The 33rd Biennale d’Arte, Venice, held from 18 June to 16 October 1966, is remembered in graphic design history for its distinctive poster campaign built around the monogram “33B.” The visual identity was created by Dutch-born Italian designer Bob Noorda (1927-2010), working within the Unimark International studio, with layout by Massimo Vignelli.[1]
Design and History
The official archive of La Biennale di Venezia catalogues the 1966 campaign under the title “33B – 33. Biennale internazionale d’arte,” crediting Bob Noorda as graphic designer and Unimark as the design studio.[2] The AIAP (Associazione Italiana Progettazione per la Comunicazione Visiva) archive confirms the same attribution, noting the graphic project by Noorda with page layout by Massimo Vignelli under Unimark International.[1]
Multiple posters were produced for the event in different formats and printing techniques. The main general poster was a silkscreen print measuring 99.2 by 68.5 cm,[2] while a programme and prizes version was an offset lithograph at 64.7 by 49.8 cm,[3] and a second programme poster was produced in lithography at 68.8 by 48.9 cm.[4] The Museum of Design Zurich holds a copy of the poster in its collection, dated 1966 and attributed to Noorda.[5]
The Belkin Art Gallery at the University of British Columbia holds a related poster reading “Riduzioni ferroviarie 33B” (railway reductions), which it attributes to Massimo Vignelli.[6] This suggests the “33B” monogram was applied across a coordinated series of posters for the event, with Noorda as the principal designer and Vignelli handling layout for at least some items.
Meaning and Symbolism
The “33B” monogram functions as a compact abbreviation: “33” denotes the 33rd edition of the Biennale, while “B” stands for Biennale. The Belkin Art Gallery describes its poster as reading “Riduzioni ferroviarie 33B,” confirming that the monogram was used as a shorthand identifier across the campaign.[6] The Zurich University of the Arts archive categorises the poster under the keyword “Swiss Style,”[7] reflecting the international modernist approach that Noorda and Vignelli brought to the project through Unimark International.
Typography and Design
No detailed typographic specification for the 1966 Biennale posters has been documented in the available sources. The AIAP archive records the project as a graphic design by Noorda with layout by Vignelli,[1] but no specific typeface or construction method is cited. The Belkin Art Gallery describes its copy as a black-and-white print,[6] and the Basel School of Design poster collection lists its copy as an offset print measuring 99 by 68 cm.[8] Beyond these physical details, the available records do not specify the letterforms, grid, or colour palette used in the design.
Logo Index is an independent educational archive covering logos, visual identities and graphic design history. All trademarks and brand assets remain the property of their respective owners.
