Model Edited Introduction The pre publich chosen were re As alwi advertii compel trends i techniq and ch< on an ii invalua designe agencie in grapl The bo< posters, televisie bookjac and lett include calenda Caption English, details c clients, the orig sive ind designe and stu< clients t Modern 176 pag which n The covt exhibitio Lyricism, humour and surrealism seem to play a predomi nant role in the work of 440 art directors, designers and photographers, whose work is represented in this edition of modern publicity. In the poster section. Uwe Brandi's design for industrial detergents is beautifully drawn and invites comparison with any advertising for similar products in the past. It even con tains some factual information within its humorous solu tion. The only fault of this poster lies in the fact that it is hardly distinguishable from the artist's work for other clients. His style of illustration is so distinct that it would be difficult for him to find a solution entirely different from his other works. All praise to the client who accepted this poster for a product which is usually presented in the most boring manner. Sarah Moon's works have a beauty and elegance that will soon turn them into collectors' pieces. It is a sign of the increasing permissiveness and the resulting visual satiation in nudity that Pirelli have decided to use her more subtle but extremely sensuous photography for a calendar which is known for its sex appeal. The works submitted have been more varied in style, approach and technique and the ever-increasing choice of instant typefaces such as letragraphica and new type- design for photosetting have also added to the versatility of the design and ideas in recent advertising graphics. If we look back to the lettering possibilities which designers used five years ago. the difference is stunning. Book- typefaces, some display-lettering and perhaps some hand- drawn lettering provided the bulk of the text in the material published in modern publicity 1967j68. It is worth com paring this with today's graphics. Advertising has also become more honest (or subtle) in its approach to the customer. Superlatives have been dropped as a means of persuasion. Copy is more witty or factual and it may well be that the healthy scepticism towards adver tising claims will be lulled by the reaction of the advertisers against the pressures of consumerism. The more gullible consumer will have more protection, while the educated, critical public will have to adjust its judgment. Let us hope that the advertising industry will keep to its self-imposed codes and ethics. Nobody expects them to establish censorship over the products that they are meant to advertise, unless they feel that the claims are false orthatthe product is decidedly harmful or worthless. The recent discussions on drug advertising prove these points. Antidepressant drugs have to be advertised to a limited public of doctors, and it is to be expected that the medical profession is intelligent enough to make its own judgment. It is however the responsibility of the design teams not to exaggerate the healing properties of these drugs by overplaying the difference before and after treat ment and the claims for the results. Luckily this material does not usually reach the general public. The ways and means by which products are advertised depend on the ethics and self-control of those who publi cize themthe creative teams, the marketing consultants, the designers and copywriters. It is up to them to be true to themselves, and they usually are. Felix Gluck £4.80 ni

Modern Publicity en | 1972 | | page 10