The other Sunday at Rome's largest flea market Porta Portese the eagle-eyed Louise Fili and Steven Heller spied a small booth selling a few mediocre pencil sketches with one notable exception. The colored pencil drawing on paper (bottom) signed "F. Depero / 1926."
The Jules Collins Museum of Fine Art at Auburn University is exhibiting “Visual Memoranda: The IBM Poster Program, 1969–1979” from April 12 to July 15. The posters are office messages produced for internal consumption.
Steven Heller has just realized, after digging deep into his subconscious and Google too, just why he has an affinity for Paul Rand's work.
The first Polish posters appeared in the 1890s at the hand of outstanding painters and florid letterers. What set the Polish posters apart was the emphasis placed on the highly artistic quality of the project, an attitude that will continue to characterize the Polish poster throughout the 20th century.
Tibor Gönczi Gebhardt was a Hungarian grafikusmüvész and poster artist whose art deco style was his meat until after 1945, when with the rise of Communism he turned to socialist realism.
The evil stepmother of invention has produced a cigarette package container that eliminates all trace of the unseemly symptoms of smoking-related disease.
One thousand billboards across the country have been created to tackle gun violence. A call-to-action from the magazine Advertising Age to its advertising/creative community resulted in an outpouring of ideas to magnify the students' messages and support the recent March for Our Lives.
Some graphic images and symbols, just like that famous battery bunny, just keep on going and going. Here are a couple of examples.
Heller savors everything about the Klimowski Poster Book by Andrzej Klimowski. Klimowski was a product of the Polish poster art tradition yet established his own methods and collagist madness.
Heller gives us a look into two museums he recently visited in Warsaw, a city with a long legacy as a capital of design innovation.