Potlatch Design Series Posters

7/28/2019 Potlatch Design Series Posters

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,^lG /ym jf m m :

"DOooOo

OCOihC DI n


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P O S T E R S , VOLUME 2 IN THE AM ERI CA N DES IGN C EN TU RY S E R I E S , IS BROUGHT TO

YOU ON POT LAT CH M c C O Y , AN UL TRA -BR IG HT BLUE WHIT E COATED PAPER THAT

COMES IN FOU R VERSATILE FINISHES - GL OS S, VELVET, SlLK AND VELOUR. A s YOU

ADMIRE THE IMAGINATIVE POSTERS IN THIS BOOK, PLEASE TAKE A MOMENT TO

NOTI CE THE WON DERF UL PAPERS ON WH ICH THEY ARE PRIN TED . TH E VI BRANCE

OF THE CO LO RS , THE CLARITY OF THE IMAGE AND THE S MO OT H LAY OF INKS HAVE

ALL BEEN ENHA NCED BY THE INCOMPARABLE QUALITY OF POT LAT CH M c C O Y .


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commercia l pos ter i s cons iderede p h e m e r a created specifically to sella product , promote an event or ra l lysu pp or t for a cause. B u t , in reality, itis the poster that often endures long

af te r the product has been consumed, the concer thal l l ights have been dimmed, and the war has beenw o n or lost . T h e po sters that are t reasured over t im eexhibi t aesthet ic values and concep tua l brilliance tha textend far beyond the t imely and topical . The practicalfun ct ion of a poster , how ever, is w ha t m a k es themedium i t s own un ique a r t fo rm. Unl ike works offine art created to be viewed at leisure, a poster mustcatch the at tention of disinterested passersby andm ake itse lf u nd er sto o d at a g lance. T h e best postersfuse words and image into one indelible impress ionand, in a few brief seconds, dr ive home their messagewith such power and persuasiveness that people feel


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compelled to act . T h e v isual poster came into i tsown dur ing the 20 th cen tu ry th rough the wides p readavai labi l i ty of color pr int ing and an adver t is ing-dr ivenm arketplac e . O v er the years, m os t of A m er ica 's fines tdes igners have cont r ibu ted to the medium - in suchhuge numbers , in fact , that select ing posters for thisvolume of t he A m er i can D es ign C e n t u ry has be endifficult. At times, i t was even frus trat ing becausespace l imitat ions forced us to exclude many wonderfulimages. Some posters of historic s ignificance alsowere s imply unavai lable for reproduct ion. What wehave t r ie d to b r i n g yo u is a representat ive sam plingof the bes t A m er ica n pos ter designs f rom the 20 thcen tury , w i th in the m os t c o m m o n subjec t ca tegor ies .A l th o u g h som e of yo ur favori tes may be missing,we feel tha t the se lec t ion , however subject ive ,dem ons t ra tes the o r ig ina l i ty o f A m er ic an des ignersa n d t h e p o w e r o f g r a p h ic c o m m u n i c a t i o n s .


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An Interview with Milton GlaserA major force in graphic design for the past half century, Milton Glaser has influenced generations ofdesigners, even as he has continued to reinvent his craft. Co-founder of the venerated Push Pin Studios[1954] and New York Magazine [1968], Glaser established his own studio, Milton Glaser Inc. in1974 andformed the publication design irm,WBMG, with Walter Bernard in 1983. Glaser is actively involved in a w ide range of high-profile graphic, architectural, interior, packaging and advertisingdesign projects worldwide. H e also has personally designed and illustrated morethan 3 00 posters for clients in publishing, music, theater, ilmand commerce. Hisposter uArt Is... Whatever/'commemorating the 50th anniversary of NewYork'sSchool of Visual Arts, w here he has taught for the past 40 years, wa s awardedthe prestigious Prix Savignacfor the "World's Most Memorable Poster of 1996."Q. Could you talk about some of the movementsthat influenced American poster design at the start of the century?A. In the Un ited States , the earl iest influence came from E urop e thro ugh the Art N ouv ea umo vem ent - wh ich was influenced, in part , by the Japanese art that pou red into Eu ropearou nd 1880 after Japan b egan trading w ith the West. T he flat colors and ou tlined shapesin Japanese w oo db lock prints had a significant influence on turn-of-the-century French ArtNo uv eau artists l ike He nr i de Toulouse-Lautrec and The ophile-A lexand re Steinlen. T heVie nne se Secessionists, mo st notably Gustav Klimt, were also caught up in Art N ou ve auand informed the Arts & Crafts mo vem ent . These mov emen ts we re n ot separate events , but a

continuing series of ideas that led to an Americanadaptation, which was first expressed in the worksof Wil l Bradley and Edward Penfield.Q. Were early Americanposter design styles largely imported?A. No, a t the same t ime, there was a moreindigen ous and journa l i s t i c curren t unde r wayin Am erica , as exempl i f ied by pract i t ionersl ike W ins low H om er and a f ie ld of A m eric ani l lustrators who developed in a narrat ive,reali st ic d i rect ion . Th at cur ren t brou gh t us topos ter ar t is ts like James M on tg om er y Flaggand Howard C hand l e r C hr i s t y .

