Paul Shaw, Helvetica and the New York City Subway System: The True (Maybe) Story, Cambridge (MA): MIT Press, 2010.
As explained by Paul Shaw in the introduction to his Helvetica and the New York City Subway System, the book is a history of the subway system, of transportation signage, of Unimark International (the company which produced the signage system in the 1960s), and of Helvetica. Contrary to popular belief, the new, modern signage in the New York City subway system, signage which was introduced in the late 1960s, was not always in Helvetica. Rather much of it was in Standard. The story about why this was the case begins with an overview of the development of the city's subway system, as well as its signage. Both the system, which was eventually composed by 1940 of an amalgamation of three different companies that had operated separate lines, and the signage were, what Shaw terms, "a labyrinth." There was little uniformity to the signage of the various systems, with different typefaces, colours, and sizes used throughout. Signage was maintained if it continued to fulfill a function, often regardless of whether it was inconsistent with other signs.
The problem of the mess of signage in the subway system was first raised in 1957 by George Salomon, a typographic designer at Appleton Parsons & Co. Submitting an unsolicited proposal to introduce a standardized signage system, colour-code the subway lines, and remove any distinctions between the three original subway company lines, his report was largely shelved by the New York City Transit Authority, with the exception of his subway map design. The map had been heavily based upon that of the London Underground by Henry Beck. However the NYCTA did not colour code each line, but only made the three original separate systems different colours. The map which was used also ignored Salomon's suggestion to only use the Futura typeface, which he believed was the most legible typeface available at the time.
While Solomon's suggestions were largely ignored, they predated interest in the 1960s among urban planners, architects, and graphic designers in systematic signage for cities, highways, airports, railways, and subways. 1960 saw the publication of Nicolete Gray's Lettering on Buildings and 1961 Mildred Constantine and Egbert Jacobson's Sign Language for Buildings and Landscapes. While Grey did not discuss transportation signage and Constantine and Egbert largely focused upon above-ground signage when discussing subway signs, these books marked a rise in the design community's interest in how locations and directions for unified systems are presented to the public, including a recognition that systematic and clear signage allows people to easily recognize that certain signs deal with the same subject or system, and are therefore are to be paid attention to if one is interested in that subject or using that system.
Shaw explains that one of the reasons why Gray, Constantine, and Egbert failed to focus upon subway signage as examples was that there existed few examples of subway systems which has a unified signage system. Indeed, the only standardized system was the London Underground, which had made use of the Johnston Railway Sans throughout its system since 1916.
The first transportation sign system to embrace the idea of standardization in the 1960s was the system for the Oceanic Building (now Terminal 3) of London's Heathrow Airport. The signage was simple, consisting of black letters on a white background, as well as arrows. The typeface was a modified version of Standard which is very similar to Helvetica, which the designers, Colin Forbes and Matthew Carter, did not know already existed. Elements of the signage system of the Oceanic Building were reproduced in other transportation sign systems of the 1960s, including that of the Milan Metro, designed by Bob Noorda. Aware of the existence of Helvetica, Noorda modified some of its letters to create a unique typeface which was used on standardized, easily readable and identifiable signs.
In 1965 Jock Kinneir and Margaret Calvert of Kinneir Calvert Associates produced the Rail Alphabet for British Railway in 1965, which was a modified version of Helvetica. It was packaged with new arrows and a new British Railways logo as the corporation's new corporate identity in 1965.
Other signage systems of the period included that for Amsterdam's Schiphol Airport and the Boston subway system. All of these signage systems either made use of Helvetica or Helvetica-like typefaces, the Boston redesign being the first to use Helvetica without any modifications.
Following the 1964/5 Worlds Fair in New York, the NYCTA was embarrassed into doing something to improve the image and information of its graphics and signage. In 1964 a map competition was launched to design a more usable and understandable map which, like the London Underground map, made use of colours for the different lines. However, of the only nine maps submitted, none were chosen as a winner. The best of the nine was viewed as too complex to be used by the general public. A professor of engineering at Hofstra University, Prof. Stanley A. Goldstein, was then hired to design a usable map which would overcome the system's problems. Six months later he submitted a report which not only offered ideas about a new map, but suggested the redesign of the train designations, car information, and station information. While the NYCTA did not immediately follow his suggestions, the report did influence the eventual hiring of Unimark International to redesign the system.
A comparison of the London, Milan, and New York City subway signage systems was conducted in the September/October 1965 issue of Print magazine by the industrial designer William Lansing. Lansing attacked the New York signage as dirty and disorganized, while praising both London and Milan. Interestingly, no comparison was made of the newly redesigned Boston system. In particular, Lansing praised Noorda’s use of a modified grotesque in the Milan signage design.
Unimark International, an international design consultancy, was established in New York by a Milanese graphic designer, Massimo Vignelli, along with Ralph Eckerstrom. The idea behind the company was to unite American marketing to European modernist design. Other founding members included Bob Noorda (designer of the Milan Metro signage), Jay Doblin, James K. Fogleman, and Larry Klein. The former Bauhaus student, Herbert Bayer, worked as a consultant, a connection that gave legitimacy to the organization which was claiming to have modernist roots.
Soon after the firm was established, it was approached by the NYCTA to advise the authority on signage and to help assess Prof. Goldstein’s report. The idea for the authority to approach Unimark had been advanced by Mildred Constantine, who was the Associate Curator in the Department of Architecture and Design at the MoMA. Not only had Constantine been interested in public signage for many years, publishing Sign Language for Buildings and Landscape in 1961, but she was familiar with the members of Unimark and their work. Submitting a report by September 1966, Unimark designed a new signage system for the New York system based on a study of several of the city’s major stations. The system used three different sizes of type for different levels of information, and the different lines were colour-coded, as Goldstein had suggested in his report. The new modular signage system conformed wit the demand of the NYCTA that no structural changes could be made to the system’s stations to accommodate new signage. Once presented, however, this new signage system was apparently forgotten by the NYCTA, which did not move to advance the adoption of the new signage system.
Not having the money to have Unimark create a proper sign manual and implement the new signage designs, the NYCTA planned to try and follow Unimark's suggestions and have their in-house sign shop create new signage. The result was an improperly implemented and designed sign system. Unimark was not even allowed to give additional guidance or advice. While the in-house sign makers were intent on making the signs themselves, they were not particularly concerned with how they would function as an all-encompassing sign system. While lack of money is the main explanation for why the TA would not let Unimark oversee the implementation of the signage recommendations, Shaw suggests the predetermined decisions and plans of the TA bureaucracy, labour union rules, and other political forces would have played a role. In particular, he suggests that the TA would not have likely been willing to upset the transit worker's union, which could help feed labour disruptions similar to that of January 1966.
The new signage was introduced, along with colour-coded maps, with the opening of the Chrystie Street Connection in November 1967. However, without being overseen by people who were principally interested in signage systems and how they helped people find their way, the introduction was a disaster. Confusion reigned. Many old signs had not been removed, and hand drawn cardboard signage had to be used to let commuters find their way. Not only were there not enough of the Unimark inspired signs, but the letters and signs on the trains did not match the new signs. It was not enough for the TA to just install some new signs, it required the entire sign system proposed by Unimark. Furthermore, a symposium on transportation graphics was held at the MoMA on Oct 23, 1967 which was attended by members of the Unimark staff. It was thus, quite clear to the NYCTA that their signage was inadequate. Thus, either in the fall of 1967 or early in 1968 Unimark was rehired to create comprehensive guidelines for signage production and installation. The NYCTA carried out a survey of its existing signage and determined how many new signs would be needed and where they should be placed according to the guidelines. By the end of June 1968, new signs had been installed at over 100 stations and old signs were removed.
As Shaw explains, the font used for the signage was Standard Medium, which, according to the Transit Authority Graphics Standards Manual was shown by research to be the best sans serif which can be read at any angle. That research also allegedly showed that a quickly and easily read sign is best if it is in a regular sans serif. However, Vignelli, the main force behind Unimark, has claimed that he had wanted to use Helvetica for the NY subway, but that it was not available. Indeed, in the film Helvetica he claims that he had been a life-long fan of the font. Given this confusion, Shaw attempts to explain why Helvetica was not initially used by examining both the details of the subway design project and the availability of various fonts in the United States during the 1960s.
In his section on "The Myth of the Helvetica Juggernaut" Shaw attempts to clarify the reality of Helvetica in the US which many seem to have forgotten in the wake of the celebration of its 50th anniversary. He explains that during the 1960s, European typefaces were imported by only two companies. Amsterdam Continental and Bauer Alphabets. Bauer Alphabets was owned by Bauersche Giesserei of Frankfurt am Main, which had been established in New York since the 1920s and had been responsible for introducing Futura to the US. Amsterdam Continental was a subsidiary of Lettergieterij Amsterdam, and it carried fonts by Berthold, Stempel, Klingspor, Haas and Nebiolo, as well as those produced by Lettergieterij.
Amsterdam Continental had begun importing Standard in 1957, and Baur Alphabets responded by advertising Folio to the graphics design community. In response to these European companies, the American Type founders started importing Univers, which became machinetypeable on monotype machines in 1961. ATF was also selling its popular News Gothic and Franklin Gothis. Likewise, Mergenthaler Linotype began to advertise Trade Gothic.
Helvetica, however, was not designed until 1957, when it was created by the Hass foundry, conceived by Eduard Hoffmann, and drawn by Max Miedinger. It was licensed in 1960 by D. Stempel AG of Frankfurt and renamed Helvetica from the original Neue Hass Grotesk. Stemple produced the foundry type, while German Linotype made it available in matrices in light and medium. As Shaw suggests, this is likely why Noorda was not able to find a usable version of Helvetica for the Milan Metro in 1962 and had to alter elements of Helvetica to get the desired effect.
In the early 1960s fonts were not computerized, but were physical. They were either physical lead stamps which needed to be forged, or they were in composition versions, where they could be reproduced by graphic designers. Designers could only use what typefaces were locally available through printers or type houses. Importing forged type was expensive, and European type punches also needed to be customized to fit American printing presses. The only sans serifs which were widely available in the early 1960s were Futura, News Gothic, Franklin Gothic, Standard and Univers. If sizes were not available, or the right letter could not be found, designers sometimes needed to use combinations of fonts for their work.
Helvetica was introduced to the American market in 1963, announced through an advertisement in the November/December issue of Print magazine. However, the font was not instantly successful, partially because of technical problems. Introduced by Stemple's pica-point system and Linotype's matricies, the matricies did not align with American ones and could not be used. This problem was fixed in early 1964 when Mergenthaler Linotype began producing the font in the United States. However, only the 10 pt stamp version was released at first. Other sizes were not completed for another year. Furthermore, the Visial Graphics Corporation began offering new typefaces which were similar to Helvetica and which could be used on their Typositor system. In response, Mergenthaler began work on Linofilm Helvetica in 1965 for the Linofilm system, but did not complete it until 1967.
Helvetica did not become widely used in the US until the late 1960s, and it even took New York designers several years to begin using it regularly. The font was used in highly praised advertisements and designs by 1965, but these were largely those done by Unimark, the CCA in Chicago, and MIT.
In the case of Unimark, Vignelli had brought his love of Helvetica with him from Italy. He liked how the letters could be easily set close together. The font, which was increasingly available in different sizes and which could be used with a growing number of typeface printing systems, soon became the house font of Unimark and was widely used by its graphic designers. It was thought to be more harmonious, and thus pleasing, in design than its main rival, Standard, because all of the terminals ended at right angles.
In his section "Standard, Helvetica and the New York City Subway System", Shaw explains that by the time Unimark had gained its initial contract with the NYCTA in 1966 Helvetica was widely available in New York in a number of formats. However, the producers of the signs, the NYCTA's Bergan Street Sign Shop created its signs by hand and by silkscreening, and it also produced the artwork for porcelain enamel signs. (The signshop did not produce the porcelain enamel signs. That was done by an outside vendor, the Nelke Sign Manufacturing Corporation.) The NYCTA sign shop likely based the Standard hand-cut stencils upon either font books or the fonts supplied by outside typehouses. Many of those type houses would not have yet introduced Helvetica given both the expense and that most people cannot tell the difference between the two typefaces. In addition, at the time, no American type book included Helvetica in 1966.
In the initial attempt at introducing the new signage, the sign shop had tried to make the signs themselves by hand-cutting the stencils used for the signs and painting them by hand. This led to some letters being inconsistent.
Within Unimark, Noorda was not as committed to Helvetica as was Vignelli. This is evidenced by Noorda's use of what is often described as a modified version of Helvetica for the Milan Metro, but which could also be described as a modified version of Akzidenz Grotesk (Standard). Given that the New York sign system was heavily based upon Noorda's Milan system, Shaw suggests that the choice of Standard was made by Noorda and that Vignelli likely agreed given both the technical problems of obtaining and using Helvetica at the time, as well as the greater importance he likely placed upon having the sign system implemented than upon using a particular font. While the typeface could have been changed with the new contract of late 1967 or early 1968, Vignelli again likely placed more emphasis upon having the sign system implemented than changing the font. Furthermore, with some signs already made in Standard, changing the font would only have introduced more inconsistency. Shaw also notes that Vignelli had other opportunities to use Helvetica while at Unimark. He was commissioned to create a signage manual for the New York City Planning Department, as well as the Washington Metro. Both signage systems were created without the input of Noorda and both used Helvetica.
In 1968 the MNCTA was absorbed into the newly created and larger Metropolitan Transit Authority. The MTA announced plans to extend the New York City subway system and to beautify the city's stations. While this should have led to more standardized and widespread implementation of the Unimark signage system, that was not the case. Rather, in the early 1970s the city encountered financial difficulties, having to be saved from bankruptcy in 1975. This, combined with the size of the system, led to signs only being replaced on an ad hoc basis. by the late 1970s the signage system was still not standardized, but was a mixture of new signs, old signs, as well as inadequate signage.
Along with inadequate signage, the 1970s also saw the deterioration of the New York City subway system. Overcrowded and dirty, suffering from financial difficulties, and plagued by graffiti, the MTA did not concentrate upon improving signage, but rather, simply keeping the system from falling apart.
In 1975 a new subway map was commissioned which would replace the one designed by Vignelli only four years before. The reasons for the redesign was to produce a map which was more geographically accurate and which would indicate part-time service. The new map required changes to the colours on the rest of the systems signage, as well as the addition of new signage symbols. Introduced in 1979, the new signs differed from the Unimark signs designed in 1966 and codified in the 1970 design manual. Routes were now indicated by both circles and diamonds and the black line at the top of the signs was removed. However, the font was still Standard medium. The colours of the signs were also reversed, with the letters now being black on white. While Vignelli explains this change to have been done so as to more easily fix signs which are tagged, the MTA claimed that it had been done for reasons of legibility, a change which the MTA had been contemplating since 1972. All of these changes were made, by hand, in the original 1970 design manual. A significant addition to the manual was a note which said that for the route disks and diamonds (diamonds indicating routes which are only serviced at certain times), if a "J" is used, the Standard "J" was to be replaced by the Helvetica "J". This is the first reference to the use of Helvetica in the signage system.
Launched in 1979, it took most of the 1980s for the new signage system to be fully implemented. Again, this slow and confusing process was largely the result of budgetary constraints and the size of the subway system. However, an improving economy in the 1980s and capital investment programs meant that by the end of the decade most of the revised Unimark signs could be found throughout the system. In the interim sticker decals were often used to improve the visibility of many of the signs.
Another revised version of the Graphics Standards Manual was produced in 1984. More detailed and professional than the 1979 version, the manual did not announce any changes in the typeface to be used. However, several of the examples make use of Helvetica rather than Standard, and Shaw suggests that this may have resulted in some new signs being produced in Helvetica, although he admits that this has not been verified. Furthermore, the Bergan Street sign shop was not involved in the production of subway signs by this time. Rather, all sign designs were made by the hired signage consultants, Michael Hertz Associates, who had created the 1984 design guide. The signs were produced by outside porcelain enamel manufacturers.
In the section "Helvetica Infiltrates the New York City subway System" Shaw explains that the myth that Helvetica was widely used in the New York City Subway began with a 1976 article in the Village Voice by Leslie Savan, "This Typeface Is Changing your Life." In addition to incorrectly claiming that Vignelli was responsible for the signage system, she failed to explain the role of Unimark and conflated the MTA's signage and printed material, the latter of which typically did use Helvetica. She claimed that the system used a mixture of Standard and Helvetica throughout.
Shaw explains that the use of Helvetica in the MTA's printed material stemmed from it's 1973 "MTA Gets You There" campaign, which was designed to increase ridership. This material used a mixture, consciously or not, of Standard and Helvetica. Furthermore, Vignelli, who was largely devoted to Helvetica, had used the font on his 1974 subway map as well as for the text of the 1970 Graphics Standards Manual. While he has claimed that he simply "forgot" to use Standard, Shaw suggests that Vignelli purposefully chose Helvetica so as to try and introduce it into the signage system. He claims that the MTA likely did not complain about this inconsistency since Helvetica had appeared sporadically in various printed materials since 1967.
In 1989 a new graphics standard manual was produced for not just the subway system, but the entire MTA system. Produced for the MTA Marketing and Corporate Communications Division by Michael Hertz Associates, the manual specifically forbade the use of any other typeface other than Helvetica. It was praised by the MTA Chairman as a step towards a system-wide standardization of signage. Older signs were allowed to remain where they still functioned, but all new signs were to be in Helvetica.
Shaw questions why Helvetica would have been chosen as the official typeface in the 1980s. By that point the widespread usage of the font in the late 1960s and throughout the 1970s had caused many to view it as boring, unoriginal, and uninspiring. Furthermore, the rise of postmodern design had caused many designers to recognize that claims that the modernist typeface was "neutral" or "rational" were simply one perspective, and that such claims to universally recognized qualities were untenable.
However, in response to these reasons why Helvetica would not have been a popular choice at the time, Shaw points out that by the 1980s several other elements of the MTA's operations, particularly commuter rail lines, were already in Helvetica. A second reason for its adoption is that MTA busses increasingly had LED displays, which made the use of neither Helvetica not Standard possible. Finally, the design options for sign design were much broader by the late 1980s than they had been in the 1960s, but these options no longer easily allowed for the use of Standard. There existed a wide array of means by which signs could be designed, including computer based systems. Yet, the only typeface which was available on all of these systems (possibly because of its over-use in the 1970s) was Helvetica. Standard had largely disappeared as a widely available design typeface.
While officially introduced in 1989, the true Helveticization of the subway system did not occur until 1992 when a multi-year station renovation program was introduced that included systematically identifying older signage and replacing it with newer versions. Shaw concludes his book by noting that the Unimark signage, now sporting Helvetica rather than the original Standard (a change which would likely have been originally preferred by Vignelli) is now as much an integral part of the New York subway system's visual identity as the original mosaic signs.
Tuesday, November 22, 2011
Making "Pictures in Our Heads / Jonathan W. Rose
Johnathan W. Rose, Marking "Pictures in Our Heads": Government Advertising in Canada, Westport (CT): Praeger, 2000.
Jonathan Rose is a professor of political science at Queen's University (Kingston, Ontario).
Rose begins his introduction by explaining that his book is concerned with the increasing frequency with which governments use advertising as a means of persuading the public of the acceptability and desirability of policies. Rather than listening to and acting in the best interests of the public, he argues that politicians are using advertising and advertising strategies to sell the public pre-packaged ideas. He claims that the use of such advertising tools suggests that there are significant problems in how governments communicate complex issues to the public. If complex issues are only presented in short, simplistic advertisements, Rose suggests that the public's understanding of their increasingly complex government institutions and the government's policies will likely be jeopardized. Such advertising does not aim to fully inform the public, but rather to persuade it to support a particular position without being properly informed. The manipulation of words, sounds, and images, so as to conjure particular emotional responses and convince the public to support a policy, does not encourage independent or critical thought.
In particular, Rose's book is concerned with how the federal government of Canada is (as of 2000) and has used advertising to sell ideas and policies to the public. While this method of attempting to bypass parliamentary debate and appealing directly to the public, which some have argued is merely a form of direct democracy, raises questions about the health and functionality of our parliamentary system, Rose is more concerned about how the use of 30 second advertisements destroys the relationship between governments and the public. Policies are no longer things that are to be explained to the public, but things which can be sold to the public in the same way fast-food is sold, and by using the same semiotic techniques of manipulation so as to appeal to basic human instincts. Advertisements are designed to increase compliance with government policies while discouraging real conversation concerning issues, both because they discourage people from asking questions about the policy though the use of semiotic tools and the lack of opposing positions, and because the medium removes the possibility of conversation.
