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Edited
Introduction
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176 pag
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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
