View allAll Photos Tagged PosterDesign
Work at the station has recently uncovered these amazing advertising posters in non-public areas and that date from c1956 - 1959 when the station's lifts were removed and replaced by escalators. These are in an old lift passageway.
This poster for a c1958/9 film "The Horse's Mouth" starring the famous British actor Alec Guinness. The poster notes that it was the 1959 Royal Performance Film.
We will be leaving these intact - and please do not pester the station staff as the posters are wholly inaccessible - which is why they've probably survived 50 odd years!
The photos were taken officially - please do credit London Underground in any links.
A very striking poster, from an original design in cut paper, for what I'm sure is the German magazine UHU, published by Ullstein Verlag Berlin between 1924 and 1934. The magazine was very avant-garde and contemporary in tone that is now seen as being evocative of the Weimar years in Germany. It was published by the famous publishing house of Ullstein Verlag, founded in 1877 and who in the mid-20s constructed the architecturally bold Ullsteinhaus in Berlin-Tempelhof. In 1934 under Nazi laws, the Jewish owners saw the business sequestrated from them and it was returned to surviving family members in post-war years. The publishing name survives although under different ownerships.
The poster is credited to Gitta Mallász (1907 - 1992). Gitta had a fascinating history aside from being a graphic designer and artist - a talented swimmer, she endured both Nazi and Soviet oppression moving to France in 1960, and is now best known for the spiritual revelations she and her friends experienced during WW2 later published as 'Talking with Angels'.
Poster set made for my senior capstone show.
The project was a branding and marketing system for the proposed high-speed rail between Milwaukee and Madison.
I was also lucky enough to work with the famous, gorgeous, and sometimes sassy Sarah Mick . So go to her page and tell her how awesome she is.
See our stuff, and more of Sarah's work on her dribbble
The Racket is a writing series based in San Francisco where every month a new topic is chosen and a selected group of writers will read short stories they've written on that subject.
This is some of my first freelance work after years of doing Fillmore posters and it gave me the chance to see through a concept using photography and not just illustration.
The 9mm shell was purchased off eBay and the pencil was hot glued inside (after I spent an unmentionable amount of time sharpening it by hand with an x-acto knife). All of this was shot in my dining room with a 100mm Canon macro lens, a soft box, and bounce card.
Canon 5D MKIII w/ 100mm Canon Macro (22f@15sec)
The catalogue to an exhibition held by Shell-Mex and BP Ltd of their advertising posters, brochures and other publicity materials that was held at the New Burlington Gallery in London. For the occasion the company commissioned one of the foremost poster artists of the day, Edward McKnight Kauffer, to design the covers to the catalogue booklet. This he did with his usual bold style - the artist and palette superimposed on a scene of industry and technology, symbolic of Shell-Mex and BP's apparent patronage of 'commercial art'.
As the introduction, by Frank Rutter, notes the company came into the the field of using graphic design as the basis of their corporate identity following the example of London's Underground and that organisation's Commercial Manager, Frank Pick. It was Pick who, arguably, helped McKnight Kauffer on to the ladder of success with his early post-WW1 posters for the Underground Group. McKnight Kauffer went on to design Shell publicity, alongside a roll call of now famous graphic designers and artists under the patronage of Jack Beddington. Beddington joined Shell in 1928 and after the formation of the joint marketing concern Shell-Mex and BP in 1932 he rose to become Director of Publicity for the company.
The book is printed by Lund, Humphries of the County Press in Bradford and the typography and layout are 'very' Lund, Humphries for that date.
The company organised a second such exhibition in 1938.
Small squares, from the sky like drops of rain, fall on city streets, parks and squares. The flow did not stop for hours, and as soon as the sky went over the horizon, these tiny particles began to shine from the lights of passing cars, lanterns and advertising signs. Like snowflakes, they rattled under pressure. Few people noticed them, it became commonplace. Today was no different than yesterday. One day it began and lasted for many years, then faded, and then gained strength again. It became ordinary, boring.
www.facebook.com/events/626984904165181/?acontext={%22ref%22%3A%2222%22%2C%22feed_story_type%22%3A%2222%22%2C%22action_history%22%3A%22null%22}&pnref=story
House Baratheon
Sigil - Crowned Stag
Motto "Ours is the Fury"
After watching the awesome Game of Thrones series I became slightly obsessed with each of the House's and their identity or sigil.
Having found the houses and their representative sigils. I set about creating a vector for each one of them and creating a poster. I hope you like them as much as I do.
Work at the station has recently uncovered these amazing advertising posters in non-public areas and that date from c1956 - 1959 when the station's lifts were removed and replaced by escalators. These are in an old lift passageway.
This poster for the British comedy film "Too Many Cooks", starring Terry-Thomas, George Cole, Brenda de Banzie and Bernard Bresslaw. It was on show just down the Central line at the Odeon at Marble Arch.
