The illustrated posters also proliferate during the contemporary period in very varied and playful forms. They promote products, an idea or events, often through the diffusion of a humorous message.
The Frenchman Raymond Savignac created posters in which the ingenuity and effectiveness of the disseminated message is contrasted with the apparently childish drawing. The same direction follows, the political poster Drug, the gendarme riots (1995), where an oversized policeman lifts a hooligan carrying a suitcase inscribed "drug". If the drawing looks naive, the message is clear: "(The poster) knows it is ephemeral and has no time to lose. Having nothing to lose. (...) the poster practiced to the highest degree its art of saying a lot with rapidity and spirit. A quick glance as you pass and everything is seen and recorded. (...) it has the beauty of evidence and the spirit of synthesis".
Savignac used the joke to get the passer-by out of his gloom and attract his attention. For him, humor is a means of getting a message across in an efficient way and the poster is the ideal channel: "The development of a graphic gag is an exercise of great rigor and aerobatics".
Drogue, le Gendarme sévit
1995 – Raymond SAVIGNAC
Bernard Villemot drew many advertising posters of products that play with the viewer through humor, they act on the audience as visual charades. This is the case for Perrier c'est fou (1981), which shows a boat on a raging sea whose sails consist of bottles of Perrier drink. Or for Bally Shoes (1989), a stylized woman who plays with the earth as with a soccer ball and who suggests the message "with Bally shoes made in Switzerland, you can go around the world."
1990 – Bernard VILLEMOTSold
Ruedi Wyler, with Zürcher Theater Spektakel (1991), makes fun of the spectator himself through a poster with unbridled humor that portrays a bourgeois theater lover, caricature and kitsch. Also for the Zürcher Theater Spektakel (1994), Edelweiss combines illustrated typography and photography in a provocatively humorous poster for the theatrical program of the Zürich Open-Air Festival. It shows the backs of a couple of bridegroom naked except for their headgear, physically unfavorable. It seems that the 1990s marked the end of the "politically correct".
Finally, the poster designers of "La Ligne Claire", with artists such as Joost Swarte, Ever Meulen, Yves Chaland and Ted Benoit, show a more squeaky humor in order to convey political messages. The artists of this movement, portray caricatures of the bosses, leaders and political parties in the form of animals in order to convey a” comic" style.
Mallemunt, Festival de théâtre et de musique
1983 – Ever MEULEN
Their drawings are characterized by the use of simple lines of equal thickness that delimit spaces and colors in flat areas. Illustrators of the Ligne Claire are versatile and produce book covers, album covers and posters. Their work, which takes root in the work of the Belgian draftsman Hergé, the father of "Tintin", is halfway between cartoon and illustration.
This is the case of the cartoonist Emmanuel Excoffier, known as Exem, in his poster No to the patronage law (1989), which shows a rat eager to smoke a cigar. The poster Tenants, do not let you stifle, yes to the law against land speculation (2000), represents a menacing octopus crushing houses and inhabitants between its giant tentacles. Exem also created posters for event, local, sports, or cultural subjects, such as the "Course de l'Escalade", the Street Festival, the Book Fair or the flea markets.
Non à la loi patronale contre la fonction publique
1989 – EXEM, Emmanuel EXCOFFIER
Musical cultural events gave rise to various humorous posters, which use the 9th art as an advertising medium, such as Eric Jeanmonod with Festival du Bois de la Bâtie (1979), Claude Luyet with Geneva, L'AMR aux Cropettes (1980), Ever Meulen and Eddy Flippo for the Mallemunt Theater and Music Festival (1981), Aloys with his AMR Jazz poster, Charlie's tribute (1984), and Georges Schwizgebel's Festival du Festival Wood of the Bâtie (1985).
Through these many examples, it appears that the Geneva tradition inscribes the comic strip in the history of the poster in a significant way.
Genève, L'AMR aux Cropettes
1980 circa – Claude LUYET