L Y C E U MDO NUIXOTE

byz^ttTwo English artists William Nicholson (1872-194 9)and James Pryde (1866-1941) created posters underthe signature Beggarstaff Brothers, a pseudonymthey h ad lifted from a sack of corn. The brothers-in-lawdeveloped a collage technique, using cut paper to create

flat shapes and silhouettes.


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n U U N R O U Gm m m m B A LT O U S Les.SOIRSLA G O U L U E

Q. Who would you list as your favorite American poster artists from that early period?A. I love Edward Penfield - a wonderful artist, and I also happen to love Maxfield Parrishas an illustrator and poster artist. Parrish was part of the early tradition of doing magazinecovers that we re tur ne d into posters. H e did wonderfully striking images that you carry inyour mind long after you have seen them. Of that generation, they are exemplaryQ. Who are your early favorites from England and Europe?A. Well, of course, I love the Beggarstaff Brothers in Englan d. Th ey we re fantastic and p ow erful. Th eir w ork show ed a profo und A rt No uv ea u influence. In France, there was Steinlenand Felix Vallotton.Vallotton didn't do m any posters, bu t he did m any images that de pen dedon the strong simplification of black and white, also reflected in the work that the Beggarstaflsd i d . And certainly Cassandre defined the postergenre more than anybody else in the 20th century. Th os e are jus t a few of m y favorites.Q. William Nicholson and James Pryde, bothschooled in the fine arts, used the pseudonym"Beggarstaffs" on their posters. Did they seeposters as something less than true art?A. There are al l these secrets involving moonl ight ing painters who didn' t want to be considered commercial artists. I t is part of ourheri tage, in fact . People l ike Edward Hopperspent many years as an il lustrator, but wouldno t m en tio n i t for years after. T h en y ou dealw ith art is ts l ike Tou louse -Lau trec w h o didn' tsee the difference between the work he didas an applied artist and th e w or k h e d id as apainter . His paint ings and posters have verycomparable effects and qualit ies.Q. Is poster design kind of a bridge between commercial and fine art?A. In theory, i t is . T h e physical size of a pos ter puts i t m or e in the rea lm of pa intin gthan a l i tt le bro ch ur e cover o r a cover of a ma gazine . T h e size gets it closer to the ideaof something that sits on an easel as opposed to a drawing board.

The Art Nouveau posters that Henri de Toulouse-Lautrec(1864-190 1) painted for the Moulin Rouge in Paris wererevolutionary in that they told a pictorial story and tookadvantage of stone lithography for printing large color images.


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Art director for Harper's, Edw ardPenfield (1866-1925) workedprimarily in watercolor to design amonthly series of posters promo tingthe latest issue of the maga zine.The cover of the maga zine typicallyserved a s the image for the poster.

Q. Did the invention of lithography in the late19th century foster the development of visual posters?

O mmSt "^ // A. Lithography sent i t on its way. Before the advent ofl ithography, there wasn ' t m uc h of w hat w e wo uld cal lpos ters . T he invent ion of a way to rep rodu ce large imagescoup l ed wi t h t he need t o com m uni ca t e i n fo rm at i on t opeople on the s t ree t made pos ters an obvious ins t rumentfor commercia l purposes .Q. What did the first visual posters promote in America?A. M ost were d on e to pr om ote li terary, musical and culturalevents and spoke to a more upscale market. In the case ofWill Bradley's Chap Book and other magazines such asCentury, the poster was frequently an enlargement of the coverimage, displayed at the newsstand to advertise the latest issue.

Q. Unlike books and brochures, do posters always focus on a single idea or message?A. The original impulse for the poster was that i t should be understandable to those walking by w itho ut a serious co m m itm ent of t ime. Posters basically mad e themselves und erstoo dwithout complexi ty and were extremely reduct ive. Commercial posters moved increasinglytoward the synthesis of an idea a very direct visual, very easily un de rsto od statem ent sothat once you saw it , the act of recognition would penetrate your consciousness.Q. The need for quick understanding seemsto rely heavily on cultural symbols that people recognize immediately.A. Tha t 's always true in design. Des ign is frequently no t a place for the n ew because it hasto util ize the imagery and understanding of the people it is addressed to . W hen s om et h i ng i struly new, it is incom preh ensib le. So, you can never use wh at is truly ne w until i t begins tobe und erstoo d. Th at usual ly means introducing the new w ithin the c ontex t of w hat isalready k no w n. That ' s kind of a general principal about everything in design.Q. What was the influence of the Bauhaus?A. The Bauhaus set the s tage for American Modernism. Reduct ive design, clari ty and s implicity, the lack of ornamentation and, to some extent, the elimination of narration are allcharacterist ic of Bauhaus w ork. T he B auhaus defined the tenets of M ode rnism , inform ing awhole generat ion of designers and people who did posters in the United States .


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Q. How did the European emigres of the 1 9 2 0 s , '30s and '40s figure into this?A. They were products of the Bauhaus.What Herbert Matter, Will Burton, Erik Nitsche,Herber t Bayer, E. McKnight Kauffer and other emigres to America were espousing in termsof Modernism was the philosophical roots of the Bauhaus.

Q. Did they influence American design practices at the time?A. Very much so. Paul Rand, Lester Beall, Alvin Lustig, Erik Nitsche who was European -

all fell under the emigre influence..5? AMEDEGERANGE E T D ' A R M E M E N TinO

C O T E D ' A Z U RI ; f

A Cubist influence is evident in the work ofA.M. Cassandre (1901-1968),who changed his name from Adolphe Jean-Marie Mouron when he immigrated from Russia to Paris. Cassandre's reductive approach utilized broadplanes of color and turned subjects into iconographic symbols.

