A TEXT POST

Bestival - Influences

http://GigPosters.com/poster

I looked at posters from other gigs and festivals, where I found the ‘cherry bombs’ poster which i thought was great for influence as it only uses 3 colours which is limit for our poster, and uses very illustrative images and type which is the route i wanted to go with my own design.

I also loved the Bright yellow poster as i believe it stands out, and looks really effective, it uses very unusual imagery and illustrations which catches peoples eyes, also sticking to a limited colour style.

The Kaiser chiefs poster works very well using a photomontage style, making it look like an old style poster using bright colours to stand out and again sticking to a 3 colour rule. It advertises the Chiefs style well allowing people to see their style just through the design of the poster.

A VIDEO

I have collected existing Bestival posters, to start getting influences for my own design. I chosen the ones that particularly caught my eye and worked well for a festival. I really like the colours used on this first poster that i chosen as they stand out and convey fun and vibrance which is what a festival is all about. Funky shapes and patterns are being used and its a very cool and fun design.

The second poster design is slightly different to what we will be designing as we are to advertise one artist, whereas this poster is advertising the line up. Again it uses very vibrant colours and large funky type to convey a fun and funky festival.

A TEXT POST

World war 2 posters

http://ronbercume.com/graphic-design-since-world-war-2/

In an effort to propagandize and to recruit support for the war, both Axis and Allied nations communicated their messages via poster. While the United States tended to feature drab, straightforward design in these efforts, the British and French took more creative approaches. During the war years, France’s Jean Carlu combined newer artistic traditions (particularly Cubism) with a strong sense of composition to create bold and interesting poster art. Many argue that Carlu’s work presaged and may have significantly influenced corporate graphic design and logo creation.

The post-war economic boom in the United States and elsewhere created an increased demand for graphic design. While much of the work was rather straightforward commercial design exhibiting few innovations, there were exceptions to that rule.

A TEXT POST

World war posters


http://ww2poster.co.uk/category/first-world-war

http://www.clevelandseniors.com/people/wwii-posters.htm/


The image, however, IS iconic, mentioned as Number 1 of the ’100 Best Posters of the Century” in the 1990s, and did influence a number of Second World War campaigns, especially of the “Do you really need to x?” variety..

World War II Posters from the Greatest Generation

World War II Posters from the Greatest Generation

World War II Posters from the Greatest Generation



The designs of these posters are all very similar, making it easy to recognise these and make them famous, Generic typefaces are used, bold and easy to read, with illustrative drawings to convey what the messages are trying to convey and send out to the nations. I think using this era and type of design to represent a current object in the past would work and look effective as people will be able to recognise the designs and will create good contrast.

A PHOTO

This is a particular poster I am influenced by for my poster I am going to create which will re present a current object in the past.

http://www.archives.gov/education/lessons/wwii-posters/

Guns, tanks, and bombs were the principal weapons of World War II, but there were other, more subtle, forms of warfare as well. Words, posters, and films waged a constant battle for the hearts and minds of the American citizenry just as surely as military weapons engaged the enemy. Persuading the American public became a wartime industry, almost as important as the manufacturing of bullets and planes. The Government launched an aggressive propaganda campaign to galvanize public support, and some of the nation’s foremost intellectuals, artists, and film makers became warriors on that front. To analyze poster art of World War II. 

A TEXT POST

War posters-influence’s

http://www.google.co.uk/imgres?

Im looking at an era of the 1917 design for the world war, I am most influenced by old war posters, the particularly like the way they are designed and how the messages are sent across to the world to send strong messages and catch peoples attention easily. They are extremely easy to recognise in this day and age, and are a great design to create a retro future poster.

This is a modern presentation of a classic Uncle Sam image.  The poster features Uncle Sam asking you to support the War.  This pro-war poster is a modern revision of the classic 1917 World War 1 recruiting poster.


http://www.google.co.uk/imgres?q=1917+world+war+posters&hl

One of the original world war poster designs, World War I poster entitled, “Boys and girls! You can help your Uncle Sam win the war - save your quarters, buy War Savings Stamps.” Created by artist James Montgomery Flagg, it shows how even children were encouraged to help in the war effort by purchasing war stamps. 