Such government advertising is not restricted to election campaigns, and it does not always need to be about specific policies. Rather, government advertising which is ostensibly about non-political events acts to create an association between support or rejection of those events and the party in power. For example, a government advertisement praising the nation's athletes at an Olympic games or the military suggests that the party in power supports those groups since people identify the government of Canada with the political party which currently forms the government.
Thus, Rose's two major concerns throughout his book are 1) that the increasing use of advertizing to talk about politics debases our political system and our position as citizens, and 2) that scholars' and commentators' comments about the pervasiveness of advertising, including government advertising, ignores questions about how such ads actually manufacture consent. While spending more than any other advertiser in Canada, Rose notes that the federal government's advertising campaigns are only ever regularly attacked during election campaigns, and then only when government advertisements are seen as obviously biased in favour of the governing party. While there is often a general complaint that the advertisements are a form of propaganda, any analysis usually only takes one of two forms. The first are complaints about the cost of the ads and how public funds are being used for political ends. The second is usually about when the ads were broadcast during the campaign, and whether such timing was an obvious attempt to manipulate the public. However, all such analysis, while discussing whether the ads are effective, typically ignores the linguistic, visual, and audio devices and methods used to make the ad effective.
In the second section of the introduction concerning Rose's "Method of Study" he explains that his book looks at government advertising from the perspective of how such ads make use of semiotics and rhetoric. He then goes on to explain semiotics as being the study of signs (be they visual, textual, audible, olfactory, etc.) and how those signs are understood by the audience. All advertising consists of combinations of such signs. Each sign is chosen and used in combination with others so as to produce a particular response from the audience, and thus, communicate a particular message. That message, or the way those signs are interpreted, depends upon what the signs represent to the audience members, which can be different for any one individual, although members of the same culture tend to have the same, or at least similar, understandings of the same signs. Without shared cultural assumptions the meaning of the message may be lost on the audience. Semiotics is the attempt to study both the signs employed and their meaning for the target audience so as to understand the intended meaning of the message. This approach tends to focus more upon the individual receiving the message than the person or group transmitting it, since it is the interpretation by the audience which is in question, not the assumptions made by the creator of the message about the audience. Rhetoric, however, is the study of the tools employed by the sender of the message. Rose states that his book employs both rhetoric and semiotics to try and understand both what tools governments and their advertising agencies use to transmit specific messages (rhetoric), as well as why those messages are interpreted in specific ways by their audience (semiotics). He recognizes that neither approach to the examination of message creation or interpretation can ever offer objective findings, and thus explain exactly what either the creator or receiver of the messages were thinking, but they offer informed explanations about what was likely to have been thinking, and thus, show the interaction and process of message creation between the sender and receiver. To understand the interpretation of government advertising, Rose uses both the advertisements as well as a contextual/historical understanding of the culture/audience. These are then discussed in the light of semiotic analysis. The intended meaning, or the thinking behind the advertisements creation, is understood by both examining the ads themselves, as well as archival material which gives some information as to the intention of the government. Likewise, this evidence is then examined in the light of studies on the use and effectiveness of rhetoric.
Rose next offers a more detailed explanation of rhetoric and its use in advertising. Rhetoric is the art of using discourse, or some other meaningful sign, to inform, persuade, or motivate an audience in a particular way. It is based upon understanding the available means of persuasion in a particular context. Aristotle considered it to be the counterpart to both logic and politics, in that it is not based upon reason or debate.
Rose notes that for Aristotle there are two kinds of logical reasoning, deductive and inductive proof. Inductive proof relies upon examples, while deductive proof relies upon syllogistic or enthymatic arguments. Syllogistic arguments are those where both the major and minor premises are stated, and upon those a conclusion is formed. For example: A=B, B=C, therefore A=C. In the case of enthymemes, however, one of the premises is not explicitly stated and the conclusion relies upon its assumption by the audience. To illustrate this, Rose uses the example of Martin Luther King's "I Have A Dream" speech, where only one of two premises are explicitly stated. Dr. King stated that African-Americans were pursuing their fight for civil rights in a non-violent manner (premise), as well as the conclusion that God will allow that dream to be realized (conclusion). What he leaves out is the premise that God looks favourably upon, and rewards those who use non-violence. This premise is implied given the cultural background of his audience. As Aristotle noted, this form of enthymeme is the most effective because it involves the audience in the logical process. That the audience can provide the missing premise gives the audience a sense of having some kind of inside, or privileged, knowledge, and that they can supply it and complete the reasoning of the argument creates a sense of connection to and ownership of the supplied conclusion. They are made to feel smart in figuring out, or making sense of, the supplied conclusion. What is ignored, however, is whether the supplied or assumed premises are wrong, or if the supplied conclusion is wrong. Where as a syllogism simply leaves the audience to think about the supplied premises and conclusion, the enthymeme introduces an element of self-satisfaction or self-congratulation, which discourages the audience from challenging the premises or the conclusion.
For Aristotle, rhetoric was neither good nor bad, but was the legitimate way that anyone could persuade another of truths. Plato, by contrast, believed that rhetoric was merely a means of trickery, and that truth could not be arrived at through persuasion but through dialectic and arriving at certainties and transcendental truths.
A commonly used tool of rhetoric are symbols. They can be visual, audible, textual, etc. In the case of speech, commonly used phrases such as "time is money" are often used as rhetorical tools in that they are often understood by the receiver to be true since they are used so often in an unquestioning manner. Making a logical connection between such symbols and something else of which the speaker is attempting to convince the receiver will thus strengthen the speaker's persuasiveness since the assumed truth of the rhetorical symbol will suggest the truth of that which he/she is associating with it. In the case of the government, associations between the flag (which is commonly understood to be something which citizens should respect) and the governing party or one of its policies implies that, since a good Canadian respects the flag, a good Canadian should also respect and approve of the associated party or policy.
Rose explains that the way in which such symbols are used can be understood in terms of "tropes." A trope is a situation where words, or images, or some other signs, are used in a sense other than their literal meaning. As Rose notes, according to Burke, there are four main kinds of tropes: metaphor, metonymy, synecdoche, and irony. Rose argues that these four kinds of tropes "can be thought of as the linguistic building blocks of rhetoric." (page 9)
Metaphor is a literary sign which is used to represent a less sensible thing, quality, or idea. It is thus a figure of speech which attempts to describe one thing by forming an association between it and something else. Thus, the sentence "His financial advice is rock solid" tries to form an association between a person's financial forecasting abilities and the strength and stability of a rock.
Metonymy is a figure of speech where something is not referred to by its real name, but by something which is often associated with it. For example, "Detroit" is often used to refer to the American automotive industry, or "Ottawa" is used to refer to the federal government of Canada.
Synecdoche is a figure of speech where part of something is used to refer to the whole, or where the whole is used to refer to a part. An example would be "Canadians win world series," where the team that won the baseball tournament was the Toronto Blue Jays, but the whole country is used to refer to the baseball team, or part of that country. The implied message, however, is that all Canadians should feel proud because a part of that country won the baseball tournament.
Finally, irony is a literary device where the literal meaning of a statement is the opposite of its intended meaning. For example, saying "I'm so sorry" when it is clear that one is not, would suggest to the receiver that the sender is indeed not sorry and wishes to clearly indicate so while also saying the very opposite.
While often thought of in terms of words, all four of these tropes can be seen in the use of images, sounds, and other symbols. They are the basic tools of rhetoric. How symbols (tropes or not) are put together, is centrally important to advertisements which rely upon forming the correct images in the minds of the audience in a small amount of time. How these signs are interpreted by the audience is the realm of semiotics. While the sign (or the signifier) can be intended to mean one thing, the received meaning (the signified) can be something completely different. The meaning of the signifier depends upon the worldview of the person who is exposed to it. Placed out of context, or devoid of some argument explaining its meaning, the sign will not stand for anything other than what it is.
Given the tools of rhetoric, tropes, and semiotics, Rose claims that his book will show (1) that ho scholars and the media discuss government advertising is too narrow and does not examine important questions about our democracy, and (2) that one can clearly show how symbols are used in government advertising and why then they can be understood to be contentious. Rose does recognize that not all government advertising works, and that some of it is viewed as being largely uncontroversial. Ads which promote exercise or safe driving, or ads where the link between the visual and the argument cannot be challenged are typically understood to be harmless. These ads are often referred to as "hard sells" because they do not try to manipulate, but state the facts, which can be unpleasant or uncomfortable.
However, other ads do work and are intended to manipulate the public. An example are those which use enthymemes, where one of the premises of the argument is left out for the audience to fill it in. This is often the strategy for contentious advertising campaigns since, with the absence of one of the premises, the ad appears to only be supplying the audience with information rather than making a contentious argument and attempting to persuade the audience. Advertisements for products of policies which are not contentious and/or have widespread support often do not use enthymemes, since the advertiser does not need to manipulate the public for support, but merely needs to remind the public of the issue which it already supports. However, as Rose's case studies will show, advertisements for contentious products or policies make greater use of signs or symbols (verbal and non-verbal) which the audience needs to actively decode.
Chapter One
Rose begins his first chapter by recognizing that all governments make use of communication with the public to either increase both the public's participation in public debate and its understanding of government services, or to manipulate the public to accept the policies and practices of the state. Borrowing from American political commentator, Walter Lippmann, Rose notes that one's understanding of the complex world often relies upon images one either creates of that world or which are given to one to use in forming decisions about the world. One's decisions are often not based upon true knowledge about the world, but upon images which are given to him/her. In the case of governments, the image which the public has of a government is often the image that the government has provided for the public to see.
In looking at how government's communicate, Rose does admit that some communication is sometimes intentional, sometimes subconscious, that it is sometimes made through words, sometimes through actions, and sometimes through images or symbols, but it always transmits information from one person to another. However, in the case of government communication, he asserts that it is always purposive and is always intended to, "elicit some behavioral or attitudinal change on the part of the public. communication by the government, therefore, is never 'innocent' in the sense of merely providing information or responding to public demand." (p 21) Furthermore, the messages given by the government can vary according to the groups to whom the messages are targeted. These different messages can also be provided via a number of different media. In our current age, advertising may have replaced politicians as the main means of communication between the government and the citizenry.
Whether advertising - a form of largely one-way communication - is an appropriate means for governments to communicate with the public can be influenced by the way in which one views the role of the government. If one takes the position of Edmond Burke, government is the elected representative of the people and should, once elected, be allowed to guide the public. It should not have to listen to the constantly changing views of the public and form policy to match those changing views. Thus, for a Burkean, government advertising can be used to guide and create public support of government policy. However, if one understands the role of government to be to reflect the opinion of the public (John Locke), than the legitimacy of government advertising is harder to accept. If the role of the government is to represent the current dominant views of society, then it should not be the role of the government to try and change the opinions of the public. According to Rose, the true test as to whether a particular government advertisement is legitimate it whether both those who take the Burkean position and those who feel that government should be the delegate of the people both view the advertisement a s legitimate and acceptable.
Rose also notes that while political advertisements may use both metaphor (use of an image to represent a less tangible quality or thing), metonymy (where something is not called by its own name but by something closely associated with it), and the other tools of rhetoric to communicate both implicit and explicit messages, the advertisements also say something about how both the speaker's the audience's view of reality at the time. If the audience does not misinterpret the meaning of the advertisement, or does not disagree with it, then the issue is not political. If, however, there is conflict, then at least parts of the audience do not agree with the view of reality offered by the speaker.
At the end of his section on "How Governments Advertise" Rose points out the benefits of analyzing advertising through both rhetoric and semiotic so as to gain some insight into how the meaning of an advertisement is created, and thus, how government advertising does, r in some cases does not work, to give governments power and legitimacy. He writes that, "Semiotics will help understand how meaning is understood by the receiver given the context of the communications. The rhetoric embedded in the communications plan, advertising strategy, and focus group results all provide us with some evidence of the goals of each advertising campaign and therefore tell us much about the intentions of the communicator. Rhetoric also provides an opportunity to explore the caliber and style of argumentation. It assumes that effective persuasion is dependent upon the organization of arguments." (p 25)
In his section "The Need For Government Communication" Rose notes that communication with the public is necessary for a government to maintain its legitimacy. This legitimacy is held if the public believes that the government is correct in its decisions and policies. Furthermore, legitimacy is required for a stable state. In the case of a government which is responding to the needs of the public, communication is needed so that the government can keep the public informed of what it is doing and how it is reacting to its concerns. However, communication can also be used to try and convince the public of the legitimacy of its actions, which may not be the desire of, or in the best interests of, the public. As advertising has come to play a larger role in government communication to the public, its tools of communication and persuasion have also been employed to show or convince the public that the government is acting in the public's best interests.
In his section on "The Role of Myths in State Communication" Rose notes that myths are a commonly used trope of government communication. These are signs which have one meaning and which are imbued with a greater secondary meaning. For example, the slogan "Je me souviens" reduces all Quebec history to the conquest of 1759. This is a form of Synecdoche, where a part is used to refer, or stand, for the whole. A single battle, or the suffering of particular individuals at particular times is used to refer to all of Quebec history. Mythic symbols and concepts are used to distract one's attention, or to give one an easy simplistic concept which stands in for highly complex situations. In one sense, the role of government communication is to create and spread myths about the nation. Some become so pervasive that they cease to be questioned. These myths say something about who we, as a group, are and what we stand for. However, all such myths are ideological, since they are all purposefully crafted. Furthermore, the myths help justify the agendas of governments, in that governments tend to perpetuate myths which are in line with their actions and policies.
In discussing how and when the government should use advertising to communicate with the public, Rose suggests that one could view the government as simply one voice creating myths, and that it is also one which can be countered and critiqued by the media. However, he also notes that the problem with such a view is that the government is often the loudest voice among many. Furthermore, it is the voice which regulates both other advertisers and the media. What is more, if one believes that the state has an obligation to communicate with its public so as to educate the public about the actions of the government, the role of the state, and how the public can benefit from state programs and participate in the democratic system, one must also acknowledge that governments often rationalize biased communication as being educational in character. The public is informed of the wisdom of the actions and policies of the government even when educating the public of these facts are not necessary but only serve to improve the public's perception of the government.
In his section on "The Administrative Imperative" Rose examines the argument that there are appropriate times at which the government should communicate with the public through advertising. The advertisement of new or updated policies could be seen as ensuring that all of the public has access to government services. This was one of the findings of the government's 1969 Task Force on Government Information. Information Canada was established so as to give the public access to information from and about the government to the population. Quoting from the 1992 Treasury Board Manual on Communications, Rose notes that the current communications rationale of the government is that advertising is used to rationalize the dissemination of government information. The manual states that good communications is essential for a functioning representative government, and that it is necessary for the achievement of government objectives. While, theoretically, this communication is to be two-way and is supposed to further the public's access to information, the reality is quite different. Not only can actions be taken to delay access to information, but how information is given to the public is not necessarily via a two-way communication and it may be biased in favour of government policies which are questionable in their being for the benefit of the public.
While the Task Force on Government Information was largely concerned with advertising to help the public gain better access to government services, Rose notes that there are other kinds of government advertising. In particular, he points out that there are generally three kinds of commercial government advertisements. These include ads for competitive government products (such as government savings bonds), ads for crown corporations, and ads for lotteries. By being commercial advertisements the purpose of such ads is to compete with the private sector, not to disseminate political propaganda. While certain tropes will be used in such ads, their primary purpose is to sell a product which the private sector is also trying to sell. However, where there is no competition for the market, then one cannot claim that the advertising has a purely commercial orientation. While such ads do have a function, it cannot be argued that it has anything to do with the administration of democracy.
In his section on the creation of "Political Culture" being an explanation for government advertising, Rose notes that in the creation and cementing of symbols and myths which resonate with the public, government is consciously trying to unify the population, all be it in a manner which accords with government ideology. However, the success of such myths or symbols depends upon the myth or symbol being closely tied to its referent. Once the primary and secondary meaning of the myth or symbol are separated, thus not seen as being obviously tied together, the symbol or myth may come to be seen as representing something other than what was intended. An example given by Rose is the fleur-de-lis. "For Quebeckers, the symbol of the fleur-de-lis may signify the historic struggle for Quebec culture and the importance of Quebec nationalism; for members of the Reform party, the same symbol may epitomize the domination of Quebec in political matters." (p 38)
While in the US, the bulk of government advertising expenditure is for administrative purposes (largely the Postal Service, the Army, and Amtrack), in Canada, the government not only spends proportionally much more, its expenditures have (in the 1990s) traditionally been concerned with national unity. Furthermore, Information Canada and Canadian Access to Information legislation were designed to allow for the public to have access to information in a timely manner, and so that the government could hear from the public when members of the public wished to voice their concerns about public administration. Furthermore, the CBC has been another example of encouraging communication between the government and citizens, and between citizens themselves. Thus, in Canada, governments have been involved in creating and enriching political culture more than the US government, and thus, Canadians have a certain tolerance for government communications. Rose will show how this tolerance for government communication can be manipulated for political ends, which, possibly because of the tolerance for government communications, is not criticized as much as could be the case for not just the expense, but the manner in which such seemingly unbiased communication, can be used to persuade and manipulate the public.
While this second chapter showed the different kinds of possible government advertisements and the kinds of reasons for which they could or should be made, Rose's subsequent chapter show what kinds of advertisements have been made over Canada's history and what kinds have been viewed by the public as acceptable or not, and why (semiotics).
Chapter Two
Rose begins his second chapter by noting that while some work has been done on the history of commercial advertising, including advertising by political parties, little has been done on government advertising. Governments use advertising to not only inform the public about policies and actions, but to "communicate their successes, reward newspapers for favorable coverage, respond to opposition attacks in the press, or engage in foreign affairs." (page 45) The chapter examines, briefly, the history of government advertising in Canada from confederation up to 1976, when Information Canada was dissolved. These advertising campaigns have evolved from attempts to sell immigration to the west or for support of the war effort in the two World Wars, to sophisticated campaigns to sell federalism, government policies, or the virtues of being Canadian, all tested and designed with focus groups and input from experts human persuasion.
While Rose does mention several examples of preconfederation advertising by colonial governments of British North America, he begins his examination of Canadian government advertising with Ottawa's program to promote settlement in the Canadian west. Especially under the Department of Interior's direction of Clifford Sifton, Canada launched a calculated campaign to attract specific kinds of immigrants to the Canadian west. Focusing upon white settlers from Britain and the United States, as well as white central and eastern Europeans, the government produced literature in numerous languages, travelling lantern slide shows, and speaking tours which not only provided information in the language of the target audience, but even in a manner which would be understood as acceptable. In the case of the United States, literature was produced using American spelling. In Britain, the literature stressed the high numbers of English-speakers settling the west, so as to dispel British fears that the Canadian west was full of non-English settlers. What is more, the government's advertising campaign, while being overly optimistic and avoiding words like "cold" or "snow", but speaking of the favourable and invigorating weather of the country, was not opposed by the opposition for its substance. The opposition largely only criticized the campaign for its effectiveness relative to its cost.
Rose next examines Canada's advertising efforts during the First World War, focusing upon both the motivations of the government, in selling War Bonds and fostering support for the war, and the tactics employed to further these ends, including both appeals to negatives views of the enemy, patriotism, and emotional appeals. He then addresses the notion that such advertising can be viewed simply as a form of propaganda, or advertising designed to convince the public of the wisdom and acceptability of particular government positions or actions. He notes that these first large scale efforts at government propaganda were replicated in the Second World War, however, with the benefit of the developing social sciences which focused upon how and why particular groups of people tended to act and react to particular phenomena in certain ways. Advertising was carefully designed to appeal to specific groups of Canadians in particular ways so as to further the government's war effort. What is more during the war and interwar years the federal government not only grew in size, becoming increasingly responsible for providing public services, but it developed new means of communicating with the public. The Canadian Radio Broadcasting Commission was established in 1932, replaced by the CBC in 1936. In 1939 the National Film Board was also established in order to make informational documentaries, including films designed to both inform the public about the war effort and convince the public of the success and just position of the nation.