They were flag carriers of this extraordinary change and responsible forthe introduction of Modernistthought into American design.Q. How were youinfluenced by the Bauhaus?A. When I was in high school, designpractice was all about Bauhaus andModernism. By the time I finishedCooper Union, I began to reject itbecause it seemed limited as a singularpoint of view. I felt I had to find analternative way of thinking about whatdesign is, what art is, what beauty is.Q. Where did Cassandre fit in?A. Cassandre was very much influenced by Cubism, which was thewave of the new at the time and rancontrary to the visual tradition inFrance. Cassandre's works offered adifferent perception of reality. Viewers

had to make an effort to switch their assumptions while looking at them. Cassandre's posterswere novel and startling, on the cutting edge of modernity. People who responded to themfelt they were part of this change. Good design always engages people in a kind of tribalidentification - making them feel that they're participating in change.


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Q. Weren't the WPA and Bauhaus happening about the same time?A. T he two occ urre d m ore or less at the same t ime. Bu t the W PA [Works ProgressAdm inis tra t ion] wo rk was mo re indigenous ly Am erican . Th e M odern is t a t t i tude d idn ' taffect very mu ch of w hat was going o n in the W PA , w hic h ten ded to be more s torytel l ingand was less influenced by a new kind of typography and symbolic language.Q. As a student, what did you think of the WPA posters?A. It varied. I thought they tended to be corny or less sophisticated than their Europeancounterparts . In retrospect , they begin to look bet ter having the veneer of t ime on them.Q. Are there certain American posters that stick in your head as icons of this century?A. A couple come to mind the posters that Lester Beall did for the Rural ElectrificationAd min istration that related to agriculture, wa ter and power, and posters that Be n Sha hndid for the U.S. Office of War Infor ma tion. Th ey w ere very powerful and me mo rab le. T hework Victor Moscoso did in the Sixties seems to epitomize that moment in history. I wouldalso include ma ny w orks of Saul Bass, Paul Davis, Jim M cM ullan , Seym our Chwast, IvanChermayeff, Paul Rand, Michael Vanderbyl, Paula Scher, Woody Pirt le,Tony Pal ladino andGeorge Tscherny that persis t in my memory.Q. What about the designers and artistsassociated with the Push Pin Studios? Did you influence each other?A. W e did have an effect on one anoth er. Ev eryo ne ha d a personal way of loo kin g at things.One of the more significant things we did as a group was demonstrate that i t is possible tobe eclectic as a designer.You didn't o nly have to use M od ern ism as you r basic resource. Youcould take ideas from anyw here. You co uld look at things like Art N ou ve au , Surrealism orConstructivism, for instance, and derive a lot of ideas from them and see them as part of acontinuing series of ideas. That was not such a common idea when we started.Q. As a communications venue are posters more important in America than elsewhere?A. No, in Europe there are kiosks and other spaces officially allotted for posters, but inA m eric a, there is usually no official w ay for posters to be displayed. Th ey often h ave to b epu t up opportunistically. In N e w York, you pay peo ple called snipers to pu t posters up onfences a rou nd build ing sites and so o n. It 's illegal, bu t o ne of those illegalities that is no tpursued. If you post i t yourself, the same sniper will take every on e of you r posters do w nor cover them before the end of a day. At this point in history, posters are not the mosteffective way of communicating ideas in our culture.


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Bob Dylan Album Poster, Milton Glaser 1967


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Q. In recent years, it seems that your approach to posters has changed.A. Yes, I 've be co m e interested in d oing c om plex posters featuring m any ideas, w ith anarrative and so on. The re's som ethin g for the first look and th en there's som ethin g to g oback to. These posters tend to be less reductive, more complex.Q. Don't complex posters that people have tostop and read run counter to the fast pace of society?A- All design is med iated by its context . O nc e you kno w that, you think ab out the op po rtu nity created by a specific circumstance. For instance, I 've done a lot of subway posters for the

POSTER ADVERTISING SERVICE

Even for commercial posters, Maxfield Parrish (1870-19 66) expressed a roman ticized view ojthe world with idealized landscapes.

Sch ool of Visual Arts in New York. If you kn ow the social habits of people on the subway,you're aware that people are desperate for something to read. If they didn't buy a newspaper,they'll stop in front of a poster and actually read it because they're waiting for the train toc o m e sometimes an interminable wai t . U nd er such circumstances, you migh t qu est ion theidea of simplicity o r reductiveness to make a form that is m ore interesting and com plex.Q. What is the appeal of designing postersfor you? The size? The conciseness of the message?A. It's all of that. T he size is certainly im po rtan t beca use as a designer you're often w or kin gin an 8 1/2 x 11 form at. To see so m eth ing at a pos ter size is the closest thin g to easel pa in ting designers have. It's a great chang e of expec tation abo ut wh at you r wo rk looks like.Q. Is it less collaborative?A. Unlike most design activities that are done with the participation of copywriters, account

