The designer was probably given free rein for the cover of the 1973 final programme. You’ve got this stacked, tight leading and repetition of the words “Ajax” and “Juventus” in a kind of revivalist Art Nouveau typeface, which was really common around that time if you look at psychedelic music posters. It feels a bit like a Fairport Convention album cover.
You wonder why that typeface was chosen. The final was played in Belgrade and maybe that person was looking west, out of communist Yugoslavia and towards western Europe, inspired by what was happening. The silhouette of the trophy has been put on top of that so it’s already an iconic shape in 1973. The cover doesn’t feel particularly sophisticated. It’s a bit wonky, a bit off centre, and that’s what gives it its charm.
Then, inside, there is very little storytelling. It feels like a list: lots of statistics, almost like a railway timetable. What are really interesting are the adverts. There’s one for something that looks like factory machinery, another for an umbrella; local ads mixed in with Fiat at the back – obviously the Juventus connection – and one for adidas.
Otherwise it just feels very functional. The only pictures of the players are the team line-ups and headshots, but there is no weight given to Johan Cruyff; he is just one of the guys tucked in there. It feels very egalitarian and matter of fact. I was in Berlin once and I picked up a couple of old machinery manuals from the DDR era. This reminds me of those – a washing-machine manual. Let’s just say that the cover is where the expression is.
Pre-order your official 2020 UEFA Champions League Final Programme at european-nights.com
The designer was probably given free rein for the cover of the 1973 final programme. You’ve got this stacked, tight leading and repetition of the words “Ajax” and “Juventus” in a kind of revivalist Art Nouveau typeface, which was really common around that time if you look at psychedelic music posters. It feels a bit like a Fairport Convention album cover.
You wonder why that typeface was chosen. The final was played in Belgrade and maybe that person was looking west, out of communist Yugoslavia and towards western Europe, inspired by what was happening. The silhouette of the trophy has been put on top of that so it’s already an iconic shape in 1973. The cover doesn’t feel particularly sophisticated. It’s a bit wonky, a bit off centre, and that’s what gives it its charm.
Then, inside, there is very little storytelling. It feels like a list: lots of statistics, almost like a railway timetable. What are really interesting are the adverts. There’s one for something that looks like factory machinery, another for an umbrella; local ads mixed in with Fiat at the back – obviously the Juventus connection – and one for adidas.
Otherwise it just feels very functional. The only pictures of the players are the team line-ups and headshots, but there is no weight given to Johan Cruyff; he is just one of the guys tucked in there. It feels very egalitarian and matter of fact. I was in Berlin once and I picked up a couple of old machinery manuals from the DDR era. This reminds me of those – a washing-machine manual. Let’s just say that the cover is where the expression is.
Pre-order your official 2020 UEFA Champions League Final Programme at european-nights.com
The designer was probably given free rein for the cover of the 1973 final programme. You’ve got this stacked, tight leading and repetition of the words “Ajax” and “Juventus” in a kind of revivalist Art Nouveau typeface, which was really common around that time if you look at psychedelic music posters. It feels a bit like a Fairport Convention album cover.
You wonder why that typeface was chosen. The final was played in Belgrade and maybe that person was looking west, out of communist Yugoslavia and towards western Europe, inspired by what was happening. The silhouette of the trophy has been put on top of that so it’s already an iconic shape in 1973. The cover doesn’t feel particularly sophisticated. It’s a bit wonky, a bit off centre, and that’s what gives it its charm.
Then, inside, there is very little storytelling. It feels like a list: lots of statistics, almost like a railway timetable. What are really interesting are the adverts. There’s one for something that looks like factory machinery, another for an umbrella; local ads mixed in with Fiat at the back – obviously the Juventus connection – and one for adidas.
Otherwise it just feels very functional. The only pictures of the players are the team line-ups and headshots, but there is no weight given to Johan Cruyff; he is just one of the guys tucked in there. It feels very egalitarian and matter of fact. I was in Berlin once and I picked up a couple of old machinery manuals from the DDR era. This reminds me of those – a washing-machine manual. Let’s just say that the cover is where the expression is.
