ROCK 'N' ROLL WILL NEVER DIE

The title of this article could just as easily have been 'The King
is dead, long live the King!'. More specifically, in the context of
posters - that creme de la creme of graphic design - there's nothing
like premature reports of an early demise to give something a real
boost.
Nearly ten years ago David Carson put forward the
theory of the 'End of Print', because he had heard Brody talk about it,
and because he wanted to find confirmation of it in McLuhan. But as he
couldn't actually come up with a solid foundation for the theory, the
claim nevertheless became a successful PR gag. No design book sold more
copies than 'The End of Print'. As well as being a clever marketing
strategy, theories of the end of something or other are also based on a
fundamental pessimism about the media. It is the fear that any new
medium will force out all existing media. These fears were experienced
by the book trade with the advent of magazines, and by magazines with
the first flickerings of film, the cinema with the appearance of the
TV, the TV with the introduction of video or DVD, and all of them
together with the coming of the Internet. Yet despite the belief of the
media pessimists that every new life signifies a death, all of these
media are existing quite happily next to each other, and our need for a
broad-ranging visual mastery of our perception capacity seems to have
increased still further. With posters it's also a bit like that.
Four weeks ago the Russian magazine Designer and novum
both asked me to write an article on contemporary poster design. As
this is not a book, but an article, I'll keep it short and general, and
try to give a broad overview of the theme - of course it is a
subjective one, and very much from the point of view of the designer.
The
state of international poster art is showcased at poster biennales and
triennales around the world - the main venues are Brno, Chaumont,
Colorado, Helsinki, Hong Kong, Korea, Lathi, Mexico, Mons , Moscow,
Ningbo, Toyama, Sofia and Tehran. Some of these take a single theme,
like the biennale for political posters in Mons, and the theatre
posters triennale in Sofia. The one at Chaumont takes a different theme
each year. But most festivals are open to all themes and posters. The
quality of the biennales is strongly dependent on the curators
involved, and on the skills of the national selection committee.
Because of the vast number of entries, some biennales go through a
pre-selection process, to make the job of choosing the winners easier
for the main jury. This doesn't actually make a lot of sense, because
all too often very innovative work falls through the net. When it comes
to innovative poster design, the '100 Best Posters' competition
covering German-speaking countries is in fact one of the most
interesting - since its internationalisation three years ago - as it
really does take up on new trends and promote them. Most of the
biennales and triennales produce catalogues giving a good cross-section
over the main trends, special developments and curiosities. Here the
distinction between poster art and poster design is deliberately
blurred.
Remarkably the names of the winners at these
exhibitions are somehow always the same from year to year. Interspersed
with stars, starlets and one-day wonders. It's true to say that there
is a hard core in the poster world. In Japan there's a particularly
strong tradition, with names like Shiego Fukuda, Ikko Tanaka and Koichi
Sato. In the 1960s and 70s Poland was a leading nation in poster art,
but was then overtaken by France - and here, it's hard to limit myself
to just the few names of Alain Le Quernec, Paris Clavel, Pierre Bernard
and Phillipe Apeloig. In Russia there's Vladimir Chaika, Andrey Logvin
and others. Not forgetting the Swiss contingent with Niklaus Troxler,
Werner Jeker, Ralf Schraivogel; the Americans with James Victore, Paula
Sher etc.; China with Wang Xu and Xiao Young; and Germany, which has
been well placed for decades with names like Uwe Loesch, Cyan and
Pierre Mendell. The list goes on The reader will almost certainly think
of others - equally worthy - that I have not had the space to mention.
Nowadays there is no longer any one nation that dominates the poster
scene. The picture is very international, and each country has names
worthy of note - Iran, Israel and Turkey also have very interesting
designers (I mention some new names in the picture section). Well, I'll
have to stop there with this litany of names, and draw your attention
to the 'Summit' exhibition (with small catalogue) organised by the new
poster museum PAN Kunstforum in Emmerich. On show here is the work of
the 44 supposedly 'most important' contemporary poster designers. And I
also strongly recommend you take a look at the website of posterphile Rene Wanner, who sets out just about everything on the subject of
poster art.
Again
and again students ask me why the poster is such an outstanding and
challenging medium for a designer. After all a poster consists of just
one surface. The question itself contains the answer. No other medium
shows the mastery of the designer as clearly as in the job of filling a
blank space of a particular size and format. With posters it's all
about distilling the message down to its essence, to its core. Which
doesn't mean that a poster has to be bland or prudish, it can also be
kitschy, or even playful, if that is the best way of supporting the
message being put across. The medium requires a certain concentration,
it permits no wavering. Interestingly similar laws govern writers for
the production of quality text. Only that which has to be said is said,
the information should be clear and unequivocal. It's better to be
precise than waffly. The designer has to successfully hit the given
mark, within the scope and possibilities open to him. If he doesn't,
then the whole thing is a sad patchwork, neither one thing nor the
other, a wasted space. The day that this kind poster design dominates
really would be end of rock 'n' roll.
About this article
This article was originally published in novum - WORLD OF GRAPHIC DESIGN 07/2004
About Fons M. Hickmann
Fons M. Hickmann lives and works in Berlin, and is a Professor at the
University of Applied Art in Vienna. The Studio Fons Hickmann m23 is
among the top award-winning design bureaus in the world.
About novum
novum - WORLD OF GRAPHIC DESIGN is an international magazine for
communication design (German/English). The first issue was published in
1924 - the magazine celebrates its 80th anniversary in 2004. Each month
novum shows the best works in graphic design, packaging, web
design, advertising, editorial design, illustration and features
special topics like trade fair design, orientation systems, typography,
event design and many others.