“Forgotten Modernism” is the title of an ongoing visual exploration of San Francisco’s rich catalog of modern architecture by Michael Murphy:
Often overlooked, Modern architecture in San Francisco has played an important role in the ongoing Modernist Movement, and this work is an attempt to acknowledge the contribution that these stunning buildings make to the visual landscape.
Using bold colors and a stylized graphics, I portray this architecture not as something that quietly blends into a background, but rather elevating achievements that embody the best and highest principles that Modern architecture has to offer all of us.
Wish these were sold at every gift shop here in San Francisco.
Apple’s vintage print material during the late 70s to the 80s was sexy, and I do mean sexy. The first image here is a print ad for the Apple II. It’s really such a beautiful illustration; if only it could be brought back to life to be used again somehow. The second image is also an ad for the Apple II, this time using photography.
Via Mac Spoilers
Apple was up to some cool stuff in the 80s. We’ve seen evidence of it before with Apple’s 1986 clothing line and with this Apple gift catalog from 1983. The logo made it on a range of products including race cars, kites and carpets.
More images from the catalog on Mac Spoilers.
“Car art” is always a contentious subject for me, there’s alot of cartoonish colored pencil stuff out there that Road & Track likes to pass off as “fine art”. If there’s one thing i’ve tried to showcase in my livery posts, it’s that the geometric body of the car itself makes for a great canvas.
Earlier last week, fellow car porn addict (although he gets paid for his addiction) Jim Lau sent me the innocuous “you’ve seen this, right?” message. Above are some examples of Ricardo Santos’ work, and I think they’re absolutely fantastic. You’ll notice some farmilar ‘faces’ from alot of the car posts I’ve done here on the blog, needless to say I’ve solved the problem of hanging up pictures of cars on my wall without looking pubescent.
These prints all come in a variety of sizes & formats, the stretched canvas is barking at me and the moths futzing outside my window will soon find a nice warm home in my wallet. You can find all of Ricardo’s works seen above over on his Society 6 page.
I’ve just returned returned from a trip to both Munich and London, where I spent time with colleagues in both locations. Cosmic timing really, considering the London 2012 Olympics are on the horizon, and I’ve had Otl Aicher on the mind recently.
Much has been said in recent years about the shortcomings of the London 2012 graphic identity, but I hadn’t really been paying close attention to all the outrage, and had all but forgotten the design work – so I wasn’t prepared for the onslaught of Olympic schwag that greeted me at the official London 2012 shop at the St. Pancras Station in London. It’s borderline seizure inducing. Having just stepped off the train from Munich, where I spent time in Olympiapark and was exposed to Aichers work throughout the city, this London 2012 noise was especially jarring. And that mascot! Sigh. I took quite a few pictures, and had originally thought I’d post about Waldi vs Wenlock, but I decided I wouldn’t subject you to any of that madness. After all, this blog is here to celebrate beautiful things.
Scott has extensively covered Aicher’s work for Munich ’72 here before (in fact it’s where I was first exposed to it), but I thought the timing was right for us to be reminded just how amazing a coherent Olympic graphic identity and subsequent merchandising campaign can be.
Creative Review recently posted the above scans of the official Munich ’72 merchandise catalogue, and there are a few images of what look to be the official gift shops as well. While Waldi was the only souvenir that was actually designed by Aichlers studio directly, I find it really impressive how cohesive the entire output of the “Olympic Souvenir” department was. This is most likely due to the fact that Aicher dictated a very strict set of rules as to how the logotype and symbols could be used.
It’s easy to pick apart London 2012 when stacked up against the extremely high bar set by Aicher’s work for Munich, but let’s be real here, remember Izzy from Atlanta? NOTHING is as bad as that. What. Is. That. Thing.
I’m not sure if they entered the competition, but if they did I’d be real curious to see what Bibliotheque came up with for the London 2012 graphic identity. After all, they know a thing or two about Aicher’s legacy, having put together an exhibition of his Munich ’72 work over at the Vitsoe shop in 2007, comprised entirely of posters and print from their their own collection. This unofficial Olympic torch poster they did is pretty amazing as well.
