Art Poster


“For the past five years, Cramer-Krasselt/Milwaukee has partnered with Milwaukee’s Penfield Children’s Center, a non-profit organization dedicated to helping infants and children reach their full potential, to promote its primary annual fund-raising initiative—The Croquet Ball. Each year, artists are commissioned from around the world to bring their unique vision to the event’s promotional posters. The caliber of talent is widespread, from international artists to local students at the Milwaukee Institute of Art & Design, and each artist brings a distinct perspective and enviable talent to the continuing theme of “Make an Impact. Have an Impact.” The donated illustrations are auctioned off at the event. Illustrators (from top): Red Nose Studio, Agnieszka Wojnar, Catalina Estrada and Lillian Duermeier.” (via Communication Arts)

Resently showed at the Chelsea Space in London was an exhibition exploring the working practice of the late, great Barney Bubbles. The show gave an insight into the imaginative mind of Bubbles, featuring letters, sketches and artwork proposals, alongside finished works. Bubbles’ contribution to graphic design has been increasingly recognised of late, especially since the publication of Paul Gorman’s monograph, Reasons To Be Cheerful: The Life & Work of Barney Bubbles. Gorman curated the exhibition at Chelsea Space, and the show included many items never seen in public before, including Bubbles’ student notebooks and sketchbooks, as well as artwork proposals for bands including Ian Dury, Elvis Costello and The Damned. There were also numerous examples of finished work by Bubbles, demonstrating the prolific nature of his talent. Included were record sleeves and artworks for bands, as well as advertising campaigns for the music press and videos.

Bubbles began working as a graphic designer in the mid-60s, and died in 1983, which, as Gorman pointed out in the notes for the exhibition, was just two months before the introduction of the Apple Mac computer. Alongside being a record of Bubbles’ work, the show was therefore also a fascinating insight into the graphic design process in the pre-digital age. An in-depth text (by an unattributed colleague of Bubbles) on display in the exhibition describes the production methods that Bubbles and other graphic designers of the time used, and the show included a number of PMTs (photo mechanical transfers) by Bubbles, created for preparatory artwork as well as a selection of working proofs, some of which included corrections. The text by Bubbles’ colleague also highlights the designer’s playful approach towards the rigid production processes of the time. “As well as working within its limitations, Barney liked playing with the printing process,” it states. “He enjoyed turning convention on its head by creating imperfections and being open to serendipity. The sleeve of Elvis Costello & The Attractions’ Get Happy!! bore deliberate wear scuffs, and there is a paw smudge on Rockpile’s Seconds Of Pleasure where a cat jumped onto the wet painting.”

Bubbles’ sense of humour arises elsewhere too, particularly in a limited edition version of The Damned’s album Damned Damned Damned, which came complete with a deliberate printing error and an ‘erratum’ sticker stating: “Due to Record Company error, a picture of Island recording artists Eddie & the Hot Rods has been printed instead of The Damned. We apologise for any inconvenience caused and the correct picture will be substituted on future copies.” The complexities of Bubbles’ character are also revealed within the examples of sketchbooks and letters that were displayed at the exhibition. These included self-portraits, lists and both personal and professional correspondence, as well as photographs and concert tickets designed by Bubbles in the 1960s. Bubbles has been cited as an influence on designers from Neville Brody to Peter Saville, and his inventive approach created some of the most striking imagery in 1970s and early 80s pop music. The show at Chelsea Space celebrated this work, while giving an excellent lesson on the practice of graphic design before the arrival of the Mac. (via Creative Review)

 

 

From MaxiMídia, a Brazilian company focused on modernizing and developing the communications industry, we get this 1950s retro looking promotional print campaign called “Vintage”. They worked with Moma Propaganda in São Paulo to develop this campaign which is focused on advertising seminars for professionals, introducing them to the new opportunities associated with social networking. The ads shows Skype, Twitter, Facebook and YouTube in terms of established technologies which are now old so to speak. I like the conceptual idea and the creative result, but I am not sure if they really hit the spot.

Funky poster.

Lazar Markovich Lissitzky (November 23 1890 – December 30, 1941), better known as El Lissitzky, was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the former Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.

El Lissitzky’s entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, “das zielbewußte Schaffen” (goal-oriented creation). Lissitzky, of Jewish faith, began his career illustrating Yiddish children’s books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its anti-semitic laws. When only 15 he started teaching; a duty he would stay with for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works — a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. (via Wikipedia)

http://en.wikipedia.org/wiki/El_Lissitzky

Ahh.. love love love the work of Glen Orbik. His noir/pulp fiction old style illustrations are just brilliant. Check out his website and galleries.

“Glen Orbik is an American illustrator known for his fully painted paperback and comic covers, often executed in a noir style. He studied art at the California Art Institute then located in Encino, later Calabasas, California and currently located in Westlake Village. He studied under the school’s founder, retired movie and advertisement illustrator Fred Fixler. He eventually took over the classes when Fixler retired from teaching and still currently teaches figure drawing after returning from an extended hiatus. His work has been compared to Alex Ross and Robert Mcginnis and he is a popular teacher among fine art, comic, and video game artists. He is currently working on a series of paperback covers for the Hard Case Crime series of novels and currently resides in Van Nuys, California.” (via Wikipedia)

http://www.orbikart.com/

This is a good one. Both designwise and conceptwise. The Martin Agency from Virginia has designed what “could be the first screen-printed posters ever to have been intentionally perforated by a shotgun”. This promotional poster is for the Alt-Country band Wrinkle Neck Mules and their album “Let The Lead Fly”. Thus each 18 x 24 poster is uniquely differrent. And according to Communication Arts “A shotgun won’t shoot through more than 25 posters; the 100 posters had to be shot in stacks of 25.” (via http://www.commarts.com)

http://www.wrinkleneckmules.com/

http://www.martinagency.com/

The Official Art Poster Edition of the 2010 FIFA World Cup South Africa, consists of works by seventeen internationally acclaimed artists with a special relation to the African continent. Read more on: http://brandsunitedug.sport.officelive.com/sitemap.aspx

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