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Saul Bass,

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one of the great American designers, right?

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He was one of the first designers to go out to LA and really capitalize on the movie industry.

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He created campaigns for movies where the posters,

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the promotional elements for the movie, the advertisements,

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and the credits for the movie,

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the film credits that would

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occur in the beginning and sometimes the end of the movie were all coordinated along a campaign line.

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So, The Man with the Golden Arm was one of the first movies that he did

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this for.

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We used an image for a poster that was brought right into the movie,

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was part of the initial title sequence,

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same exact arm was used as a brand image.

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Harmon Hoffman was one of my teachers in grad school.

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It's my favorite poster,

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many people's favorite poster for the William Tell opera.

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The story of the archer shooting the arrow off the

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top of his son's head in an effort to gain their freedom.

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And so, the last name Tell,

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T-E-L-L,

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is penetrating the apple.

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And the apple itself is very abstract.

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It's almost undecipherable.

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And yet, at the bottom, you see this curving form.

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And what is that?

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That's the head of the boy,

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the head of his son.

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The apple is on his head.

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The arrow is entering the apple.

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And the typography at the top, very small, very understated,

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but really beautifully done, asymmetrical.

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So, the last line that shows the date,

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1963, is in perfect alignment with William Tell on the other side,

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separated by an abstraction of the apple stem.

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Iko Tanaka,

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a great Japanese designer,

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another beautiful modernist poster.

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Incredible visual texture made up out of arrows, 1959.

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The Dan-Ori Yoko,

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1966.

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Very beautiful stylized image, strong visual hierarchy,

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leading right into the psychedelic work of Milton Glaser,

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this Bob Dylan poster from 1966,

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where his hair is like a rainbow.

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His silhouette is an abstraction of positive and negative space.

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Bonnie MacLean, this great psychedelic poster.

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The art birds, the doors, so it's a concert poster.

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Look at this typography.

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It goes all the way back to Art Nouveau.

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Think about those Art Nouveau

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posters and how the typography in those posters work,

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and then think about this.

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So, this is an adaptation of the past,

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going forward.

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Beautiful images,

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great colors,

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secondary colors really, except for the blue.

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Victor Moscosco,

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Chambers Brothers, 1967.

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Incredible colors.

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Typography is almost unreadable.

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Paul Rand's fabulous poster.

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I actually have this poster in my house.

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The Death Mass poster of 1969,

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an anti-war poster,

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where the juxtaposition of the skull image with the olive branch,

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just so simple,

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all made with cut paper.

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Look how the skull breaks away from that black

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piece of paper along the right side, lower right side.

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There's that space of blue that exists in between.

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He didn't have to do that,

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right?

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If maybe any of us were to do this,

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we would have the skull and the olive branch and that's it.

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But Rand includes this other part.

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He shows us the

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process of how the poster is being made.

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Yoko Tanaka, again, 1981.

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Great poster based on a grid structure.

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Wolfgang Weingart,

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1977.

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The great Swiss-German designer.

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He combined visual textures

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with typography and abstract imagery in a way like no one else has really done before.

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He was really challenging a lot of what was happening in so-called Swiss design.

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The idea of minimalism,

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packing the poster with as much information as possible,

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letting the viewer find their way through it.

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And yet, a pretty clear visual hierarchy.

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When I look at this,

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my eye goes right to that circular form.

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It's just off the center on the left and then up to the typography.

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So much great information in this piece.

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Ingrid Druckre was another one of my teachers in graduate school.

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Swiss-trained.

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Actually was taught, I think, by Wolfgang Weingart.

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Maybe.

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I think so.

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Maybe about the same time.

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But she attended the same school that he taught at,

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that he attended briefly.

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You see the B that's stylized for Beethoven.

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And if you look very carefully,

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you can see all the letters from Beethoven.

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April Greiman,

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still alive, still working.

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She's one of the great designers of the late 20th century.

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This is one of her most famous posters.

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Again, very complex with a lot of information on it.

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And I believe this is actually 3D.

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So if you look at through those glasses,

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it has three-dimensional possibilities.

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You can see it happening.

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Another one of her posters.

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Snow White and the Seven Pixels.

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This is for a poster for an event

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where she was a speaker.

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And Corita Kent, one of my main influences,

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1982.

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We are either going to

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become a community or we are going to die.

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That's the quote at the bottom in handwriting.

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And then this incredible form done with the primary colors in the black and the overlapping shapes that

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produce the greens and the browns.

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And it's such a vivid image,

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but so abstract and so evocative.

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Milton Glaser,

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a great American designer,

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again, recently passed away.

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I love New York more than ever.

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So this is his I love New York image,

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which was just the I,

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the heart, and Y adapted for 2001 or 9-11.

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And you see the lower left-hand part of the heart has a little smudge in it.

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It was like lower Manhattan.

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Devastation that happened on that day.

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Shepard Fairey, probably the most iconic poster that's happened in the last 20 years, 2008.

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The image that's been adapted so many times become a meme.

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Obama Hope poster,

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one of my favorite images in the last 20 years.

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And that's it.

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That's a good overview of poster design.

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Hopefully it'll give you a taste of what's been done over the last 100 and 120 years or so.

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A little bit more than that, 140 years.

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And maybe there's something here that inspires you that you can look into further.

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Certainly, you might get some ideas for your own poster image from looking at some of these.

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In this lesson, I gave you an overview of poster design.

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In the next lesson,

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I'll talk about the creative process and we'll do a little bit of sketching.