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,