The beginning of the war also saw the creation of the Bureau of Public Information, the first dedicated wartime information department. However, due to problems with its political legitimacy, it was replaced by the Wartime Information Board, which, after the war, became the Canadian Information Service. The purpose of the WIB and the CIS was to ensure that Canadians within the country and abroad were given necessary, clear, and accurate information about the government and the nation. After the war, the CIS, created in 1945, was foremost charged with creating and distributing references and information to Canadian representatives abroad. Criticized, not for the details of its work, but for its cost, the CIS was soon (1947) transferred to the Department of External Affairs to create and coordinate the provision of information about Canada and the Canadian government to officials at Canadian embassies throughout the world. However, the CIS was really just an interim measure as other departments (including Transport, Labour, Health, and Veterans Affairs, developed their own information services. Furthermore, the CBC news service and Radio-Canada's news services and reach had become important new tools of government communications strategy.
Rose begins his section "The Post-War Ear and Beyond: Decentralization and Diffusion" by noting that there were two reviews of government information services during the 1960s, the Glassco Commission and the Task Force on Government Information. Reporting in 1962, the Glassco Commission (or the Royal Commission on Government Organization) found that federal government information was not centrally planned and uncoordinated. Unlike in the 1970s, 80s, and 90s, there was no central direction as to how government information was presented. Rather, different departments had their own, separate communications programs. The commission was not solely interested in the delivery of government information, but the organization of government in general. However, it found that in providing government information the various departments were entering contentious territory in that by not being consistent, the departments opened themselves up to charges of inconsistency and contradiction. It also stressed that controversy could arise in the advertising of departmental services in an inconsistent and uncoordinated manner.
The Task Force on Government Information reported in 1968, and while, unlike the Glassco Commission, it did had little to say about government advertising, it did report on the government's ability to coordinate information activities, projects to gather information on the concerns of Canadians, and to ensure the use of both official languages so as to strengthen national unity. Where the task force did discuss advertising, it viewed it as an efficient and good way to communicate information to the public. Moreover, however, it recommended the establishment of a centralized agency to coordinate and standardize the production and provision of government information. What Rose finds particularly striking is the task force's belief that government would not abuse its information gathering or provision powers, including in its use of advertising. Rather, it viewed advertising as tool that could simply assist in spreading messages intended to unify the country.
The main recommendations of the task force were:
1) To increase the public's understanding of government legislation, programs, and services.
2) The better explain the functioning and structure of government administration.
3) To promote the public's use of cultural institutions and the public's attending of cultural events.
4) To encourage both individuals and businesses to act to help serve various social objectives, which, unfortunately, the task force never defined.
Secondary recommendations included:
1) Recruiting good candidates for the civil service.
2) Increasing tourism advertising.
3) Advertising for semi-commercial ends, including the promotion of available goods such as new stamps, coins, or government publications.
The task force had been struck just as the government was preparing to pass the Official Languages Act, and during the Quiet Revolution, when unity of Canada was threatened and when the federal government desperately needed to be understood to be a unified and strong presence in the country and not a disorganized or uncoordinated institution. As part of this desire to appear coordinated and unified the government made good use of the centennial celebrations in 1967 to not only mark a symbolic event in the nation's history, but to emphasize the importance of federalism. Through symbols, music, and events, Ottawa attempted to give the appearance of being coordinated, attractive, and even leading the world by example in its hosting of the Expo67.
Rose notes that two of the influential federal symbols created during this period were the Canada Wordmark and the federal government logo (the bar and leaf logo). The letter of these was attacked at the time for looking very similar to the federal Liberal Party logo of the period. While the wordmark and the federal government symbol are used to stand for the institution, as in the case of corporations, they are also used in order to give legitimacy to allegedly non-political things, like Olympic uniforms or national birthday celebrations. Thus, they have a dual function. Furthermore, their use suggests information from bureaucrats who are only interested in fulfilling their assigned tasks, but they can also be used to give legitimacy to policies of the party in power, which is effectively the government.
Rose claims that by using the Wordmark as the logo for the federal government of Canada, the wordmark came to represent all of the products, services, and functions of the federal government. It was used to market and legitimize government action. The use of such a registered trademark in such a way indicated the federal government's wholesale embrace of the tactics of successful brand marketing.
Established the year after Expo 67, the Task Force on government Information recommended the establishment of Information Canada. Created in 1970, this organization was, according to the PM, supposed to: promote cooperation between federal government departments and agencies, to coordinate departmental policies across the government, and to more effectively learn about the concerns and needs of Canadians. However, as quoted in Robert Everett's thesis "Information Canada and the Politics of Participation" (1990), Trudeau believed that the real job of Information Canada was to sell the Government of Canada and its policies to the public, making use of all available technical means. This differed from the statement of the Treasury Board, which echoed the Prime Minister's official statement, by claiming the Information Canada was supposed to, "a) to ensure that federal government programs and policies are examined; b) to provide information feedback from Canadians to the government; c) to co-ordinate federal information campaigns and assist departments."
While allegedly supposed to not only disseminate government information, but to act as a means by which the public could voice their opinions, Rose explains that Information Canada was never allowed to actually fulfill its purpose of allowing for true participatory democracy. While advertisements for the government offered toll-free telephone numbers and tear-back forms to allow the public to voice their opinions, there never was any real dialogue between citizens and the government. Rather, the government followed its own agenda, regardless of any of the feedback it received.
During the first half of the decade two government reports found problems with Information Canada and its ability to fulfill its mandate of encouraging participatory democracy. The report of the Standing Senate Committee on National Finance found that while information Canada could provide information to the public, it was unable to assess public attitudes towards government programs since it could not force people to become interested in government policies or to discuss them. The second report was by the Privy Council Office, and which was concerned with information provision and protection, found the terms of reference for Information Canada were unclear, that it had weak relationships with different departments, that it could not direct and control the flow of government information, and that it did not have well trained staff members.
Rose assesses the organization as having bureaucratic and administrative problems, as is outlined y both reports, but also as having been seen by the public as little more than a propaganda office of the federal government, the media and public often referring to it as "PropCan." Furthermore, the notion that Information Canada could justify their advertising and publicity budgets through its ability to use advertising and publicity to gain feedback from the public was ill founded. Advertising and publicity rarely functions well as a feedback mechanism, but is typically a form of one-way communication. As is explained in Rose's second chapter, feedback is much more efficiently and effectively gained through public opinion polling and focus groups.
While the Trudeau government gave in to opposition pressure and criticism to close Information Canada by the end of 1976, Rose notes that the department may have had some positive qualities. He argues that it did offer the government a unified and centralized office which was attempting to coordinate government information, which is essential to a government which is attempting to offer an image of organization and coordination. Furthermore, being created at a time of growing separatist sentiment in Quebec, it may have played a role in reducing the attraction of separatism by offering information about the alternative position. However, concerning this latter point, Rose also notes that it is almost impossible to tell the effectiveness of any adverting campaign compared to other factors which could influence people's choices. Yet, Information Canada did act as a precursor to the Canadian Unity Information Office (CUIO), which the government would open in 1977 to counter the threat of separatism by both communicating information to the public and allegedly listening to its ideas and concerns.
Drawing conclusions from his overview of Canadian government advertising from confederation to 1976, Rose argues that the advertising campaigns of the wars were not seen as politically controversial since most of the country's federal politicians agreed with the purpose of the ads. The same can be said for the western settlement campaigns of the late 19th and early 20th centuries, although there was some debate over the efficiency of those campaigns. The same cannot be said for information Canada or the role it played in countering Quebec separatism. The latter being a more controversial campaign, it tended to make less use of hard-sell advertising tactics, recognizing that such a blunt approach would likely result in criticism from separatist forces. Campaigns with more widespread support can make use of ethical or emotional tactics of persuasion, while contentious campaigns use rational means of persuading the public. The rational approach appears more neutral and objective, and thus, less open to accusations of manipulation. Furthermore, non-contentious campaigns tend to make use of more provocative visual images, where as more informational images as well as text tend to be used in more contentious campaigns.
Chapter Three
In his third chapter, Rose examines the structure of government advertising, and how it is both highly centralized and controlled. Up to the 1960s this was not the case, which resulted in uncoordinated campaigns. In examining the production of government advertising campaigns, Rose looks at both how federal advertising campaigns are organized and coordinated within government, but also the role of advertising agencies. Rose shows through his examination that there has been an increase in both the centralization of the federal government's advertising programs, as well as a greater reliance upon private advertising agencies to both produce the campaigns, but also make use of tactics which have been produced for corporate advertising campaigns to sell products. He suggests that these trends could be detrimental to the real purposes of government.
Government policy, and thus the policies which are behind advertising campaigns, are coordinated by the Privy Council Office, which implements the communications needs of the cabinet. The decisions about how advertising contracts are to be made and how such policy and advertising decisions are going to be implemented by various government departments are made by the Communication Coordination Services Branch of Public Works and Government Services Canada. however, the details about the content of the advertisements and the tools and approaches used are typically made by the advertising agencies hired to produce the ads. Thus, the advertising agencies can affect the message of the ads and the norms and codes employed. These agencies typically use the same language, codes, and approaches used in government advertising which are employed in commercial advertising. However, Rose argues that the use of the same tactics to sell products as policies or political platforms results in "a debasement of the political process and a denigration of our political vocabulary." (page 80)
within the government the office with has formal authority over government communications is the Privy Council Office, and particularly its Communications Secretariat, which is to a) advise government organizations of the priorities and themes which are to be reflected in their communications, b) provide government-wide communications leadership, c) as well as collect information on the public so as to advise the Prime Minister. In addition, the Treasury Board approves all government policies on communications and also reviews all advertising expenditures for all departments. It reviews all advertising expenditure request and evaluates whether they accord with the government's declared priorities.
The centralization of government advertising and policy management began in the 1960s with the recommendations of the 1968 Task force on Government Information, including the recommendation for the creation of Information Canada. Thus, the PCO and the Treasury Board advertising responsibilities are largely concerned with ensuring that the government's advertisements are coherent and consistent. Furthermore, there exists a Cabinet Committee on Communications. this committee was formed under Prime Minister Trudeau and is now used for cabinet ministers to create coordination in the communications, including advertising, between their different departments and agencies. However, this committee is not always used and depends upon the extent to which its chair is interested in ensuring such coordination. This committee allegedly approves the testing and release of all advertising and public service announcements. This is done through communications plans which are attached to all cabinet documents. The plans consist of background information on the policy, any public opinion research on the policy, any other public responses to the policy, as well as an outline of the advertising which will be required for the policy. The committee's most important task, however, is approving general communications plans at the beginning of each year, and one of the main jobs of the chair is to ensure that the activities of each of the ministers reflects the communications plan agreed upon each year. This is particularly important in a world where ministers are often interested in ensuring the support of particular groups who are effected by their departments or agencies. Ministers do not like delivering bad news, and will avoid it if it could harm their future electoral fortunes. However, the Prime Minister needs to ensure that all of his ministers are speaking with one voice and that that voice accords with agreed upon government policy.
The decisions of the Cabinet Committee on Communications are implemented by the Privy Council Communications Secretariat. By coordinating and keeping abreast of the various communications efforts of the government, the Privy Council Communications Secretariat allows the Prime Minister and the cabinet to be easily kept abreast of those communications efforts. The bookkeeping, advertising shopping, bill payments are all done by the Communication Coordination Services Branch or Public Works and Government Supply Canada. As the largest advertiser in the country, this small unit is the largest clearinghouse of advertising in the country. Created in 1998, this branch oversees both advertising and public opinion research. It had its origins in the Advertising Management Group, created in 1979, so that advertising contracts would be centralized and could benefit from advantages of scale.
Rose claims that the centralization of the federal government's communications strategy began after the Second World War. Designed to give Ottawa a coordinated and strong corporate image. Much of this image has been produced through advertising which has been produced by advertising agencies. As the government's use of and reliance upon advertising has increased, the government has relied increasingly upon creative decisions which are made by private advertising firms. Thus, the agencies play an important role in legitimizing the government through the creative and persuasive tactics they employ. Rose seen this outsourcing of how policies are sold to the public is harmful to Canadian democracy. The decisions are not made in parliament or in cabinet, but by the hired advertising agencies.
Rose begins his section "The Shop Floor: Advertising as Agents of Mass Socialization" by noting that in the case of federal government advertising, tat being sold to the public are myths about how policies or actions are in keeping with a mythical national identity. Thus, the government increasingly depends upon advertising agencies to create national symbols. These ads are also the result of input from a number of specialists, each of which bring their knowledge and specialized skills to shaping, and thus, coding the advertisement to trigger particular ideas and feelings in the audience. These can include copywriters, art directors, account executives, graphic designers, and photographers, set designers, actors, camera operators, and other specialists involved in the creation of the advertisement. However, Rose notes that, unlike in commercial ads, government ads are not trying to persuade the public to buy a particular product. Rather, their point is often to create support for government policies or to create ideas of shared identity through the use of images and symbols. Unlike in the case of commercial ads, the public cannot voice its disapproval by not purchasing a product, but it must live with the policy if it is maintained by the government. Yet, while using many of the same advertising techniques, government ads, unlike most commercial ads, are often criticized by the public and the media.
Rose notes that, while similar in the manner in which they are created, a difference between the creation of government and corporate advertising is that, especially in the past, Canadian government advertising has often been conducted by agencies which were aligned with particular political parties. Beginning with the First World War, Rose explains that the advertising agency which explained the Military Service Act to Canadians in 1917 was then awarded the contracts for publicity campaigns of the Union Government.
The connections between specific parties and specific advertising agencies are explained by both the survival of the parties and the advertising agencies. The government may retain specific agencies as a form of reward for work which was volunteered by the agency to the now governing party during an election campaign, or it may choose a specific agency for work which was seen as successful in having a leader or the party elected to office. In the case of the agencies, as Reg Whitaker has pointed out in his study of Liberal advertising agencies, they recognize that certain parties express the political and economic ideals which are beneficial to advertising firms. Parties which do not have the money for large campaigns, or which reject political advertising as propaganda and contrary to their political ideals, or reject the kind of advertising that a particular firm specializes in, would not attract the interest of such agencies. Agencies require money and the political will to purchase advertising which the agency is able and willing to produce. thus, particular firms know that particular parties will protect their long-term economic interests.
Whitaker explains that, in the case of the Liberal Party, the party in power for much of the 20th century, it benefitted from the formal and informal relationship between the party, the advertising agency of Cockfield Brown, and the government. As the agency was retained for various jobs, the government's policies and programs gained acceptance from the public, and as the public was satisfied with the leadership of the country, the Liberal Party benefitted from remaining in power. Examples of the close informal connections included the example of the senior partner of Cockfield Brown, Harry Cockfield, being chairman of the war bon drive in 1940. His firm was also one of the major advertisers for the war bond drive. In the 1949 and 1953 election campaigns the same firm was responsible for engineering the image of Louis St. Laurent being a benevolent and appealing uncle-like figure, rather than a calculating political leader. Indeed, Whitaker claims that in 1943 a formal agreement was signed making Cockfield Brown the Liberal Party's long-term and only national advertising agency. This formal relationship between the agency and the government was so close and so all encompassing that by the 1960s several of the agency's advertising staff were given lucrative government positions, with several being appointed to the senate and two sent to work for the Canadian embassy in Washington.
While officially secret arrangements, Rose claims that it is known which agencies benefitted from connections to particular parties. Following the Liberal loss in the 1958 federal election the firm of Maclaren was viewed by many Liberals as the firm of choice, while Vickers and Benson benefitted from personal connections with one Montreal Liberal MP. Furthermore, as governing parties change, so do the fortunes of advertising firms. An agency which is tied to a particular party which is removed from office often means that the agency is then typically barred from any work which is required by the new party in power. This was the case for Walsh Advertising, which had been one of the firms regularly used by the Liberal government before their 1957 election defeat. After the election, Walsh did not receive any contracts from the new Progressive Conservative government.
The amount of money which an agency could hope to gain through government contracts in reward for helping, or volunteering, the winning party during the election campaign more than made up for any donations in time and talent the firm might make to the party in the election. Indeed, both Whitaker and Calton McNaught suggest that these benefits played a large role in the early development of Canadian advertising agencies. However, being closely attached to a political party which lost an election could also be devastating to the future of an advertising agency, as was the case with Cockfield Brown after the 1957 Liberal loss. To further their chances, agencies which are associated with particular parties have also been known to form alliances at election time, donating their services together to a particular party so as to mutually benefit from the contracts which would be awarded should the party take power. This was the case in 1972 with the formation of the consortium, Red Leaf Communications, which did work for the Liberal Party.
In his section on "Focus Groups and the Test-Marketing of Politics" Rose explains that the advertising tool of focus groups involves showing proposed advertisements to groups of "average" members of the target audience. Based upon their reactions, the wording, tone, or even approach of the ad may be altered so as to have the ad be as effective as possible. However, this approach often results in advertisements being made more simplistic and reinforcing preexisting prejudices. Indeed, referencing the Second World War work of the sociologist Robert K. Merton, Rose suggests that advertisements which are changed as a result of focus group do not tend to educate their audience, but conform preexisting ideas. Rose believes that this tactic of political advertizing, which only encourage unreflexive thought which is not critical of the issues at stake is damaging to society and the political process. these ads appeal to the predispositions of the public, which advertisers know are easier to convince the public of than new ideas which challenge traditional ways of thinking or acting. According to Rose, this is troubling since it does not allow for the education of the public by either the public or political parties. New, better, approaches to policy or governing are either ignored or denigrated as being too different to be acceptable. While Rose admits that such focus group based advertising might be useful in refining particular messages, he claims that it does nothing to further informed public debate over issues.
In the final section of the chapter, "Making Pictures in Our Heads," Rose claims that Walter Lippmann’s phrase refers to the creation of public opinion, a process which often involves advertising. The appropriate use of rhetorical strategies and images advertisements cause people to understand the world in particular ways. This work is conducted by advertising agencies, who are interested in changing the beliefs, desires, and wants of the public. Furthermore, Rose notes that advertising which makes use of images, be they symbols or locations, are often more influential than those which use language. Thus, governments often make use of images which have associated or useful preformed meanings in order to make affect the manner in which the public views reality. A political speech may make a particular point, but when accompanied by relevant images which reinforce the power and size of the country, influential past accomplishments, etc. the content of the speech becomes more memorable and linked to pre-formed ideas. Yet, where advertising is contentious, appeals to emotions or the use of highly evocative symbols are typically avoided and arguments are presented in a factual manner. In the case of non-contentious ads, however, the lack of any real opposition means that advertisers to take great liberties in their manipulation of the public without having to worry about opposition criticism.
Following his first three chapters discussed above, Rose offers three case studies of how the government of Canada advertised to Canadians. Through the cases of the 1980 Quebec referendum, the repatriation of the constitution in 1982, and the North American Free Trade Agreement in 1988, Rose examines the tactics used by the government, why they were employed, and the effect(s) they had upon the Canadian public. This is followed by a concluding chapter in which he discusses commonalities and differences between these different examples, and thus, contextualizing many of the issues raised in the book's introduction and first three chapters.
Jonathan Rose is a professor of political science at Queen's University (Kingston, Ontario).
Rose begins his introduction by explaining that his book is concerned with the increasing frequency with which governments use advertising as a means of persuading the public of the acceptability and desirability of policies. Rather than listening to and acting in the best interests of the public, he argues that politicians are using advertising and advertising strategies to sell the public pre-packaged ideas. He claims that the use of such advertising tools suggests that there are significant problems in how governments communicate complex issues to the public. If complex issues are only presented in short, simplistic advertisements, Rose suggests that the public's understanding of their increasingly complex government institutions and the government's policies will likely be jeopardized. Such advertising does not aim to fully inform the public, but rather to persuade it to support a particular position without being properly informed. The manipulation of words, sounds, and images, so as to conjure particular emotional responses and convince the public to support a policy, does not encourage independent or critical thought.
In particular, Rose's book is concerned with how the federal government of Canada is (as of 2000) and has used advertising to sell ideas and policies to the public. While this method of attempting to bypass parliamentary debate and appealing directly to the public, which some have argued is merely a form of direct democracy, raises questions about the health and functionality of our parliamentary system, Rose is more concerned about how the use of 30 second advertisements destroys the relationship between governments and the public. Policies are no longer things that are to be explained to the public, but things which can be sold to the public in the same way fast-food is sold, and by using the same semiotic techniques of manipulation so as to appeal to basic human instincts. Advertisements are designed to increase compliance with government policies while discouraging real conversation concerning issues, both because they discourage people from asking questions about the policy though the use of semiotic tools and the lack of opposing positions, and because the medium removes the possibility of conversation.
Such government advertising is not restricted to election campaigns, and it does not always need to be about specific policies. Rather, government advertising which is ostensibly about non-political events acts to create an association between support or rejection of those events and the party in power. For example, a government advertisement praising the nation's athletes at an Olympic games or the military suggests that the party in power supports those groups since people identify the government of Canada with the political party which currently forms the government.
