60 cm x 84 cm
22 sports posters totaling 950,000 copies.
|The Posters 1972
Everywhere where people gather, posters attract
attention for themselves and others. The opportunity to reach as many people
as possible increases in places where there are crowds - this is the domain
of posters. And since posters by their essence are also visual means of
information about the Olympic Games, thus once again they are part of the
overall image. While the Games as athletic events need no advertising -
there are constant reports on them anyway - they do require public relations
in order to be publicized as one would like them to be understood.
A wide selection of posters for various posters
was developed for the Olympic Games in Munich. Numerous posters were produced
for special occasions (pre-Olympic-exhibitions, the torch relay, etc.)
in addition to those for sports and cultural events. There were also posters
with photos or just lettering; diagrams, maps or charts and tables were
also given the character of posters. Quantitatively, the sports and cultural
posters formed the focal point. They utilized different methods within
the limits of the elements determining the image of the Games.
The twenty-one sports posters were intended
to fulfill the following requirements:
-They should be intelligible in a majority
of international cultures;
-They should appeal to most people throughout
the whole world.
Thus a poster which must be legible in the
area of socialist realism or ancient cultural, technically underdeveloped
regions, should appear necessarily different than one whose validity is
restricted to western civilization.
|Under these conditions its message must be
expressed in a language beyond verbal interpretations, i.e., in a picture
language intelligible to the whole world. This basic conception was met
by the tendency to favor photography of sports events as opposed to other
forms of illustrations. Thus the goal of the Munich conception was to intensify
the meaning of photography and its value as a signal for the purpose of
information on the Olympic Games in Munich as expressed in form and color
over and beyond the use of the emblem. Therefore, great care was taken
to select typical athletic situations as photographic models.
The abstraction and simplification of form
and color were the means to this end. This process defined the symbolic
character, allowed secondary features to vanish and kept the essential
features. Most of all the strange colors, which took advantage of the signal
value of color hues, caused scenes seen hundredfold and thus optically
worn-out, to reappear as a call signal. Accustomed color associations were
replaced by surprisingly new color values and combinations.
|Applied on either large areas or piecemeal
they signified the typical atmosphere of each sport: the refreshing water,
the expanse of the football field, the island of a fencing bout - despite
every deviation from naturalistic depiction.
The color tone was limited to the color spectrum
of the Games for each sports poster and the theme color from this chart
was assigned to each poster. The color combinations were constructed from
only two to four more color tones in addition to the primary color. The
sports posters became a part of a series for this reason alone. This characteristic
was supported also by the left-to-right motion in every poster and by the
horizontal lines. Another important feature of every sports poster is its
form consisting of cut outs. Thus almost every figure and other elements
were bled into the page. This principle suggests action and increases the
signal value of the figures. Thus by means of concentration on typical
aspects of each sport the posters became symbols which could be comprehended
immediately by each viewer. The use of various posters together also increased
the effect of the individual poster. Colors and signal effects mutually
complemented each other.
|This series of posters did not promote the
individual sports events, but rather the Games of the XXth Olympiad 1972
as a whole. As a result they had a representative function and were intended
to accentuate the specific atmosphere of the Games. Thus two posters were
developed within the course of the series according to the same principles.
One suggested the architecture of the sports sites in Munich and the second
hinted to Kiel where the yachting events took place.
A definite, purely abstract system was true
for the posters of the cultural events. For each one a basic color determined
the color characteristics in connection with a colored band composed of
colored stripes of different quantities and also evoked associations with
the rainbow motif. General information - the cultural poster - provided
the basic structure which, complemented by special data on individual events,
constituted a verbal message in connection with an illustration.
These very similar basic elements gave the
posters the effect of belonging to a series, an effect also accentuated
by the same height of the central lines in each poster.
The purely text and photograph posters developed
for the Games had a supplementary function in addition to these series.
( Source document: Official
Report 1972, Vol. I, page 270)
All Posters, Quick