Known
as the “Bad Boy of Design,” Tibor Kalman was notoriously outspoken about what
he referred to as “professional design” (Heller, Obituary) and provoked both
the design establishment and the public with his satirical and shocking work
that captivated international audiences. Ironically, Kalman’s style would
become the establishment that he fought against, being housed in the MoMA and
creating a new design aesthetic (Poynor).
Kalman
worked to create a situation in which he had complete creative control and
could work within his own ethics (Cullen). He said, “Look, if someone is going
to permit me to make a publication that is politically and culturally
progressive and not tell me to put their favorite movie stars on the cover, if
I get to do what I want in an honest way - as I did in the beginning at Colors
- then I'm going to do it,” (Wieners).
Kalman’s
art direction and design for Benetton’s magazine, Colors, gave birth to iconic imagery and commentary of the 1980s
that have equal impact today and created an international brand and
conversation about issues including racism, sexuality and sexually transmitted
diseases, poverty, religion, politics, and social responsibility. Benetton
became synonymous with this work and developed as a brand because of it (Lyman).
Moreover, it created a dialogue about the issues addressed by Kalman and
photographer Oliviero Toscani.
Toscani’s
photographs are well crafted, beautifully composed It is not Toscani’s
photographs alone that communicate to the viewer, though the imagery plays a
large role, but the layers of concept, the art direction, and the imagery
interacting with typography.
For
this post, I am referencing issue seven of the magazine because it is a
beautifully crafted work, and it illustrates a continuing need of the world
community: sexual education and sexually transmitted disease education,
prevention, and treatment.
“For
the first time the problem of AIDS is tackled clearly and directly,
discrediting prejudices and spreading accurate information on prevention,
without being alarmist and with a little irony. The issue ends with an
editorial in which the image of US President Ronald Reagan, victim of the
virus, is accompanied by a eulogy for the man he could have been if he had
acted differently towards AIDS.” (Colors,
Aids)
Typography
works overtime in the Colors magazine design, as the magazines were published
bilingually, with text running simultaneously in the same spreads. Kalman directed
his designers to craft this text with finesse that harmonized the two languages
into a composition that emphasized the weight and power of the type as an equal
figure in the composition to the imagery. Not formally trained in typography,
Kalman worked with designers to (Heller,
Obituary), however I theorize Kalman’s own bilingual experience growing up as a
Hungarian immigrant in the Hudson Valley of New York (Heller, AIGA) helped to
inform his direction of the interaction of the two languages.
The
above spread from issue seven of Colors, “Safe Sex Kama Sutra/Le Kama Sutra du «Safe
Sex»” incorporates French and English in a composition where every element has
a place and without which would seem incomplete. The common word “Kama Sutra,”
common because it is foreign to both languages, is shared by both sets of copy
and ties the two languages together that are otherwise separated by placement
and color.
The
composition on the grid created by the blocks of text and the composed titles
creates a cruciform, a visually balanced symbol that may be interpreted as a
reference to the red cross indicating medical attention, to Christian morality,
or to a positive sign—indicating HIV+ or a positive reaction to, or empowerment
by, safe sex—and is echoed in the next two spreads, shown below.
The
type on the above spread accents the spread, again creates the cruciform
shape—this time incorporating the gutter as the vertical crosspiece of the form.
The typography again works seamlessly with the imagery. The text is shaped
about the form in an aesthetically pleasing way, but it also creates
parentheses around the object of attention—the latex-covered genital region of
the model, which could also be interpreted as smile creases, further
encouraging the fun and playful reception of a serious subject.
In a similarly playful way,
the spread below treats a condom-covered monument like a centerfold spread.
The
cover of the magazine sets up the viewer for the magazine. The red and black
color scheme that we will see again throughout the issue is established. A red,
rubber-encased hand jabs at the text in a gesture that defies the disease with
an obscene gesture while visually representing the act of coitus protected by a
latex barrier. The finger enters the text like a sheathed body part into a
body, but it also breaks up the offensive acronym with the force of the
protected digit. The image is strong, but it is the image’s interaction with
the type that gives it context and meaning.
After discussion with my classmates, I have additional insight brought to my attention by Matt Hepworth who noted the reliance on the typophoto developed by László Moholy-Nagy
Cover of the revue foto-QUALITAT, 1931, attributed to László Moholy-Nagy
This cover image above, attributed to László Moholy-Nagy, is a strong comparison to the Colors cover, particularly considering the interaction of a hand with typography. Even the color palette is similar.
The artful typographic arrangement can also be attributed to the Bauhaus and Moholy-Nagy in particular. Though it is hard to separate our profession at all from the Bauhaus, as we owe so much to it, there are some cruciform similarities in Colors that are striking.
Bauhausbucher 5, Neue Gestaltung by Piet Mondrian, 1924, cover design attributed to László Moholy-Nagy
Another observation that I Matt had pointed out is the repetition of red and bright pink throughout the issue, a sexual color that adds to the slick and shiny imagery that evokes sexuality. I jokingly responded that Matt's observation was spot on: it was a graphic design equivalent to a baboon posterior.
These cues, whether through color or composition, are partially responsible for the emotional response to the work. Yes, the imagery is hard at work, but the typography carries a lot of the weight. The spread of the mouth biting the head, for example, is a background to the subtlety of the typographic design, which then is reinforced through future layouts. The photography, copy, and typography are working together seamlessly and in a delicate balance.
All in all, the more I consider this work, the more astounded I am at how well it holds up after twenty years. It still looks fresh and compelling today, and it still ignites conversation. These cues, whether through color or composition, are partially responsible for the emotional response to the work. Yes, the imagery is hard at work, but the typography carries a lot of the weight. The spread of the mouth biting the head, for example, is a background to the subtlety of the typographic design, which then is reinforced through future layouts. The photography, copy, and typography are working together seamlessly and in a delicate balance.
Works
Cited
"Aids"
Colors Magazine, Issue #7, 1997. Web. 7 Jan 2012. http://www.colorsmagazine.com/magazine/7
"An
hour with Tibor Kalman." Charlie
Rose. PBS. December 24, 1998. Television. Available on the Web, 5 Jan 2012.
Cullen,
Moira. "Moira Cullen interviews Tibor Kalman." Eye Magazine, Issue 20, Spring 1996. Web. 5 Jan 2012.
Haber,
Matthew. “Tibor Kalman: A highly innovative and influential designer, the
onetime editor of Colors magazine died May 2.” Salon. Salon.com, Salon
Media Group, Inc., 19 May 1999. Web. 6 Jan 2012.
Heller,
Steven. "Tibor Kalman: 1999 AIGA Medal." AIGA.com, 1999. Web. 6 Jan
2012.
Heller,
Steven. "Tibor Kalman, 'Bad Boy' of Graphic Design, 49, Dies." The New York Times. nytimes.com, May 05,
1999. Web. 6 Jan 2012.
Lyman,
Eric J. "The True Colors of Oliviero Toscani." Ad Age Global. August, 2001. Web. 7 Jan 2012.
Poynor,
Rick. "Obituary: Tibor Kalman." The
Independent, Independent.co.uk, 17 May 1999. Web. 7 Jan 2012.
Wieners,
Brad. "Color Him a Provocateur." Wired,
Issue 4.12, Dec 1996. Web. 5 Jan 2012. http://www.wired.com/wired/archive/4.12/kalman.html
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