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Title: British poster design awards 1966

Pages: 42 - 47

                  

Author: Editorial

Text: British poster design awards 1966
This Schweppes bus poster, one of 18 award winners chosen from a record-breaking entry of 510 in this year's British Poster Design Awards, illustrates the judges' comment on "the use of graphic images relevant to the particular purpose of each poster"-because, they said, it "takes advantage of the movement of the bus". The following four pages report the judges' remarks on the competition and on each award winner.

There was a record number of 510 submissions for Awards, which Awards, which Awards, which the 1966 British Poster Design Awards, which were offered this year for the fifth time. The awards, first given in 1961 to create a fresh interest in the design of posters and to reaffirm the poster as a valuable form of publicity, were given to those posters which in the judges' opinion fulfilled the essential conditions of impact combined with high standards of graphic design. As in previous years, the judges were asked to satisfy themselves that a poster communicated its message clearly and effectively, and that this aim was achieved in an interesting, original and well planned manner.
In giving 18 awards, the judges commented that they were encouraged by the number of submissions, and thought that there was a good average standard in many of the entries submitted though few which could be described as really outstanding. They welcomed both a noticeable tendency in many of the submissions toward simplicity, and also the use of graphic images relevant to the particular purpose of each poster. They considered that the posters which won awards represented a broad cross section of the whole poster industry, with a particularly high standard in the design of the winning 48 sheet posters.
The competition was judged in three classes: the first for double crown to four sheet posters; the second for 16 sheet to 48 sheet posters; and the third for bus and van posters of double crown size and above. Within each class, posters were sub-divided into three sections- products; newspapers and publications; and institutions, services, entertainments or causes.

Judges and Sponsors
The judges made their decisions by majority voting. Those judges who had been personally involved in the design or production of a poster left the room while it was being considered. The judges this year were: Norman Bamber, advertising manager, Hovis Ltd; Edward Booth-Clibborn, chairman, Designers' and Art Directors' Association, and art director, J. Walter Thompson Co Ltd; Christopher Bradshaw, design director, Eyre & Spottiswoode Ltd; Colin Forbes, Crosby/Fletcher/Forbes partnership; Pat Gierth, creative director, Hobson, Bates and Partners Ltd; Ben John, Units Design Ltd; Richard Negus, Design Workshops; and C. Alan Wood, group advertising manager, Arthur Guinness Son & Co (Park Royal) Ltd.
The British Poster Design Awards are sponsored by the ColD in association with: The Advertising Association, The Advertising Creative Circle, The British Federation of Master Printers, British Poster Advertising Association, British Transport Advertising Ltd. Civic Trust, Confederation of British Industry, Design and Industries Association, Display Producers and Screen Printers Association, The Incorporated Society of British Advertisers Ltd. Institute of Practitioners in Advertising, Public Service Vehicle Advertising Committee, Society of Industrial Artists and Designers, Society of Typographic Designers, Solus Outdoor Advertising Association Ltd. and The Town Planning Institute.
The posters will be on show at Reed House, Piccadilly, London W1, until December 29, and slide projections will be shown continuously at The Design Centre until December 31.

1 Excellent use of the shape of the space; takes ad vantage of the movement of the bus. Designers Ogilvy & Mather design group. Client Schweppes (Home) Ltd. Agency Ogilvy & Mather Ltd. Printer St Michaels Press Ltd.
2 An excellent example of visual wit. Designer E. Hobbs. Client Arthur Guinness Son & Co (Park Royal) Ltd. Agency S. H. Benson Ltd. Printer Sanders Phillips & Co.
3 Brilliant graphic presentation of an idea; refreshing change from overworked Churchill images. Designer John Webster. Client Sunday Telegraph. Agency Pritchard Wood & Partners Ltd Printer Charles Skipper and East Ltd.
4 Expressed boldly; extremely attractive with good detaling. Subtly associates beans with children. Designer Jean Callender. Client H. J. Heinz Co Ltd. Agency Young and Rubicam Ltd. Printer Haycock Press Ltd.
5 A refreshing treatment suitable for stations where passengers have time to read the small print. Designers C. Radley/R. Shew. Client The Sunday Times. Printer Mills & Rockleys (Production) Ltd.
6 Direct message without any extraneous material; skilful use of space to emphasise the point. Designer John Webster. Client Electricity Council (EDA Division). Agency Hobson, Bates & Partners Ltd. Printer Jordison & Co Ltd.
7 Well conceived and thought out; cleverly suggests the ease with which different kinds of cooking can be done by electricity; excellent photography. Designer Morris Whitmore. Client Electricity Council (EDA Division). Agency Hobson, Bates & Partners Ltd. Printer Jordison & Co Ltd.
8 A quart in a pint pot - an example of ultimate simplicity relying on the product to do its job. Designer Ron Plowman, Client Scottish & Newcastle Breweries Ltd. Agency Graham & Gillies Ltd. Printer Waterlow & Sons Ltd.
9 This combines extreme simplicity and an eye catching quality. The functional action of the product is neatly integrated with the message. Designers John Simeoni and John Crewe. Client H. J. Heinz Co Ltd. Agency Young and Rubicam Ltd. Printer London Lithographic Co Ltd.
10 The message of speed is obviously and dynamically communicated through a skilful use of photography. Designer John Nixon (photography by Louis Klemantaski). Client British Rail (LMR). Agency Graham & Gillies Ltd. Printer Stafford & Co Ltd.
11 An interesting development; the form of the poster is an integral part of the message. The use of both sides takes maximum advantage of the special nature of the sites. Designers Crosby/Fletcher/Forbes. Client Global of London (Tours and Travel) Ltd. Printer Caritoscreen.
12 Accurately reflects the content and mood of the exhibition it advertises. Designer Bryan Dew. Client Young Contemporaries Art Group. Printer Lion and Unicorn Press.
13 A forceful, almost arrogant design with just the right suggestion of laughing at itself. Designer D. Radford (photography by L. Bookbinder). Client Harp Lager Ltd. Agency S. H. Benson Ltd. Printer John Waddington (Sales) Ltd.
14 Entertaining of a transient event; a type of poster all too rarely seen. Designer 1. B. Skrine. Client Arthur Guinness Son & Co (Park Royal) Ltd. Agency S. H. Benson Ltd. Printer Sanders Phillips & Co.
15 Witty but direct solution to a problem which is too often treated in a dull way. Copy skilfully presented. Designer Philip Meyer. Client Dalton's Weekly. Agency MacLaren Dunkley Fried lander Ltd. Printer Gilbert Whitehead & Co Ltd.
16 Effective example of the use of visual shorthand to put over the message with punch, so much so that words are virtually unnecessary. Designer David Holmes. Client The Gas Council. Agency Colman, Prentis and Varley Ltd. Printer Leonard Ripley & Co Ltd.
17 Associates old superstitions with a modern fear, and avoids the usual cliches. The subtle placing of the cigarette emphasises the message. Designers Reginald Mount and Eileen Evans. Client Ministry of Health, through the Central Of/ice of Information. Printer Multi Machine Plates Ltd.
18 An excellent solution to the problem of presenting an already well known product honestly without boring the audience; good contrast between graphic image and literary understatement. Designer John Goss. Client Whitbread & Co. Agency Collett, Dickenson, Pearce & Partners Ltd. Printer Waterlow & Sons Ltd.

 

 

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