the billboard company in Switzerland, largely dictates the prices. Large posters costs five to twenty times the price of neighboring countries. Only high-income commercial companies can afford several hundred or thousand francs per poster per week, small companies or cultural organisers can not afford this.
That's why the low budget flyposting wins. Because independent billposters are usually not placed on rented sites, but on free sites, and because of the mechanisms that play between the billboard companies, and so does the free market puts pressure on prices. This is one reason why this advertising medium is affordable.
For many cultural organisers, clubs, concert venues, festivals and theaters flyposters are the only financially viable way to draw attention to their events. Even well-established cultural institutions use this advertising medium regularly to fill their halls.
The company PROPAGANDA has been advertising with posters in
What had started as a one-man business at that time was later to become a success story. From 1980 onwards, flyers were distributed regularly alongside the posters. From 1986 the distribution was extended to all Swiss cities. 1994 was the actual boom year for the company, which now served renowned cultural organizers such as the Kaufleuten, Rote Fabrik and Schauspielhaus as regular customers.
In 1995 key players of the music industry, international labels, and since 1997 all big film distributors could be won as clients. This cemented the breakthrough of PROPAGANDA, which in the meantime had also made a name for itself in the field of promotions and other special forms of advertising. In the year 2000 Sandro Galli finally decided to change the sole proprietorship into a public limited company. The growth of the company, which in the meantime had become PROPAGANDA Zürich AG, then picked up speed.
Thanks to the strong interregional network, all areas of
In the year 2004 the company Swiss Distribution Service SDS was taken
over, and thus the range magazine distribution was massively developed. At
the same time, the corresponding logistics department was expanded and
made even more professional. Since 2005, CEO Sandro Galli has also been a
guest lecturer at several marketing schools, like the
By taking over four further advertising companies from 2009 to 2015, the
company remained on its successful growth course. From 2012, the film
promotion division was greatly expanded, and
After Sandro Galli started PROPAGANDA first as a hobby and later on a
professional basis, he put the company on an impressive growth course.
Contracts with the public sector, in particular with the city of
With its original roots in the cultural scene, PROPAGANDA is today very versatile and has a broad customer base that extends beyond any industry. The company has an extraordinarily high customer focus and measures its own success on the positive results of its customers. This is also the key to long-term and extremely valuable customer relationships in 2019.
In front of Olympic Theatre, New York 1875.