Thus, Rose's two major concerns throughout his book are 1) that the increasing use of advertizing to talk about politics debases our political system and our position as citizens, and 2) that scholars' and commentators' comments about the pervasiveness of advertising, including government advertising, ignores questions about how such ads actually manufacture consent. While spending more than any other advertiser in Canada, Rose notes that the federal government's advertising campaigns are only ever regularly attacked during election campaigns, and then only when government advertisements are seen as obviously biased in favour of the governing party. While there is often a general complaint that the advertisements are a form of propaganda, any analysis usually only takes one of two forms. The first are complaints about the cost of the ads and how public funds are being used for political ends. The second is usually about when the ads were broadcast during the campaign, and whether such timing was an obvious attempt to manipulate the public. However, all such analysis, while discussing whether the ads are effective, typically ignores the linguistic, visual, and audio devices and methods used to make the ad effective.
In the second section of the introduction concerning Rose's "Method of Study" he explains that his book looks at government advertising from the perspective of how such ads make use of semiotics and rhetoric. He then goes on to explain semiotics as being the study of signs (be they visual, textual, audible, olfactory, etc.) and how those signs are understood by the audience. All advertising consists of combinations of such signs. Each sign is chosen and used in combination with others so as to produce a particular response from the audience, and thus, communicate a particular message. That message, or the way those signs are interpreted, depends upon what the signs represent to the audience members, which can be different for any one individual, although members of the same culture tend to have the same, or at least similar, understandings of the same signs. Without shared cultural assumptions the meaning of the message may be lost on the audience. Semiotics is the attempt to study both the signs employed and their meaning for the target audience so as to understand the intended meaning of the message. This approach tends to focus more upon the individual receiving the message than the person or group transmitting it, since it is the interpretation by the audience which is in question, not the assumptions made by the creator of the message about the audience. Rhetoric, however, is the study of the tools employed by the sender of the message. Rose states that his book employs both rhetoric and semiotics to try and understand both what tools governments and their advertising agencies use to transmit specific messages (rhetoric), as well as why those messages are interpreted in specific ways by their audience (semiotics). He recognizes that neither approach to the examination of message creation or interpretation can ever offer objective findings, and thus explain exactly what either the creator or receiver of the messages were thinking, but they offer informed explanations about what was likely to have been thinking, and thus, show the interaction and process of message creation between the sender and receiver. To understand the interpretation of government advertising, Rose uses both the advertisements as well as a contextual/historical understanding of the culture/audience. These are then discussed in the light of semiotic analysis. The intended meaning, or the thinking behind the advertisements creation, is understood by both examining the ads themselves, as well as archival material which gives some information as to the intention of the government. Likewise, this evidence is then examined in the light of studies on the use and effectiveness of rhetoric.
Rose next offers a more detailed explanation of rhetoric and its use in advertising. Rhetoric is the art of using discourse, or some other meaningful sign, to inform, persuade, or motivate an audience in a particular way. It is based upon understanding the available means of persuasion in a particular context. Aristotle considered it to be the counterpart to both logic and politics, in that it is not based upon reason or debate.
Rose notes that for Aristotle there are two kinds of logical reasoning, deductive and inductive proof. Inductive proof relies upon examples, while deductive proof relies upon syllogistic or enthymatic arguments. Syllogistic arguments are those where both the major and minor premises are stated, and upon those a conclusion is formed. For example: A=B, B=C, therefore A=C. In the case of enthymemes, however, one of the premises is not explicitly stated and the conclusion relies upon its assumption by the audience. To illustrate this, Rose uses the example of Martin Luther King's "I Have A Dream" speech, where only one of two premises are explicitly stated. Dr. King stated that African-Americans were pursuing their fight for civil rights in a non-violent manner (premise), as well as the conclusion that God will allow that dream to be realized (conclusion). What he leaves out is the premise that God looks favourably upon, and rewards those who use non-violence. This premise is implied given the cultural background of his audience. As Aristotle noted, this form of enthymeme is the most effective because it involves the audience in the logical process. That the audience can provide the missing premise gives the audience a sense of having some kind of inside, or privileged, knowledge, and that they can supply it and complete the reasoning of the argument creates a sense of connection to and ownership of the supplied conclusion. They are made to feel smart in figuring out, or making sense of, the supplied conclusion. What is ignored, however, is whether the supplied or assumed premises are wrong, or if the supplied conclusion is wrong. Where as a syllogism simply leaves the audience to think about the supplied premises and conclusion, the enthymeme introduces an element of self-satisfaction or self-congratulation, which discourages the audience from challenging the premises or the conclusion.
For Aristotle, rhetoric was neither good nor bad, but was the legitimate way that anyone could persuade another of truths. Plato, by contrast, believed that rhetoric was merely a means of trickery, and that truth could not be arrived at through persuasion but through dialectic and arriving at certainties and transcendental truths.
A commonly used tool of rhetoric are symbols. They can be visual, audible, textual, etc. In the case of speech, commonly used phrases such as "time is money" are often used as rhetorical tools in that they are often understood by the receiver to be true since they are used so often in an unquestioning manner. Making a logical connection between such symbols and something else of which the speaker is attempting to convince the receiver will thus strengthen the speaker's persuasiveness since the assumed truth of the rhetorical symbol will suggest the truth of that which he/she is associating with it. In the case of the government, associations between the flag (which is commonly understood to be something which citizens should respect) and the governing party or one of its policies implies that, since a good Canadian respects the flag, a good Canadian should also respect and approve of the associated party or policy.
Rose explains that the way in which such symbols are used can be understood in terms of "tropes." A trope is a situation where words, or images, or some other signs, are used in a sense other than their literal meaning. As Rose notes, according to Burke, there are four main kinds of tropes: metaphor, metonymy, synecdoche, and irony. Rose argues that these four kinds of tropes "can be thought of as the linguistic building blocks of rhetoric." (page 9)
Metaphor is a literary sign which is used to represent a less sensible thing, quality, or idea. It is thus a figure of speech which attempts to describe one thing by forming an association between it and something else. Thus, the sentence "His financial advice is rock solid" tries to form an association between a person's financial forecasting abilities and the strength and stability of a rock.
Metonymy is a figure of speech where something is not referred to by its real name, but by something which is often associated with it. For example, "Detroit" is often used to refer to the American automotive industry, or "Ottawa" is used to refer to the federal government of Canada.
Synecdoche is a figure of speech where part of something is used to refer to the whole, or where the whole is used to refer to a part. An example would be "Canadians win world series," where the team that won the baseball tournament was the Toronto Blue Jays, but the whole country is used to refer to the baseball team, or part of that country. The implied message, however, is that all Canadians should feel proud because a part of that country won the baseball tournament.
Finally, irony is a literary device where the literal meaning of a statement is the opposite of its intended meaning. For example, saying "I'm so sorry" when it is clear that one is not, would suggest to the receiver that the sender is indeed not sorry and wishes to clearly indicate so while also saying the very opposite.
While often thought of in terms of words, all four of these tropes can be seen in the use of images, sounds, and other symbols. They are the basic tools of rhetoric. How symbols (tropes or not) are put together, is centrally important to advertisements which rely upon forming the correct images in the minds of the audience in a small amount of time. How these signs are interpreted by the audience is the realm of semiotics. While the sign (or the signifier) can be intended to mean one thing, the received meaning (the signified) can be something completely different. The meaning of the signifier depends upon the worldview of the person who is exposed to it. Placed out of context, or devoid of some argument explaining its meaning, the sign will not stand for anything other than what it is.
Given the tools of rhetoric, tropes, and semiotics, Rose claims that his book will show (1) that ho scholars and the media discuss government advertising is too narrow and does not examine important questions about our democracy, and (2) that one can clearly show how symbols are used in government advertising and why then they can be understood to be contentious. Rose does recognize that not all government advertising works, and that some of it is viewed as being largely uncontroversial. Ads which promote exercise or safe driving, or ads where the link between the visual and the argument cannot be challenged are typically understood to be harmless. These ads are often referred to as "hard sells" because they do not try to manipulate, but state the facts, which can be unpleasant or uncomfortable.
However, other ads do work and are intended to manipulate the public. An example are those which use enthymemes, where one of the premises of the argument is left out for the audience to fill it in. This is often the strategy for contentious advertising campaigns since, with the absence of one of the premises, the ad appears to only be supplying the audience with information rather than making a contentious argument and attempting to persuade the audience. Advertisements for products of policies which are not contentious and/or have widespread support often do not use enthymemes, since the advertiser does not need to manipulate the public for support, but merely needs to remind the public of the issue which it already supports. However, as Rose's case studies will show, advertisements for contentious products or policies make greater use of signs or symbols (verbal and non-verbal) which the audience needs to actively decode.
Chapter One
Rose begins his first chapter by recognizing that all governments make use of communication with the public to either increase both the public's participation in public debate and its understanding of government services, or to manipulate the public to accept the policies and practices of the state. Borrowing from American political commentator, Walter Lippmann, Rose notes that one's understanding of the complex world often relies upon images one either creates of that world or which are given to one to use in forming decisions about the world. One's decisions are often not based upon true knowledge about the world, but upon images which are given to him/her. In the case of governments, the image which the public has of a government is often the image that the government has provided for the public to see.
In looking at how government's communicate, Rose does admit that some communication is sometimes intentional, sometimes subconscious, that it is sometimes made through words, sometimes through actions, and sometimes through images or symbols, but it always transmits information from one person to another. However, in the case of government communication, he asserts that it is always purposive and is always intended to, "elicit some behavioral or attitudinal change on the part of the public. communication by the government, therefore, is never 'innocent' in the sense of merely providing information or responding to public demand." (p 21) Furthermore, the messages given by the government can vary according to the groups to whom the messages are targeted. These different messages can also be provided via a number of different media. In our current age, advertising may have replaced politicians as the main means of communication between the government and the citizenry.
Whether advertising - a form of largely one-way communication - is an appropriate means for governments to communicate with the public can be influenced by the way in which one views the role of the government. If one takes the position of Edmond Burke, government is the elected representative of the people and should, once elected, be allowed to guide the public. It should not have to listen to the constantly changing views of the public and form policy to match those changing views. Thus, for a Burkean, government advertising can be used to guide and create public support of government policy. However, if one understands the role of government to be to reflect the opinion of the public (John Locke), than the legitimacy of government advertising is harder to accept. If the role of the government is to represent the current dominant views of society, then it should not be the role of the government to try and change the opinions of the public. According to Rose, the true test as to whether a particular government advertisement is legitimate it whether both those who take the Burkean position and those who feel that government should be the delegate of the people both view the advertisement a s legitimate and acceptable.
Rose also notes that while political advertisements may use both metaphor (use of an image to represent a less tangible quality or thing), metonymy (where something is not called by its own name but by something closely associated with it), and the other tools of rhetoric to communicate both implicit and explicit messages, the advertisements also say something about how both the speaker's the audience's view of reality at the time. If the audience does not misinterpret the meaning of the advertisement, or does not disagree with it, then the issue is not political. If, however, there is conflict, then at least parts of the audience do not agree with the view of reality offered by the speaker.
At the end of his section on "How Governments Advertise" Rose points out the benefits of analyzing advertising through both rhetoric and semiotic so as to gain some insight into how the meaning of an advertisement is created, and thus, how government advertising does, r in some cases does not work, to give governments power and legitimacy. He writes that, "Semiotics will help understand how meaning is understood by the receiver given the context of the communications. The rhetoric embedded in the communications plan, advertising strategy, and focus group results all provide us with some evidence of the goals of each advertising campaign and therefore tell us much about the intentions of the communicator. Rhetoric also provides an opportunity to explore the caliber and style of argumentation. It assumes that effective persuasion is dependent upon the organization of arguments." (p 25)
In his section "The Need For Government Communication" Rose notes that communication with the public is necessary for a government to maintain its legitimacy. This legitimacy is held if the public believes that the government is correct in its decisions and policies. Furthermore, legitimacy is required for a stable state. In the case of a government which is responding to the needs of the public, communication is needed so that the government can keep the public informed of what it is doing and how it is reacting to its concerns. However, communication can also be used to try and convince the public of the legitimacy of its actions, which may not be the desire of, or in the best interests of, the public. As advertising has come to play a larger role in government communication to the public, its tools of communication and persuasion have also been employed to show or convince the public that the government is acting in the public's best interests.
In his section on "The Role of Myths in State Communication" Rose notes that myths are a commonly used trope of government communication. These are signs which have one meaning and which are imbued with a greater secondary meaning. For example, the slogan "Je me souviens" reduces all Quebec history to the conquest of 1759. This is a form of Synecdoche, where a part is used to refer, or stand, for the whole. A single battle, or the suffering of particular individuals at particular times is used to refer to all of Quebec history. Mythic symbols and concepts are used to distract one's attention, or to give one an easy simplistic concept which stands in for highly complex situations. In one sense, the role of government communication is to create and spread myths about the nation. Some become so pervasive that they cease to be questioned. These myths say something about who we, as a group, are and what we stand for. However, all such myths are ideological, since they are all purposefully crafted. Furthermore, the myths help justify the agendas of governments, in that governments tend to perpetuate myths which are in line with their actions and policies.
In discussing how and when the government should use advertising to communicate with the public, Rose suggests that one could view the government as simply one voice creating myths, and that it is also one which can be countered and critiqued by the media. However, he also notes that the problem with such a view is that the government is often the loudest voice among many. Furthermore, it is the voice which regulates both other advertisers and the media. What is more, if one believes that the state has an obligation to communicate with its public so as to educate the public about the actions of the government, the role of the state, and how the public can benefit from state programs and participate in the democratic system, one must also acknowledge that governments often rationalize biased communication as being educational in character. The public is informed of the wisdom of the actions and policies of the government even when educating the public of these facts are not necessary but only serve to improve the public's perception of the government.
In his section on "The Administrative Imperative" Rose examines the argument that there are appropriate times at which the government should communicate with the public through advertising. The advertisement of new or updated policies could be seen as ensuring that all of the public has access to government services. This was one of the findings of the government's 1969 Task Force on Government Information. Information Canada was established so as to give the public access to information from and about the government to the population. Quoting from the 1992 Treasury Board Manual on Communications, Rose notes that the current communications rationale of the government is that advertising is used to rationalize the dissemination of government information. The manual states that good communications is essential for a functioning representative government, and that it is necessary for the achievement of government objectives. While, theoretically, this communication is to be two-way and is supposed to further the public's access to information, the reality is quite different. Not only can actions be taken to delay access to information, but how information is given to the public is not necessarily via a two-way communication and it may be biased in favour of government policies which are questionable in their being for the benefit of the public.
While the Task Force on Government Information was largely concerned with advertising to help the public gain better access to government services, Rose notes that there are other kinds of government advertising. In particular, he points out that there are generally three kinds of commercial government advertisements. These include ads for competitive government products (such as government savings bonds), ads for crown corporations, and ads for lotteries. By being commercial advertisements the purpose of such ads is to compete with the private sector, not to disseminate political propaganda. While certain tropes will be used in such ads, their primary purpose is to sell a product which the private sector is also trying to sell. However, where there is no competition for the market, then one cannot claim that the advertising has a purely commercial orientation. While such ads do have a function, it cannot be argued that it has anything to do with the administration of democracy.
In his section on the creation of "Political Culture" being an explanation for government advertising, Rose notes that in the creation and cementing of symbols and myths which resonate with the public, government is consciously trying to unify the population, all be it in a manner which accords with government ideology. However, the success of such myths or symbols depends upon the myth or symbol being closely tied to its referent. Once the primary and secondary meaning of the myth or symbol are separated, thus not seen as being obviously tied together, the symbol or myth may come to be seen as representing something other than what was intended. An example given by Rose is the fleur-de-lis. "For Quebeckers, the symbol of the fleur-de-lis may signify the historic struggle for Quebec culture and the importance of Quebec nationalism; for members of the Reform party, the same symbol may epitomize the domination of Quebec in political matters." (p 38)
While in the US, the bulk of government advertising expenditure is for administrative purposes (largely the Postal Service, the Army, and Amtrack), in Canada, the government not only spends proportionally much more, its expenditures have (in the 1990s) traditionally been concerned with national unity. Furthermore, Information Canada and Canadian Access to Information legislation were designed to allow for the public to have access to information in a timely manner, and so that the government could hear from the public when members of the public wished to voice their concerns about public administration. Furthermore, the CBC has been another example of encouraging communication between the government and citizens, and between citizens themselves. Thus, in Canada, governments have been involved in creating and enriching political culture more than the US government, and thus, Canadians have a certain tolerance for government communications. Rose will show how this tolerance for government communication can be manipulated for political ends, which, possibly because of the tolerance for government communications, is not criticized as much as could be the case for not just the expense, but the manner in which such seemingly unbiased communication, can be used to persuade and manipulate the public.
While this second chapter showed the different kinds of possible government advertisements and the kinds of reasons for which they could or should be made, Rose's subsequent chapter show what kinds of advertisements have been made over Canada's history and what kinds have been viewed by the public as acceptable or not, and why (semiotics).
Chapter Two
Rose begins his second chapter by noting that while some work has been done on the history of commercial advertising, including advertising by political parties, little has been done on government advertising. Governments use advertising to not only inform the public about policies and actions, but to "communicate their successes, reward newspapers for favorable coverage, respond to opposition attacks in the press, or engage in foreign affairs." (page 45) The chapter examines, briefly, the history of government advertising in Canada from confederation up to 1976, when Information Canada was dissolved. These advertising campaigns have evolved from attempts to sell immigration to the west or for support of the war effort in the two World Wars, to sophisticated campaigns to sell federalism, government policies, or the virtues of being Canadian, all tested and designed with focus groups and input from experts human persuasion.
While Rose does mention several examples of preconfederation advertising by colonial governments of British North America, he begins his examination of Canadian government advertising with Ottawa's program to promote settlement in the Canadian west. Especially under the Department of Interior's direction of Clifford Sifton, Canada launched a calculated campaign to attract specific kinds of immigrants to the Canadian west. Focusing upon white settlers from Britain and the United States, as well as white central and eastern Europeans, the government produced literature in numerous languages, travelling lantern slide shows, and speaking tours which not only provided information in the language of the target audience, but even in a manner which would be understood as acceptable. In the case of the United States, literature was produced using American spelling. In Britain, the literature stressed the high numbers of English-speakers settling the west, so as to dispel British fears that the Canadian west was full of non-English settlers. What is more, the government's advertising campaign, while being overly optimistic and avoiding words like "cold" or "snow", but speaking of the favourable and invigorating weather of the country, was not opposed by the opposition for its substance. The opposition largely only criticized the campaign for its effectiveness relative to its cost.
Rose next examines Canada's advertising efforts during the First World War, focusing upon both the motivations of the government, in selling War Bonds and fostering support for the war, and the tactics employed to further these ends, including both appeals to negatives views of the enemy, patriotism, and emotional appeals. He then addresses the notion that such advertising can be viewed simply as a form of propaganda, or advertising designed to convince the public of the wisdom and acceptability of particular government positions or actions. He notes that these first large scale efforts at government propaganda were replicated in the Second World War, however, with the benefit of the developing social sciences which focused upon how and why particular groups of people tended to act and react to particular phenomena in certain ways. Advertising was carefully designed to appeal to specific groups of Canadians in particular ways so as to further the government's war effort. What is more during the war and interwar years the federal government not only grew in size, becoming increasingly responsible for providing public services, but it developed new means of communicating with the public. The Canadian Radio Broadcasting Commission was established in 1932, replaced by the CBC in 1936. In 1939 the National Film Board was also established in order to make informational documentaries, including films designed to both inform the public about the war effort and convince the public of the success and just position of the nation.
The beginning of the war also saw the creation of the Bureau of Public Information, the first dedicated wartime information department. However, due to problems with its political legitimacy, it was replaced by the Wartime Information Board, which, after the war, became the Canadian Information Service. The purpose of the WIB and the CIS was to ensure that Canadians within the country and abroad were given necessary, clear, and accurate information about the government and the nation. After the war, the CIS, created in 1945, was foremost charged with creating and distributing references and information to Canadian representatives abroad. Criticized, not for the details of its work, but for its cost, the CIS was soon (1947) transferred to the Department of External Affairs to create and coordinate the provision of information about Canada and the Canadian government to officials at Canadian embassies throughout the world. However, the CIS was really just an interim measure as other departments (including Transport, Labour, Health, and Veterans Affairs, developed their own information services. Furthermore, the CBC news service and Radio-Canada's news services and reach had become important new tools of government communications strategy.
