types and the areas of black and red are superb and the whole is a com
position of enchanting beauty. The two red rules show how the effective
ness of a photo can be increased by the use of colour. Equally, the flat red
area of the bold L contrasts well with the delicate plastic forms of the pho
togram. The typography and the photo echo each other: the centre of NFK
with the centre of the cable cross-section, the red lines of type with the
cable circumference, and so on.
It can be affirmed that typo-photo is one of the most significant means of
graphic expressio[l in today's typography and advertising. It will not be
long before the popular forms of typo-photo, particularly in newspapers
and some advertising, by means of conscious and logical contemporary
design, reach the cultural highlights of the present time.
The enormous possibilities of photography itself have so far hardly been
recognized, outside a small group of a few specialists, and certainly not
exhausted. There is no doubt that the graphic culture of the future will
make a far greater use of photography than today. Photography will be as
expressive of our age as the woodcut was of the Middle Ages. For this rea
son it is absolutely necessary for every graphic professional, even today, to
develop creatively all the techniques of photography and reproduction as
far as possible and prepare them for the higher demands that will surely be
made of them in the near future.
SASCHA STONE:
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(photomontage)