History

From the archive

If you’re wondering why you should never judge a book by its cover, our design director Ranald Graham can explain

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

Easy spinach pizza crust

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

Read the full story
Sign up now to get access to this and every premium feature on Champions Journal. You will also get access to member-only competitions and offers. And you get all of that completely free!

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

Penalty Pedigree

Etiam erat velit scelerisque in dictum non. Dictum non consectetur a erat nam at. Scelerisque felis imperdiet proin fermentum leo. Nibh tortor id aliquet lectus proin nibh nisl. Nulla at volutpat diam ut venenatis. At urna condimentum mattis pellentesque id nibh tortor id aliquet. Leo a diam sollicitudin tempor id eu nisl nunc mi. Dui vivamus arcu felis bibendum ut. Pharetra convallis posuere morbi leo urna molestie. Adipiscing at in tellus integer feugiat scelerisque. In arcu cursus euismod quis. Dictum non consectetur a erat nam at lectus urna duis. Facilisi nullam vehicula ipsum a arcu cursus. At tempor commodo ullamcorper a lacus vestibulum sed arcu non. Ipsum dolor sit amet consectetur adipiscing elit pellentesque habitant. Vitae sapien pellentesque habitant morbi tristique senectus. Eget nullam non nisi est sit amet facilisis. Ipsum consequat nisl vel pretium lectus quam. Elit sed vulputate mi sit amet mauris commodo quis. Pretium fusce id velit ut tortor pretium viverra suspendisse potenti.

History

From the archive

If you’re wondering why you should never judge a book by its cover, our design director Ranald Graham can explain

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

Penalty Pedigree

Etiam erat velit scelerisque in dictum non. Dictum non consectetur a erat nam at. Scelerisque felis imperdiet proin fermentum leo. Nibh tortor id aliquet lectus proin nibh nisl. Nulla at volutpat diam ut venenatis. At urna condimentum mattis pellentesque id nibh tortor id aliquet. Leo a diam sollicitudin tempor id eu nisl nunc mi. Dui vivamus arcu felis bibendum ut. Pharetra convallis posuere morbi leo urna molestie. Adipiscing at in tellus integer feugiat scelerisque. In arcu cursus euismod quis. Dictum non consectetur a erat nam at lectus urna duis. Facilisi nullam vehicula ipsum a arcu cursus. At tempor commodo ullamcorper a lacus vestibulum sed arcu non. Ipsum dolor sit amet consectetur adipiscing elit pellentesque habitant. Vitae sapien pellentesque habitant morbi tristique senectus. Eget nullam non nisi est sit amet facilisis. Ipsum consequat nisl vel pretium lectus quam. Elit sed vulputate mi sit amet mauris commodo quis. Pretium fusce id velit ut tortor pretium viverra suspendisse potenti.

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

Read the full story
Sign up now to get access to this and every premium feature on Champions Journal. You will also get access to member-only competitions and offers. And you get all of that completely free!

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

Penalty Pedigree

Etiam erat velit scelerisque in dictum non. Dictum non consectetur a erat nam at. Scelerisque felis imperdiet proin fermentum leo. Nibh tortor id aliquet lectus proin nibh nisl. Nulla at volutpat diam ut venenatis. At urna condimentum mattis pellentesque id nibh tortor id aliquet. Leo a diam sollicitudin tempor id eu nisl nunc mi. Dui vivamus arcu felis bibendum ut. Pharetra convallis posuere morbi leo urna molestie. Adipiscing at in tellus integer feugiat scelerisque. In arcu cursus euismod quis. Dictum non consectetur a erat nam at lectus urna duis. Facilisi nullam vehicula ipsum a arcu cursus. At tempor commodo ullamcorper a lacus vestibulum sed arcu non. Ipsum dolor sit amet consectetur adipiscing elit pellentesque habitant. Vitae sapien pellentesque habitant morbi tristique senectus. Eget nullam non nisi est sit amet facilisis. Ipsum consequat nisl vel pretium lectus quam. Elit sed vulputate mi sit amet mauris commodo quis. Pretium fusce id velit ut tortor pretium viverra suspendisse potenti.

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