Wiktor Górka

 

Wiktor Górka (1922 -2004) was a well renowned Polish artist and graphic designer.

In 1952, Górka obtained a degree in graphic design from the Academy of Fine Arts in Kraków. He was also a co-founder of the “Polish School of Posters”. The core principles being: simplicity and clarity, the use of concise symbols and poetic metaphors, as well as diverse means of expression.

Between the 50s and the 80s Wiktor Górka worked with the biggest Polish publishers and film distributors. He designed posters (amounting to nearly 300), book and magazine covers, commercial logos and prints.

Górka created posters for many films such as: Spartacus – Beatrice Cenci – Two for the Seesaw – How Far, How Near – The Great Escape – Twilight of the Gods – One Man Band – 2001: A Space Odyssey – Sleepy Hollow – Marathon Man. His most famous work is the poster design for the cult film Cabaret (1973) directed by Bob Fosse with the memorable performance of Liza Minelli.

The artist participated in many exhibitions around the world. His posters and projects were awarded in both Polish and International competitions. Górka was awarded first prize at the International Competition for Tourist Posters in Berlin (1967). In 1970 he traveled to Havana (Cuba) with a group of Polish graphic designers to conduct training on graphic design development. The next stage of his journey was the capital of Mexico. He then worked as a teacher at prestigious Mexican art schools from the 1970s through to the 1990s. During the 6th International Poster Bienniale in Mexico in 2000, Górka received the top award for his contribution to the development of graphic arts in Mexico.

www.cinemaposter.com

culture.pl/en/artist/wiktor-gorka

culture.pl/en/article/18-most-important-polish-graphic-designers-of-the-20th-century

www.poster.com.pl/gorka.htm

www.posterpage.ch/mem/gorka/gorka.htm

paddle8.com/work/wictor-gorka/49824-2001-a-space-odyssey-polish

REG MOMBASSA

Artist and Musician – Chris O’Doherty (also known as Reg Mombassa) was born in Auckland New Zealand in 1951 and migrated to Australia with his parents and brother. He formed rock band Mental as Anything with four other art students. Reg left the Mental’s in after 25 years, so that he could concentrate on his art. He has exhibited paintings, drawings and prints at Watters Gallery in Darlinghurst since 1975.

Chris/Reg began working as a freelance artist in 1976, designing T-shirts and posters for organizations such as Greenpeace, the Rock Eisteddfod, Circus Oz, the Opera House Trust, the Surrealist Exhibition at the Art Gallery of NSW, Redfern Legal Aid, the Wilderness Society, Westmead Children’s Hospital, The Powerhouse Museum, The Paralympic Arts Festival etc. This is Where his posters got recognition and made a name for himself.

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He worked closely with Mambo Graphics designing t-shirts and posters.

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Reg also performs with his brother Peter in the band Dog Trumpet which he creates posters for

In June of 1999 Mambo held an art exhibition of original artwork and posters in London
Among the bands that he has designed record covers for are; Crowded House, Mental as Anything, Dog Trumpet, Mondo Rock, Paul Kelly and John Lydon’s band P.I.L

Some of Reg’s achievements have been

His ‘Real Wild Child’ exhibition poster, which was commissioned by Sydney’s Powerhouse Museum, won first prize in the poster category of the ‘Association of American Museums 1995 Design Competition’. There were 1,050 entries including all the major American museums

He received the 1996 ARIA award (Australian Record Industry Award) for ‘Best Australian Cover Art’ for Mental as Anything’s ‘Liar, liar pants on fire’ CD.

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He designed the ‘Hero’s ‘segment for the Sydney 2000 Olympics Closing Ceremony.

The Victorian Tapestry Workshop invited Reg to contribute a design for a tapestry to be completed and installed in the Melbourne Museum

His artwork is included in the permanent collections of:
The National Art Gallery, Canberra
Art Gallery of New South Wales
Powerhouse Museum of NSW
University of Sydney Union

Reg is inspired by the wind, semi-professional birthday clowns, heavy machinery and the behavior of domestic animals. He is married with three children and lives in the inner west of Sydney.

 

http://regmombassa.com/biography

http://dogtrumpet.net/reg-mombassa-original-show-posters

http://www.portrait.gov.au/portraits/2001.44.e/get-wet-series-reg-mombassa

http://www.nag.org.au/exhibitions/past/2015/artist/mambo_30_years_of_shelf_indulgence

http://www.abc.net.au/radionational/programs/booksandarts/aria-posters/6973810

http://www.ebay.com.au/bhp/reg-mombassa

 

Posters Victor Moscoso

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Victor Moscoso, The Chambers Brothers, Neon Rose series #12, 3-colour photolithograph poster, 1967.

