{"id":61223,"date":"2022-06-22T11:30:04","date_gmt":"2022-06-22T10:30:04","guid":{"rendered":"https:\/\/www.solopress.com\/blog\/?p=61223"},"modified":"2022-06-22T15:05:53","modified_gmt":"2022-06-22T14:05:53","slug":"glastonbury-plakatdesigns-anmeldt","status":"publish","type":"post","link":"https:\/\/www.solopress.com\/blog\/da\/art-design\/glastonbury-poster-designs-reviewed\/","title":{"rendered":"Glastonbury-plakatdesigns gennemg\u00e5et"},"content":{"rendered":"
<\/div>

Siden starten i 1970 har Glastonbury etableret sig som en af de st\u00f8rste festivaler i verden, og Michael Eavis bringer hele tiden cremen af musikverdenen til Somerset.<\/p>\n

I forbindelse med dette \u00e5rs festival bad vi vores designteam om at kaste deres ekspert\u00f8jne p\u00e5 nogle af de ikoniske plakater med Glastonburys line-up<\/b> der er blevet produceret i \u00e5renes l\u00f8b.<\/p>\n

Intro<\/strong><\/h2>\n

Glastonbury 2022 har netop \u00e5bnet portene for sin skare af trofaste festivalg\u00e6ngere, som ikke har f\u00e5et deres \u00e5rlige tur til Worthy Farm siden 2019. Festivalen gik endda glip af sin egen 50-\u00e5rs f\u00f8dselsdagsfest i 2020 p\u00e5 grund af Coronavirus-pandemien. Frav\u00e6r g\u00f8r dog, at hjertet vokser, og dette \u00e5rs festival - hvor solen skinner, og Sir Paul McCartney er p\u00e5 toppen om l\u00f8rdagen - skal nok vise sig at blive en klassiker.<\/p>\n

S\u00e5 er der noget bedre tidspunkt at se tilbage p\u00e5 festivalens branding i fortid og nutid og spore, hvordan den ber\u00f8mte Glastonbury-plakat har udviklet sig i l\u00f8bet af det sidste halve \u00e5rhundrede?<\/p>\n

Tendenser kan skifte hurtigt, og grafiske stilarter er tilb\u00f8jelige til at blive for\u00e6ldede med \u00e5rene. Men hvis Glastonbury-plakaternes historie er noget at g\u00e5 efter, er deres visuel identitet gennem plakatdesign<\/strong> er beskyttet mod tidens tand af sin evne til at bringe fantastiske minder tilbage til enhver ivrig koncertg\u00e6nger.<\/p>\n

Glastonbury har kommenteret deres visuelle identitet: \"Vi har mange kunstnere og 47 \u00e5rs historie, s\u00e5 vi plejer ikke at fremh\u00e6ve en enkelt designer\/kunstner, er jeg bange for. Det hele er en gruppeindsats!\". Det kan forklare, hvorfor der i \u00e5renes l\u00f8b har v\u00e6ret manglende fokus p\u00e5 festivalens grafiske design.<\/p>\n

S\u00e5 hvilke plakater skiller sig ud, og hvilke er helt ved siden af?<\/p>\n

 <\/p>\n

1982 - Hit<\/strong><\/h2>\n

\"Glastonbury-plakat<\/p>\n

Van Morrison er overskriften her, og det er en fantastisk tofarvet plakat, der giver en god balance mellem skrift og billede. Et enkelt reflekteret billede giver denne plakat st\u00e6rk symmetri<\/strong> med p\u00e5fugleillustrationen og pyramidescenen, der skyder en str\u00e5le op i nattehimlen. Akt\u00f8rerne har alle plads p\u00e5 plakaten til at kunne tr\u00e6kke vejret og skelne mellem de tre kategorier musik, film og teater.<\/p>\n

 <\/p>\n

1986 - Hit<\/strong><\/h2>\n

\"Glastonbury-plakat<\/p>\n

Fred og k\u00e6rlighed, mand. N\u00e5r jeg ser tilbage p\u00e5 1986, kan jeg se, hvor dette design adskiller sig fra resten. Fremme af levende farver<\/strong>Det er et virkelig st\u00e6rkt logokoncept, som styrer v\u00e6k fra alle tidligere fors\u00f8g p\u00e5 at 'brande' festivalen. Historisk set er det kendt, at det at brande en festival kan give komplikationer, fordi mange bands ligner et brand for meget i stedet for at optr\u00e6de. S\u00e5 denne plakat er en god blanding af at passe ind i Glastonbury-stilen og v\u00e6re let at ford\u00f8je.<\/p>\n

 <\/p>\n

1989 - Fr\u00f8ken<\/strong><\/h2>\n

\"Glastonbury-plakat<\/p>\n

Hvordan kunne de g\u00f8re det s\u00e5 forkert med kun tre \u00e5rs mellemrum? Der er sket en enorm forandring fra 1986 med en let at se p\u00e5, hele vejen til dette tvivlsomme tekstark, der ser ud som et stykke arbejde.<\/p>\n

Designeren for 1987 smed alle regler om bedste praksis over bord. Dette er en dovent design<\/strong> hvis jeg skal v\u00e6re kritisk. Det mest skuffende er, at alle numrene er smidt sammen i samme st\u00f8rrelse skrifttype, som s\u00e5 er centreret og l\u00f8ber ned ad siden. Det er nok til at f\u00e5 mine \u00f8jne til at slukke helt og fokusere p\u00e5 noget andet. N\u00e6ste nummer!<\/p>\n

