Dear class: student evaluations have been sent to you. Good or bad, please, take a moment to evaluate my job in this class. I appreciate it and thank you

Michael Punchman

Michael Punchman (Hong Kong), tries to erase the boundary between art and design. He has designed NO PEACE NO BOOM a series of colorful, polished, garish, fiberglass sculptures.

"BOOM" according to Punchman is not the explosive sound of destruction, but the rich reward for making a difference -a call for action!

Deanne Cheuk's mushroom graphics

Deanne Cheuk is the kind of artist that does not see a barrier between design and illustration or illustration and art. As illustrator, designer, art designer and artist, she fluently mixes watercolor, oils, pen, pencil and thread (as well as software, of course). Cheuk, born in Australia and currently residing in New York was labeled one of 34 “Young Guns” under the age of 30 by The Art Directors Club NY, one of “20 under 30” by Print Magazine and one of “The best people of 2004” by Time Magazine. She is a contributor to Nippon Vogue, and Dazed & Confused magazine. Her work has been commissioned by numerous magazines including Nylon, BlackBook, The Fader, Flaunt and The New York Times Magazine, She has art directed and designed numerous magazines including Tokion.

PRINT MAGAZINE

print magazine is dedicated to graphic design, technology, culture, and how it all fits together. their website is a great information tool for the design profession. it features known contributors,  design competitions, an online education section, jobs, and, well, a shop. 

Universal Everything

Universal Everything is 4 years, 3 months, 21 days, 9 hours and 31 minutes old. Founded by Matt Pyke, after 8 years at the internationally renowned studio, The Designers Republic from 1996 - 2004.-- From Universal Everything Website

cuban revolutionary posters (1960's-1970's)

 May Day. All with Fidel on the Square of the Revolution, CTC, 1964

Even as revolutions have lost the appeal they used to have in the 1960’s, one can still say that the Cuban Revolution was extremely popular all over the world. In fact, one can compare the Revolution to Pop art. They are both mass-driven movements.  The new communist ideology considered advertising a sort of "Capitalist tool" for commercialization, a perverse form of Capitalist "brainwashing."

In Cuba in the early 1960's propaganda was yet to find a true voice. But let’s go back a little. In 1959 the ICAIC: The Cuban Institute for Cinematographic Art and Industry and La Casa de las Américas (House of the Americas were founded). By 1961 the Government eliminated ads in radio, television and the press. Aesthetic prejudices and strong debates also occurred, but design succeeded in general in imposing its freedom of expression and the creators were respected. The Revolution brought a profound transformation of Cuban society. Social communication was deeply affected by these changes and graphic design becomes the ideal medium for propaganda.

Since the mid '60s, the ICAIC posters had the same format (52 x 76 cm) and technique (serigraphy) plus a group of prolific creators (Bachs, Azcuy, Ñiko and Reboiro being the leading ones), which contributed to make them a consistent group of promotional graphics that remained in existence for several decades.

Umberto Peña, Piiii, 1968.

Umberto Peña is an important artist who maintained links with Casa for more than twenty years, in a creator-entity relationship that may be considered one of the most fruitful in the history of Cuban design, perhaps only to be compared with that of Eduardo Muñoz Bachs and his posters with ICAIC. With the large number of media designed by him, Peña contributed to Casa de las Américas what today we would call a corporative visual identity.

E. Muñoz Bachs, Mobile cinema, 1969

R. Martínez, Lucia, 1968

Oliva, Sao Paulo sociedad anónima, ICAIC, 1966

Bachs? Cerro pelado, ICAIC, 1966

Antonio Reboiro, Julieta de los espíritus, ICAIC, 1967

At its highest point the printing industry reached annual figures of 700 titles and 50 million copies, in a country with a population of around 7 million. The number of newspapers had decreased but the magazines proliferated and the new publishing houses created a varied range of book collections. The poster production shot up tremendously, with the largest part in terms of figures concentrated in three entities: ICAIC, COR and CNC, that is, film, political propaganda and cultural promotion posters (excluding movies).

These political posters presented the idea in novel forms. Either assimilating autoctonous forms as in the anonymous poster below:

International week of solidarity with Africa, 1968, OSPAAL

Felix Beltrán, Freedom for Angela Davis, 1971

 
Or as in this vulture-like Nixon, with an obvious influence of Jan Lenika:
 

René Mederos, Nixon,  OSPAAAL, 1971

By way of example it can be said that when ICAIC celebrated its 20th anniversary in 1979, an exhibition was organized with the impressive title 1000 Cuban Film Posters (oddly, the most represented years were the final ones of the 65-75 decade: 1974 with 171 pieces and 1975 with 125; as to the authors, 284 posters by Eduardo Muñoz Bachs were selected). In lack of advertising, there was an increase of public welfare campaigns in which new media such as city billboards and portfolios remarkably grew in importance.

