The New Typography

assumption that a circle by its�lf can be an "eye-catcher." must be dis­
carded. (Why are circles so often placed in the least important position?)
Even if a circle has once worked as an "eye-catcher," when continually
repeated as decoration it is not eye-catching but repellent.
Effects must be reached with other means. for example a large letter. a fig­
ure. a special area of black or colour.
Posters can be effective with little or much text. While little text is always
better than the book-length of certain posters. a long text can also be
effective by means of contrasting type sizes and well-organized articula­
tion. That is of course nearly hopeless when the client brings in a vast text
and wants to have everything "big." Good poster designs are often pre­
vented by unwise decisions. Variety and revue posters for example are
lessons in ignorance about advertising in many of those who order them.
Colour in design has much to offer typographic expression. The colour of
the paper itself is important. It is best to choose a paper that provides the
greatest contrast in colour to other posters in use at the time. Of course
this is often a matter of luck. since the colours on a hoarding can change
completely overnight. Unusual colours. like pink. English green. light blue,
grey. etc .. and mixed shades that are not often used. can all be most effec­
tive. Admittedly papers in most of these uncommon colours are often more
expensive. but their effect can be overwhelming, as they kill the monotony
of the conventional yellows and violet-red.
Besides the usual black appearance of most posters. a poster in one or
more colours can be very attractive. Printing a colour. say red. on a
coloured. perhaps green. paper. can give a result rarely seen on hoardings.
which will greatly strengthen the poster's power.
A poster can be distinguished from its neighbours by the printing of spe­
cial colours and use of coloured papers. An additional and most effective
means is in the use of white (unprinted) paper. a characteristic feature of
the new typographic poster. This device is eye-catching, since there is
almost no unprinted paper on hoardings or poster-pillars. The normal typo­
poster on which every fraction of an inch is printed can look only chaotic
and is therefore useless. Empty space however helps legibility <Jnd adds to
the aesthetic effect.
The economy of its production gives the typo-poster today an advantage
for the future. which will benefit the compositor - and most of all the
printer- when it is in competition with some of the drawn posters. Such is
its power.