Introduction The cover of this year's Modern Publicity represents a beer-lollipop and was created by the IDEEalismus team to illustrate one of a series of beer posters (see also page 26). These posters, like the Telephone-ear by Graphic- team on page 17, are examples of superbly photo graphed three-dimensional surrealism. The method has been used before, for example in the squared apple advertisement for Zanders several years ago (incidentally also by Graphicteam and for the same clients). This three-dimensionaltechnique in graphics is now reaching its full maturity, and humour has added yet another dimensiontoit. It is encouraging to see that these outstanding posters sell consumer goods rather than culture. The designer selling culture can usually 'get away with' a much more sophisticated approach. Both the beer-lollipop and the telephone-ear posters were produced by creative teams in which design, photo graphy and typography were a combined effort and where the designer obviously had full control of his work. It is regrettable that this is not always the case, often because of the structure of some agencies where typography and lay-out are still handled separately from the photographic or illustration material. In such cir cumstances the designers are often disappointed and the final results are far from the original concept. I did, how ever, feel that I had to include some works in which the photograph or illustrations are superb, even if the design diminishestheir impact. In general, few other new trends have been developed in this year's entries. What is more significant is the gradual disappearance of some recent tendencies. The irrelevant use of Nostalgia and the unlimited use of Pop and Under ground sty\es are both trends that are still with us, but they are being used less frequently and more pro fessionally. In this edition we have added 16 colour pages to the usual sections but will rearrangethe material next year to allowforsome newchapters. One new section which we hope to introduce will be on stamp design which up to now we have had to omit because of lack of space. Another field of design where we feel a new chapter would be useful is that of integrated campaigns. The Cacharel advertising in this edition is an example of a superbly co-ordinated campaign where the agency, photographer and client were in complete accord and wheré advertising, packaging and direct mail were treated equally well. The Olivetti and Kodak campaigns are similarly varied and interesting and the international use of the house style makes them even more effective. Tljese are of course top products but we will be able to illustrate good integrated campaigns for mass-market products as well. In the next edition we also intend to mention the names of all those who take an active part in the overall pro duction of the advertisements, such as copywriters and account executives who up to now have not been included. Once again, I would like to thank all the designers, agencies, teams and clients from all over the world, who have contributed with their work towards the diversity of this annual. I hope they will send in their new entries again and that those designers whose work we did not manage to show this year will not be discouraged from entering their work for the next volume. Introduction Cette année, la couverture de l'édition de Modern Publicity représente une bière-sucette, créée par l'équipe IDEEalismus. Elle fait partie d'une série d'affiches pour marques de bière (voir page 26). Ces affiches, ainsi que Ie téléphone-oreille de l'équipe Graphicteam de la page I 7, sont des exemples de surréalisme en trois dimensions magnifiquement photographiés. La méthodeaétéutilisée auparavant, par exemplesur l'affiche de la pomme carrée pour Zanders, il y a quelques années (incidemment ce fut aussi par l'équipe Graphicteam et pour les mêmes clients). Cette technique de graph isme a trois dimensions atteint a présent sa pleine maturité et l'humour vient encore y ajouter une autre dimension. II est encourageant de constater que ces affiches remarquables vendent des produits de consommation plutöt que de la culture. Le dessinateur qui vend de la culture peut s'en tirer d'habitude d'une facon beaucoup plus sophistiquée. La chope de bière-sucette ainsi que le téléphone-oreillesonttoutes deux des affiches qui furent créées par des équipes pour qui le dessin, la photo et la typographie furent un effort joint et oü le dessinateur a eu de toute évidence plein controle sur son oeuvre. II est regrettable que cela ne soit pas toujours le cas, souvent paree que dans certaines agences, la typographie et le dessin sont traités séparement du matériel photographi- que ou de l'illustration. Dans de telles circonstances les dessinateurs sont souvent déqus et les résultats finaux sont trés éloignés du projet original. Cependant je trouve que je dois inclure quelques travaux dans lesquels la photographie ou l'illustration est magnifique, même si la realisation diminue leur impact. En général peu denouvellestendancesontétédévelopées dans les entrées de cette année. Ce qui est plus significatif e'est la disparition petit a petit de quelques tendances récentes. L'usage hors de propos de la Nostalgie, ou bien l'utilisation sans fin de la mode Pop ou Underground,

Modern Publicity en | 1974 | | page 10