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Thinking Out of the Book: Visual Language and Textual Form in the Design of ebooks Read chapter Read first chapter

2021 | OriginalPaper | Chapter

Concrete Poetry and Advertising Symbiotic Relationship in Post II World War

Author : Tiago Santos

Published in: Advances in Design and Digital Communication

Publisher: Springer International Publishing

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Abstract

Concrete Poetry and the Typographic International Style are movements born in the after-match of WW2. Concrete Poetry results of a critical evolution of the several modernism movements. It combines avant-garde and arrière-garde at the same time and place. In this sense it gives the old the same novelty it once had. This novelty is achieved using new forms of reading, composition, letters, colours or media appropriated both from advertising or from the archive. The International Typographic Style results from the Bauhaussian functionalism towards visual communication. It used mathematical rationalism to express human values in a systematic corporate visual communication. Poetry and Design at first sight have not so much in common, but they adopted each other’s practices in a continuous development process. This article proposes to understand how and why this happens and in each way the language used in distinct communicational purposes are appropriable by concrete poetry or Graphic Design.

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previous chapter Design as a Driver for Behavioural Change: Oceans and Plastics, Approaches for a Shift Towards Sustainability
next chapter Everyday Social Practices as a Source of Design-Led Branding
Footnotes
1
Coca-Cola logotype is so grounded in American Graphic Design History that Herb Lubalin turned down the chance to ‘redesign the Coca-Cola lettering’ (Shaughnessy 2013, p. 15).
 
2
Translations by Maria José de Queiroz and Mary Ellen Solt (1971, p. 108)
 
3
VW Beetle campaign in 1959 is “probably the most celebrated advertising campaign of the twentieth century” (Thomas 2017, p. 163). DDB had to advertise “a car that looked essentially the same year after year” (Thomas 2017, p. 163) being progressively functionally improved, “and therefore never went out of fashion” (Shaughnessy 2013, p. 20). “Think Small”, “Lemon”, or “And if you run out of gas, it's easy to push” were some of the slogans that “embrace[d] the authentic consistency, and spice it up with witty takes on common sense” (Thomas 2017, p. 163) while keeping a “frankness and apparent anti-sell [discourse which appealed] to a new latent sensibility in post-war America that came to fruition in the second half of the 1960 s, when counterculture erupted” (Shaughnessy 2013, p. 20).
 
4
Lubalin defended that “Sometimes you have to compromise legibility to achieve impact” (Meggs and Purvis 2012, p. 407).
 
5
Both “Desinfórmio” and “Beba Coca-Cola” “take part in a cloacal compulsion”, “searching for sediment, for discard and dispose” of language (Moya 2017, p. 111)
 
6
The poem was first published at Caixa Negra (1973), one of the several collaborations between Augusto de Campos and the designer Julio Plaza, which homages the Rrose Sélavy’s (Marcel Duchamp’s alter ego) green box in the way that both were produced having in account the best possible ways to convey the conceptual aims of their pieces.
 
7
Aguilar also refers the similarity to Duchamp’s optical discs and, mostly, how those metamorphoses of language are not trapped within the concept of the poem, but within the poetic metamorphoses, evidencing the preeminence given to wordplay, the obsession with formal signification, and the marking of phonetic similarities, which allow nature and mind to meet in language (Aguilar 2005, p. 280). Augusto de Campos said in relation to this kind of sound-word-play and how the opacity of language is used in it: "… a rose was not just a rose, it was a relation, made real by language" (Campos 2009, p. 183)
 
8
According to Milton Glaser it doesn’t bother him to have done this universal sign pro-bono as “one of the characteristics of being in the world of Eros – you don’t work for money, but you certainly work for your peers’ approval. That’s true of everyone who cares. So I’m very happy when I see an idea that I have enter into the culture, whatever form it takes” (Glaser, apud. Kidd, 2003). Glaser adds in another interview that its “universal acceptance and ongoing reinterpretation of the I https://static-content.springer.com/image/chp%3A10.1007%2F978-3-030-61671-7_44/MediaObjects/503134_1_En_44_Figa_HTML.png NY logo continues to astonish me” (Glaser, apud. Heller 2018, p. 289).
 
9
The museum in its history received several important Concrete Poetry events, per example in 1970 (Hilder 2016, pp. 222, 227).
 
10
There are many examples of how this dialog influence Graphic Design on Brazil specially on the work of Aloísio Magalhães, Moysés Baumstein, Rubens Martins, Willys de Castro and specially Décio Pignatari, who became also a publicist and an expert on semiotics and Graphic Design. He created the naming LuBRax for PetroBRas oils and greases and one of the most infamous album covers of Brazilian music history at “Todos os Olhos” by Tom Zé, which dialogues and contains “Olho por Olho” by Augusto de Campos in its back-cover.
 
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Metadata
Title
Concrete Poetry and Advertising Symbiotic Relationship in Post II World War
Author
Tiago Santos
Copyright Year
2021
Book
Advances in Design and Digital Communication

Print ISBN: 978-3-030-61670-0

Electronic ISBN: 978-3-030-61671-7

Copyright Year: 2021

DOI
https://doi.org/10.1007/978-3-030-61671-7_44