Modern Publicity 1968/69 [antikvár]

Introduction Writing about our 1967/1968 edition, reviewers pointed out that there was a marked increase in offbeat and unconventional advertising. This year, the off-beat, the use of Pop techniques and the bizarre have been accepted and used by institutional and commercial advertisers. There is a refreshing breeze of colourful good illustrations and surprisingly good typography, usually well ahead of most of the 'Underground' products which are mainly for individual sale. Pop-art in Its parody of commercial art has enriched the same by being used and adapted by imaginative illustrators and designers. This, and the constantly Improving photographic techniques, also lead to an increase in good commercial advertising compared with cultural subjects. It is interesting to note how film directors and their Ideas of composition have influenced advertising design and how advertising photography has become so much more flexible and creative. Infinite care is taken to produce situations conveying striking ideas, be this with the visual economy of teams like Avedon and Henry Wolf or Paul Ferrand and William Klein, the elaborate tableaux of Elliott Erwitt, Jean-Claude Dewolf or Olaf Leu. Cameras today have been perfected to react to the finest impulse of the designer. Advanced printing techniques and a sure knowledge of their limitations and possibilities also help towards the best possible results. Today, designers very often combine silk screen techniques with other more conventional printing methods to achieve special effects. Offset-lltho seems to be the most popular reproduction process at the moment, but very often more than four colours are used. Sometimes It is decided to print four-colour offset - but using special colours rather than primary colours. These and other methods, which often go far beyond the Initial brief supplied by the client, distinguish the creative designer. We have added information on printing processes and sizes to the captions, wherever this information was available, and we hope that this will give our readers the opportunity to analyse the illustrated material from a technical viewpoint as well. In this issue we have started a new section — new typeface-designs for text and display setting, and also bookjackets and paperback-covers. As this Is a new development, we have not limited the entries to last year's designs. We hope, that this chapter will increase soon with more entries and that we can then divide It Into two sections. Finally I would like to thank all our contributors, who have sent us such a variety of material and all those whose entries had to be left out, and I hope that they too will continue to send us their designs.