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executives, marketing experts and so on, a poster artist usually puts i t together by himself.From that point of view, it is generally more satisfying and also has a capacity to be moreunique than the sort of systemic generalization that occurs in much collaborative work.Q. How did your famous Dylan poster come about?A. Jo hn Berg at Colum bia gave m e the assignment to do a poster for the Dylan L P album. Iknew Dylan at the time because I was a good friend of his manager, Albert Grossman. I kne wI would do a portrait , but I wanted to do it in a fresh and compelling way. I had a memory ofa self-portrait of Du cha mp s, w here he cut his head out of a sheet of paper. I remem bered thedrama of that head as an object in space and th ou gh t I could do so m ething just sho wing a silhouette, a black shape of Dylans profile with psychedelic hair. I didn't do a lot of developmentfor that poster. The graphic solution the contrast between this wavy colored, abstracted formand the dense silhouette of the head was the first thing I did.Q. Did you have trouble selling it as an idea?A- N o , I just sent it over. T he original had a har mo nic a attached to Dylan's neck, so th erewas anoth er l i tt le form at the bo tto m . T he art director said, "Get r id of the harmonica." Hewas right. T he simplicity helped it .Q. What influences and inspires your poster work?A. I 've been very influenced by a lot of people. I 'm certainly influenced by the history ofposters and certainly by Toulouse -Lautrec and m ore dramatically byVallotton who has alwaysbeen one of my great interests . I love that whole period of turn-of-the-century France.Q. Do you have favorite themes when you're working?A. Yes, certainly. If I loo ke d over things I've do ne , I 'm sure I cou ld find a lot of patterns.There's this big profile device I use often. I use still life ideas in a lot of my work and lookto th e histo ry o f art as a reference po int as well. Bu t obviously, the po sters are drive n bytheir subject matter more than anything else.Q. Posters are classified as ephemera becausethey promote events or products of the moment. How do you view them?A. They are vernacular in the sense that they generally speak the language of t h e m o m e n tto c om m unic ate to their aud ience. Bu t my ho pe for d oing a poster is always that I willcreate so m eth ing that will have staying pow er, that 20 years later som eb od y will say, "H ey ,that looks pretty good ." Th at reward is no t related to the selling function of a poster bu tto another objective, the desire to produce work that has more than transitory value.

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P R I C EKEEPS TEETH

W HITE

D E N T Y N EWmm I N K 1 ^ 1 I I ^1 mm -P E R O X I D ETOOTH PASTE

TH E K IN D YOUR DE N TIST RE COMMEN DS'Two key messages were communicated

in this 1911 poster for Colgate's Dentynetoothpaste - the signature red color

of its packaging and the fact that Dentyne"keeps teeth white."

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< David Lance Goines' useof broad, flat colors, outlinedshapes and hand-letteringis reminiscent of ArtNouveau. Through his SaintHeironymous Press inBerkeley, California, Goinesprints the posters that hedesigns and il lustrates. Thisposter for Chez Panisse wasoriginally printed in 13 colors.

The father of Americanvisual posters, Will Bradleyreflected the design style ofhis time. Here he emulatesthe heavily ornamentedborders introduced by Artsand Crafts leader WilliamMorris and the drawing styleof Aubrey Beardsley.

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ANYWAY YOU SLICE I T - E

16 D uring the Sixties, art director Dennis Wheeler created an advertising poster campa ign for Life magazine using playful


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metaphors and visual puns. No matter how you sliced it, Life's logo remained recognizable to viewers


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< Pau l Rand - wh o createdmany of the century's mostrecognizable corporateidentities - designed IBM 'sslab-serifed logotype in1956 and gave it stripes in1972. Here he had fun withBig Blue's famous mark byturning it into a witty rebus.

Swiss graphic design wasintroduced in America in thelate 1950s, and emigreslike Swiss-born Erik Nitscheintroduced the clean,organized style to corporateidentity programs and appliedSwiss design principles tocorporate posters.

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Ivan Chermayeff and Tom >Geismar demonstrated that

photography is the perfectmedium for communicatingthe reality of place in these

travel posters for Pan Am .

In 1994, CKS Partners'Jil l Savini teamed up withillustrator Terry Allen toevoke the great sea cruiseposters of the Thirtiesby paying homage toA . M . Cassandre's famousFrench Line images.20


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Painted by Haddon H. >Sundblom, this is one of

the most famous bi l lboardposters of the Forties.

Through an al ignment ofkey visuals - Coke bottle,

young woman, Yes andCoca-Cola logo - the poster

conveys a narrative sequencethat leads the viewer's

eyes to the brand name.

You don't haveto be Jewish

to love Levy'sreal Jewish Rye

Countering ethnicstereotypes and celebratingcultural diversity, theseposters by Doyle DaneBernbach copywriter JudyProtas and art director BillTaubin helped to makeLevy's the best selling ryebread in New York.2 2


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Potlatch CorporationRO. Box 510Cloquet, MN 55720-0510

BUSIN E SS R E PLY MAILF IR S T - C L A S S P E R M I T 1 7 0 0 CL OQ UET, MNP O S T A G E W I L L B E P A I D B Y A D D R E S S E E

P O T L A T C H C O R P O R A T I O NP.O. BOX 510C LO QU E T , M N 5 5 7 2 0 - 0 5 1 0

NO POSTAG EN E C E S S A R YI F M A I L E D

I N T H EU N I T E D S T A T E S

I . I . I M I , I , I M , I M I , I I I M , I , I M I , I M I I , , , H I I , I I .