We will be leaving these intact - and please do not pester the station staff as the posters are wholly inaccessible - which is why they've probably survived 50 odd years!
The photos were taken officially - please do credit London Underground in any links.
My piece for Make's DREAM Hip Hop & Design art show. This illustration is called 'Can I Kick It?' inspired by the song created by A Tribe Called Quest. And the city intersection is based on Flatbush Ave. and Fulton St. in New York City.
This illustration took approximately 20 hours over the course of 3 days.
A limited edition run will be available for purchase. All proceeds will go directly to the Community Arts Council of Vancouver. I'll provide an online store link here soon.
Poster dimensions 18" x 24"
Oct 2015
A fine bold graphic by Georg Baus (1889 - 1971) for the Leipzig Trade Fairs in 1929. the 'Double M' symbol was used for many years to denote the German city's trade and industry fairs. The lettering translates as "Visit us at the Leipzig trade fair".
Often my collage art is dominated by abstraction and geometry. This art form is the most understandable and attractive for me. My forms are created with a glitch effect from real photographs that I took. This is one of the techniques to change reality the way we are used to understanding it and to give the viewer the opportunity to see the world with my eyes, to touch my inner, non-objective world. Shapes and color. Rhythms and lines. The patterns of destiny in the intricate plexus over time are reflected in the heart by the desire to create and blend, to find new places for photography, in the flow, catching the wave in the process.
The LNER was, by common consent, the most adventurous of the Big Four railways when it came to publicity and advertising and they certainly were being in the forefront of the avant-guarde when in 1928 they commissioned this poster. The LNER heavily marketed their Harwich ferry services, to the middle and northern Continent heavily, as they were the company's shortest sea crossing and connected in with services to Germany and Eastern Europe via Belgium and the Netherlands.
The artist Adolphe Jean-Marie Mouron (1901 - 1968), who used the pseudonym Cassandre, was one of the most noted of the French graphic designers of the day and thsi poster is typical of his bold and striking graphics. His agency, Alliance Graphique, was used by many noted clients such as Dubonnet and the Wagons-Lits company, and the posters and advertising they produced are now often high sought after by collectors. This poster cleverly blends the ship's hull with the body of the locomotive and the use of the sharp diagonal is intended to give a sense of movement.
Spring came into it’s own, though not in the usual way. The weather changed, people and their reality changed. More and more often the sun appeared, it was still not much warm, but for nature it was like a sip of clean water, fresh sea wind, renewal in all aspects. Nobody paid much attention to it, because it was always like that and no matter what man did, this process will be repeated again and again.
But is it really so? Are we able to appreciate what we have, to save it and to multiply it, not destroyed it, but created.
Spring was awakening and I wanted to cover myself with it, to be imbued with every new leaves on tree, bright, contrasting, fascinating colours of flowers. To be closer to what we pay little attention to, considering it a simple everyday thing.
From a 1927 commercial art magazine a poster for Gronland Eis-Krem of Berlin and a suitably cold representation of artic climes to gow ith ice cream! The colourful poster goes as afr as the ruddy cheeks of the child's face - who holds up a plate of multi-coloured ice cream to tempt the purchaser.
The attribution to "Bernhard Rosen" threw me a little until it dawned on me that it is a studio name - the partnership between two famous German graphic designers and artists in the 1920s, the Bernhard being Lucian Bernhard one of the father figures of the modern poster movement, and Fritz Rosen (1890 - 1980). In the 1930s with the advent of the Nazi state in Germany, these two partners working careers drifted apart. Bernhard, who had left Germany to work in the US whilst Rosen maintained the Berlin studio in close collaboration with Bernhard, became latterly unfairly at times associated with the regime. Rosen left for the UK via Switzerland and ended his days in Brighton, England, in 1980. Many of his working papers are now in the V&A Collections in London.
The works to extend the Central line both east and west was originally instigated as part of the London Passenger Transport Board's New Works Programme of 1935-40, a vast investment programme whose scope and delivery would be seen as eye-watering even today. Much of the investment woudl be delivered although following the outbreak of war in 1939 and then post-war austerity it would take decades to complete what should have largely been delivered by the early 1940s.
One project that was well underway by 1939 but that was suspended was the expansion of the Central line - that to the north-east being jointly undertaken with the LNER mainline railway and this, to the west, along with the GWR whose existing lines out towards Ruislip the new electric tracks would parallel. The GWR were largely responsible for major infrastructure works such as station buildings and so for this poster their logo is also shown alongside the LT roundel. Interestingly, the final extension beyond Greenford would take place in 1948 and so, following nationalisation of both the GWR and LT, show the roundel and the new BR 'totem' logo.
This poster, the artwork from which was also used as the basis for publicity leaflets, is by Zero aka Hans Schleger, a designer who had worked for LT on such designs since the mid-1930s. It take the form of a bow firing the arrow of the new line west - a detail that is emphasised by the left pointing arrowhead alongside the roundel logo.