Archive
At First Sight and at Second Sight
1971 saw the publication of ‘A History of Visual Communication’, penned by the celebrated Swiss designer and lecturer Josef Müller-Brockmann. The book goes back in time to pre-history. It begins in the caves in the South of France, 15,000 years before Christ, and even shows a page of neat accounts from Babylon, dated to 1800 bc
The last few pages of the tome (with a high degree of Müller-Brockmann content) show the state of visual communication shortly before the book went to press. As one might expect from this AGI member, it became a Swiss-accurate history book and gathered together a wealth of highly valuable contributions to our profession. It was given to me by Marion, the widow of my friend Peter Werner, who was head of graphic design at Ravensbourne College of Art & Design. He had laid out £8.25 for it second-hand. It is now one of my most precious possessions.
Josef was a good lecturer and an excellent writer. As he died on 30 August 1996, I invited him posthumously (via his publisher Arthur Niggli from Teufen, Switzerland) to collaborate on this book. Ruedi Ruegg approached the publisher, who gave permission to use the quotes from J. M-B’s interesting writings on these pages. Müller-Brockmann presented a sharp analysis of the state of affairs in visual communication as, for example, illustrated during the Osaka Expo 1970, where the latest technological tours-de-force were demonstrated, 36 years before I wrote this introduction.
Even more striking than his observations at that Expo, however, are the Swiss master’s clairvoyant capacities. In the second essay, which gives a look ahead to the future, in the year 1970 he came extremely close to today’s miraculous world of communication. Read it. You will be amazed!
Ben Bos, Amsterdam, 2006
With many thanks to Josef Müller-Brockmann, Niggli Ltd, Peter, Marion and Ruedi.
The Present
Scientists, engineers, architects, film specialists and designers are trying to extend the scope of visual communication. As early as 1959 a computer transformed a two-dimensional drawing on its display scope into a three-dimensional one and showed its spatial form as it rotated. In this way an answer was provided to one of the most difficult of problems: how to know whether the various sides of a three-dimensional object, although drawn in only two dimensions, are functionally and aesthetically satisfactory. Another useful aid is the light pencil with which one can draw on the screen of a cathode-ray tube.
Computer composition has taken the place of photo composition, introduced in 1950, and makes it possible to set 10,000 to 30,000 letters per second. Printing establishments have been induced by considerations of capacity and economy to share such a computer. This ushers in the photo-electronic era. At the Expo 70 computers controlled audiovisual multi-projections: films and slides combined and synchronized with electronic music; in addition there was text and pictorial information displayed on illuminated panels. A computer can be used to imitate an aircraft landing or whole puppet scenes in pictures and to visualize the sound frequencies of the voice or music. Experiments have also been done with light; laser beams transmit picture and sound records from this earth to satellites and stage light spectaculars which are synchronized with electronic music (Expo 70). A large bank of lamps with a controlled switching system can reproduce changing pictures. This system has become established in recent years; a series of letters is made to proceed across a screen under punched-tape control, or relatively detailed pictures can be produced on a picture area consisting of an enormous number of lamps controlled by computer. Kaleidoscopically projected films and slides are relative newcomers. Fluorescent lighting is important for road traffic but has so far only been used as an eye-catcher at exhibitions. No really good system has yet been found for enabling visitors to find their way round an unfamiliar city. The notation for electronic music is new, as are the tones and noises with which it is composed. The aesthetic and visual impression made by material textures often produced by specific working techniques can be enhanced today by kinetic and lighting effects. The problems facing the visual designer multiply with this steady progress of business, industry and audio-visual electronics. New lines of business and industry open up; new products, new forms and new materials make their appearance. And for the designer, the problems are many times more exacting and wider in scope. His training, based as it is on traditional programmes and methods, hardly enables him to cope with the practical demands of today.
The present calls for designers of intelligence who are alive to social problems and can think themselves into their client’s mind and help to make decisions. Formal and aesthetic quality continues to be important, no doubt, but it is no longer paramount. All the same, it is still a prerequisite to anybody who wishes to design. Today agencies take care of firms’ budgets and plan when and how to deploy their visual, acoustic and technical resources. Teams originate the ideas and conceptions of advertising campaigns and draft all design work: text, graphics, photography, films, exhibitions, etc.; and in addition see to all the ancillary but indispensable jobs like ordering blocks, placing printing orders, fixing up TV spots and arranging for press advertisements. This full-service function is beyond the powers of a single, independent designer, who finds this trend of development discouraging. More and more he becomes dependent on agency commissions. Also he is haunted by the fear that under these conditions his creative powers will no longer freely unfold. But the future demands increasingly streamlined agency services. And also people with specialized training and experience.
The Future
Visual and audio-visual communication will be perfected in education, training, science, research, politics, business and advertising. Electronic devices have accelerated this development. Already there are intimations of new and promising possibilities in both the individual and general field. In the individual field, ’canned’ audio vision, enabling one to see and hear any programme at one’s convenience, will supplement radio, television, gramophone records and tape recorders. The picture, with stereo sound, will be coloured and have better definition. Screens in other rooms will enable, say, each member of the family to choose his own programme. Canned audio-vision will provide entertainment, documentation and educational and cultural programs. Via satellites, television and radio transmission will reach every corner of the earth and bring about a world-wide dialogue between men.
Our experience of universality and individuality will be deeper and more immediate. In this way mass communication will expand to become universal communication.
The miniature computer coupled with video techniques in the private home will also mean a fuller life. With a direct connection to a computer centre and also to libraries, schools, shopping centres, etc. it will be a far-ranging source of information and an invaluable educational aid. Recording apparatus will complete the set. It will place at the disposal of the individual the world’s stock of knowledge – technical, scientific and artistic; every citizen will be able to entertain or educate himself in accordance with his temperament, interests and inclinations.
The television telephone will make for more direct communications. Facsimile printers will effect a daily delivery of illustrated magazines and mail to the home; special television cameras will make it possible for the blind to visualize pictures. In about 30 years the ‘audio-visual’ gramophone record will contain audio-visual programmes. Man will earn more and be better informed. The designer, too, will be confronted by new problems calling for wider knowledge and more objectivity. To keep pace with progress he will have to submit to a constant learning process. Advertising will also have to adapt itself to this development. Factual knowledge and powers of judgment and discrimination based on credible information will impel advertising in the direction of objectivity. Only when confidence can be safely placed in this information will consumer and producer become partners.
Essay taken from 'AGI: Graphic Design Since 1950' by Ben & Elly Bos