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In 1932, illustrator Otis Shepardreceived first prize in the Outdoor Advertising

Association competition for this poster forWrigley's gum. Reflecting the fashion vogue of

the Thirties, the poster positioned Wrigley'sas a contemporary product; today the image is

appreciated for its aesthetic composition.


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The distinctive internationalstyling of Italian-bornMassimo Vignell i 's workcomplemented the design ofKnoll's furniture products.

i gives architectural


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Hot Seat Knoll

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Herbert Bayer emigrated toAmerica after the Nazisclosed the Bauhaus in1933. For Olivetti, an earlyleader in corporate visualidentity, Bayer created anabstract graphic image thatsuggested the tape of anadding machine.

Designer Nancy Skolosteamed with partner/photographer Tom Wedellto create an abstract collagefor Berkeley Typographers.The use of contemporaryimagery helped to positionthe company as a cutting-edge typographer.

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A uniquely American genre, Barnum & Baileycircus posters overwhelmed the senses

with a plethora of words and images designedto convince viewers that they would be

treated to non-stop thrills.

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The golden age of magic >shows coincided with the

heyday of chromolithographyfor large-scale color repro

ductions. Magic posterstypically presented a portrait

of the magician and/or one ofhis most famous tricks.

V*AYHM:. ^^%

CARL PIER SONStory ByUN&SLEY PARSONSScreen Ploy ROBERTEMMETT

Early Hollywood movie posterswere done in a narrativestyle, showcasing the star anda preview of what the filmwas about. Common duringthe period was the integrationof hand-painted lettering intothe illustration.32


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Saul Bass departed from the movieposter tradition of featuring a likeness of the star.

Instead, he chose to capture the moodand theme of the film through a simple

yet compell ing drawing.


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F R ^ N K S I N A T R A E I ^ A N O R , PARSER,- K J M N O V A K

A FILM BY OTTO PREM.NGER . FROM T HE NOV E L B Y NElSON ALGREN . MUS.C BY ELMER BE RN STEIN . PRODUCEO & DIRECTE D BY OTTO PREMINCER


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Saul Bass' reductive approach to design wasaimed at leaving viewers with one overridingimpression. In "Exodus," Bass combined histraditional graphic style with the reality ofphotographic f lames to heighten the impactand immediacy of the image.

N D E R E K . H U G H G R i r f l T H , GREGORY R A T O * F, JILL HAWORTH IN FXO0US * SCREE NPLAY f it OAUON TRUM8CM L E A V I T T . TODO A G ST E RE O PH O NI C SO U NO A U A . RE L E A SE PRO DU C E D ANO DI RE C T E D BY O T T O PRfMINGtR


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OTTO PREMINGfiR P R E S E N T S PAUE N l W U A N . E VA M A R I E S A I N T , R A L P H R IC H A R D S O N , P E TE R t A W F O R D , IE E J . C O B B . S A i M IBAStQ O N T H E N O V E L BV EEON U R t S , MLJSiC BY OWIEST GOLD PHOTOGRAPHID IN SUPER PANAVfSION / G , T E C H N I C O L O


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For greater on-street >visibility, M ilton Glaserdesigned this Mahalia

Jackson concert posterso that it could be hung

as a single sheet or insets of four (shown here).

^ -':.: '" " t t \

Ruspoli-Rodriguez suggestedthe dawning of the Ageof Aquarius with a glowingpsychedelic image andtie-dye colors done usingsplit-fountain printing. Themusic and images from"Hair" became synonymouswith the Sixties.38


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A founding partner of Pinnacle Production Company, the first tostage psychedelic rock concert/dances in Los Angeles, John Van Hamersveld

applied his art education toward designing posters for manyPinnacle events. He went on to design more than 300 album covers

as well as a major mural for the 1984 Olympics.4 0


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During the Sixties, San Francisco was the center ofnew rock music and the hippie scene. The Fillmore Auditorium and

Avalon Bal lroom which showcased top talent, promotedtheir l ive dance/concerts through giveaways of psychedelic posters.

A unique style of the Sixties, these posters featuredoptically vibrating colors and sinuous hand-lettered type, many

evocative of the Viennese Secessionist style.


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Pentagram's Paula Scher >

created a cacaphony oftypographic sounds in this

poster for "Bring in 'da Noise,Bring in 'da Funk," one

of several posters thatshe has done for the Public

Theater in New York.Founded by Joseph Papp,

the Public Theater has a longtradition of commissioning

great posterists.

EXHIBIT-JEROME ROBBINS "BALLETS U.S.A."-U.S.I.S. GALLERY 41 GROSVE NOR SQ. LONDON W . l . SEPT. 1 5 0 C T . 2 3 . 1 9 5 9

During a st int as al ithographer's apprentice,Ben Shahn claims hebecame "infatuated"with type. Shahn madehand-lettered type apredominant visual elementin most of his posters.4 2


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T H E PU BL IC T H E A TE R /N E W YOR K S H A K E S PE A R E F E S T IV A L N ftStN TS;B R I N G I N D A

( D I K E A M B A S S A D O R T H E A T R E219 WEST 4 9 TH STR EE THE Ml 111 ! I t B-ffl-ia BEGINS A P R I L 9 T H4 3


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THREE ^ J J & N R J - Jbrm&

/ '

:a&frte ...

P U B L I C I H E A Two of the foremost illustrators of Broac

show posters are Push Pin Studios alumni: Rand James M aster of portraits,

Paul Davis has painted many of the most famousfaces in the world. His realistic technique

and evocative style give viewers a sense of thesubject's inner emotions.


