Posts Tagged ‘typographical

04
Dec
12

William Klein : “Painted Contact Sheets” Series

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“The idea for the colour and graphics comes from the red lines
photographers put around their choices on a contact sheet.” W.K.

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106442

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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William Klein_gordas

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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William-Klein-Dakar-school’s-out-1985.-Painted-contact-1998-640x537

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
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Gun-Gun-Gun-New-York-19551-640x533

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
::

5177807247_8597808736_b-640x533

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
::

5177807969_4d01b3b81a_z

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
::

5178409896_ce6bac97ae_b

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William Klein
‘painted contact’ series
silver gelatin print with paint,
20 x 24″
::

5178408408_2a6ef687de_b

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William Klein
‘painted contact’ series
silver gelatin print with paint,
24 x 20″
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Klein returned to still photography in the 1980’s, ever progressive and unrelenting in his approach. Revisiting his work to that date, he made large-scale blow-ups of his photographic contact sheets, revealing on an unparalleled scale the frames before and after the decisive image. Liberally applying gloss brush strokes in bold colours to these mural-sized prints, Klein brought together key elements from his long career: graphic form, composition and colour from the early murals and paintings juxtaposed with ground-breaking fashion and street photos, along with the narrative and bold visual language of his experimental films. A defining moment where his unique vision came full circle. – Extract

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William Klein + Daido Moriyama : Tate Modern – Exhibition

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14
May
12

Alvin Lustig : Illustrations (The Ghost in the Underblows)

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“Ghost in the Underblows” (1940) for Ward Ritchie Press, echoed Constructivist typecase
experiments from the early twenties yet revealed a distinctly native American aesthetic.

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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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Alvin Lustig introduced principles of modern art to graphic design that have had a long-term influence on contemporary practice. He was in the vanguard of a relatively small group who fervently, indeed religiously, believed in the curative power of good design when applied to all aspects of American life. He was a generalist, and yet in the specific media in which he excelled he established standards that are viable today. If one were to reconstruct, based on photographs, Lustig’s 1949 exhibition at The Composing Room Gallery, in New York, the exhibits on view and the installation would be remarkably fresh, particularly in terms of the current trends in art-based imagery. Lustig created monuments of ingenuity and objects of aesthetic pleasure. Whereas graphic design history is replete with artifacts that define certain disciplines and are also works of art, for a design to be so considered it must overcome the vicissitudes of fashion and be accepted as an integral part of the visual language. Though Lustig would consider it a small part of his overall output, no single project is more significant in this sense than his 1949 paperback cover for Lorca: 3 Tragedies. It is a masterpiece of symbolic acuity, compositional strength and typographic craft that appears to be, consciously or not, the basis for a great many contemporary book jackets and paperback covers. [Extract : Born Modern by Steven Heller]

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Alvin Lustig : Website

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Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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