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NEW
MASTERS
OF
POSTER
DESIGN
POSTER DESIGN FOR THE NEXT CENTURY • JOHN FOSTER, FUSZION COLLABORATIVE
                                                                                                                       CONTENTS
★
THE NEW MASTERS
★
INTRODUCTION
★
METHANE STUDIOS
★
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5
USA . . . . . . . . . . . . . . . . . . . . . . .
124
AESTHETIC APPARATUS
★
MODERN DOG
★
USA . . . . . . . . . . . . . . . . . . . . . .
6
USA . . . . . . . . . . . . . . . . . . . . . . . . . . .
132
PATENT PENDING DESIGN
★
USA
. . . . . . . . . . . . . . . . . . .
140
CYAN
★
SERIPOP
★
GERMANY . . . . . . . . . . . . . . . . . . . . . . . . . . . .
30
CANADA . . . . . . . . . . . . . . . . . . . . . . . . . .
154
ODED EZER
★
SPOTCO
★
ISRAEL . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
USA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
162
HAKOBO
(
JAKUB STEPIEN
)
SPUR DESIGN
(
DAVE PLUNKERT
)
★
POLAND
. . . . . . . . . . . . . . . .
44
★
USA . . . . . . . . . . . . . . .
170
HAMMERPRESS
★
USA
SLAVIMIR STOJANOVIC
(
FUTRO
)
. . . . . . . . . . . . . . . . . . . . . . . . . .
52
★
SLOVENIA
. . . . . . . . . .
178
PEDRAM HARBY
★
STUDIO BOOT
★
IRAN . . . . . . . . . . . . . . . . . . . . . . . . .
58
NETHERLANDS
. . . . . . . . . . . . . . . . . .
186
JIANPING HE
★
CHINA . . . . . . . . . . . . . . . . . . . . . . . . . .
66
YURI SURKOV
★
RUSSIA . . . . . . . . . . . . . . . . . . . . . . . .
194
FONS HICKMANN
(
M23
)
★
GERMANY . . . . . . . . . . . . . . . . .
84
JEWBOY CORPORATION
THINKMULE
★
ISRAEL . . . . . . . . . . . . . . . . . . .
92
★
USA . . . . . . . . . . . . . . . . . . . . . . . . . . . .
218
ANDREW LEWIS DESIGN
★
CANADA
. . . . . . . . . . . . . . . .
100
THIRST
(
RICK VALICENTI
)
★
USA . . . . . . . . . . . . . . . . . . .
226
LUBA LUKOVA
★
USA
THE NEXT WAVE
★
. . . . . . . . . . . . . . . . . . . . . . . . . .
116
. . . . . . . . . . . . . . . . . . . . . . . . . . . .
242
                                                                                                                                     A Poster Is a Poster and Not a Pipe
A poster has a message. Sometimes. A poster is a sheet of paper
without a backside. A poster is a stamp. You can put it on the wall
or on the window, on the ceiling or on the ground, upside down or wrong
side up. There are young posters that look very old and old posters that
never die. A good poster attacks you. A bad poster loves you. And there
are “l’art-pour-l’art” posters that love themselves and want to be beautiful.
These type of posters confuse the viewer, muddle up his eyes, and force
him to look for something in the poster that is not inside. If you like,
you can smoke it in your pipe.
—Uwe Loesch
I love the big scale and immediate impact of posters.
They’re my favorite things to design.
—Paula Scher
4
★ NEW MASTERS OF POSTER DESIGN
                                                                                                                        ★
★
SOMETHING SPECIAL IS HAPPENING
What you are about to see in this book must be considered unexpected at best.
As clients found success with other forms of marketing, and communities in general
became hostile to the papering of their neighborhoods, the poster waned as a messaging
vehicle throughout the 1980s and 1990s. In much the way that the album was replaced
by the CD, the poster became a postcard or an email blast—sad days indeed.
Some designers could not just stand by and let this happen.
The loss of a storied and majestic medium that had served
as a perfect canvas for so long could not be tolerated. Some of the
world‘s best designers turned to the poster as a means of personal
expression and as an outlet from more restrictive media. They also
set out to prove that the poster could still serve as a powerful
tool in communicating a client‘s message. Breathtaking work from
Pentagram, Niklaus Troxler, Michael Schwab, Alain Le Quernec,
and many others who plied their trade commercially began
to appear. Art Chantry, Alejandro Magallanes, Frank Kozik,
Yee-Haw Industries, Ames Bros., Charles S. Anderson, and others
taking a more subversive role converged with aboveground
and ongoing efforts in music and theater as well as an American
Institute of Graphic Arts (AIGA) literacy effort to bring the poster
back to prominence.
As clients saw this amazing revival, they came to reconsider
the poster as a forum. Currently employed by giants such as Target
and Starbucks as their main in-store promotion, the poster has
reemerged, and I would argue that it is better employed than
ever before. It is true that Europe and the United States have
very different ideas as to its vitality, and I admit that the days
of poster-lined city streets in international capitals are gone.
However, the poster has emerged, phoenixlike, in new places
and in new ways. We no longer paint the sides of barns—we hang
twenty-story banners in downtown New York City. It makes
me miss the quaint past, but even more so, it makes me excited
for the future.
The future of the poster is now. I give you a few familiar faces
and many you should know more about; from the silkscreen
guerrillas in the United States to the technology-entranced
Europeans to artists from every other continent. This collection
showcases the work of the world‘s finest poster designers
at the moment of this medium’s rebirth.
One project encapsulates this effort: Paula Scher‘s work for
the Public Theater in New York City. Her
Bring in Da Funk
series
is probably the best known, but the entire collection of posters
is awe-inspiring from one production to the next. A number
of people I have spoken to in connection with this book felt the
same way I did when they saw these posters in the design
annuals (almost a full year after Scher designed them.) The poster
is alive. It is powerful, vibrant, and—most important—artful.
On the other hand, this book is just a snapshot of what is
going on in the design world. I have never encountered a more
difficult task than narrowing my initial list of “new masters”
from more than one thousand to just thirty. To say this could
have been a collection of volumes rather than profiles is an
understatement. The interesting part is that few of these
designers were aware of what the others were doing. They may
know a few creatives in their genre of work, but they have little
knowledge of the state of the poster globally. So pure is their
drive that they only know that they are personally fighting
to keep this medium alive. They can now enjoy seeing their
brothers and sisters in arms.
The perfect melding of design and marketing power, the theater
needed the scale and the scale needed the designers. As Scher
stated, posters are her favorite projects to design, and that
affection is obvious in every placement of type and selection of art.
The audience quickly noted that this was not a one-off labor
of love, as Scher was doing it again and again. This was big-time
work for a big-time client.
–John Foster
5
★ NEW MASTERS OF POSTER DESIGN
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