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HING

U N C O L N C E N T E R T H E A T E R ' E V I V I A N B E A U M O N T

H E C H T & ( ^ A R T H U R ' SM MR T H E A T E R a t t h e V I V I A N B E A U M O N TJames McM ullan works primari ly in

ink-line and watercolor. Starting with pencilsketches and reference photographs,

M cM ullan approaches each assignment somew hatjournalistically, seeking to capture the

one facial expression or scene that embodiesthe essence and tone of the play.


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comune di venezia assessorato alia cultura mestre

otalemus...teatro nunte tecnologie^1 |^mbre 1995


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< A pioneer in the use ofcomputer graphics, JohnHersey assembled thisfanciful image electronicallyfor a new technology operaperformance held in Italy.

A departure from traditionalBroadway theater posters,the hard-edged graphicsby Gilbert Lesser helped tocommunicate the rawemotionalism of the play.

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For Masterpiece Theater's >" I , Claudius," Pushpin's

Seymour Chwast capturedthe imperial intrigue of

ancient Rome by makinga mosaic of Claudius,

surrounded by a snake anda goblet of split wine/blood.

In trying to achieve thelook of a chromolithograph,

the poster was originallyprinted in 15 colors.

c. ' -', rB E T W E E N

T H E W A R SfAmerican D iplomatic History In >m Yersai!les to Pearl H arborA unique 16-week television series Host: Eric SevareidWednesday evenings beginning April 5 at7:30 Channel Mobi l

Ivan Chermayeff and TomGeismar, who had designedthe logo for Mobil in 1964,were later commissioned todesign posters for the PBSMasterpiece Theater, fundedby M obi l. For both PBSseries, Chermayeff & Geismarchose signature objects -helmets and a hat to defineeach period between thewars, and Winston Churchill 'sfamous cigar and hat.4 8


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Electr ical ly cwctatedttainsleaoe^ora RANDOLPH J i .& MICHIGAN Ave.ands top a t V A N BURNJi.,ROqfEVElT R d . , 5 3 * 6 3 ^ , A * cm d KEN/JNGTON.

Representative of the narrativepainting style of the period, this football poster

by Otto Brenneman is actually intended toencourage people to travel to the Notre Dame

games via the South Shore Railway.

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< The WPA, formed duringthe Great Depression,hired unemployed artiststo produce publicservice posters, suchas this one promotingoutdoor activities.

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A European emigre whocame to the U.S. in 1935,Joseph Binder was heavilyinfluenced by Cubism.Binder evolved a natural yetstylized look, using flatshapes and sharp contraststo suggest shadow and light.

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For an exhibition on baseball,Pushpin Group's Seymour Chwast chose acut-paper style of illustration to communicatethe vernacular of the game, showing the

path of a whimsical curve ball.

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No bird soars too high,If he soars with his own wings.-William Blake

Mich ael Jordan's legendary grace andpower on the basketball courts gave spectators

the impression that he was "flying throughthe air" and led Nike to create an athletic linecalled Air Jordan. This six-foot long poster still

falls short of Jordan's true reach.


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Created in 1903 to promoteM ercers burg Academy, a Pennsylvania prep school,

this poster idealizes youthful manhood andAmerica's great national pastime in a style that

is representative of the times.


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< Evocative of the romanceand unhurried pace ofa bygone era, this posterby Michael Schwab exhibitsa reductive style usingflat, bold colors and astrong graphic renderingof the subject.

5 8 2 8 S C I G C I 8 C I 1N A T I O N A L O F F S H O R E P O W E R B O A TW mmi ttiftHl MK C08 M BHROIT P8IS? PEISSSST MB6MIICK SS MG IIS IIM F8EEP0 8T,8MMS IMPERIAL W6RUI CUP CHAMPOHSttP

Best known for his graphicdesign for Herman Miller,Stephen Frykholm used flatcolors and a distant horizonto suggest the broad expanseand freedom of racing acrossopen water.

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r-O< />>zomrm(Aor-- o( =>X I00lo o00- G amesoftheXXll Ird Olym piadLos Angeles 1984 1K&

For the Atlanta Games, >Primo Angeli exemplified the

spirit of the OlympicMovement with a classic

Greek profile of an athleteand a ghosted image of theOlympic torch throwing offembers of American stars.

Los Angeles 1984 Olympic Games

Th e host city for eachOlympics tournament bringsits own unique graphicinterpretation to itspromotional materials. Asthe host city for the 1984Games, Los Angelesexpressed its avant gardepersonality through photo-surrealist posters doneby local designers includingSaul Bass (left) and AprilGreiman and Jayme Odgers.6 2


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OLYMPIC G,- - LESJEUXOLYIV

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End B a d B r e a t h .Seym our C hwast's genius at packaging a

serious message within a disarmingly innocent imageis evident in this poster. Here he combines a

familiar advertising slogan with a primitive woodcutof Uncle Sam to protest the aerial bombing

of Hanoi during the Vietnam War.

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< One of the most popularillustrators of his day, Joseph C.Leyendecker depicted Americaas it wanted to see itself,whether that was the dashingArrow Shirt man or thechampions of freedom. Herehe liberally util ized patrioticsymbols, including LadyLiberty cloaked in the f lag,the official shield, and a swordwith the Boy Scout motto.

