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Here's to a Cloudy Day
Project Almanac #21 of 365
(This poster is available to purchase from www.madeofsticks.com)
Poster detail for Dave Phillips, R. Jencks, Leticia Castaneda and Gerritt Wittmer performances at The Lab, San Francisco. September 1, 2010. Presented by 23five Incorporated, swissnex San Francisco, and The Lab.
Design by R. Yau.
Posterdesign, on the right side of the picture logos from Attila Auth/Plakát, jobbra Auth Attila opera logói
More photos/Több fotó:
picasaweb.google.com/sarkanylatvany8/XVIITervezografikaiB...
I used to imagine the revolution with all the originality of a bad action film. Overwrought James Cameron or Jerry Bruckheimer boilerplate bullshit where you replace the giant fighting robots with kids pelting capitalist oppression with paving stones.
The barricades. The tear gas. The dragging of the rich old white men by their collars into the streets.
But that vision had a problem. The script seemed to cast a whole lot of men.
Men throwing the tear gas back at the riot cops. Men burning the McMansions. Men pushing the desks out the windows of faceless corporate offices. Men – without recognizing the irony – somehow overthrowing the patriarchy. It's a tired script with a lot of senseless destruction and plot holes.
And that's why my hope for next month is this script gets a much-needed reboot. That this boiling hot rage I see from so many women becomes the burn-it-all-down-and-dance-on-the-ashes moment this country desperately needs.
A new and improved script. A much better cast.
Bombs away.
(CC License Attribution-NonCommercial-ShareAlike 4.0 International):
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Here's a poster I designed for a local band. New album "Humorous to bees" coming soon! Check them out when you get a chance!
A Henri de Toulouse-Lautrec [1864-1901] poster design entitled " Ambassadeurs Aristide Bruant" [1892] adapted as a mug's decoration. Such out-of-copyright or copyrighted use of famous or otherwise art works are often derided and termed 'kitsch' when applied to items with other uses apart from being a framed print reproduced to be hung on a wall. In our times such images can be readily reproduced and appear on everything from tea-towels to clothing or crockery etc, all far from an image made for enjoyment to be displayed as an artwork in its own right.
However, the original lithograph of this was produced for an advertisement poster and reproduced for the purpose of advertising this establishment (a cabaret), in various parts of Paris at the time, and therefore it's assumed, a number of copies would have been printed.
Is it right? Does such use debase the original works?
One out of three posters done for my Poster Design Final. We have to do a series of posters on any cultural event.
Did a triple dip set of inspiration posters for the trailer we developed for Filmed By Bike. So this was basically the starting point for Lynn's Trailer.
An article on how "The Orient Line sets a new standard for cruise propaganda" in the April 1937 issue of "Commercial Art" magazine and there is this reproduction of four typical posters issued by the company.
Two are by "Botterill" and this will be, I'm sure, Beryl Antonia Botterill (1907 - 1970), the Australian born artist and designer who was certainly working on such commissions in the mid-1930s. Trained in the UK she later partnered with her brother Harold Thompson (who also worked under the name "H. Botterill") under the name of "Anton". As cartoonists they were successful and, during Harold's wartime active service in the Navy, Beryl continued to produce many cartoons for numerous publications such as Punch and Lilliput. Beryl was apparently the first female member of the Punch "Toby Club" as well as being the first elected to the Chelsea Arts Club.
The striking minimalist poster upper left is by J. de Holden Stone who is, I think, James de Holden Stone who by the mid-1940s was Art Director at Vogue, the fashion magazine, and was a teacher at the RCA.
The final poster is by Frederick Halford Coventry (1905 - 1997), a New Zealand born and Australian trained artist and designer who came to the UK in 1929. He was an important figure who undertook a wide range of work in many media, latterly in etched glass and murals, and was commissioned by an extensive client list over many decades including Shell and the GPO.
A poster for the Office of Sustainability at Ohio university to draw attention to environmental concerns and call students to participate in environmental initiatives. These posters were distributed across campus in buildings, offices, dorms and classrooms.
When asked to create a graphic poster representation of word 'abundance' I had a long and deep think and realized this work. I wish I could have spent a little more time on it.
An example of a sixteen sheet poster in colour for the famous Marmite spread that brought "health and good cooking". Robinson's were a well known printer of advertising, publicity and especially, packaging.
First take on a poster project, based on a recropped original version of this photo.
For this certain doctor-type. What I worked on tonight. Many apologies for posting a draft...;)
Blogged. Also, see last year's version.
Updated the next afternoon with typos fixed and the border put back into the JPG. (It's 11x17 and does not bleed.)
Update, Jan 19: Nope. Going to have to do something else.
A rather jolly advert or poster design for the Electrical Development Association that appeared in the handbook to the 1960 Food Fair at London's Olympia. The EDA had been formed in the 1920s to act as an agency to promote the use of electricity by the then numerous players in the industry; it continued after nationalisation but, following the 1957 reorganisation of the industry, it was finally subsumed into the Electricity Council in 1966 to become their Marketing Department.
The cheery and warm child, with a fresh piece of cake, is by noted poster designer, artist and teacher Tom Eckersley (1914 - 1997).