Around 1910: “Mephisto” with Bosch ignition

This poster design credited to Julius Klinger was produced around 1910. The model for the “Mephisto” figure was the Belgian racer Camille Jenatzy, who was as popular as Michael Schumacher at the time. His image – the long red dust-coat, haggard face, red beard, driver's cap and protective glasses – gave Jenatzy his “Red Devil” nickname.

The red area is particularly striking through its contours. Only the diabolic face and claw-like hands holding the highly detailed magneto are highlighted.

Klinger's design reflects elements of art nouveau poster art, through its clearly minimal internal detail and swinging contours. Racing cars from the important racing nations of the time hang from the ignition cable. The “Red Devil” symbolizes the Bosch magneto, on which all depends and about which he is clearly happy.

Then as now, motor racing was a matter of national prestige – only now it is car brands rather than nations that compete with each other.

1914: Light and starter

In March 1913, Bosch produced complete vehicle light systems for the first time and they had to be advertised along with the ignition. In 1913, the Swabian artist Lucian Bernhard designed a poster entitled “Bosch Light”. The Bosch light system was highlighted against the nocturnal gray silhouette of a car. In 1914, the Bosch starter was also introduced to the market. Bernhard therefore amended the poster design by adding the starter in a contrasting green color.

The design shows the name “Bosch” in the “paint brush” lettering invented by Bernhard for the first time. For decades, it served as a brand in shop windows, on publications and in advertisements.

The products are tinted and hence contrast strongly with the gray-black background. The red-green colored circle sends a striking signal that was to return in different forms in later work. The colors are repeated in the text, thereby explaining the picture directly.

Before 1926: Keep the noise down

The striking materialized horn signals dramatize the graphic structure of this motif. The electric Bosch horn was only introduced in 1921 and many a proud driver clearly made use of it a little too often. But the Bosch innovation was intended as a warning in dangerous situations! Similarly, another Bosch motif – “Don't glare!” – warned drivers against unrestrained use of their headlights.

Didactic imperatives still worked at that time – even in advertising. It was only after the Second World War that people seem to have had enough of commands. The tone of advertising therefore became more friendly and subtle in the 1950s.

1930: Yellow plug

Around 1914, Lucian Bernhard was commissioned by Bosch Director Hugo Borst to design the advertising poster “Bosch Plug.” Bernhard refrained from any illustrative extras, instead concentrating on the advertised product and the company name.

In doing so, Bernhard created an early predecessor of the modern typographical Bosch brand name. Set in an opposite diagonal to the spark plug, the exploding spark not only indicates its function, but also communicates dynamism and power, making the design a classic. It is on show, for instance, in the Museum of Modern Art in New York.

From then on, Bosch used the igniting spark plug image produced by Bernhard not only for advertising posters, but also for the spark plug packaging. The metal plate design shown here was produced around 1930.

1937: Historical race poster

“185 first places and 86 records were achieved in 1937 on major race tracks around the world with the reliable BOSCH spark plugs.”

Bernd Rosemeyer, the winner of the Eifel Race at the Nürburgring, is shown driving an Auto-Union car. Photographic elements form the basis of this poster design.

Around 1955: Old plugs “guzzle”

“Old plugs guzzle fuel – new Bosch spark plugs save gas.” This poster was created around 1955. Illustrations were in fashion at the time, not only in advertising. It was popular to give technical devices human characteristics, arms and legs – as Walt Disney had done in his cartoon films.

Houses waved greetings, vacuum cleaners politely raised their hats, locomotives puffed in sweat up the hill. And in happy anticipation of an oil change, there were cars that opened their bonnets and gave us a longing look. So it was logical to give the spark plug a human face. Bosch went with the times.

Around 1960: Blaupunkt car radio poster

The economic miracle was gearing up and advertising had to be happy and uncomplicated.

The entertainment electronics industry was booming and the Bosch subsidiary Blaupunkt enjoyed market shares of over 60 percent in the 60s. A “Blaupunkt Studio” was even built in Hildesheim. Designs like this, with a cutout style that was typical for the time, were created there. It shows the almost touching naivety of the time compared to today's sense of style. Film stars such as Gina Lollobrigida or Sophia Loren embodied a media image of women that is also reflected in this poster.

1972: Wiper blade

Not only Oswald Kolle, but also authors such as Vance Packard (“The Hidden Persuaders”) contributed to consumer education in the 1970s. Advertising as a projection of simple desires, that had been dominant in the 60s, no longer worked. Consumer goods especially required communication of utility and technical features. After all, the consumer of the 1970s aspired to being an expert.

Bosch reacted, as the 1972 wiper-blade advertisement shows: In addition to product use, a technical argument must be communicated. In marketing language, the term “unique selling proposition” had emerged, showing the product's advantage over rivals. Bosch also used such “USPs”.

1986: The first “automotive” radio

In 1986, Bosch celebrated its centenary with a series of adverts entitled “100 Years of Bosch Ideas.” Motor vehicle electronics had emerged and Bosch shaped its development.

Like its predecessors, the Bosch campaign was characterized by a sober, informative style. The images were realistic and often black and white, while the text was relatively extensive.

For over three decades, this style of communication established the long-term public image of Bosch. It contributed to the extremely high level of trust that the Bosch brand enjoyed. But it also led to the impression that the company was not exactly young or dynamic.

1996: Car without Bosch

In 1996, Bosch began to change its public image. Texts became shorter, images more metaphorical and sometimes more dramatic. A series of advertising motifs was used to illustrate the wide range of the company's operations, which included telecommunication at the time.

The first campaign motif “Car without Bosch” was implicitly provocative, but that was intentional. Surprising effects such as these alternated with entertaining elements. Only the slogan always remained the same:
“Bosch – always a solution.”