Meanwhile Theo had grown very familiar with Paesen-Printers from Opglabbeek. All printwork was done there including programme-booklets, letter-heads, posters and the like. The poster was the sign-board of the festival, of course with the birdies on all prints. And then came the computer and its people.
Renovation by the computer
From the early 80's the computer slips into the posterdesign. Still, pastel shades keep creating lovely results, as in 1981: the glorification of the violin as an instrument. Designing for an instrumental festival is less complicated than designing for a vocal edition. And after 20 different designs Theo lost track of inspiration. So guest-designers were more than welcome and also the "computerpeople" found their way to the festivalposter. They cross-inspired each other, leading to surprising results.
The same goes for the co-operation with Jaak Vaes, a printer from Overpelt who proposed to use the map of Europe in 1982 to which Theo added a "musical" letter-type. For typology is quite important.
Every now and then Theo only discovered the meaning of a guest-creation long after the realization. On the 1985 poster you may well discover a box with staves, symbolizing the information sent from the festival across Europe.
As tastes are different, styles were regularly altered. On the 1987-poster there is a touch of Tintin to be found, but clearly musically inspired and of course centered on Neerpelt.