Poster History 1982 - 1990
This era was marked by limited resources and the need to work quickly, which simultaneously encouraged an innovative approach by designers like Marten Jongema and Max Kisman. The posters from this period not only reflected the diversity of the music program but also showcased a wide range of artistic styles and techniques.
Experimental approach
In the early 1980s, posters were not just seen as promotional tools but also as a medium for artistic expression. Designers experimented with typography, graphic techniques, and the screen printing technology of the time. Jongema, for instance, used magnified pencil lines, while Kisman pioneered the use of computers in design. These techniques lent the posters a distinctive handmade aesthetic that perfectly aligned with Paradiso’s alternative and anarchistic spirit.
Art and music
Paradiso’s posters were often more than just advertisements; they embodied the venue’s ethos. Concerts by bands like Red Hot Chili Peppers or De Dijk featured unique designs that broke away from templates and clichés. While some designs were provocative or humorous, they managed to appeal to a broad audience. At the same time, the posters also served as early branding, embedding the Paradiso name into the cityscape.
Designers often worked under pressure. Marten Jongema and Max Kisman had to create an average of five posters per week, sometimes within just four days. They relied on simple resources such as promo photos, manual typography, and cut-and-paste methods. Despite these constraints, they found creative solutions. The limitations of screen printing, such as restrictions on color and detail, fostered a bold and striking graphic approach.
Styles
Paradiso’s programming was diverse, spanning genres like punk, reggae, hard rock, and jazz. This required designers to continually adapt their style to the audience. For reggae posters, Jongema and Kisman used the recognizable red-yellow-green color scheme, while punk posters featured a rawer aesthetic. At times, they had to work in styles outside their preferences, such as hard rock, but always with an eye for reaching the intended audience.
Although posters had a limited impact on ticket sales, they played an important cultural role. They brought a visual identity to the city and made Paradiso a visible part of Amsterdam’s culture. The posters were often regarded as artworks in their own right, collected by fans and used as inspiration for future designers. During this period, Paradiso’s poster culture laid the foundation for a lasting legacy, where art, music, and graphic design came together in a unique form of visual communication.
Sources
Want to know more? Find additional information through the links below:
The Paradiso archief | Paradiso
A large collection of historical Paradiso posters | Delpher
Book: Paradiso Posters 1968-2008 | J. Dietvorst en J. Hiddink
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