In the first part of my thesis, I have made an overview of the history of graphic design that has been made for advertising classical music concerts and classical record releases in Slovenia. In my research, I have mainly focused on the history of The Slovene Philharmonic, The RTV Symphony Orchestra and Cankarjev dom, the main concert venue for classical music in Slovenia of the past four decades.
I have linked the changes in design to economic and political changes that have occurred since the ending of the Second World War and to changes that took place within the inner politics of the institutions that organise classical concerts. By con ducting my research, I have come to the conclusion that the marketing of classical concerts in Slovenia has had three broad phases since the beginning of the second half of the 20th century: first, there was a strictly informational approach to the advertising of concerts. The second phase, beginning with the late 1970s, saw a much more artistic approach to advertising, where not only was the concert an artistic event, but the advertising material for it became one also. During this period, concert posters became a much more appropriate visualisation of the music that they were advertising. After the mid-1990s we witness a return to a much more informational approach, prioritising portrait images of concert performers, coupled with highly visi ble and legible typography. With this type of marketing, which is still present today, the advertising is no longer a proper reflection of the music it is trying to represent.
In the second part of my thesis I have designed the basis of my own visual identity for the upcoming concert season of Cankarjev dom‘s subscription concerts. To illu strate my idea for the concert‘s visual identity, I have designed four concert posters and two posters that announce the subscription concert season. I designed my posters as a visual translation of the artistic value of the concerts they are advertising.
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