After the 1948 declaration of statehood, a generation of European-trained designers built a visual identity for the new nation from imported Bauhaus grammar. Franz Kraus and Otte Wallish — émigrés who carried Central European functionalism with them — composed tourism and national posters as hard geometric planes: circles, bars and diagonals locked over a saturated absolute-blue field.

The work is gouache-flat and high-contrast. Crisp Hebrew sans display type, ancestors of Frank-Ruehl and Narkis Block, sets the slogans in white against national blue, warmed only by gouache ochre and agrarian green. Nothing is decorative; every shape follows the message. This system rebuilds that blue-and-white state poster language for the screen — flat, functional, unapologetically modern.