Rose begins his section "The Post-War Ear and Beyond: Decentralization and Diffusion" by noting that there were two reviews of government information services during the 1960s, the Glassco Commission and the Task Force on Government Information. Reporting in 1962, the Glassco Commission (or the Royal Commission on Government Organization) found that federal government information was not centrally planned and uncoordinated. Unlike in the 1970s, 80s, and 90s, there was no central direction as to how government information was presented. Rather, different departments had their own, separate communications programs. The commission was not solely interested in the delivery of government information, but the organization of government in general. However, it found that in providing government information the various departments were entering contentious territory in that by not being consistent, the departments opened themselves up to charges of inconsistency and contradiction. It also stressed that controversy could arise in the advertising of departmental services in an inconsistent and uncoordinated manner.
The Task Force on Government Information reported in 1968, and while, unlike the Glassco Commission, it did had little to say about government advertising, it did report on the government's ability to coordinate information activities, projects to gather information on the concerns of Canadians, and to ensure the use of both official languages so as to strengthen national unity. Where the task force did discuss advertising, it viewed it as an efficient and good way to communicate information to the public. Moreover, however, it recommended the establishment of a centralized agency to coordinate and standardize the production and provision of government information. What Rose finds particularly striking is the task force's belief that government would not abuse its information gathering or provision powers, including in its use of advertising. Rather, it viewed advertising as tool that could simply assist in spreading messages intended to unify the country.
The main recommendations of the task force were:
1) To increase the public's understanding of government legislation, programs, and services.
2) The better explain the functioning and structure of government administration.
3) To promote the public's use of cultural institutions and the public's attending of cultural events.
4) To encourage both individuals and businesses to act to help serve various social objectives, which, unfortunately, the task force never defined.
Secondary recommendations included:
1) Recruiting good candidates for the civil service.
2) Increasing tourism advertising.
3) Advertising for semi-commercial ends, including the promotion of available goods such as new stamps, coins, or government publications.
The task force had been struck just as the government was preparing to pass the Official Languages Act, and during the Quiet Revolution, when unity of Canada was threatened and when the federal government desperately needed to be understood to be a unified and strong presence in the country and not a disorganized or uncoordinated institution. As part of this desire to appear coordinated and unified the government made good use of the centennial celebrations in 1967 to not only mark a symbolic event in the nation's history, but to emphasize the importance of federalism. Through symbols, music, and events, Ottawa attempted to give the appearance of being coordinated, attractive, and even leading the world by example in its hosting of the Expo67.
Rose notes that two of the influential federal symbols created during this period were the Canada Wordmark and the federal government logo (the bar and leaf logo). The letter of these was attacked at the time for looking very similar to the federal Liberal Party logo of the period. While the wordmark and the federal government symbol are used to stand for the institution, as in the case of corporations, they are also used in order to give legitimacy to allegedly non-political things, like Olympic uniforms or national birthday celebrations. Thus, they have a dual function. Furthermore, their use suggests information from bureaucrats who are only interested in fulfilling their assigned tasks, but they can also be used to give legitimacy to policies of the party in power, which is effectively the government.
Rose claims that by using the Wordmark as the logo for the federal government of Canada, the wordmark came to represent all of the products, services, and functions of the federal government. It was used to market and legitimize government action. The use of such a registered trademark in such a way indicated the federal government's wholesale embrace of the tactics of successful brand marketing.
Established the year after Expo 67, the Task Force on government Information recommended the establishment of Information Canada. Created in 1970, this organization was, according to the PM, supposed to: promote cooperation between federal government departments and agencies, to coordinate departmental policies across the government, and to more effectively learn about the concerns and needs of Canadians. However, as quoted in Robert Everett's thesis "Information Canada and the Politics of Participation" (1990), Trudeau believed that the real job of Information Canada was to sell the Government of Canada and its policies to the public, making use of all available technical means. This differed from the statement of the Treasury Board, which echoed the Prime Minister's official statement, by claiming the Information Canada was supposed to, "a) to ensure that federal government programs and policies are examined; b) to provide information feedback from Canadians to the government; c) to co-ordinate federal information campaigns and assist departments."
While allegedly supposed to not only disseminate government information, but to act as a means by which the public could voice their opinions, Rose explains that Information Canada was never allowed to actually fulfill its purpose of allowing for true participatory democracy. While advertisements for the government offered toll-free telephone numbers and tear-back forms to allow the public to voice their opinions, there never was any real dialogue between citizens and the government. Rather, the government followed its own agenda, regardless of any of the feedback it received.
During the first half of the decade two government reports found problems with Information Canada and its ability to fulfill its mandate of encouraging participatory democracy. The report of the Standing Senate Committee on National Finance found that while information Canada could provide information to the public, it was unable to assess public attitudes towards government programs since it could not force people to become interested in government policies or to discuss them. The second report was by the Privy Council Office, and which was concerned with information provision and protection, found the terms of reference for Information Canada were unclear, that it had weak relationships with different departments, that it could not direct and control the flow of government information, and that it did not have well trained staff members.
Rose assesses the organization as having bureaucratic and administrative problems, as is outlined y both reports, but also as having been seen by the public as little more than a propaganda office of the federal government, the media and public often referring to it as "PropCan." Furthermore, the notion that Information Canada could justify their advertising and publicity budgets through its ability to use advertising and publicity to gain feedback from the public was ill founded. Advertising and publicity rarely functions well as a feedback mechanism, but is typically a form of one-way communication. As is explained in Rose's second chapter, feedback is much more efficiently and effectively gained through public opinion polling and focus groups.
While the Trudeau government gave in to opposition pressure and criticism to close Information Canada by the end of 1976, Rose notes that the department may have had some positive qualities. He argues that it did offer the government a unified and centralized office which was attempting to coordinate government information, which is essential to a government which is attempting to offer an image of organization and coordination. Furthermore, being created at a time of growing separatist sentiment in Quebec, it may have played a role in reducing the attraction of separatism by offering information about the alternative position. However, concerning this latter point, Rose also notes that it is almost impossible to tell the effectiveness of any adverting campaign compared to other factors which could influence people's choices. Yet, Information Canada did act as a precursor to the Canadian Unity Information Office (CUIO), which the government would open in 1977 to counter the threat of separatism by both communicating information to the public and allegedly listening to its ideas and concerns.
Drawing conclusions from his overview of Canadian government advertising from confederation to 1976, Rose argues that the advertising campaigns of the wars were not seen as politically controversial since most of the country's federal politicians agreed with the purpose of the ads. The same can be said for the western settlement campaigns of the late 19th and early 20th centuries, although there was some debate over the efficiency of those campaigns. The same cannot be said for information Canada or the role it played in countering Quebec separatism. The latter being a more controversial campaign, it tended to make less use of hard-sell advertising tactics, recognizing that such a blunt approach would likely result in criticism from separatist forces. Campaigns with more widespread support can make use of ethical or emotional tactics of persuasion, while contentious campaigns use rational means of persuading the public. The rational approach appears more neutral and objective, and thus, less open to accusations of manipulation. Furthermore, non-contentious campaigns tend to make use of more provocative visual images, where as more informational images as well as text tend to be used in more contentious campaigns.
Chapter Three
In his third chapter, Rose examines the structure of government advertising, and how it is both highly centralized and controlled. Up to the 1960s this was not the case, which resulted in uncoordinated campaigns. In examining the production of government advertising campaigns, Rose looks at both how federal advertising campaigns are organized and coordinated within government, but also the role of advertising agencies. Rose shows through his examination that there has been an increase in both the centralization of the federal government's advertising programs, as well as a greater reliance upon private advertising agencies to both produce the campaigns, but also make use of tactics which have been produced for corporate advertising campaigns to sell products. He suggests that these trends could be detrimental to the real purposes of government.
Government policy, and thus the policies which are behind advertising campaigns, are coordinated by the Privy Council Office, which implements the communications needs of the cabinet. The decisions about how advertising contracts are to be made and how such policy and advertising decisions are going to be implemented by various government departments are made by the Communication Coordination Services Branch of Public Works and Government Services Canada. however, the details about the content of the advertisements and the tools and approaches used are typically made by the advertising agencies hired to produce the ads. Thus, the advertising agencies can affect the message of the ads and the norms and codes employed. These agencies typically use the same language, codes, and approaches used in government advertising which are employed in commercial advertising. However, Rose argues that the use of the same tactics to sell products as policies or political platforms results in "a debasement of the political process and a denigration of our political vocabulary." (page 80)
within the government the office with has formal authority over government communications is the Privy Council Office, and particularly its Communications Secretariat, which is to a) advise government organizations of the priorities and themes which are to be reflected in their communications, b) provide government-wide communications leadership, c) as well as collect information on the public so as to advise the Prime Minister. In addition, the Treasury Board approves all government policies on communications and also reviews all advertising expenditures for all departments. It reviews all advertising expenditure request and evaluates whether they accord with the government's declared priorities.
The centralization of government advertising and policy management began in the 1960s with the recommendations of the 1968 Task force on Government Information, including the recommendation for the creation of Information Canada. Thus, the PCO and the Treasury Board advertising responsibilities are largely concerned with ensuring that the government's advertisements are coherent and consistent. Furthermore, there exists a Cabinet Committee on Communications. this committee was formed under Prime Minister Trudeau and is now used for cabinet ministers to create coordination in the communications, including advertising, between their different departments and agencies. However, this committee is not always used and depends upon the extent to which its chair is interested in ensuring such coordination. This committee allegedly approves the testing and release of all advertising and public service announcements. This is done through communications plans which are attached to all cabinet documents. The plans consist of background information on the policy, any public opinion research on the policy, any other public responses to the policy, as well as an outline of the advertising which will be required for the policy. The committee's most important task, however, is approving general communications plans at the beginning of each year, and one of the main jobs of the chair is to ensure that the activities of each of the ministers reflects the communications plan agreed upon each year. This is particularly important in a world where ministers are often interested in ensuring the support of particular groups who are effected by their departments or agencies. Ministers do not like delivering bad news, and will avoid it if it could harm their future electoral fortunes. However, the Prime Minister needs to ensure that all of his ministers are speaking with one voice and that that voice accords with agreed upon government policy.
The decisions of the Cabinet Committee on Communications are implemented by the Privy Council Communications Secretariat. By coordinating and keeping abreast of the various communications efforts of the government, the Privy Council Communications Secretariat allows the Prime Minister and the cabinet to be easily kept abreast of those communications efforts. The bookkeeping, advertising shopping, bill payments are all done by the Communication Coordination Services Branch or Public Works and Government Supply Canada. As the largest advertiser in the country, this small unit is the largest clearinghouse of advertising in the country. Created in 1998, this branch oversees both advertising and public opinion research. It had its origins in the Advertising Management Group, created in 1979, so that advertising contracts would be centralized and could benefit from advantages of scale.
Rose claims that the centralization of the federal government's communications strategy began after the Second World War. Designed to give Ottawa a coordinated and strong corporate image. Much of this image has been produced through advertising which has been produced by advertising agencies. As the government's use of and reliance upon advertising has increased, the government has relied increasingly upon creative decisions which are made by private advertising firms. Thus, the agencies play an important role in legitimizing the government through the creative and persuasive tactics they employ. Rose seen this outsourcing of how policies are sold to the public is harmful to Canadian democracy. The decisions are not made in parliament or in cabinet, but by the hired advertising agencies.
Rose begins his section "The Shop Floor: Advertising as Agents of Mass Socialization" by noting that in the case of federal government advertising, tat being sold to the public are myths about how policies or actions are in keeping with a mythical national identity. Thus, the government increasingly depends upon advertising agencies to create national symbols. These ads are also the result of input from a number of specialists, each of which bring their knowledge and specialized skills to shaping, and thus, coding the advertisement to trigger particular ideas and feelings in the audience. These can include copywriters, art directors, account executives, graphic designers, and photographers, set designers, actors, camera operators, and other specialists involved in the creation of the advertisement. However, Rose notes that, unlike in commercial ads, government ads are not trying to persuade the public to buy a particular product. Rather, their point is often to create support for government policies or to create ideas of shared identity through the use of images and symbols. Unlike in the case of commercial ads, the public cannot voice its disapproval by not purchasing a product, but it must live with the policy if it is maintained by the government. Yet, while using many of the same advertising techniques, government ads, unlike most commercial ads, are often criticized by the public and the media.
Rose notes that, while similar in the manner in which they are created, a difference between the creation of government and corporate advertising is that, especially in the past, Canadian government advertising has often been conducted by agencies which were aligned with particular political parties. Beginning with the First World War, Rose explains that the advertising agency which explained the Military Service Act to Canadians in 1917 was then awarded the contracts for publicity campaigns of the Union Government.
The connections between specific parties and specific advertising agencies are explained by both the survival of the parties and the advertising agencies. The government may retain specific agencies as a form of reward for work which was volunteered by the agency to the now governing party during an election campaign, or it may choose a specific agency for work which was seen as successful in having a leader or the party elected to office. In the case of the agencies, as Reg Whitaker has pointed out in his study of Liberal advertising agencies, they recognize that certain parties express the political and economic ideals which are beneficial to advertising firms. Parties which do not have the money for large campaigns, or which reject political advertising as propaganda and contrary to their political ideals, or reject the kind of advertising that a particular firm specializes in, would not attract the interest of such agencies. Agencies require money and the political will to purchase advertising which the agency is able and willing to produce. thus, particular firms know that particular parties will protect their long-term economic interests.
Whitaker explains that, in the case of the Liberal Party, the party in power for much of the 20th century, it benefitted from the formal and informal relationship between the party, the advertising agency of Cockfield Brown, and the government. As the agency was retained for various jobs, the government's policies and programs gained acceptance from the public, and as the public was satisfied with the leadership of the country, the Liberal Party benefitted from remaining in power. Examples of the close informal connections included the example of the senior partner of Cockfield Brown, Harry Cockfield, being chairman of the war bon drive in 1940. His firm was also one of the major advertisers for the war bond drive. In the 1949 and 1953 election campaigns the same firm was responsible for engineering the image of Louis St. Laurent being a benevolent and appealing uncle-like figure, rather than a calculating political leader. Indeed, Whitaker claims that in 1943 a formal agreement was signed making Cockfield Brown the Liberal Party's long-term and only national advertising agency. This formal relationship between the agency and the government was so close and so all encompassing that by the 1960s several of the agency's advertising staff were given lucrative government positions, with several being appointed to the senate and two sent to work for the Canadian embassy in Washington.
While officially secret arrangements, Rose claims that it is known which agencies benefitted from connections to particular parties. Following the Liberal loss in the 1958 federal election the firm of Maclaren was viewed by many Liberals as the firm of choice, while Vickers and Benson benefitted from personal connections with one Montreal Liberal MP. Furthermore, as governing parties change, so do the fortunes of advertising firms. An agency which is tied to a particular party which is removed from office often means that the agency is then typically barred from any work which is required by the new party in power. This was the case for Walsh Advertising, which had been one of the firms regularly used by the Liberal government before their 1957 election defeat. After the election, Walsh did not receive any contracts from the new Progressive Conservative government.
The amount of money which an agency could hope to gain through government contracts in reward for helping, or volunteering, the winning party during the election campaign more than made up for any donations in time and talent the firm might make to the party in the election. Indeed, both Whitaker and Calton McNaught suggest that these benefits played a large role in the early development of Canadian advertising agencies. However, being closely attached to a political party which lost an election could also be devastating to the future of an advertising agency, as was the case with Cockfield Brown after the 1957 Liberal loss. To further their chances, agencies which are associated with particular parties have also been known to form alliances at election time, donating their services together to a particular party so as to mutually benefit from the contracts which would be awarded should the party take power. This was the case in 1972 with the formation of the consortium, Red Leaf Communications, which did work for the Liberal Party.
In his section on "Focus Groups and the Test-Marketing of Politics" Rose explains that the advertising tool of focus groups involves showing proposed advertisements to groups of "average" members of the target audience. Based upon their reactions, the wording, tone, or even approach of the ad may be altered so as to have the ad be as effective as possible. However, this approach often results in advertisements being made more simplistic and reinforcing preexisting prejudices. Indeed, referencing the Second World War work of the sociologist Robert K. Merton, Rose suggests that advertisements which are changed as a result of focus group do not tend to educate their audience, but conform preexisting ideas. Rose believes that this tactic of political advertizing, which only encourage unreflexive thought which is not critical of the issues at stake is damaging to society and the political process. these ads appeal to the predispositions of the public, which advertisers know are easier to convince the public of than new ideas which challenge traditional ways of thinking or acting. According to Rose, this is troubling since it does not allow for the education of the public by either the public or political parties. New, better, approaches to policy or governing are either ignored or denigrated as being too different to be acceptable. While Rose admits that such focus group based advertising might be useful in refining particular messages, he claims that it does nothing to further informed public debate over issues.
In the final section of the chapter, "Making Pictures in Our Heads," Rose claims that Walter Lippmann’s phrase refers to the creation of public opinion, a process which often involves advertising. The appropriate use of rhetorical strategies and images advertisements cause people to understand the world in particular ways. This work is conducted by advertising agencies, who are interested in changing the beliefs, desires, and wants of the public. Furthermore, Rose notes that advertising which makes use of images, be they symbols or locations, are often more influential than those which use language. Thus, governments often make use of images which have associated or useful preformed meanings in order to make affect the manner in which the public views reality. A political speech may make a particular point, but when accompanied by relevant images which reinforce the power and size of the country, influential past accomplishments, etc. the content of the speech becomes more memorable and linked to pre-formed ideas. Yet, where advertising is contentious, appeals to emotions or the use of highly evocative symbols are typically avoided and arguments are presented in a factual manner. In the case of non-contentious ads, however, the lack of any real opposition means that advertisers to take great liberties in their manipulation of the public without having to worry about opposition criticism.
Following his first three chapters discussed above, Rose offers three case studies of how the government of Canada advertised to Canadians. Through the cases of the 1980 Quebec referendum, the repatriation of the constitution in 1982, and the North American Free Trade Agreement in 1988, Rose examines the tactics used by the government, why they were employed, and the effect(s) they had upon the Canadian public. This is followed by a concluding chapter in which he discusses commonalities and differences between these different examples, and thus, contextualizing many of the issues raised in the book's introduction and first three chapters.
The TDC's Typography annuals
The Society of Typographic Designers of Canada's (TDC's) Typography annuals, or exhibition catalogues, were produced between 1958 and 1964 to highlight commendable Canadian typographic design. Initially Anglophone-dominated and Toronto-centric, the competition gradually became more national and bilingual in character as the years progressed. However, in addition to celebrating and encouraging examples of good design, the competition also served to further define typographic design as a profession. As is explained through the writings of the various catalogues, the competitions, like the TDC, served to foster a national design community and legitimize its members as participants in a field which was specialized and separated from the related professions of publishing and printing.
Typography 58 beings with an insert to contributors to the TDC's competition, explaining that by participating in the competition they are contributing to an “important field.” This supplementary document reflects an attitude which is found throughout the written contributions to the catalogue, where the writers take the position that the competition, like the TDC itself, is helping to establish typographic design as a distinct field from printing or advertising. While related to, and closely connected to, these fields, they argue that typographic design (which would eventually come to be referred to by the TDC and graphic design in the late 1960s) is not so much concerned with the technical production of prints or the advertisement of products, but the communication of ideas through graphic representation.
In the introduction to the catalogue, the co-directors of the competition, Frank Davies of the TDC and Leo H. ??? [not clear from signature] of Rolland Paper (sponsor of the competition) argue that the purpose of Typography 58 is to expose the public, publishers, printers, and designers to the best designed printed material of the year in an effort to encourage members of the industry to meet and exceed those standards of excellence. They argue that other related fields had already begun holding similar competitions. In particular they mention the Canadian Industrial Design Council and the Art Directors’ Clubs of Toronto, Montreal, and Vancouver, which had published annual collections of the best advertising and editorial art of the year. While including both publishers and printers in the audience and participants of this competition, the directors also claim that, “… no matter how great the technical advances or editorial skills, the quality of the actual presentation still rests with the individual designer and craftsman.” This statement appears to exclude the technical expertise of printers or the editorial ideas and decisions of publishers, presenting the typographic designer (or graphic designer) as the one who is ultimately responsible for the success of a publication in communicating particular ideas.
The 1958 catalogue is divided into three sections: book design, business printing design, and magazine design.