Pre-order your official 2020 UEFA Champions League Final Programme at european-nights.com
The designer was probably given free rein for the cover of the 1973 final programme. You’ve got this stacked, tight leading and repetition of the words “Ajax” and “Juventus” in a kind of revivalist Art Nouveau typeface, which was really common around that time if you look at psychedelic music posters. It feels a bit like a Fairport Convention album cover.
You wonder why that typeface was chosen. The final was played in Belgrade and maybe that person was looking west, out of communist Yugoslavia and towards western Europe, inspired by what was happening. The silhouette of the trophy has been put on top of that so it’s already an iconic shape in 1973. The cover doesn’t feel particularly sophisticated. It’s a bit wonky, a bit off centre, and that’s what gives it its charm.
Then, inside, there is very little storytelling. It feels like a list: lots of statistics, almost like a railway timetable. What are really interesting are the adverts. There’s one for something that looks like factory machinery, another for an umbrella; local ads mixed in with Fiat at the back – obviously the Juventus connection – and one for adidas.
Otherwise it just feels very functional. The only pictures of the players are the team line-ups and headshots, but there is no weight given to Johan Cruyff; he is just one of the guys tucked in there. It feels very egalitarian and matter of fact. I was in Berlin once and I picked up a couple of old machinery manuals from the DDR era. This reminds me of those – a washing-machine manual. Let’s just say that the cover is where the expression is.
Pre-order your official 2020 UEFA Champions League Final Programme at european-nights.com
The designer was probably given free rein for the cover of the 1973 final programme. You’ve got this stacked, tight leading and repetition of the words “Ajax” and “Juventus” in a kind of revivalist Art Nouveau typeface, which was really common around that time if you look at psychedelic music posters. It feels a bit like a Fairport Convention album cover.
You wonder why that typeface was chosen. The final was played in Belgrade and maybe that person was looking west, out of communist Yugoslavia and towards western Europe, inspired by what was happening. The silhouette of the trophy has been put on top of that so it’s already an iconic shape in 1973. The cover doesn’t feel particularly sophisticated. It’s a bit wonky, a bit off centre, and that’s what gives it its charm.
Then, inside, there is very little storytelling. It feels like a list: lots of statistics, almost like a railway timetable. What are really interesting are the adverts. There’s one for something that looks like factory machinery, another for an umbrella; local ads mixed in with Fiat at the back – obviously the Juventus connection – and one for adidas.
Otherwise it just feels very functional. The only pictures of the players are the team line-ups and headshots, but there is no weight given to Johan Cruyff; he is just one of the guys tucked in there. It feels very egalitarian and matter of fact. I was in Berlin once and I picked up a couple of old machinery manuals from the DDR era. This reminds me of those – a washing-machine manual. Let’s just say that the cover is where the expression is.
Pre-order your official 2020 UEFA Champions League Final Programme at european-nights.com
The designer was probably given free rein for the cover of the 1973 final programme. You’ve got this stacked, tight leading and repetition of the words “Ajax” and “Juventus” in a kind of revivalist Art Nouveau typeface, which was really common around that time if you look at psychedelic music posters. It feels a bit like a Fairport Convention album cover.
You wonder why that typeface was chosen. The final was played in Belgrade and maybe that person was looking west, out of communist Yugoslavia and towards western Europe, inspired by what was happening. The silhouette of the trophy has been put on top of that so it’s already an iconic shape in 1973. The cover doesn’t feel particularly sophisticated. It’s a bit wonky, a bit off centre, and that’s what gives it its charm.
Then, inside, there is very little storytelling. It feels like a list: lots of statistics, almost like a railway timetable. What are really interesting are the adverts. There’s one for something that looks like factory machinery, another for an umbrella; local ads mixed in with Fiat at the back – obviously the Juventus connection – and one for adidas.
Otherwise it just feels very functional. The only pictures of the players are the team line-ups and headshots, but there is no weight given to Johan Cruyff; he is just one of the guys tucked in there. It feels very egalitarian and matter of fact. I was in Berlin once and I picked up a couple of old machinery manuals from the DDR era. This reminds me of those – a washing-machine manual. Let’s just say that the cover is where the expression is.
Pre-order your official 2020 UEFA Champions League Final Programme at european-nights.com