Stare into the electric blue shades of this woman’s sunglasses and what do you see?  Even if you know what you are looking for, the blue letterforms come together to form coherent words only with sustained visual focus.  If you were to advertise a concert that you wanted people to come to, would you make it this difficult for your audience to find out about it?  Or could it be that the designer had something else in mind.

Break on Through  “That was the first Doors poster by Moscoso.  In fact, it was the first poster for The Doors from San Francisco, because they were an LA band.  “Break on Through” was the first single off of their first album and it got airplay, in other words radio play, and so nobody knew who the Doors were in San Francisco.  They said, “hey, put this, ‘Break on Through to the Other Side’ somewhere in the poster so that people will know who The Doors are.  See, nobody knew who the Doors were.  Moscoso just went ahead and did what he felt like doing, and so he put a snowflake in the third eye position on the lady, overprinting, and then he put the, “Break on Through to the Other Side” where he felt like. That’s the thing about these things, he didn’t have to show a sketch to anybody.  He did not have to get approval on this. When he finished the poster he went directly to the printer.  Because they were being done so quickly and also, by then, the posters were selling very fast.”

For the Avalon Ballroom poster, Moscoso applied his signature lettering to the yin yang, the Chinese symbol for interdependence of contrary forces. There are up to ten known variations in color for this particular print.

Victor Moscoso Nieman Marcus Neon Rose #B2 Poster
One of Moscoso’s finest images, this poster was done for a 1967 poster show at the prestigious Neiman Marcus Department Store. When viewed under a black light, the lower ball of text appears to rise up from the horizon.
An extremely stylised abstract design of circle and line suggests cosmic forms. The billowing leaf-like shapes in the foreground give a disquieting sense of organic life.

March 22-23, 1967 at the Avalon Ballroom featuring Quicksilver Messenger Service, John Lee Hooker and the Miller Blues Band

“Based on the astrological reading on the date of the dance, this was going to happen during the retrograde of mercury. The picture of the band was taken at the De Young Museum in front a of a small Chinese sculpture of a rhino. Moscoso had to deal with a horizontal photo of the band and a vertical layout for the poster. He gave Moscoso the title ‘from the plains of Quicksilver’. Using the title, he thought of Mercury, so he made his letters into a planet and this letter form appears in a positive, negative, positive, negative. In other words when you read down, the lettering alternates. Because it is a circle,
the photograph fit in perfectly, with no top or bottom.”

Victor Moscoso poster done for the 25th anniversary of Starbucks.
Poster measures 22 x 25.5 and features the Starbucks lady standing above a coffee cup with the words, “The Starbucks Experience, 25 Years of Good Brew” on a banner, and “Seattle Washington” on the cup and saucer.’96 VICTOR MOSCOSO.

http://www.cooperhewitt.org/2013/01/29/good-vibrations/

http://www.fheads.com/Reader_Cover_Story.html

http://www.familydog.com/content/avalon-ballroom-lithograph

http://www.dking-gallery.com/store/MOS_Nieman.html

http://www.victormoscoso.com/fd53.htm

http://www.victormoscoso.com/gallery8.htm

Ikko Tanaka

Tanaka was born in Nara, japan in 1930 and became famous for combining Japanese traditional motifs such as landscapes, the Noh theatre, masks and calligraphy with Western modernism and Western styles of typography. His early life saw his study art moving on to modern drama and theatrical study groups at a later date. 1963, was the year he formed Tanaka Design Studio where worked for corporations like Mazda, Hanae Mori, Issey Miyake and the International Garden and Greenery Exhibition.

in 1977 Tanaka designed a work for Amnesty International, an organization focused on human rights. His used of colour Western graphics, typeface and traditional Japanese type are evident in this early work, a style mixture that he’ll go on make his trademark.

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Medium, screen print on paper.

His Hanae Mori work in 1978 displayed his Western modernism style with Western typefaces for a Japanese fashion designer named Hanae Mori. This work combined geometric shapes in the form of a butterfly, often associated with beauty, with a modern style typeface.

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Medium, screen print on paper.

 

 

Tanaka most famous work was designed in 1981 when he created a poster for a Nihon Buyo dance performance, in which he created an abstract geisha using geometric forms placed on a simple grid.

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Medium, offset print on paper.

1986 he did a piece titled Ginza Saison Theatre for Theatre company itself, which mainly stages Japanese-langue plays. Like most of his designs shapes with a splash of colour play a big focal point for his poster combining Western typeface placed at the top and Japanese text at the bottom.

 

Medium, screen print on paper.

1991 Tanaka took to designing a poster for the 16th Japanese Kimono Exhibition and it typical Tanaka style, which at this point in his career was well and truly famous for. This design uses a white shape manipulated to form the outline if a Kimono with black shapes scattered across it incasing coloured Japanese lettering.

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Medium, offset print

this was one of Ikko Tanaka’s last works, dying in 2002 the graphic design world lost a true talent. IkkoTanaka