The book design section begins with the instructions that were given to the jury, which was composed of Gerry Moses, Paul Arthur, and Eric Aldwinckle. These instructions assert that the jury members should select works which they believe should be emulated by other designers, publishers, and printers. Importantly, the instructions specify that, while the judges should be primarily interested in book design, they should disqualify entries which are of substandard print production. Works with poor, “typesetting; make-up; engraving; press-work, casemaking, binding or other production operations; art – illustrations (including photographs) which are sufficiently badly executed to noticeably mar the appearance or function of the book” were to be excluded from consideration. In the comments by the judges, Moses, Arthur, and Aldwinckle claim that, based upon many of the entries, there, unfortunately, existed a great deal of poor book production in Canada in the late 1950s. Many of the books they examined for the competition were found to be poorly designed, poorly printed, and/or poorly bound. In the case of design, they argue that, “[f]rom this survey one gathers that books ‘happen’ more often than they are designed”. They claim that as long as more care is not taken with how a book looks from front to back, as well as how it is produced, they cannot expect the industry to produce praiseworthy material. Thus, they call for more direction and coordination from the book industry. In the case of design, the judges argued that much of the industry’s difficulties could be overcome if publishers would allow their book designers to have full access to, and guide, all of the departments involved in the production of all of the elements of the book. If they did not, the end result was likely sub-standard work. This, they claim was evidenced by the large number of works of inferior poor typography, inadequate design, and poor paper.
In contrast to the book design section, the judges of the business printing design competition felt that the majority of the catalogues, brochures, broadsides, annual reports, letterheads, folders, and other promotional material which was submitted to their competition were effectively designed and well produced. This difference may not simply be explained by the jury being composed of different judges (Stan Engel and Clair Stewart), but by the material being judged. As the judges point out, companies are judged by the look, feel, and readability of their promotional material. Many companies are very cognizant of those elements, and thus, they pay more attention to the quality of their promotional material than, say, a book publisher, who can be preoccupied with considering the written content of the text being published, not the presentation of that content.
The judges of the magazine design competition (Keith Scott and David Feist) were instructed to award prizes only to works which they believed that the Canadian publishing community should emulate. Rating material according to the competence of the design, its originality, typography (“has attention been paid to spacing and other niceties”), and the production quality of the final product, they found that many of the entries were of poor quality. Many of the publications suffered from poor typesetting. This often harmed what was otherwise acceptable publication design. However, in the case of consumer magazines, the judges claimed their publishers must have believed that typographic design is simply the use of type in a clever of gimmicky way. Like the book jury, the magazine judges suggest that the poor quality of magazine design entries could have been the result of designers having limited ability to oversee the production process, resulting in products which did not conform to what had been originally envisioned.
The catalogue ends with a section about the TDC, likely written by its president, Leslie Smart. Here it is explained that the TDC was created in 1956 to fulfill the need of Canadian designers of books, magazines, and general print material to pool their experience, to learn from, and collaborate with others in their field. The TDC aimed to encourage design talents and improve design standards through the organization of exhibitions, talks, meetings, and the showing of films.
The most striking difference between Typography 59 and the annual of the year before is that the 1959 publication is presented in not simply English, but also French and German. This appears to have been an attempt to include both the French Canadian graphic design community as well as German-speaking designers within or outside the country who either participated in the competition or could be enticed to read about it.
The annual begins with a general opening statement about the TDC and the competition. The statement starts by recognizing the enthusiasm with which typographic design had been described that year by the Globe and Mail art critic, Pearl McCarthy, who had called it the “…liveliest art in Canada today.” This statement is interpreted as a positive sign for the profession which is described as traditionally only playing a secondary role to other elements of the publishing and printing industries, and never considered an art in its own right. Typography 59 is thus presented as further evidence to support Pearl McCarthy’s statement, proving that typographic design did indeed constitute a legitimate profession and art form.
Unlike Typography 58, Typography 59 does not have introductory statements by the judges of its three competition sections: book design, business printing design, and magazine design. Instead, a single essay by Allan Fleming is included at the end of the catalogue. Examining the state and approach of typographic design education in Canada in the late 1950s, Fleming argues that, in addition to exciting students in the possibilities of manipulating typeface and how it is presented, typographic design programs need to familiarize students with each step in the design and printing process. It is not enough to teach students how to make affective layouts. This argument builds upon the comments made in the book and magazine design introductory sections of Typography 58, which criticized many of the poor entries of that year as having been the result of designers not having sufficient oversight of, influence upon, or possibly knowledge of, the entire publication/printing process. While designs may have been well intentioned, their execution did not do them justice and resulted in inferior products. Fleming attributes part of the failure of the existing training programs to take this approach is that, unlike in other countries, typographic design in Canada is often viewed, not a unique profession, but just a form of commercial art. This only encourages they only perform a limited role in the printing and publication process. Furthermore, Fleming notes that the craftsmen who carry out the other tasks in publication and print production (printers, typesetters, etc.) appear to receive less design training than they had in the past. He believes that the solution is that the typographic industry needs to subsidize the schooling of typographers, supplying equipment and expertise, possibly to the point of establishing a Canadian printing school. This would, he believes, produce graduates who would be able to function in the industrial printing and publication field in a manner that would ensure that the ideas of their well made layouts are realized to their satisfaction. It would, he believes, benefit clients, the reputation of one's typographic colleagues, and allow printers to take pride in producing celebrated works.
Interestingly, at the end of his article, Fleming states that he considers typographic design to be a "craft" or a "trade." He does not believe it to be an art form. He acknowledges the role that contemporary art styles have influenced typographic design, but he stresses that it is an applied field. It does not strive to create new means of communication, but to incorporate useful, preexisting tools of art to enhance communication through the use and arrangement of type. He concludes by stating that, "[c]ertainly no student should be deprived of the opportunity to experiment, quite the contrary, but the problems of an all-type letterhead or a one-colour business card must never be ignored."
The 1959 catalogue concludes with a statement about the history and purpose of the TDC. It asserts that the organization was established with three goals: "to build up a professional status by accepting professional responsibilities; ... to encourage printers, publishers and others to help them in their efforts towards higher standards in printed communication; and ... to increase public awareness of the benefits which we all derive from good design and craftsmanship." Thus, in addition to furthering public interest in design and the execution of quality design, TDC was created to differentiate, legitimize, and strengthen the Canadian graphic design community. Furthermore, the statement claims that, as of 1959, the majority of Canada's professional typographic designers were members of the TDC.
Like Typography 59, the annual of 1960 was published in English, French and German. However, like the publication of two years before, Typography 60 includes introductory statements for its book, magazine and newspaper design, and commercial design sections. The first of these is a report by Frank Newfeld which is printed opposite the book design entries.
Newfeld claims that in Canada there are three types of books: those that are designed by editors, those that are designed by printers, and those which are designed by typographic designers. In the case of printer-designed books, he claims that few Canadian printers have the design skills to create works which make effective use of type and layout so as to enhance the book's contents. Instead, in 1960 Canadian printing houses were largely interested and skilled in producing books and not designing them. Printers did not explore new kinds of typefaces, but only used what they had in stock, often understanding all typefaces as just neutral vehicles which transmit the words. In the case of editor-designed books, he argues that such productions are often imitations of other works. This imitation does not take into account the unique elements of the book being produced, and thus, results in a design which is ill fitted to the book. Finally, and not surprisingly, Newfeld claims that the designer-designed book often produces the best and most suitable product, but he notes that a number of the submissions to Typography 60 show that the field of typographic design was still experiencing growing pains and quality control problems.
In commenting on the evaluation process, Newfeld explains that the submissions were judged according to text preliminary and concluding material; over-all deign; originality; printing; book casing; and the dust jacket. Of those submitted, he comments that many presented a confused selection of styles. This included the poor mixture of typefaces which did not make good combinations, a problem which he suggest could have been the result of a printer having an insufficient selection of typefaces to choose from. (page 5) What is more, those books which attempted to distinguish themselves by using "startling devices", such as very unique typefaces or typesetting, were typically disqualified from competition since their design took away from the audience's ability to consume and understand their contents. (page 7) Like Typography 58 Newfeld complains of the quality of the printing and casing of many of the submissions. In addition, he complains that many Canadian publishing houses suffer in their type and cover designs in that they appear to use a consistent "house look" which gives books on very different subjects a similar appearance.
In addition to offering comments on several of the award winning entries (including books designs by Fleming, Arthur, and Smart), Newfeld notes that none of the entries demonstrate any new stylistic trends or revelations in design, although they do give encouraging evidence that some publishers are taking an increased interest in the appearance of their products.
The report concerning the magazine and newspaper design competition, written by Keith Scott, claims that the consumer magazine entries for the year were disappointing in that many offered standardized formats for their various additions, an approach which fails to tailor the type and layout to the content of specific issues or stories. While submissions often contained illustrations that complimented the content, the type and layout were often uninventive and standardized. Scott attributes these failures to both rushed production and misplaced newspaper production techniques. Indeed, he suggests that those entries which did meet the competition's criteria must have been produced with great difficulty by the designers.
In the case of company magazines, while Scott notes that there were a number of entries which were not professionally designed and made frequent use of "gimmicks," he also acknowledges the numerous entries which contained good design. Business magazines, however, were largely lacking in quality design, a fact which Scott found curious given the influence and role they play in the business world. He also finds it unfortunate, since good typographical design in such publications could act to increase interest in and respect for good design in the business world in general.
While praising the number of entries that were submitted for the newspaper category and thus the seeming interest from newspapers in graphic design, Scott notes that few showed any evidence of the application of such design. Many of the entries used a wide array, and poor combinations, of typefaces, and crowded material in a way which gave the impression that little thought was given to presentation. Scott argues that, even though newspapers must be produced in limited time, the same rules of unity, coherence, and emphasis in design still apply. Suggestions he makes to improve this situation include trying to use a limited number of good typefaces more effectively, and giving more consideration to how stories are placed and arranged.
The commercial printing competition report was written by Jack Birdsall and notes that, while many of the entries of 1960 were of a fairly high level of design quality, there were both few works of brilliance or highly disappointing entries. While middling, he does argue that such a representation shows a certain level of maturity for the Canadian design profession.
The three competitions sections are followed by brief biographies of Newfeld, Scott, and Birdsall, as well as by an essay by Frank Davies, "Why all this fuss about typographic design?" As the title of the essay suggests, Davies' focus is the perceived increased interest in the selection and arrangement of typefaces in a country which is not a centre of type design, book publishing, or the graphic arts. One of the reasons he gives for this increased interest is the establishment of the TDC in order to increase the professional status of the field at a time when there was a simultaneous increased interest in international trends of the graphic arts and typographic design.
Davies argues that it is not surprising that Canada would have been affected by international trends in graphic design. He notes that before the Second World War there were sporadic and tempered international influences upon the nation's graphic arts community. Referring to the field as "graphic design" (page 51), Davies explains that such influence typically amounted to the occasional arrival of new immigrant designers who brought the design techniques and traditions of his country of origin. There was some interest from within the Canadian design community in developing the craft of printing and looking to other countries for guidance, but this was limited. In addition, the only real contribution Canada made to the international graphic design community was Carl Dair's book on the basics of typographic design. Yet, since the war, the immigration of designers who had been taught in Germany, Hungary, and other countries greatly increased the exposure of Canadian-born typographic designers to the styles and approaches of other countries. The increased international communication which was facilitated both by such new arrivals, changes in communications technology, as well as the internationalization of trade and culture. Furthermore, since the war several native-born designers had undertaken training and worked in other countries, in addition to being influenced by developments in the United States. Allan Fleming had trained and worked in Britain and the United States, while Paul Arthur worked at Graphis in Switzerland.
However, the increase in international influences does not explain the growth in interest in typographic design all around the world. Designers in various countries are suddenly interested in typography. Davies suggests that this development could be explained by the "onslaught" of photographers in the design field, with designers retreating to the realm of "copy." Yet, he also notes that in many cases designers are not so much interested in creating clear and legible type than using typefaces as shapes which can be arranged to create patterns, symbols, or illustrations. In the pre-war period design was guided by Tschichold's New Typography. Following 1945 the Dutch designer, Sandberg's, Experimenta Typographie guided the development of the typographic organic phase which had lasted from the war up to the time Davis war writing. He claims that in both cases there was a move away from typographers merely selecting fonts which matched the "flavour" of the subject matter. Sandberg, however, showed typographers how to use text in a manner which would have it mean more than the words themselves. "He did this by choosing type with profound sensitivity and juggling the letterforms and their positions freely to symbolize the theme. The new approach is, at its purist, a form of poetry." (page 55) Davis believes that this approach recreates a link with lost elements of human communication. Text is typically monotone and non-expressive, with the author having to communicate all meaning through the words chosen. While there have been other writers and examples which have made a similar point, Sandberg's text offered the most clear-cut example, with the resulting approach being what Davies terms "Typo-Graphics." However, Davies also notes that the visual punning involved in the double meaning of such "Typo-Graphics" required the attention of the audience, its effect is not always instantaneous, and can often involve particular cultural knowledge.
Davies does not claim to know what the next phase of typographic design will be, acknowledging that the influence of Sandberg had, by 1960, permeated most areas of typographic design. However, he does suggests that the next phase will not be linked to a particular country. He claims that the Swiss style is "too cold and theoretical," English styles "too dull" and too infused with ethical concerns, the German school too much based upon the ideas of the Bauhaus, and France both too fanciful and ill-conceived. He also dismisses Japan, and Italy, and claims that the influence of Holland my just be expressed through the continued influence of Sandberg. However, he does suggest that the developments made by Saul Bass, Paul Rand, Otto Storch, and others in the United States marks the most stimulating recent developments in the field and could signal the next source of an international trend. However, he also despairs that, "[s]tacked gothics must surely topple; Mondrian black hedges chopping up our landscape pages are likely to linger a little yet; the handsful of punctuation marks which still pepper our ads occasionally will finally be dissed; tangles of random letters piled into rectangles will go too; pictures made of type ornaments for the designer who cannot illustrate will be returned to the kindergarten; blown-up initials are not likely to disappear for a long time; words warped into silhouettes are also not through their run of popularity; and so on. Typographic design is now thoroughly international and these trends show up everywhere." (page 57)
A problem to the growing internationalization of typographic design, according to Davies, is that access to the solutions from around the world can lead to a lack of originality. The public and typography design students appear, according to Davies, to be confused about what makes good typographic design. It is not the use of popular gimmicks or tricks, but the "logical approach and creative intuition behind communication... Unhappily most of them cannot see beyond the outside styles and in their hands there is danger than communication could disappear entirely behind clever personalisms." (page 57-8) Davies claims that "graphic design" (page 58) is one of the most important mass-communication mediums, but students of the field in Canada are largely denied training at proper graphic arts schools. Rather, most students of graphic design in Canada's publishing field, the fourth largest manufacturing industry in Toronto, must be self-taught in the art of design. Thus, like Fleming in Typography 59, Davies calls for proper training in typographic design. He claims that whether Canada will increasingly produce good design and designers will hopefully be influenced by the large number of international designers working and inspiring others within Canada. These designers bring ideas from around the world and will enrich the work of the country's typographic design community.
Davies' call for better typographic design education is echoed in introduction to the section concerning the competition between student entries. First introduced in Typography 60, this report praises the experimental elements of the entries from Quebec and British Columbia, as well as the latter's "soundness of approach," and admits that many of the student entries reflect the influence of particular teachers, it also condemns many of the entries from Ontario as showing little evidence of formal training in the field. The judges claim that many of the student entries were rather uninventive in that they used similar solutions to different problems. In addition, they argue that most show a lack of practical training, asserting that provincial graphic arts schools are needed, and suggesting that the printing industry should do something to improve such training, possibly by providing materials or instructors. Interestingly, the report on the student entries competition, like Davies’s essay, are only printed in English.
Typography 61 begins with the TDC president's (William Toye) message, in which he claims that that year's annual represents the TDC membership's search for a typographic utopia of good design. Covering June 1960 to June 1961, the bilingual exhibition catalogue again highlights the best design from the year, not only to honour those who have achieved high standards in design, but to inspire others to develop similar effective means of delivering specific messages to an audience through type and associated imagery. Significantly, Toye claims that typography is not an art, but a craft, and one which "cannot fail to interest us all because it affects us all." (page 1) This later claim reasserts the claim made by Donnelly that, following the Second World War, design came to occupy an increasingly important place in an increasingly consumer-oriented society.
Following the president's message, the catalogue departs from the format/content of the previous three editions by including an essay by a non-Canadian designer. "Where are we going?" was written by the American designer Aaron Burns, President and Director of Design of Graphic Arts Typographers (New York) and Director of the International Center for Typographic Arts. He interestingly begins by defining typographic design, suggesting that still, in 1961, all of those doing typographic design were still not completely sure as to the limits of the field. He defines the profession by borrowing from a definition given by the "noted semanticist" Anatol Rapaport, who stated at the first World Seminar on typographic Design in 1958 that "Typography is to printing as elocution and dramatics are to the spoken word." (page 8) From this Burns argues that typography should be understood as being an "attitude or a conduct of thought" and printing or typesetting as "an application of defined working principles." (page 8) From this, Burns stresses that it is important that, as professionals who are attempting to communicate specific ideas through visual design, designers communicate and share ideas on an international level, and that designers strive to more accurately understand how individuals, including people from different cultures, think and why they react in particular ways. He claims that his International Center for Typographic Arts would act as an appropriate clearing house for international typographic communication and the exchange of approaches and ideas. Burns concludes his comments by stating that he was exciting to discover the "high level" of design being produced in Canadian centres such as Vancouver, Toronto, and Montreal, all of which were apparently design communities with which he was largely unfamiliar before being asked to comment on the exhibition.
The first section of the exhibition, book design, is introduced by Frank Davies who writes that the entries for Typography 61 were markedly better than those from previous years, noting that, "even the mediocre books are better and the bad books look worse and worse by contrast." (page 13) Davies then continues by giving a brief overview of the quality of the designs from previous years, explaining that in 1958 many book designs suffered from both poor design, as well poor printing and binding. While the binding and printing did improve since then, the book design had benefitted from a growing design "maturity" and the removal of "gimmicks." Unlike the books of earlier competitions, many of those in the 1961 competition had been carefully designed from dust jacket to index. However, as Davies notes, despite the growing general competence in book design, the jury easily selected Frank Newfeld's design of Leonard Cohen's The Spice Box of the Earth as the best designed and produced book of the year.
The "Design for Commerce" introductory statement is written by Leslie Smart. Like Davies, he notes that the quality of the material submitted to the competition had improved, although he does point out that in some cases evidence could be seen of rushed work or the unfortunate influence of someone other than the designer, whom Smart implies was probably the client. Smart and the other judges found the catalogue and press advertising design competitions particularly disappointing, but were encouraged by the submissions for trademarks, which showed a welcome and "noticeable absence of maple leaves, beavers, and Niagara Falls." (page 27) Furthermore, he claims that the designs for publicity and cultural events showed some of the best design of the commerce section, suggesting that, since such work is often for free or at a reduced fee, such opportunities give designers the greatest freedom to experiment. Smart concludes by noting that there was an obvious trend amongst many competition entries towards adopting the Swiss style of typography, which he identifies as being "immaculate and rather sterile." He suggests that, if widely employed in design in place of "more imaginative productions," the field will suffer. However, he argues, somewhat ironically, that if used "for the vast volume of print not supervised by designers, this could be a disciplined and improved solution." (page 27)
The introduction to the "Magazine and Newspaper Design" section is written by Carl Dair, who laments that many of the submissions were either "dull and correct" or had some elements of exciting design, but also showed considerable inattention to detail. Although he does claim that some good work was being done in Canadian magazine and newspaper design, much of that good work was not submitted to the competition. He concludes by hoping that such good design will be submitted for the 1962 competition.
The new section on "Experimental Design" is introduced by Harold Kurshenska, who argues that many of the entries which were submitted as "experimental" was actually quite disappointing. The most interesting and groundbreaking work was often the work of students, while many seasoned designers appeared to submit layouts which had been rejected by clients whom the designers appeared to believe were misguided. Kurshenska suggests that many of these professional designers should take the time to experiment on their own, claiming that their design skills could become stayed and mediocre if they only produce "acceptable" work for clients.
