VLOV (Ve-Love) es una publicacion que se origina en San Juan, Argentina, y al parecer es algo muy significativo para el equipo creativo de la misma, pues lo recalcan una y otra vez por medio de su pagina web. Continue reading
It’s always great to see a graphic designer being able to dissect information to it’s simplest form, British designer Graphic Patrick was able to do just that, though a series of posters that visually define multiple forms of mental illness. Continue reading
As I looked at the portfolio of commercial photographer Michelangelo DiBatista, I began noticing that advertising photography is currently going through an interesting phase that’s reminiscent of the old, pre-digital days.
Another sample of that archival look,as I call it, can be found in the movie poster I posted above,
I particularly enjoy looking at warm over-toned photography that somehow remind me of old, archival images. To me, they communicate a certain sense of comfort and familiarity; and those are very strong points when it comes to brand promotion.
Al momento de mirar los trabajos que ha realizado Michelangelo DiBatista, me detuve con atención para detallar algunas de las fotos que le ha tomado a varias celebridades y campañas publicitarias, y caí en cuenta de lo común que se ha vuelto el ver imágenes con aspectos añejos, tal cual si hubieran sido archivadas por mucho tiempo… Curiosamente, el afiche de esta película de cine es otro ejemplo; en lo particular, me gusta este tipo de manipulaciones pues comunican familiaridad y añoranza, los cuales son elementos muy potentes a la hora de promover una marca.
Poster design remains a strong way to reach wide audiences, even more in countries of limited sources. For a period of time, (ranging from the 60s all the way to the 80s) Cuban visual artists have produced nearly 1200 posters of enormous value that depicts not so much a political agenda, but rather an artistic power of great social impact. Many of those posters help us understand the times in which they were designed, and many of them could easily be categorized into different genders, but in most cases, they have similar aspects in common such as flat color renderings and visual wit through conceptual abstraction.
Inevitably, poster design is now a major art form. Museums from all over the world are paying big bucks for original prints. After all, how can any museum call itself modern without a descent poster archive? What follows is a conjunction of quotes from Taku Satoh, a Japanese Designer who’s interview is featured in Graphis 2010 Poster Annual:
These days, where the media is usually in an interactive form, I feel that a two dimension poster has a power of its own (…) A motionless media can be full of grace, and it spells out determination
I was really impressed with these posters, my favorite being the one in the middle; I really like the duality played by the elements in the composition. The poster on top comes second; is amazing how the typographic treatment is reminiscence to Frida’s fashion style. The fluidity, childlike quality of the third poster is also quite striking. Overall, what I like most about these posters is how a simple message can be delivered in so many aesthetic forms. I found all these concepts in the current volume of Graphis Poster annual, they were done by different designers from around the world to honor Frida and Diego’s retrospective year long exhibition hosted at The Fine Arts National Institute of Mexico.
Check out this eye catching set of posters designed to promote Perugina, a century old dark cocoa Italian brand owned by Nestle. I spotted theses posters in the current Graphis’ Poster Annual, a great source of inspiration and eye candy. I really like the execution of the gradient values in contrast to the earthly palette; compared to other posters I have seen recently, these concepts stand out a great deal as they do not relay on common trends but rather bring us back to a time when advertisement was heavily influenced by modern art. The creative professionals behind this work succeeded in communicating longevity and sophistication, key elements to target their consumers awareness.
I can’t think of anyone who doesn’t like movies. Obviously, we all have our preferences; I particularly prefer foreign and independent ones, those that are more innovative thanks to an interesting script and cinematography rather than special effects and famous celebrities. As a designer, one of my ultimate goals is to someday design a movie poster, in the mean time, just like a popular song by the Everly Brothers say…All I have to do is dream, (and keep on sharpening my skills till the day comes, of course).
On an added note, While I’m gaining more experience as a blogger, I realize the importance of sharing info, so with this post I’d like to start off by loading a few links where you can read interesting things about Movie Posters and even download
“Steel Tongs, Regular” from abstractfonts.com, which comes handy in case you’d like to design your own movie posters, like I did here for one of my old time favorites!
Source: A poster designed by Milton Glaser in support to one.org
In the process of working on an identity project, I was asked by the creative director to develop concepts that were not so literal and more subliminal, such a request was for me quite an eye opener, even to the point that I now feel capable to observe visual communication from a better vantage point.
I feel very lucky to be assisting someone who pushes me to excel and cares that I further develop my skills. by the way, look at that poster, how simple in execution yet how subliminal and profound!
The more I dig into graphic design history books, the more I realize the tremendous source of inspiration! At the present moment my eyes are having quite a feast looking through the pages of AGI, Graphic Design Since 1950 edited by Ben & Elly Bos and published by Thames & Hudson. By The way, AGI stands for Alliance Graphique International .
Being an emerging graphic designer, I am constantly revising its fundamentals, and I recall when I recently read that horizontal designs have a tendency to feel stable and may also communicate a sense of calmness that vertical compositions do not have. Author Alan Hashimoto explains in his book Visual Design Fundamentals, A Digital Approach , published by Charles Rivers Media: Think about how landscapes and seascapes stretching out horizontally seem relaxed and soothing. When we are at rest, our bodies are usually horizontal, providing the sense of calm required for sleep. Well, I’m not going to dispute Hashimoto’s theory, however, I couldn’t help noticing the dynamic quality of the poster I have included in this post, does it seem stable to you?
The poster above was designed by Tom Eckersley, (1914-1997). Along with Eric Lombers, his friend from his days in art school, Eckersley became one of the most solicited poster designers in his native Britain. Some of their clients included the BBC and the British Post Office. Prior to WWII, he would occasionally be a lecturer to art students at the Westminster School of Art, and during war, Eckersley designed maps , he became a cartographer. Like many designers of his era, Eckersley was a huge supporter of modernism as a way to promote social progress, and for the rest of his career, Eckersley became active in design education, becoming a lecturer at Yale University and head of the London School of Printing (Now, the London School of Communication), Which currently owns his archive. The work of Eckersley is currently exhibited in multiple museums including NY MOMA, the Imperial War Museum in London, and Museum Amsterdam.