Volume 16–1.pdf

CONCERTGEBOUVI,
ammadi dinsdag 6 juni, 20.15 uur
o A I
o PHILHA
ORKEST
KERSJES
LECHN
60 A 1978 poster for a folklore event.
Total Design. Holland.
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63 Opera poster, 1981. Shigeo Fukuda.
Japan.
64 Complexity, distinctiveness. "All that
stuff about revealing structure and
reducing things to their simplest forms—
I couldn't go for that. I guess the revolutionary
thing we did was to take the
position that there is no single voice
capable of expressing every idea, that
romance is still necessary, ornament is
necessary, and simplification is not
better than complexity," Milton Glaser,
1985. Shown here, a page of a 1983
calendar for PM Typography. Milton
Glaser. USA.
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Zatthor
Kormverenthes.
(5 4,64,8181 10.Novomb9r,
19 November 1981
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.8.191 1982
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61 Concert poster. The central motif is
an emblem designed for the theater.
Odermatt & Tissi. Switzerland.
62 California Institute of the Arts view
book. April Greiman. USA.
65 "The client was looking for an identity
for the group, rather than an image of a
single dancer. The name Alvin Ailey was
written figuratively with brush strokes,
thus creating the identity of name and
group. The bottom type suggests an
audience and static order as opposed to
dance': Steff Geissbuhler. USA.
Thoughts
About.
Yesterday
Today and
Tomorrow
for a panoramic
view of the
past 100 years of
typography, and you will
see the ebb and flow of
designers' relative
emphasis on vitality or clarity
in their work. No doubt most
designers feel what they do is
best suited, most appropriate,
to the message problems they
handle. This writer has a bias
towards typographic design
that captures the best of both
worlds, that is both vigorous
and lucid.
True, it is impossible not to
notice the unexpected. But
attracting attention is only the
first step in the communications
process, and if confusion
or obscurity follow, then the
eye-stopping devices have
overpowered the message they
were designed to empower. On
the other hand, clarity and
order alone are rarely enough.
If a piece is boring or indistinguishable
from many others, it
may lack the power to attract
maximum readership or
make a deep and memorable
impression.
Just as speakers and writ-
' ers have tones of voice and
style that can be modified as
necessary, so typographic
designers have a wide range of
design devices to choose from.
They can be whimsical, dramatic,
fashionable, analytical,
bold, subdued, stylized or stylistically
neutral, researchfocused
or intuitive, as the
occasion demands. All these
and many other visual tones of
voice are employed today. They
coexist with the full spectrum
of emphasis on clarity and/or
vitality in visual communications.
In that sense one might
say there are no trends
because so many seemingly
different design approaches
flourish together. But there are
some developments or trends
worth noting.