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Originally a self promotional that I sent out to surrounding BIZ-nass-ez. Crotched Mountain asked if I would be willing to create a batch of posters for them based on this one... Sure why not! That's a snowboard tip anyhoo.
A poster series [1 of 4] dedicated to the deterioration of a conformed society of the 1950s, events that would precede the turbulent 60s.
McDonald's // The Evolution of a Fast Paced Society
Our whole concept was based on speed, lower prices, and volume.
Design by: navema designs
Diverse City Theater Company (DCT) "Green Room 2008" presents a reading of
PAPER SON by Christine Toy Johnson
directed by Victor Lirio
Producing Director: Natasha Marco
The Barrow Group Theater, NYC
Starring Broadway, Film & Television Stars: Eric Bondoc (Pacific Overtures), Susie Misner (Gossip Girl, Chicago), Pearl Sun (Dr. Seuss’ How the Grinch Stole Christmas), and Jason Tam (A Chorus Line, One Life to Live).
Summer, 1952. NYC. Tommy Lee, a Chinese-born U.S. army soldier, must reconcile his American identity with his family's illegal immigrant journey...
Public Relations Department poster. Hand pointing to open book.
Date: 1934
BPMA reference: POST 118/192
Final poster design for ReAct Theatre's Seattle premiere of David Lindsay-Abaire's "Rabbit Hole".
Running through May 2009.
See: www.reacttheatre.org for details.
I'd noticed that nobody had made the connection between the eye and the titular rabbit hole, and as I read the play I felt that the pupil acted as a metaphor for the tunnel of memory and self-deception that are part of the play's themes. Once that bit of the design coalesced, the rest came fast.
As always with Theatre poster design, there are limits to the complexity of the imagery, as you need enough area for the pertinent text.
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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while walking down the stairs at my local railway station I noticed these old poster, was a time warp back to 80s judging by the dates on them. There pretty well preserved due to being coverd up for the best part of 25 years
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?
In the June 1937 issue of Gebrauchsgraphik, the German advertisig art magazine, there are examples of the work of artist and designer Oleg Zinger and these include three example of posters he designed for London Transport. It is interesting in that is shows that London Transport, noted for its commissioning of posters and publicity, were casting their net outside the UK.
Oleg Zinger (1910 - 1997/8) was of Russian descent but had moved with his family to Germany in 1922 where he studied art and design. In 1948 he moved to Paris and continued working. Zinger's work for London Transport dates from 1933 until 1937 and of his two posters for the London Zoo, the lemur one is possibly best known. These three designs, including two more for the Zoo, do ot appear to have been issued by LT. The third, for the British Museum, is curious as it is almost identical to a poster Austin Cooper designed for the Underground Group and that was issued in 1928.
Internal GPO poster advising on how best to handle mail at Christmas; featuring a robin and two snowflakes.
Artist: Ripley.
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.