FIGHTO R

B U Y B O N D ST H I R D

M B E R H f L O A N

A highly narrative,il lustrative style dominatedposter design during,and just fol lowing WorldWar I, before the Bauhausemigres ushered in thereductive style of M odernism.Eugenie Deland appealedto patriotism throughnational symbols (left), andHoward Chandler Christysent his famous "ChristyGirl" off to war by presentingher as a "lady at arms."

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BEST!D I V I S I O N O F I N F O R M A T I O NOFftCe FOS E M E R G E N C Y M A N A G E M ION ^ g fCharles Coiner delivered a powerful message in the simplest and most direct manner in this World War II poster. 69


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E? nwreeMtny TL^GQ.IWATIT Y dFOR U.S.AR MYN E AR E S T R E C R UIT IN G STATION

A 1915 British military recruiting poster wasso effective that in 1917 James Montgomery Flagg

did an American version in the same pose, usinghimself as the model for Uncle Sam.

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Steven Horn did a take-off on an Americanicon to drive home his anti-Vietnam war message.

The pose and arm position are similar toFlagg's Uncle Sam, but Horn's version shows a

defeated and disillusioned man.

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Jean Carlu sought to distill >a message to its essence,

avoiding "two lines where onewould do." By repeating the

pictographic silhouettes in theform of a factory worker and

machine gunner, Carlu gave adouble meaning to the phrase

"Give"em both barrels" andemphasized the importance of

supporting the war effort athome and on the battlefield.

In New York to completea French exhibition for theWorld's Fair when Hitlerinvaded Paris in 1940,Jean Carlu stayed in Americafor the duration of thewar, creating powerfulsymbolic posters in supportof the Allied war effort.This poster won first place ina government-sponsoredposter contest aimed atboosting wartime production.72


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J. Howard M iller used body language -the flexed muscle pose associated with macho

males - to suggest that women were fully capableof doing a man's job. M il ler 's dow n-to-earth,

realistic style reinforced the message that womencould run the machines while the male

work force was off at war.


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Designer Richard Hess >and illustrator Paul Davis

collaborated on thisbenefit poster for California's

migrant farm workers fromMexico. The noble pose

of the young migrant worker,set against a cloudy

sky, is evocative of earlysocialist posters.

A master of typography-based design, HerbLubalin wrote the copyand designed this anti-warposter for an AIGAexhibition. The bold whitetext, devoid of colorexcept for the cockroachescrawling in the lastword, gives stark realityto the message.78


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CAR2VEGIE H A L L D E C E M B E R 4 , 0:30 P . M .

VIVA CHAVEZBEIVEriT PERFORMANCE F O RT H E C A LIF O R N I A G R A P E W O R K E R SALAN KING F l f l l , F A U X & HI A i l M B MORBVIVA i* CAUSA

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O>Graphics exhibition

in Russia, Chermayeff& Geismar let theimage explain the

contents of the show.

As part of an effort toencourage rural areas inAmerica to install electricity,in the 1930s Lester Bealldeveloped a series of graphicposters that touted itsbenefits. Beall's Modernistapproach condensedvisuals and words to theessential message.8 4


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A M E P M K A H C K A f l T P A O H K A

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< For the Mexican Museumin San Francisco, JenniferMorla integrated thevernacular typography andcolors of Mexico into thedesign to communicatethe museum's focus to aCalifornia audience.

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John Clark utilized the edgyexperimental typography ofthe Nineties to suggest theavant garde nature of Ask'sCommon Ground Festival.

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Primo Angeli found the Art Deco style ofthe Thirties perfect for this poster commemorating

the 50th anniversary of San Francisco's GoldenGate Bridge, completed in 1939.

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For decades, Container Corporation of America,commissioned the leading exponents of

Modernism to shape its visual image. Emblematicof the Swiss graphics popular in the Sixties,

this poster by Tomoko Miho follows in the greatCCA design tradition.

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< Bruce Blackburncommunicated the grimreality of this diseasewith graffiti-l ike bluntness,using iconographic symbolsto succinctly conveythe key points of thisAIDS message.

'28 Broadwar HewYork 5 HY

An epidemic that sweptthrough the nation in thelate 1940s and 1950sbefore the development of avaccine, polio was thesubject of many publicservice campaigns. Theseposters by Milton Ackoff(left) and Herbert Matterreflect the quintessential lookof the Fifties, with theirangled type, bands of color,integration of graphics withphotography and greater useof white space.

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The ephemeral nature of >posters suited Andy Warhol's

pop art style. Warhol wasone of many fine artists

commissioned by LincolnCenter to create posters for

its film festival.

SEPTEMBER 1 2 -t f " F L M - F E S T I V A LP W I L N A P M O N I C - M A L L

The canvas-size formatand relative creativeautonomy of the postermedium have appealedto fine artists such asRoy Lichtenstein.92


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SCHOOL OF VISUAL ARTS =:

Based in New York City, the School ofVisual Arts has fostered the talents of designers,

filmmakers, artists and photographers, amongother creatives. Its faculty includes some of the

most illustrious names in design, many ofwhom have created posters over the past 50

years to promote the school.

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For the School of Visual Ar ts, M ilton Glaser demo nstrated alesson in optical illusion with this poster entitled "Big Nudes."By extending the image past the "edges" of the page, he madeit appear much larger than it actually is.