 <\/p>\n

1993 - Fr\u00f8ken<\/strong><\/h2>\n

\"Glastonbury-plakat<\/p>\n

\u00c5h, halvfemserne. Sikke et \u00e5rti, der gav os optr\u00e6dener fra Red Hot Chilli Peppers, Radiohead, Blur, Bob Dylan, Morrissey og mange flere. Hvad der ikke kan siges at v\u00e6re mindev\u00e6rdigt, er de typisk d\u00e5rlige plakatdesigns gennem 90'erne?<\/p>\n

Selv om plakaten fra '93 er d\u00e5rlig, er det nok den bedste af dem alle, fordi den har tilf\u00f8jet noget karakter til designet i stedet for at samle alle numrene i \u00e9t afsnit.<\/p>\n

Selvom jeg godt kan forst\u00e5, at festivalens navn er st\u00f8rre og mere legende h\u00e5ndtegnet skrifttype<\/strong> der bruger farverne fra Glastonbury-ikonet. Bortset fra det er resten af plakaten let at glemme.<\/p>\n

S\u00e5 lad os komme til de gode ting.<\/p>\n

 <\/p>\n

2003 - Hit<\/strong><\/h2>\n

\"Glastonbury-plakat<\/p>\n

Et \u00e5rti senere og med 2003 som det hurtigst s\u00e6lgende Glastonbury til dato, hvor alle billetter blev udsolgt p\u00e5 24 timer. Denne plakat kom helt sikkert p\u00e5 scenen p\u00e5 en eller anden m\u00e5de, hvilket set i bakspejlet var en velkommen forandring fra det \u00e6ldre artwork, som var blevet synligt for\u00e6ldet p\u00e5 s\u00e5 kort tid.<\/p>\n

N\u00e5r man ser p\u00e5 denne plakat, byder den velkommen til en ny forandring. St\u00f8rre typografi<\/strong>som hjalp skuespillerne med at skille sig ud fra hinanden, helt ned til en st\u00e6rkere farvepalet<\/strong>.<\/p>\n

Manden, der er ansvarlig for disse \u00e6ndringer, er Stanley Donwood<\/a>Han er berygtet for at have skabt alle Radioheads illustrationer. Det skal ogs\u00e5 n\u00e6vnes, at han overtog opgaven med at designe plakater og illustrationer til Glastonbury siden begyndelsen af 00'erne.<\/p>\n

 <\/p>\n

2015 til i dag - Hit<\/strong><\/h2>\n

\"2019<\/p>\n

Siden 2015 har Glastonbury tilpasset et flerfarvet, mere legende tema, som vist i dette eksempel fra 2019. Hver plakat siden da har pr\u00e6senteret en variation af temaet - det eneste, der er blevet v\u00e6sentligt justeret og \u00e6ndret i denne periode, er navnene p\u00e5 de optr\u00e6dende.<\/p>\n

Det faktum, at stilen ikke har \u00e6ndret sig i 4 \u00e5r, er et bevis p\u00e5 dens succes som design. N\u00e5r alt kommer til alt, hvis det ikke er i stykker, skal man ikke lave det. Alle hovednavnene kan tydeligt ses fra den \u00f8verste linje, og nedad p\u00e5 listen ses de navne, der skal optr\u00e6de p\u00e5 andre scener. Hierarkiet er godt, og brugen af farvet tekst fungerer godt. Baggrundsfarven har v\u00e6ret sort siden 2016, s\u00e5 den farverige tekst tr\u00e6der tydeligt frem.<\/p>\n

P\u00e5 den f\u00f8rste festival siden pandemien har det m\u00e5ske v\u00e6ret fristende at \u00e6ndre p\u00e5 plakatdesignet. Faktisk er det dejligt at se noget s\u00e5 velkendt vende tilbage. Som vi kan se p\u00e5 2022-plakaten her, er alle de vellykkede elementer til stede, med en justeret kant og den sorte baggrund, der er bl\u00f8dt op til en midnatsbl\u00e5. Det faktum, at den er genkendelig fra design fra f\u00f8r pandemien, forst\u00e6rker ideen om en triumferende tilbagevenden til business as usual.<\/p>\n

\"\"<\/a><\/p>\n

Der kan komme et tidspunkt, hvor festivalens tilgang til plakatdesign skal rebrandes, og vi formoder, at det tidspunkt snart kommer. Men indtil videre er det bare dejligt at se denne kulturinstitution genetablere sig selv i en stil, der b\u00e5de er vellykket og velkendt.<\/p>\n

F\u00f8ler du dig inspireret?<\/strong><\/em><\/p>\n

Her hos Solopress har vi print plakater<\/strong> til festivaler og koncerter i hele landet. Tjek vores Trykning af plakater<\/a> muligheder her.<\/p>\n

\"Trykning<\/a><\/p>","protected":false},"excerpt":{"rendered":"

Since its inception in 1970, Glastonbury has firmly established itself as one of the biggest festivals in the world, with Michael Eavis bringing the cr\u00e8me de la cr\u00e8me of the music world to Somerset on a consistent basis. To tie in with this year’s festival, we asked our design team to cast their expert eyes […]<\/p>\n","protected":false},"author":23,"featured_media":61226,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[545],"tags":[805],"class_list":{"0":"post-61223","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art-design","8":"tag-posters"},"acf":[],"yoast_head":"\nGlastonbury Poster Designs Reviewed | Solopress<\/title>\n<meta name=\"description\" content=\"With 2022's festival under way, we asked our design team to cast a critical eye over the hit Glastonbury poster designs, and the misses...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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