Poster showing marines on a beach, carrying rifles and flags. LOC Notes: Join the U.S. Marines at 113 East Baltimore St., Baltimore. Date Created/Published: 1917. World War One propaganda poster provided by LOC.

A TEXT POST

Retro posters




I have been looking at retro posters, as inspiration and design ideas for the poster I am going to 

design for my product, I am going to take a modern product and advertisement and design it in the

past and represent it in the past. I am going to compare modern products and advertisements with 

old, and compare design techniques to redesign the product.

A VIDEO

http://www.smashingmagazine.com/2009/06/08/retro-futurism-at-its-best-designs-and-tutorials/

Here are examples of retro futurism art, what people believe the future will be like.

A TEXT POST

Retro Futurism

http://en.wikipedia.org/wiki/Retro-futurism

Retro-futurism incorporates two overlapping trends which may be summarized as the future as seen from the past and the past as seen from the future.

The first trend, retro-futurism proper, is directly inspired by the imagined future which existed in the minds of writers, artists, and filmmakers in the pre-1960 period who attempted to predict the future, either in serious projections of existing technology (e.g. in magazines like Science and Invention) or in science fiction novels and stories. Such futuristic visions are refurbished and updated for the present, and offer a nostalgic, counterfactual image of what the future might have been, but is not.

The second trend is the inverse of the first: futuristic retro. It starts with the retro appeal of old styles of art, clothing, mores, and then grafts modern or futuristic technologies onto it, creating a mélange of past, present, and future elements. Steampunk, a term applying both to the retrojection of futuristic technology into an alternative Victorian age, and the application of neo-Victorian styles to modern technology, is a highly successful version of this second trend.

In practice, the two trends cannot be sharply distinguished, as they mutually contribute to similar visions. Retro-futurism of the first type is inevitably influenced by the scientific, technological, and social awareness of the present, and modern retro-futuristic creations are never simply copies of their pre-1960 inspirations; rather, they are given a new (often wry or ironic) twist by being seen from a modern perspective.

In the same way, futuristic retro owes much of its flavor to early science fiction (e.g. the works of Jules Verne and H. G. Wells), and in a quest for stylistic authenticity may continue to draw on writers and artists of the desired period.

Retro is a culturally outdated or aged style, trend, mode, or fashion, from the overall postmodern past, that has since that time become functionally or superficially the norm once again. The use of “retro” style iconography and imagery interjected into post-modern art, advertising, mass media, etc. It generally implies a vintage of at least 15 or 20 years. For example clothing from the 1980s or 1990s could be retro.

Retro Art

The style now called “retro art” is a genre of pop art which was developed in the 1940s and 1950s in response to a need for bold, eye-catching graphics that were easy to reproduce on simple presses available at the time in major centres. Retro advertising art has experienced a resurgence in popularity since its style is distinctive from modern computer-generated styling. Contemporary artist Anne Taintor uses retro advertising art as the centerpiece for her ongoing commentary on the modern woman.


Steampunk

Steampunk is a genre which came into prominence during the 1980s and early 1990s and incorporates elements of science fictionfantasy,alternate historyhorror, and speculative fiction. It involves a setting where steam power is widely used—whether in an alternate history such asVictorian era Britain or “Wild West"-era United States, or in a post-apocalyptic time —that incorporates elements of either science fiction or fantasy.

Much of the visualizations of Steampunk have their origins with, among others, Walt Disney’s 20,000 Leagues Under the Sea], including the design of the story’s submarine the Nautilus, its interiors, and the crew’s underwater gear; and George Pal’s 1960 film The Time Machine, with the design of the time machine itself. This theme is also carried over to Disney’s theme parks in the design of The Mysterious Island section of Tokyo DisneySea theme park.

Steampunk design emphasizes a balance between the form and function. Like the Arts and Crafts Movement, this blurs the line between tool and decoration. Various modern utilitarian objects have been modified by enthusiasts into a pseudo-Victorian mechanical “steampunk” style.Example objects include computer keyboards and electric guitars. The goal of such redesigns is to employ appropriate materials (such as polished brass, iron, wood, and leather) with design elements and craftsmanship consistent with the Victorian era, rejecting the aesthetic of industrial design.