Bonus link: While googling around, I found this site that offers up the official Olympic report books as PDFs. The Munich 72′ books span 3 Volumes, upwards of 1200 pages. For the true Munich ’72 geeks.
Posted by: Rob Fissmer
Pink Floyd - "Dark Side Of The Moon" (1973)
As a kid, a lot of my time was spent either drawing or rummaging through my parents vast music collection. The latter becoming more of bed time ritual, as every night I would listen to an album(s) until I fell asleep, literally, until I fell asleep, which meant that the next morning my Dad gave me his usual: “Jonathan, you’re going to go deaf if you continue to fall asleep with those headphones on…” speech. This ritual turned to obsession when in 4th grade I received my first Sony Walkman. Night to night I would pick out a new tape to listen to. At first, I started listening to albums that I had heard my parents play on one of many weekend camping trips or long drives to our lake house, but when I started running out of familiar names, I would choose solely on a what the album’s cover looked like (unbeknownst to me at the time, this would be one of the main reasons I would become a Graphic Designer). As I got older and became more familiar with certain artists, photographers and designers, I came to realize that 90% of the album covers I had fallen in love with as a kid, were designed by a group by the name of Hipgnosis.
Hipgnosis was a British design group responsible for creating some of the most iconic and recognizable album covers of all times. Most notably for bands and artists such as Pink Floyd, T-Rex, Led Zeppelin, AC/DC, Scorpions, Yes, The Alan Parsons Project, Genesis, Peter Gabriel, ELO, just to name a few. The group consisted primarily of Storm Thorgerson and Aubrey Powell, and later, Peter Christopherson. The group would dissolve in 1983, though Thorgerson still works on album designs, and Powell works in video.
Pink Floyd - "Ummagumma" (1969)
Pink Floyd - "Wish You Were Here" (1975)
Pink Floyd - "Animals" (1977)
Peter Gabriel - "I" (1977)
Peter Gabriel - "II" (1978)
Peter Gabriel - "III" (1980)
The groups approach to album design was strongly photography-oriented, and they pioneered the use of many innovative visual and packaging techniques. In particular, Thorgerson & Powell’s surreal, elaborately manipulated photos (utilizing darkroom tricks, multiple exposures, airbrush retouching, and mechanical cut-and-paste techniques) were a film-based forerunner of what, much later, can be called “Photoshopping”. Hipgnosis used primarily Hasselblad medium format cameras for their work, the square film format being especially suited to album cover imagery.
The Alan Parsons Project - " I Robot" (1977)
The Alan Parsons Project - "Pyramid" (1978)
Led Zeppelin - "Houses Of The Holly" (1973)
Led Zeppelin - "Presence" (1976)
Led Zeppelin - "In Through The Out Door" (1979)
Genesis - "The Lamb Lies Down On Broadway" (1974)
Genesis - "And Then There Were Three" (1978)
Black Sabbath - "Technical Ecstasy" (1976)
Black Sabbath - "Never Say Die" (1978)
Another trademark was that many of their cover photos told “stories” directly related to the album’s lyrics, often based on puns or double meanings of words in the album title. Since both Powell and Thorgerson were film students, they often used models as “actors” and staged the photos in a highly theatrical manner. Many of Hipgnosis’ covers also featured distinctively “high tech” pen and ink logos and illustrations (often by graphic designer George Hardie), stickers, fancy inner sleeves, and other packaging bonuses. One of the unique extras created by Hipgnosis was the specially printed inner sleeve for Led Zeppelin’s “In Through the Out Door LP”, a “black and white” affair that magically turned to color when dampened with water (tying in with the main cover’s photographic theme).
The groups contribution to album cover designs and packaging can best be described as more of a legacy than anything. A legacy that definitely shaped a generation and set the bar for future album design for years to come.
Beautiful annual report design by Albert Ibanyez for Can Xalant (Centre of Creation and Contemporany Knowledge of Mataró). In a parallel universe, these are Heathered Pearls album covers and/or prints.
Jason Munn released a few prints for the SFMOMA, i’m definitely a fan like Scott was when he first posted him back in 2009. The new material has great subjects and its a style that people aren’t ever really getting sick of since minimalism and band names on posters are almost as American as Apple Pie.