The final section of the catalogue, that of "Student Entries," is also introduced by Carl Dair. He notes that entries from the students at the Vancouver School of Art were surprisingly good and that their work and the guidance of their instructor, Robert Reid, should be viewed as a model for other design programs across the country. Unsurprisingly, Dair, who was often concerned with designers' understanding of both the theoretical and technical elements of both design and printing, particularly lauds the Vancouver students for their knowledge and understanding of the practical considerations of printing.
Typography 62, covering June 1961 to June 1962, begins with an informal introduction by Frank Davies which defines the role of the typographic designer. As with the beginning of Typography 61, this apparent need to define what typographers do suggests that the profession was still in the process of defining itself. Davies emphasizing the place of type in the designer's work, claims that good typographic design is not noticeable, but does enhance the message of printed material. Through the choice of letterform, the length of lines, the size of type, and the spacing between words and characters the typographic designer controls the rhythm of reading. However, all such choices are only beneficial if the reader is unaware of them. He likens failure in design to a "ham actor" who, in struggling to impress, destroys the illusion of acting.
As with Typography 61, the main introduction to the 1962 annual is written by an American (actually a Dutch-American) designer, Pieter Brattinga, Professor of Art and Chair of the Department of Advertising Design and Visual Communication at the Pratt Institute in New York, and Director of Design at the Dutch printing firm, Steendrukkerij de Jong & Co. Brattinga begins "An Appreciation" by warning that, while useful for celebrating good work in design and showing colleagues what creative solutions have been advanced for various communication problems, annuals, such as Typography 62, should only be used to inspire designers. They should not be sources from which designers copy the latest design trends. This, he believes, would quickly drain the field of creativity and would lead to homogenization, and he likens such practice to the work of "commercial artists" and those wishing to make a "fast buck.". Thus, he praises the TDC for including a student design section in its annuals, so as to both encourage good design amongst new designers, and discourage the blind use of popular styles or gimmicks. Significantly, in briefly commenting on particular designs in the exhibition, Brattinga, in contrast to commentators in other editions of Typography, praised the use of "pure Swiss typographic design." He even criticized a design firm which had produced good Swiss inspired design for not employing such well-regulated design styles in all of their corporate designs, claiming that corporate identity should not have a "relaxed outlook." In commenting on the various sections of the competition, Brattinga, like commentators in previous years, was disappointed by the apparent lack of good design for Canadian newspapers and magazines. In the case of books, he lamented that many are not well designed from cover to cover, but only have well designed covers and introductory sections, giving the impression that the designer, the printer, and the reader should not care about the appearance of the portion of the book with which the reader is going to spend the most of his or her time.
Brattinga concludes his introduction by noting that, while his review of all of the entries in the 1962 competition showed him the high quality of design appearing in Canada, he was unable to distinguish a truly Canadian style of design. Rather, he recognized that Canadian designers were being increasingly influenced by many international influences. However, he does not appear to believe that this diversity of influences is necessarily beneficial, suggesting that it could lead to the copying of those foreign approaches and not allow for the development of original Canadian design styles. Thus, he emphasizes that Canadian design programs have to encourage the development of regional Canadian styles which would highlight unique regional solutions or approaches to various design problems.
In their judges' report for the "Book Design" section, William Toye, John Gibson, and Harold Kurschenska explained that while there was only a small number of books which were so ugly they had to be rejected out of hand, the majority were wanting in at least some aspect of their design. As was mentioned by Brattinga, many of the submitted books had well designed elements, but few were well designed from cover to cover. And while the judges do praise a few of the book designs for 1962, including Frank Newfeld's design of The Canadian Dictionary, they note that there were none which were extraordinarily good.
For the "Printing for Commerce" judges' report, Frank Davies, Pierre Garneau, and Leslie Trevor argue that they did not believe that any of the submissions for 1962 deserved an award for extraordinary design. They found the submitted commercial annual reports to be "glamorous and deadly dull," that few of the press advertisements were acceptable, but they did find a number of the letterhead designs to be somewhat exciting. However, they despaired that in many cases the "mathematical-formula school of typography" (by which they mean the international style) was being widely used, and that, while organized and rational, was a dead-end path which would lead to blandness and sterility. Furthermore, this approach led many designers to concentrate more upon creating regular patterns than legible designs. In particular, the attack the overuse of sans-serif type, which they claim has low legibility. They conclude by stating that 1962 was, "a year of good but not exciting work with gimmicks, bandwagons, and the cult of Me-too-ism well to the fore."
The judges' report for the "Newspapers and Magazines" section is written by Keith Scott and, as in previous years, despairs at the lack of quality design in most of the country's serial publications. The one area of exciting new design appears to have been in the Montreal newspapers, with Le Nouveau Journal and La Presse offering thoughtful and well balanced layout which contrasted with the rushed and mismatched appearance of the papers from the rest of the country.
In the introduction to the "Experimental Design" section Gerry Moses reiterates Brattinga claim that experimentation is necessary to ensure the production of new an innovative approaches to design. Like Brattinga, he warns that without experimentation there is a danger that designers may tend to rely upon imitation of successful solutions to design problems. He argues that the award wining experimental designs included in Typography 62 can be seen as evidence of how Canadian designers are attempting to avoid charges of imitation. Similarly, in the introduction to the "Student Category" section, Harold Kurschenska argues that the 1962 student submission showed a definite increase in both the standards of the work being produced by Canada's design students, as well in the level of design innovative being produced by Canada's design programs. However, he also calls for the development of more programs across Canada, and especially for programs which teach, the history of typographic design and its sound practices without encouraging pure imitation of those traditional approaches. In addition, he concludes by suggesting the creation of international student design exhibitions, so as to further stimulate international professional interaction the exchange of ideas.
The 1962 catalogue ends with a statement from the TDC, stating that when it was established the organization had three major aims: “to build up a professional status by accepting professional responsibilities”; “to encourage printers, publishers, and others to help [designers] in their efforts towards higher standards in printed communication”; and “to increase public awareness which we all derive from good design and craftsmanship.” In claiming that great advances had been made in achieving each of these three goals, the unidentified author emphasizes not only that most of the leading Canadians who identify themselves as typographic designers were members of the TDC by 1962, but also that both the public and the printing and publishing industries had increasingly come to recognize typographic design as a distinct profession.
Typography 58 beings with an insert to contributors to the TDC's competition, explaining that by participating in the competition they are contributing to an “important field.” This supplementary document reflects an attitude which is found throughout the written contributions to the catalogue, where the writers take the position that the competition, like the TDC itself, is helping to establish typographic design as a distinct field from printing or advertising. While related to, and closely connected to, these fields, they argue that typographic design (which would eventually come to be referred to by the TDC and graphic design in the late 1960s) is not so much concerned with the technical production of prints or the advertisement of products, but the communication of ideas through graphic representation.
In the introduction to the catalogue, the co-directors of the competition, Frank Davies of the TDC and Leo H. ??? [not clear from signature] of Rolland Paper (sponsor of the competition) argue that the purpose of Typography 58 is to expose the public, publishers, printers, and designers to the best designed printed material of the year in an effort to encourage members of the industry to meet and exceed those standards of excellence. They argue that other related fields had already begun holding similar competitions. In particular they mention the Canadian Industrial Design Council and the Art Directors’ Clubs of Toronto, Montreal, and Vancouver, which had published annual collections of the best advertising and editorial art of the year. While including both publishers and printers in the audience and participants of this competition, the directors also claim that, “… no matter how great the technical advances or editorial skills, the quality of the actual presentation still rests with the individual designer and craftsman.” This statement appears to exclude the technical expertise of printers or the editorial ideas and decisions of publishers, presenting the typographic designer (or graphic designer) as the one who is ultimately responsible for the success of a publication in communicating particular ideas.
The 1958 catalogue is divided into three sections: book design, business printing design, and magazine design.
The book design section begins with the instructions that were given to the jury, which was composed of Gerry Moses, Paul Arthur, and Eric Aldwinckle. These instructions assert that the jury members should select works which they believe should be emulated by other designers, publishers, and printers. Importantly, the instructions specify that, while the judges should be primarily interested in book design, they should disqualify entries which are of substandard print production. Works with poor, “typesetting; make-up; engraving; press-work, casemaking, binding or other production operations; art – illustrations (including photographs) which are sufficiently badly executed to noticeably mar the appearance or function of the book” were to be excluded from consideration. In the comments by the judges, Moses, Arthur, and Aldwinckle claim that, based upon many of the entries, there, unfortunately, existed a great deal of poor book production in Canada in the late 1950s. Many of the books they examined for the competition were found to be poorly designed, poorly printed, and/or poorly bound. In the case of design, they argue that, “[f]rom this survey one gathers that books ‘happen’ more often than they are designed”. They claim that as long as more care is not taken with how a book looks from front to back, as well as how it is produced, they cannot expect the industry to produce praiseworthy material. Thus, they call for more direction and coordination from the book industry. In the case of design, the judges argued that much of the industry’s difficulties could be overcome if publishers would allow their book designers to have full access to, and guide, all of the departments involved in the production of all of the elements of the book. If they did not, the end result was likely sub-standard work. This, they claim was evidenced by the large number of works of inferior poor typography, inadequate design, and poor paper.
In contrast to the book design section, the judges of the business printing design competition felt that the majority of the catalogues, brochures, broadsides, annual reports, letterheads, folders, and other promotional material which was submitted to their competition were effectively designed and well produced. This difference may not simply be explained by the jury being composed of different judges (Stan Engel and Clair Stewart), but by the material being judged. As the judges point out, companies are judged by the look, feel, and readability of their promotional material. Many companies are very cognizant of those elements, and thus, they pay more attention to the quality of their promotional material than, say, a book publisher, who can be preoccupied with considering the written content of the text being published, not the presentation of that content.
The judges of the magazine design competition (Keith Scott and David Feist) were instructed to award prizes only to works which they believed that the Canadian publishing community should emulate. Rating material according to the competence of the design, its originality, typography (“has attention been paid to spacing and other niceties”), and the production quality of the final product, they found that many of the entries were of poor quality. Many of the publications suffered from poor typesetting. This often harmed what was otherwise acceptable publication design. However, in the case of consumer magazines, the judges claimed their publishers must have believed that typographic design is simply the use of type in a clever of gimmicky way. Like the book jury, the magazine judges suggest that the poor quality of magazine design entries could have been the result of designers having limited ability to oversee the production process, resulting in products which did not conform to what had been originally envisioned.
The catalogue ends with a section about the TDC, likely written by its president, Leslie Smart. Here it is explained that the TDC was created in 1956 to fulfill the need of Canadian designers of books, magazines, and general print material to pool their experience, to learn from, and collaborate with others in their field. The TDC aimed to encourage design talents and improve design standards through the organization of exhibitions, talks, meetings, and the showing of films.
The most striking difference between Typography 59 and the annual of the year before is that the 1959 publication is presented in not simply English, but also French and German. This appears to have been an attempt to include both the French Canadian graphic design community as well as German-speaking designers within or outside the country who either participated in the competition or could be enticed to read about it.
The annual begins with a general opening statement about the TDC and the competition. The statement starts by recognizing the enthusiasm with which typographic design had been described that year by the Globe and Mail art critic, Pearl McCarthy, who had called it the “…liveliest art in Canada today.” This statement is interpreted as a positive sign for the profession which is described as traditionally only playing a secondary role to other elements of the publishing and printing industries, and never considered an art in its own right. Typography 59 is thus presented as further evidence to support Pearl McCarthy’s statement, proving that typographic design did indeed constitute a legitimate profession and art form.
Unlike Typography 58, Typography 59 does not have introductory statements by the judges of its three competition sections: book design, business printing design, and magazine design. Instead, a single essay by Allan Fleming is included at the end of the catalogue. Examining the state and approach of typographic design education in Canada in the late 1950s, Fleming argues that, in addition to exciting students in the possibilities of manipulating typeface and how it is presented, typographic design programs need to familiarize students with each step in the design and printing process. It is not enough to teach students how to make affective layouts. This argument builds upon the comments made in the book and magazine design introductory sections of Typography 58, which criticized many of the poor entries of that year as having been the result of designers not having sufficient oversight of, influence upon, or possibly knowledge of, the entire publication/printing process. While designs may have been well intentioned, their execution did not do them justice and resulted in inferior products. Fleming attributes part of the failure of the existing training programs to take this approach is that, unlike in other countries, typographic design in Canada is often viewed, not a unique profession, but just a form of commercial art. This only encourages they only perform a limited role in the printing and publication process. Furthermore, Fleming notes that the craftsmen who carry out the other tasks in publication and print production (printers, typesetters, etc.) appear to receive less design training than they had in the past. He believes that the solution is that the typographic industry needs to subsidize the schooling of typographers, supplying equipment and expertise, possibly to the point of establishing a Canadian printing school. This would, he believes, produce graduates who would be able to function in the industrial printing and publication field in a manner that would ensure that the ideas of their well made layouts are realized to their satisfaction. It would, he believes, benefit clients, the reputation of one's typographic colleagues, and allow printers to take pride in producing celebrated works.
Interestingly, at the end of his article, Fleming states that he considers typographic design to be a "craft" or a "trade." He does not believe it to be an art form. He acknowledges the role that contemporary art styles have influenced typographic design, but he stresses that it is an applied field. It does not strive to create new means of communication, but to incorporate useful, preexisting tools of art to enhance communication through the use and arrangement of type. He concludes by stating that, "[c]ertainly no student should be deprived of the opportunity to experiment, quite the contrary, but the problems of an all-type letterhead or a one-colour business card must never be ignored."
The 1959 catalogue concludes with a statement about the history and purpose of the TDC. It asserts that the organization was established with three goals: "to build up a professional status by accepting professional responsibilities; ... to encourage printers, publishers and others to help them in their efforts towards higher standards in printed communication; and ... to increase public awareness of the benefits which we all derive from good design and craftsmanship." Thus, in addition to furthering public interest in design and the execution of quality design, TDC was created to differentiate, legitimize, and strengthen the Canadian graphic design community. Furthermore, the statement claims that, as of 1959, the majority of Canada's professional typographic designers were members of the TDC.
Like Typography 59, the annual of 1960 was published in English, French and German. However, like the publication of two years before, Typography 60 includes introductory statements for its book, magazine and newspaper design, and commercial design sections. The first of these is a report by Frank Newfeld which is printed opposite the book design entries.
Newfeld claims that in Canada there are three types of books: those that are designed by editors, those that are designed by printers, and those which are designed by typographic designers. In the case of printer-designed books, he claims that few Canadian printers have the design skills to create works which make effective use of type and layout so as to enhance the book's contents. Instead, in 1960 Canadian printing houses were largely interested and skilled in producing books and not designing them. Printers did not explore new kinds of typefaces, but only used what they had in stock, often understanding all typefaces as just neutral vehicles which transmit the words. In the case of editor-designed books, he argues that such productions are often imitations of other works. This imitation does not take into account the unique elements of the book being produced, and thus, results in a design which is ill fitted to the book. Finally, and not surprisingly, Newfeld claims that the designer-designed book often produces the best and most suitable product, but he notes that a number of the submissions to Typography 60 show that the field of typographic design was still experiencing growing pains and quality control problems.
In commenting on the evaluation process, Newfeld explains that the submissions were judged according to text preliminary and concluding material; over-all deign; originality; printing; book casing; and the dust jacket. Of those submitted, he comments that many presented a confused selection of styles. This included the poor mixture of typefaces which did not make good combinations, a problem which he suggest could have been the result of a printer having an insufficient selection of typefaces to choose from. (page 5) What is more, those books which attempted to distinguish themselves by using "startling devices", such as very unique typefaces or typesetting, were typically disqualified from competition since their design took away from the audience's ability to consume and understand their contents. (page 7) Like Typography 58 Newfeld complains of the quality of the printing and casing of many of the submissions. In addition, he complains that many Canadian publishing houses suffer in their type and cover designs in that they appear to use a consistent "house look" which gives books on very different subjects a similar appearance.
In addition to offering comments on several of the award winning entries (including books designs by Fleming, Arthur, and Smart), Newfeld notes that none of the entries demonstrate any new stylistic trends or revelations in design, although they do give encouraging evidence that some publishers are taking an increased interest in the appearance of their products.
The report concerning the magazine and newspaper design competition, written by Keith Scott, claims that the consumer magazine entries for the year were disappointing in that many offered standardized formats for their various additions, an approach which fails to tailor the type and layout to the content of specific issues or stories. While submissions often contained illustrations that complimented the content, the type and layout were often uninventive and standardized. Scott attributes these failures to both rushed production and misplaced newspaper production techniques. Indeed, he suggests that those entries which did meet the competition's criteria must have been produced with great difficulty by the designers.
In the case of company magazines, while Scott notes that there were a number of entries which were not professionally designed and made frequent use of "gimmicks," he also acknowledges the numerous entries which contained good design. Business magazines, however, were largely lacking in quality design, a fact which Scott found curious given the influence and role they play in the business world. He also finds it unfortunate, since good typographical design in such publications could act to increase interest in and respect for good design in the business world in general.
While praising the number of entries that were submitted for the newspaper category and thus the seeming interest from newspapers in graphic design, Scott notes that few showed any evidence of the application of such design. Many of the entries used a wide array, and poor combinations, of typefaces, and crowded material in a way which gave the impression that little thought was given to presentation. Scott argues that, even though newspapers must be produced in limited time, the same rules of unity, coherence, and emphasis in design still apply. Suggestions he makes to improve this situation include trying to use a limited number of good typefaces more effectively, and giving more consideration to how stories are placed and arranged.
The commercial printing competition report was written by Jack Birdsall and notes that, while many of the entries of 1960 were of a fairly high level of design quality, there were both few works of brilliance or highly disappointing entries. While middling, he does argue that such a representation shows a certain level of maturity for the Canadian design profession.
The three competitions sections are followed by brief biographies of Newfeld, Scott, and Birdsall, as well as by an essay by Frank Davies, "Why all this fuss about typographic design?" As the title of the essay suggests, Davies' focus is the perceived increased interest in the selection and arrangement of typefaces in a country which is not a centre of type design, book publishing, or the graphic arts. One of the reasons he gives for this increased interest is the establishment of the TDC in order to increase the professional status of the field at a time when there was a simultaneous increased interest in international trends of the graphic arts and typographic design.
Davies argues that it is not surprising that Canada would have been affected by international trends in graphic design. He notes that before the Second World War there were sporadic and tempered international influences upon the nation's graphic arts community. Referring to the field as "graphic design" (page 51), Davies explains that such influence typically amounted to the occasional arrival of new immigrant designers who brought the design techniques and traditions of his country of origin. There was some interest from within the Canadian design community in developing the craft of printing and looking to other countries for guidance, but this was limited. In addition, the only real contribution Canada made to the international graphic design community was Carl Dair's book on the basics of typographic design. Yet, since the war, the immigration of designers who had been taught in Germany, Hungary, and other countries greatly increased the exposure of Canadian-born typographic designers to the styles and approaches of other countries. The increased international communication which was facilitated both by such new arrivals, changes in communications technology, as well as the internationalization of trade and culture. Furthermore, since the war several native-born designers had undertaken training and worked in other countries, in addition to being influenced by developments in the United States. Allan Fleming had trained and worked in Britain and the United States, while Paul Arthur worked at Graphis in Switzerland.
However, the increase in international influences does not explain the growth in interest in typographic design all around the world. Designers in various countries are suddenly interested in typography. Davies suggests that this development could be explained by the "onslaught" of photographers in the design field, with designers retreating to the realm of "copy." Yet, he also notes that in many cases designers are not so much interested in creating clear and legible type than using typefaces as shapes which can be arranged to create patterns, symbols, or illustrations. In the pre-war period design was guided by Tschichold's New Typography. Following 1945 the Dutch designer, Sandberg's, Experimenta Typographie guided the development of the typographic organic phase which had lasted from the war up to the time Davis war writing. He claims that in both cases there was a move away from typographers merely selecting fonts which matched the "flavour" of the subject matter. Sandberg, however, showed typographers how to use text in a manner which would have it mean more than the words themselves. "He did this by choosing type with profound sensitivity and juggling the letterforms and their positions freely to symbolize the theme. The new approach is, at its purist, a form of poetry." (page 55) Davis believes that this approach recreates a link with lost elements of human communication. Text is typically monotone and non-expressive, with the author having to communicate all meaning through the words chosen. While there have been other writers and examples which have made a similar point, Sandberg's text offered the most clear-cut example, with the resulting approach being what Davies terms "Typo-Graphics." However, Davies also notes that the visual punning involved in the double meaning of such "Typo-Graphics" required the attention of the audience, its effect is not always instantaneous, and can often involve particular cultural knowledge.