Raúl Martínez for ICAIC, 1968

Although for many years Cuba was an isolated country and the change that took place in these years had endogenous foundations, external influences should not be ignored. In 1964 Tadeusz Jodlowski, professor at the Higher Academy of Fine Arts of Warsaw traveled to Cuba to give a course to the CNC designers. This first direct meeting with the Polish school of design –so different from the U.S. aesthetic codes in vogue in Cuba since the ‘50s– was useful for the young local creators.

Elena Serrano, Che, 1967

What are the influences of the Cuban poster?

Fangor Wojciech, Bezkresne horyzonty, Horizons sans fin, 1958

 Franciszek Starowieyski, Kochanek, Lekki bol, Harold Pinter, 1970

Thomas Swierzy, Jimi Hendrix, 1973

Wes Wilson, mid 1960's

Umberto Peña, Damas, 1966

Alfredo Rostgaard, Cimarron, ICAIC, 1969

Clary (Clara García), Las secretas intenciones, ICAIC, 1970

Bachs, Dos almas en pugna, ICAIC, 1973

 Raul Martinez, Fidel, ICAIC, 1968

Luis Vega, El dominio del fuego, OSPAAL, 1972

Bachs, Siete novias para un soldado, ICAIC, 1973

Bachs, Cines móviles en la escuela rural, ICAIC, 1973

René Azcuy, Besos robados, ICAIC, 1970

our final exam is december 13!

the 2000s it's not what you look @ that matters, it's what you see

Stephan Sagmeister, 2008 

your turn no. 10

Starowieyski's Czerwona Magia, 1970s

Anything to say about the polish poster? Pick your favorite, go ahead,

Jan Sawka

Mr. Sawka studied art, printmaking and architecture during a period of political ferment throughout Eastern Europe, including the widespread student protests throughout Poland in 1968 that set off a brutal government crackdown on dissidents.

His poster designs for avant-garde theater groups became well known for their wordplay and their deadpan style, in which symbols of protest were often stitched into the graphics.

By the mid-'70s, foreign art critics had begun noticing the black humor in his work and raving about his subtle style of anti-authoritarianism.

what's the Sawka's secret?

1- go against the grain (political, social),
2- use hand held typeface,
3- the image says it all,
4- humor drives the design,

Awards: 1975 Oscar de la Peinture in Cagnes-sur-Mer, France for painting and the Gold Medal at the 1978 Warsaw Poster Biennial. In 1981, when martial law was imposed in Poland, the AFL-CIO sponsored a bipartisan fundraiser that sold Sawka's Solidarity poster in the millions to provide immediate support to the besieged Solidarity movement. In 1989, Sawka designed a 10-story tall set for The Grateful Dead's 25th Anniversary tour. In 1993, he created his first full multi-media spectacle, "The Eyes" in Japan. This was the beginning of his collaboration with Japanese studios and corporations, which includes the creation of high-tech interactive sculptures and monumental installations, as well as designs for full-scale monumental architecture. Sawka designed "The Tower of Light Cultural Complex" for Abu Dhabi, U.A.E., presented to the Royal Family in 1996.

Mieczysław Szczuka

Teresa Żarnower (1895-1950) was Mieczysław Szczuka’s partner in both life and art. She belonged to the interwar period with its constructivist avant-garde environment and is considered a pioneer of this trend in Poland. She was a co-creator of the magazine Blok. 

In her posters and photomontages she combined her political engagement and picks of the avant-garde. Żarnower also designed covers for left-wing publications, including Vladimir Mayakovsky’s Poems (1927), which remains a classical example of modern cover design. She combined the author’s photograph with vertical and horizontal divisions. Żarnower’s most recognised poster is probably the parliamentary election campaign poster designed for Worker-Peasant Unity (1928), which shows the punishing fist of the workers’ society hitting the wall of a prison.

Before the era of globalized entertainment made movie posters look the same in every country, Polish artists were creating their own versions for the internal market

Jan Lenica The Deadly Invention, 1958

your turn no.9

Anton Stankowski, 1967

Hi class.

Plenty to talk about. the International Topographic Swiss School (and its masters), Fortune magazine & pre LOGO, LOGO proper, (and its masters), Giusti, Stankowski, propaganda, advertising, Bass's design for film, Alvin Lustig, Cipe Pineles, Kula Robbins, Rockwell, Vargas...

go ahead,

steve jobs talks about paul rand's design for apple corporation

logo design (40 tips)

new heaven railroad deisgn, herbet mayer, 1954

here.