possibilities exist for the increased use of photography in poster design -
although. when it is a question of larger poster sizes. restrictions are
imposed because on the one hand the techniques of photo-reproduction
have not yet advanced far enough (up till now. to my knowledge. only a few
firms in Berlin can produce posters in 84 x 120 em format by rotary print
ing) and on the other because the costs of screen exposures are still pretty
high. admittedly significant only when runs are short.
More restrictive is the blind enmity, or at least hostile prejudice. of many
artists against photography, which can only be explained by lack of imagi
nation. The public's taste is of course influenced by the poor quality of
much advertising in more or less inferior papers. which it takes to be good
but which leaves much to be desired. It is also a fundamental error of most
artists to suppose that the use of photography makes artists unnecessary.
By so thinking they must believe that they are seeing the end of their skills
in the techniques of painting and drawing. Even a good photograph gives
no guarantee of a good poster. and. equally. from only average pho
tographs good posters can be designed. It is always pictorial strength that
provides the results.
The suggestive power that gives photo-posters the advantage over so many
other kinds of poster lies in the extraordinary contrast of the richly
nuanced "plastic" grey of photographs with areas of colour (or indeed pure
white) which only the use of photography can give. Such a richly varied
means of expression demands. contrary to usual opinion. at least as much
imaginative ability as painting and drawing. In any case. a very highly
developed feeling for harmony and proportion is needed. when posters or
other printed advertising matter are being designed using these contempo
rary methods.
It is surprising how well a small part of a single photograph can sometimes
work as a poster. as in the PKZ poster by Baumberger. It is a pillar-poster
made from a colour photograph. Apart from the label sewn into the gar
ment. no lettering is used. Since laying down a colour photograph on stone
is today virtually impossible. the colour separations for lithography had to
be made by hand. Developments in reproduction technique in the near
future will make mechan'ical reproduction possible.
elle
(Elle)
#1