May 8, 2014

Soviet Anti-Alcohol Posters from the 1920s-60s

The Soviets were really good at making poster art in the form of propaganda, so good that even the most horrible messages had a begrudgingly nice look. But we have to say, when the Soviet graphic artists wanted to tackle anti-alcohol subjects, they make it damn effective. Here is a collection of anti-alcohol posters from the 1920s to the 1960s. Somewhere, Dostoevsky wants a drink

March 23, 2014

Become Someone Else: Poster Design by Gediminas Saulis

Website

March 13, 2014
cavanscott:

Love this brilliant alternative poster for the Karloff Mummy, which is also one of my favourite movies of all time…

cavanscott:

Love this brilliant alternative poster for the Karloff Mummy, which is also one of my favourite movies of all time…

3:02pm  |   URL: http://tmblr.co/Z8bgTy1A0HSS7
  
Filed under: poster art the mummy film 
February 23, 2014
Louise Lacour France.
Hard To See.
Society is based mostly on principles that are set by men. This masculine point of view distorts the relation between men and women. The blurry portrait symbolises the fact that our vision of the world is troubled by the obvious inequality between both genders. The symbols for men and women create a pair of reading glasses that prone the need for balance and gender equality.

Louise Lacour France.

Hard To See.

Society is based mostly on principles that are set by men. This masculine point of view distorts the relation between men and women. The blurry portrait symbolises the fact that our vision of the world is troubled by the obvious inequality between both genders. The symbols for men and women create a pair of reading glasses that prone the need for balance and gender equality.

February 22, 2014
Fabian Donoso.
Spikes.
Based on the idea as the only African woman obeys orders of a man and as such can not object to his castration.

Fabian Donoso.

Spikes.

Based on the idea as the only African woman obeys orders of a man and as such can not object to his castration.

February 20, 2014

fyeah-history:

Suffrage posters
These posters form part of a collection available to view online from the Schlesinger Library, RIAS, Harvard University. Full credit to them for these images. I suggest you have a look at the rest as they’re all pretty nifty to look at. You can view the full collection here.

(via dendroica)

February 15, 2014

Tanaka Ikko.

1. 20th anniversary of Shakaru, Poster, 1994

2. Nihon Buyo (Japanese dances), Poster, 1981

3. Theatre Poster, 1960-70

4. Japan exhibition, Poster, 1986

5. Man and Writing-Japan exhibition, Poster, 1995

I think that from the Nõ 
I have learnt the essence 
of the beauty of abstraction 
that can exceed 
the representation of reality.

Tanaka Ikko

February 6, 2014
Robert Longo 1981The Kitchen Archive, ca. 1971–1999The Getty Research Institute

Robert Longo 
1981
The Kitchen Archive, ca. 1971–1999
The Getty Research Institute

5:25pm  |   URL: http://tmblr.co/Z8bgTy16cXeW_
  
Filed under: art robert longo poster 
January 24, 2014
design-is-fine:

Tadanori Yokoo, poster design, 1979. For Kanox, fire-resistant fabric.

design-is-fine:

Tadanori Yokoo, poster design, 1979. For Kanox, fire-resistant fabric.

January 23, 2014
Victor Moscoso.
Quicksilver concert, poster, 1967

Moscoso is without a doubt a leading figure among psychedelic poster artists. He studies art at the Cooper Union School in New York, and later attends Yale, where he meets Josef Albers, who has a great influence on his work. In 1959 he attends the San Francisco Art Institute in California. After graduating he specialises in lithographic techniques, and subsequently teaches them. In 1966 he commences his career as a graphic designer, drawing posters for the Family Dog concerts at the Avalon Ballroom, the Neon Rose posters for the Matrix and concert posters for the Fillmore West. In 1967 he displays his work at the “The Joint Show” exhibition, organised at the Moore Gallery in San Francisco, together with the other “Big Five” poster artists of the San Francisco scene: Wes Wilson, Stanley Mouse, Alton Kelley and Rick Griffin. During the Seventies he collaborates in the production of the underground comic book Zap Comix by Robert Crumb, while drawing CD covers for CBS and Round Records, like the ones for Jerry Garcia, Bob Weir, Herbie Hancock and David Grisman. Furthermore, he collaborates with various radio networks, designing T-shirts, advertisements and animated commercials, for which he receives two Clio Awards for “Creative excellence in advertising and design”. In 2002 the Museum of Modern Art in San Francisco organises an exhibition of his work.
Psychedelic graphic design reflects the culture and the student protests of the Sixties and Seventies by experimenting new, hardly legible, typefaces, and by using dazzling colours and flaking images which mix in blurry artworks. Moscoso’s works are a link between underground comics, rock music and psychedelic graphic design. All of them are characterised by broken up images and vivid colours which make the whole composition vibrate, strengthening the messages they convey. The artist resorts to a grotesque and paradoxical style, drawing inspiration from the world of comics. For example, in the posters designed for the Avalon Ballroom, every detail is treated meticulously, in a stunning mix of typography and images. Another example is Neptune’s Notion (1967), created for a concert of the psychedelic rock band Moby Grape, where Moscoso reinterprets the famous painting by Dominique Ingres, Jupiter and Thetis (1811): in a marine scenario, Jupiter is substituted by a pink Neptune whose drape is replaced by a large yellow fish with the title of the event hidden among its scales.

Victor Moscoso.

Quicksilver concert, poster, 1967

Moscoso is without a doubt a leading figure among psychedelic poster artists. He studies art at the Cooper Union School in New York, and later attends Yale, where he meets Josef Albers, who has a great influence on his work. In 1959 he attends the San Francisco Art Institute in California. After graduating he specialises in lithographic techniques, and subsequently teaches them. In 1966 he commences his career as a graphic designer, drawing posters for the Family Dog concerts at the Avalon Ballroom, the Neon Rose posters for the Matrix and concert posters for the Fillmore West. In 1967 he displays his work at the “The Joint Show” exhibition, organised at the Moore Gallery in San Francisco, together with the other “Big Five” poster artists of the San Francisco scene: Wes Wilson, Stanley Mouse, Alton Kelley and Rick Griffin. During the Seventies he collaborates in the production of the underground comic book Zap Comix by Robert Crumb, while drawing CD covers for CBS and Round Records, like the ones for Jerry Garcia, Bob Weir, Herbie Hancock and David Grisman. Furthermore, he collaborates with various radio networks, designing T-shirts, advertisements and animated commercials, for which he receives two Clio Awards for “Creative excellence in advertising and design”. In 2002 the Museum of Modern Art in San Francisco organises an exhibition of his work.

Psychedelic graphic design reflects the culture and the student protests of the Sixties and Seventies by experimenting new, hardly legible, typefaces, and by using dazzling colours and flaking images which mix in blurry artworks. Moscoso’s works are a link between underground comics, rock music and psychedelic graphic design. All of them are characterised by broken up images and vivid colours which make the whole composition vibrate, strengthening the messages they convey. The artist resorts to a grotesque and paradoxical style, drawing inspiration from the world of comics. For example, in the posters designed for the Avalon Ballroom, every detail is treated meticulously, in a stunning mix of typography and images. Another example is Neptune’s Notion (1967), created for a concert of the psychedelic rock band Moby Grape, where Moscoso reinterprets the famous painting by Dominique Ingres, Jupiter and Thetis (1811): in a marine scenario, Jupiter is substituted by a pink Neptune whose drape is replaced by a large yellow fish with the title of the event hidden among its scales.