Davies does not claim to know what the next phase of typographic design will be, acknowledging that the influence of Sandberg had, by 1960, permeated most areas of typographic design. However, he does suggests that the next phase will not be linked to a particular country. He claims that the Swiss style is "too cold and theoretical," English styles "too dull" and too infused with ethical concerns, the German school too much based upon the ideas of the Bauhaus, and France both too fanciful and ill-conceived. He also dismisses Japan, and Italy, and claims that the influence of Holland my just be expressed through the continued influence of Sandberg. However, he does suggest that the developments made by Saul Bass, Paul Rand, Otto Storch, and others in the United States marks the most stimulating recent developments in the field and could signal the next source of an international trend. However, he also despairs that, "[s]tacked gothics must surely topple; Mondrian black hedges chopping up our landscape pages are likely to linger a little yet; the handsful of punctuation marks which still pepper our ads occasionally will finally be dissed; tangles of random letters piled into rectangles will go too; pictures made of type ornaments for the designer who cannot illustrate will be returned to the kindergarten; blown-up initials are not likely to disappear for a long time; words warped into silhouettes are also not through their run of popularity; and so on. Typographic design is now thoroughly international and these trends show up everywhere." (page 57)
A problem to the growing internationalization of typographic design, according to Davies, is that access to the solutions from around the world can lead to a lack of originality. The public and typography design students appear, according to Davies, to be confused about what makes good typographic design. It is not the use of popular gimmicks or tricks, but the "logical approach and creative intuition behind communication... Unhappily most of them cannot see beyond the outside styles and in their hands there is danger than communication could disappear entirely behind clever personalisms." (page 57-8) Davies claims that "graphic design" (page 58) is one of the most important mass-communication mediums, but students of the field in Canada are largely denied training at proper graphic arts schools. Rather, most students of graphic design in Canada's publishing field, the fourth largest manufacturing industry in Toronto, must be self-taught in the art of design. Thus, like Fleming in Typography 59, Davies calls for proper training in typographic design. He claims that whether Canada will increasingly produce good design and designers will hopefully be influenced by the large number of international designers working and inspiring others within Canada. These designers bring ideas from around the world and will enrich the work of the country's typographic design community.
Davies' call for better typographic design education is echoed in introduction to the section concerning the competition between student entries. First introduced in Typography 60, this report praises the experimental elements of the entries from Quebec and British Columbia, as well as the latter's "soundness of approach," and admits that many of the student entries reflect the influence of particular teachers, it also condemns many of the entries from Ontario as showing little evidence of formal training in the field. The judges claim that many of the student entries were rather uninventive in that they used similar solutions to different problems. In addition, they argue that most show a lack of practical training, asserting that provincial graphic arts schools are needed, and suggesting that the printing industry should do something to improve such training, possibly by providing materials or instructors. Interestingly, the report on the student entries competition, like Davies’s essay, are only printed in English.
Typography 61 begins with the TDC president's (William Toye) message, in which he claims that that year's annual represents the TDC membership's search for a typographic utopia of good design. Covering June 1960 to June 1961, the bilingual exhibition catalogue again highlights the best design from the year, not only to honour those who have achieved high standards in design, but to inspire others to develop similar effective means of delivering specific messages to an audience through type and associated imagery. Significantly, Toye claims that typography is not an art, but a craft, and one which "cannot fail to interest us all because it affects us all." (page 1) This later claim reasserts the claim made by Donnelly that, following the Second World War, design came to occupy an increasingly important place in an increasingly consumer-oriented society.
Following the president's message, the catalogue departs from the format/content of the previous three editions by including an essay by a non-Canadian designer. "Where are we going?" was written by the American designer Aaron Burns, President and Director of Design of Graphic Arts Typographers (New York) and Director of the International Center for Typographic Arts. He interestingly begins by defining typographic design, suggesting that still, in 1961, all of those doing typographic design were still not completely sure as to the limits of the field. He defines the profession by borrowing from a definition given by the "noted semanticist" Anatol Rapaport, who stated at the first World Seminar on typographic Design in 1958 that "Typography is to printing as elocution and dramatics are to the spoken word." (page 8) From this Burns argues that typography should be understood as being an "attitude or a conduct of thought" and printing or typesetting as "an application of defined working principles." (page 8) From this, Burns stresses that it is important that, as professionals who are attempting to communicate specific ideas through visual design, designers communicate and share ideas on an international level, and that designers strive to more accurately understand how individuals, including people from different cultures, think and why they react in particular ways. He claims that his International Center for Typographic Arts would act as an appropriate clearing house for international typographic communication and the exchange of approaches and ideas. Burns concludes his comments by stating that he was exciting to discover the "high level" of design being produced in Canadian centres such as Vancouver, Toronto, and Montreal, all of which were apparently design communities with which he was largely unfamiliar before being asked to comment on the exhibition.
The first section of the exhibition, book design, is introduced by Frank Davies who writes that the entries for Typography 61 were markedly better than those from previous years, noting that, "even the mediocre books are better and the bad books look worse and worse by contrast." (page 13) Davies then continues by giving a brief overview of the quality of the designs from previous years, explaining that in 1958 many book designs suffered from both poor design, as well poor printing and binding. While the binding and printing did improve since then, the book design had benefitted from a growing design "maturity" and the removal of "gimmicks." Unlike the books of earlier competitions, many of those in the 1961 competition had been carefully designed from dust jacket to index. However, as Davies notes, despite the growing general competence in book design, the jury easily selected Frank Newfeld's design of Leonard Cohen's The Spice Box of the Earth as the best designed and produced book of the year.
The "Design for Commerce" introductory statement is written by Leslie Smart. Like Davies, he notes that the quality of the material submitted to the competition had improved, although he does point out that in some cases evidence could be seen of rushed work or the unfortunate influence of someone other than the designer, whom Smart implies was probably the client. Smart and the other judges found the catalogue and press advertising design competitions particularly disappointing, but were encouraged by the submissions for trademarks, which showed a welcome and "noticeable absence of maple leaves, beavers, and Niagara Falls." (page 27) Furthermore, he claims that the designs for publicity and cultural events showed some of the best design of the commerce section, suggesting that, since such work is often for free or at a reduced fee, such opportunities give designers the greatest freedom to experiment. Smart concludes by noting that there was an obvious trend amongst many competition entries towards adopting the Swiss style of typography, which he identifies as being "immaculate and rather sterile." He suggests that, if widely employed in design in place of "more imaginative productions," the field will suffer. However, he argues, somewhat ironically, that if used "for the vast volume of print not supervised by designers, this could be a disciplined and improved solution." (page 27)
The introduction to the "Magazine and Newspaper Design" section is written by Carl Dair, who laments that many of the submissions were either "dull and correct" or had some elements of exciting design, but also showed considerable inattention to detail. Although he does claim that some good work was being done in Canadian magazine and newspaper design, much of that good work was not submitted to the competition. He concludes by hoping that such good design will be submitted for the 1962 competition.
The new section on "Experimental Design" is introduced by Harold Kurshenska, who argues that many of the entries which were submitted as "experimental" was actually quite disappointing. The most interesting and groundbreaking work was often the work of students, while many seasoned designers appeared to submit layouts which had been rejected by clients whom the designers appeared to believe were misguided. Kurshenska suggests that many of these professional designers should take the time to experiment on their own, claiming that their design skills could become stayed and mediocre if they only produce "acceptable" work for clients.
The final section of the catalogue, that of "Student Entries," is also introduced by Carl Dair. He notes that entries from the students at the Vancouver School of Art were surprisingly good and that their work and the guidance of their instructor, Robert Reid, should be viewed as a model for other design programs across the country. Unsurprisingly, Dair, who was often concerned with designers' understanding of both the theoretical and technical elements of both design and printing, particularly lauds the Vancouver students for their knowledge and understanding of the practical considerations of printing.
Typography 62, covering June 1961 to June 1962, begins with an informal introduction by Frank Davies which defines the role of the typographic designer. As with the beginning of Typography 61, this apparent need to define what typographers do suggests that the profession was still in the process of defining itself. Davies emphasizing the place of type in the designer's work, claims that good typographic design is not noticeable, but does enhance the message of printed material. Through the choice of letterform, the length of lines, the size of type, and the spacing between words and characters the typographic designer controls the rhythm of reading. However, all such choices are only beneficial if the reader is unaware of them. He likens failure in design to a "ham actor" who, in struggling to impress, destroys the illusion of acting.
As with Typography 61, the main introduction to the 1962 annual is written by an American (actually a Dutch-American) designer, Pieter Brattinga, Professor of Art and Chair of the Department of Advertising Design and Visual Communication at the Pratt Institute in New York, and Director of Design at the Dutch printing firm, Steendrukkerij de Jong & Co. Brattinga begins "An Appreciation" by warning that, while useful for celebrating good work in design and showing colleagues what creative solutions have been advanced for various communication problems, annuals, such as Typography 62, should only be used to inspire designers. They should not be sources from which designers copy the latest design trends. This, he believes, would quickly drain the field of creativity and would lead to homogenization, and he likens such practice to the work of "commercial artists" and those wishing to make a "fast buck.". Thus, he praises the TDC for including a student design section in its annuals, so as to both encourage good design amongst new designers, and discourage the blind use of popular styles or gimmicks. Significantly, in briefly commenting on particular designs in the exhibition, Brattinga, in contrast to commentators in other editions of Typography, praised the use of "pure Swiss typographic design." He even criticized a design firm which had produced good Swiss inspired design for not employing such well-regulated design styles in all of their corporate designs, claiming that corporate identity should not have a "relaxed outlook." In commenting on the various sections of the competition, Brattinga, like commentators in previous years, was disappointed by the apparent lack of good design for Canadian newspapers and magazines. In the case of books, he lamented that many are not well designed from cover to cover, but only have well designed covers and introductory sections, giving the impression that the designer, the printer, and the reader should not care about the appearance of the portion of the book with which the reader is going to spend the most of his or her time.
Brattinga concludes his introduction by noting that, while his review of all of the entries in the 1962 competition showed him the high quality of design appearing in Canada, he was unable to distinguish a truly Canadian style of design. Rather, he recognized that Canadian designers were being increasingly influenced by many international influences. However, he does not appear to believe that this diversity of influences is necessarily beneficial, suggesting that it could lead to the copying of those foreign approaches and not allow for the development of original Canadian design styles. Thus, he emphasizes that Canadian design programs have to encourage the development of regional Canadian styles which would highlight unique regional solutions or approaches to various design problems.
In their judges' report for the "Book Design" section, William Toye, John Gibson, and Harold Kurschenska explained that while there was only a small number of books which were so ugly they had to be rejected out of hand, the majority were wanting in at least some aspect of their design. As was mentioned by Brattinga, many of the submitted books had well designed elements, but few were well designed from cover to cover. And while the judges do praise a few of the book designs for 1962, including Frank Newfeld's design of The Canadian Dictionary, they note that there were none which were extraordinarily good.
For the "Printing for Commerce" judges' report, Frank Davies, Pierre Garneau, and Leslie Trevor argue that they did not believe that any of the submissions for 1962 deserved an award for extraordinary design. They found the submitted commercial annual reports to be "glamorous and deadly dull," that few of the press advertisements were acceptable, but they did find a number of the letterhead designs to be somewhat exciting. However, they despaired that in many cases the "mathematical-formula school of typography" (by which they mean the international style) was being widely used, and that, while organized and rational, was a dead-end path which would lead to blandness and sterility. Furthermore, this approach led many designers to concentrate more upon creating regular patterns than legible designs. In particular, the attack the overuse of sans-serif type, which they claim has low legibility. They conclude by stating that 1962 was, "a year of good but not exciting work with gimmicks, bandwagons, and the cult of Me-too-ism well to the fore."
The judges' report for the "Newspapers and Magazines" section is written by Keith Scott and, as in previous years, despairs at the lack of quality design in most of the country's serial publications. The one area of exciting new design appears to have been in the Montreal newspapers, with Le Nouveau Journal and La Presse offering thoughtful and well balanced layout which contrasted with the rushed and mismatched appearance of the papers from the rest of the country.
In the introduction to the "Experimental Design" section Gerry Moses reiterates Brattinga claim that experimentation is necessary to ensure the production of new an innovative approaches to design. Like Brattinga, he warns that without experimentation there is a danger that designers may tend to rely upon imitation of successful solutions to design problems. He argues that the award wining experimental designs included in Typography 62 can be seen as evidence of how Canadian designers are attempting to avoid charges of imitation. Similarly, in the introduction to the "Student Category" section, Harold Kurschenska argues that the 1962 student submission showed a definite increase in both the standards of the work being produced by Canada's design students, as well in the level of design innovative being produced by Canada's design programs. However, he also calls for the development of more programs across Canada, and especially for programs which teach, the history of typographic design and its sound practices without encouraging pure imitation of those traditional approaches. In addition, he concludes by suggesting the creation of international student design exhibitions, so as to further stimulate international professional interaction the exchange of ideas.
The 1962 catalogue ends with a statement from the TDC, stating that when it was established the organization had three major aims: “to build up a professional status by accepting professional responsibilities”; “to encourage printers, publishers, and others to help [designers] in their efforts towards higher standards in printed communication”; and “to increase public awareness which we all derive from good design and craftsmanship.” In claiming that great advances had been made in achieving each of these three goals, the unidentified author emphasizes not only that most of the leading Canadians who identify themselves as typographic designers were members of the TDC by 1962, but also that both the public and the printing and publishing industries had increasingly come to recognize typographic design as a distinct profession.
Unlike its predecessors, Typography 64 showcases Canadian design work for more than a single year, including works created and submitted between June 1962 and June 1964. Like several of the earlier catalogues, in addition to showing the winners of the TDC's design competition, the catalogue also contains a number of written contributions by various Canadian designers. It begins with a forward by an unidentified author who highlights the book Love and Joy about Letters by Ben Shahn, praising both its design and the author/designer's views about the importance of good typographic design to the creation of quality publications. Significantly, the author agrees with Shahn that typographic design is, "an expressionistic art notwithstanding the rules, the precision, the perfection that accompany it." Thus, unlike statements made in earlier editions of Typography by such well known Canadian designers as Allan Fleming, Typography 64 begins with the assertion that typographic design is indeed an art and not simply a trade or a craft.
The forward is followed by "An Appreciation" by Allan Fleming. While the cover of the catalogue features the deconstruction of the exhibition's title in Helvetica, and many of the award winning designs of the competition are of the International style of design, Fleming dedicates much of his "Appreciation" to bemoaning the strong and growing influence of Swiss design on the field of Canadian typographic design. He begins by claiming that the bothersome influence of the International style was very apparent to him even before he began his review of all of the contributions to the exhibition, and that, having examined each of the submitted works, he can claim that, "there is no doubt that this is what the designers call a 'Swiss Show.' And as such it is an extremely fine example - full of well oiled, highly professional and quite safely anonymous designs." Fleming does argue that the professionalization and number of quality contributions to Typography 64 shows that the field of Canadian graphic design had grown and matured since the establishment of the Typography exhibitions in 1958. He also notes that the Swiss inspired designs of contributors such as Ernst Roch, Rolf Harder, and Gerhard Doerriés had made valuable contributions to the field, but he worries that the influence of the International style was becoming too great and that it would lead to a large amount of homogenous, formulaic, and "safe" work which only offers one approach to design. Referencing Anatol Rapoport, the director of the School of Mental Health at the University of Michigan, Fleming argues that the creation of a single world culture, or a truly international style of design, implies the loss of the diversity and creativity offered by multiple regional or local cultures. Furthermore, while creating a homogenous and safe society, a single world culture would be slow to adapt to challenges, and would not be likely to experiment with new approaches to dealing with problems. While Fleming admits that Canadian typographic design had undergone great developments since the 1950s, he hopes that those developments would not stall with the popularity Swiss typography, stating that the design community should "hope that soon we'll be a long way from the grid system and sans-only approaches." Fleming concludes his written contribution with a number of disconnected comments about various contributions to the exhibition, none of which refer to his earlier attack against the popularity of the International style.
The introduction to the exhibition's "Printing for Commerce" section is written by the judges Rolf Harder, Martin Krampen, Tancrède Marsil, and Brian Patterson. The four designers argue that, while of good quality, many of the contributions to the commerce competition were uninspiring. Significantly, like Fleming, they argue that too many of the designs relied upon the sans-serif and grid-oriented approaches of the International style, resulting in professional-looking, but somewhat formulaic, designs. However, they also note that this overreliance upon the International style is often preferable to design which does not follow a formula, but has a bad layout and a poor selection of fonts. In particular, the judges praise Canadian designers for not returning to the modern "Baroque" approach which had been popular in the 1950s, and which they claim was being readopted by many American designers. They believed that the best designs of the competition were, indeed, in the style of the New Typography, but they argued that in the future, Canadian designers should strive to bridge the gap between the formalism and professional approach of the International style and empirical findings as to the most readable and legible approaches to design. This, they argue, would result in designs which communicate particular messages as successfully as possible.
The "Book Design" section, judged by John Gibson, Robert Reid, and Arnold Rockman, begins with an introduction in which the judges complain about the lack on innovation in Canadian book design. Significantly, they note that the greatest innovations for 1963 and 1964 were in book case design, with the best work being produced, not in Toronto, the home of Canada's publishing industry, but Montreal. However, they also despaired that many of Canada's foremost book designers were not offering any new solutions to book design problems, but were simply reproducing new versions of older approaches. In addition, like the comments concerning the book design section of previous competitions, the judges also complained that many book designs in the competition suffered from poor binding, poor printing, and poor quality paper. They stress that all of those non-design elements are essential to the production of quality books, and that several of the books that were considered for Typography 64 were judged harshly if those non-design elements were wanting.
For the "Magazines and Newspapers" design section, the judges George Beaupré, Paul Fiala, and Chris Yaneff argue that, as with previous TDC competitions, the examples of Canadian newspaper and magazine design submitted to Typography 64 were largely of poor quality. Not only were they wanting in "inventiveness, overall design, typographic detailing, and general handling," but also the number of submissions was also relatively small. They argue that the low number of entries was particularly disappointing given that they had seen good examples of Canadian newspaper and magazine design during 1963 and 1964 which were not entered into the competition. However, those few designs for which the judges reserved praise included Ken Rodmell's cover design of the Imperial Oil Review, work for the Star Weekly by Gene Aliman, a nuclear disarmament newspaper called Sanity by the Montreal designer Peter Matthews, and Gilles Robert's overall design for La Presse.
The "Experimental Typography" section was judged by Arnold Rockman and Chris Yaneff, who, like the section judges of Typography 62, begin their introduction to the section by stressing that, contrary to the view of many of the designers who submitted material to the competition, work which was rejected by clients should not be automatically categorized as being "experimental." They were discouraged by the number of submissions that were obviously layout that the submitters had submitted to clients, and which had been rejected by those members of the commercial world. Feeling slighted, and believing that their work should have been embraced by their clients, the judges charge that the designers in question appeared to have decided that their work had been too radical for their clients, and thus, constituted experimental design. However, the judges point out that many such designs were likely rejected by clients because they were indeed bad designs. Furthermore, in addition to rejecting a number of submissions for simply being examples of typographic pattern-making and not experimentation, the judges do claim that the competition had attracted a lot of good experimental design. In particular they praise the Anglo-Swiss inspired slide presentation designs of Tony Mann, as well as the International Style designs by Gerhard Doerrié, which won the top experimental design prize.
The final section, "Student Work, was judged by Arnold Rockman and Chris Yaneff. Offering brief comments, the judges claimed that while of a high caliber, the student submissions for 1963 and 1964 very closely resembled the styles and approaches of the students' instructors. The judges suggest that design instructors would be wise to allow their students more freedom in their experimentation. In addition, the judges particularly praised the quality of the submissions from the Ontario College of Art. However, they also despaired that the majority of the entries only came from Toronto and Montreal, and that Vancouver, often a source for impressive student designs in previous years, was not represented.
Typography 64 concludes, like all of its predecessors, with a comment from the President of the TDC. In this edition, unlike earlier versions of the President's message, Gerry Moses does not discuss the importance of highlighting quality typographic design for the development of the profession. Rather, he simply explains that the selection of the "best" design work is a subjective process, but one which is necessary in order to differentiate between obviously poor design and that which is collectively viewed as laudable by experts in the field. Interestingly, unlike in the forward to the catalogue, which may have been written by another person, Moses does not refer to typographic design as an art, but as a craft.
Subscribe to:
Posts (Atom)