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A teacher at the School of Visual Artsbetween 1956 and 1964, George Tscherny has

been known for distil l ing the most complexsubjects into the simplest graphic symbols. Before

starting his own design studio in 1956,he had been a partner with the renowned

George Nelson & Associates.

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U N I V E R S I T Y O F C A L I F O R N I A , L o s A N G ; / Lo s A N G K I . ES , C A L I F O R N I A 90024 / (213) 825 835

Pentagram's Woody Pirt le communicatedseveral vital bits of information in this simply

designed poster. By arranging two booksinto the shape of a palm tree, he suggested an

educational institution in Southern California,and through a warm palette and cast shadow,

he conveyed it was for a summer program.
http://angki.es/http://angki.es/


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^American Paint ings from The Metropol i tan Museum of Art )


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PARKS


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< For the branding of theGolden Gate National ParksAssociation, Michael Schwabcreated a series of postersthat highlighted GGNPA'slandmark urban park sites.

Departing from therealistic illustrative styleprevalent during WorldWar I, this 1927 posterby Brubaker achieves asoft, dreamy qualitythrough its flat shapesand absence of detail.

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A radical departure from >traditional Call for Entries,

this AIGA poster byPentagram's Woody Pirtle

is black-and-white andalmost exclusively text. Pirtle

chose polar oppositedescriptors - right/wrong,smart/idiotic - to suggest

the fine line betweenbrilliant and banal design.

H U M

Pentagram's Kit Hinrichsand M ichael Vanderbyl bothserved as chairmen for theSan Francisco AIGA designlecture series. To promotethe 1997 series entitled"M oving Emotions," Hinrichsshowed a woman staringthrough a jalousie of boldemotional words. For the1993 series "Les EnfantsTerribles," Vanderbyl focusedgreater attention on theimage itself, letting the textbecome a secondary read.1 0 2


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< Embracing the newcapabilities of the computer,Apri l Greiman used words asvisual elements, spiralingletterforms outward.Although Greiman studiedthe Swiss International Stylein Switzerland, her workduring the Eighties exhibiteda strong post-Modernist bias.

This WPA exhibition posterwas designed by RichardFloethe who emigrated toAmerica in 1928 andheaded the WPA PosterDivision between 1936-39.His work reflected hisBauhaus-training, includingthe frequent use of JosefAlbers' Stencil typeface.

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I ndex o f Des ignersAAckoff, Mil ton 9 1Adams, Bristow 59Allen, Terry 20Angel i , Primo 6 3 , 8 8BBass, Saul 34-37, 62, 81Bayer, Herbert 2 8Beall, Lester 84Beggarstaff Brothers 4Binder, Joseph 53Blackburn, Bruce 90Bradley, Will 15Brenneman, Otto 51Brubaker 101CCarlu, Jean 72-74Cassandre, A .M . 7Chermayeff, Ivan 2 1 , 4 8 , 8 5 , 9 4Christy, Howard Chandler 67Chwast, Seymour 49, 54, 65Clark, John 87Coiner, Charles 68-69DDanziger, Louis 99Davis, Paul 44, 79DeLand, Eugenie 67Dumas, Ron 55-57FFamily Dog 41

LLesser, Gilbert 47Leyendecker, Joseph C. 66Lichtenstein, Roy 92Lubalin, Herb 78MMagleby, McRay 83Matter, Herbert 91McMul lan, James 45Mih o , Tomoko 8 9M iller, Howard J. 75Morla, Jennifer 86Moscoso, Victor 41NNitsche, Erik 190Odgers, Jayme 6 2PParrish, Maxfield 10Penfield, Edward 6Pirt le, Woody 27, 98, 103Protas, Judy 22RRand, Paul 18Rivolta, Jack 52Ruspoli-Rodriguez 38SSavini, Jill 20Scher, Paula 43, 94Schwab, Michael 60, 100

P r i m a r y Image SourcesAmerican Institute of Graphic ArtsPrimo Angeli Inc.Art ResourceSaul Bass EstateBettman ArchiveBlackburn Young Inc.Bridgeman Art LibraryChermayeff & Geismar Inc.Chicago Historical SocietyCKS PartnersLouis Danziger DesignPaul Davis StudioM ilton Glaser Inc.David Lance Goines StudioApri l Greiman StudioJohn Hersey IllustrationCollection of Kit HinrichsLookingMagleby & CompanyMorla DesignThe National ArchivesPentagram DesignPushpin GroupPaul Rand EstateMichael Schwab StudioSkolos/WedellU.S. Library of CongressVanderbyl DesignVignelli Associates

Flagg, James Montgomery 7CFloethe, Richard 105Frykholm, Stephen 61Geismar, Tom 2 1 , 48 , 8 5Glaser, Mil ton 9, 39, 94-96, 106Goines, David Lance 14Greiman, Apri l 62, 104Grohe, Glenn 77

Shahn, Ben 42, 76Shepard, Otis 25Skolos, Nancy 29Sundblom, Haddon H. 23-24

Taubin, Will iam 22Toulouse-Lautrec, Henr

Hersey, John 46Hess, Richard 7 9Hinrichs, Kit 102Horn, Steven 71

Van Hamersveld, John 40Vignelli, Massimo 26WWarhol, Andy 93Wedell, Tom 29Wheeler, Dennis 16-17Wieden & Kennedy 58Wilson, Wes 41


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