Electric, outrageous, erotic, rebellious - rock concert posters are the visual equivalent of the music they advertise. The Art of Rock traces the history of this energising art form from the bold letterpress posters advertising Elvis's early shows, through the multi-coloured fantasies of the psychedelic era, to the avant-garde collages of new wave and punk. More than 1,500 posters and other graphics - tickets, backstage passes, buttons, handbills - are presented in their original blazing colour (or their stark black and white, as the case may be). The text features dozens of exclusive interviews with musicians, concert promoters, and the poster artists themselves, including legends like Stanley Mouse, Alton Kelley, or Wes Wilson - who also designed the cover of this book. A visual journey through 30 years of rock and roll, as well as a valuable reference, The Art of Rock is an essential volume for every music lover (and art lover).

This large-format poster book lets you decorate your walls with images from Katie Scott's Botanicum. Featuring plantlife of all kinds, from right around the world, it's a stunning celebration of all things botanical.

Nudity, lasciviousness, sensuality, provocation, shamelessness, or obscenity. During the 19th century, eroticism takes on a new place in Western visual culture, in particular thanks to the development of reproduction such as photography, press or lithography. Result of long and meticulous research, this book reviews the major reflections carried out on the theme of nudity in the field of art history and the history of sensibilities. It studies the reception of nudity in France, based on documentary and iconographic sources renewed (little-known works, drawings and photographs, newspapers, archives, texts of laws) and allows us to better understand this history of erotic art of the nineteenth century, long perpetuated by the sole taste of description. By placing the works in their context, by comparing expressions and aesthetics, and studying visual culture of time, Claire Maingon opens up new fields of reflection, while allowing to discover unknown or forgotten artists such as Broc, Gavarni, , Dubufe, Galimard, Ranft, Eakins, alongside the big names in the history of 19th century, David, Ingres, Delacroix, Courbet, Manet, Rodin. Text in French.

This large format volume includes over 340 regional posters from many sources, many previously unpublished, and spanning the Victorian era through to modern times. Volume 7 begins in the city of Bristol, a port, railway hub and seat of learning. Travelling through Somerset, we pass through Wiltshire before reaching the south coast in Dorset. Then is is to the West Country proper, to tour first Devon and then beautiful Cornwall: classic seaside posters abound. We finish the tour off-shore in the playgrounds of the Scilly Isles and the Channel islands.

With his smooth, warm, ruddy face which radiated light in all directions, Chairman Mao Zedong was a fixture in Chinese propaganda posters produced between the birth of the People's Republic in 1949 and the early 1980s. Chairman Mao, portrayed as a stoic superhero (aka the Great Teacher, the Great Leader, the Great Helmsman, the Supreme Commander), appeared in all kinds of situations (inspecting factories, smoking a cigarette with peasant workers, standing by the Yangzi River in a bathrobe, presiding over the bow of a ship, or floating over a sea of red flags), flanked by strong, healthy, ageless men and "masculinized" women and children wearing baggy, sexless, drab clothing. The goal of each poster was to show the Chinese people what sort of behavior was considered morally correct and how great the future of Communist China would be if everyone followed the same path toward utopia by uniting together. This book brings together a selection of colorful propaganda artworks and cultural artifacts from Max Gottschalk's vast collection of Chinese propaganda posters, many of which are now extremely rare.

The medium of the poster is distinguished by displaying messages combining images and text on a static, two-dimensional surface. Designers have, however, always toyed with extending the plane by adding a third dimension, whether spatial or temporal, in order to fool the eye. Stop Motion examines the myriad creative approaches to suggesting movement, recession into depth, dynamics, and rhythm. Perspectival narrowing and plastically rendered motifs are among the traditional stylistic means used in painterly and illustrative posters. Borrowings from Op Art or psychedelic art perplex the eye. In photographic posters, techniques such as blurring or time exposure are used to cause an image to vibrate. But sophisticated printing techniques can also broaden the possibilities of visual expression. In contemporary posters, it is the strictly graphic means of writing, abstract pictograms, or geometric forms that stretch out nested spaces, through which the gaze wanders restlessly. Stop Motion reveals that poster designers have in fact traditionally sought to incorporate the aspect of movement. Moreover, the works assembled in the publication show that-with the exception of the current animated poster trend-the simulation of movement and three dimensions is always the result of a conscious design decision motivated by the respective content.

Find inspiration and remember that tomorrow is a new day with this book of posters featuring encouraging (and rage-filled) messages from Retsuko! This set includes high-quality full-color posters, in 12 unique designs, featuring Retsuko and emblazoned with some of her most inspirational quotes. The 8x10" removable sheets come ready to hang or frame, so you can instantly bring some attitude to your own home or office.

For more than 100 years, winter sports have been an integral part of the image of mountainous regions. Skiing in particular became the "in" activity for the rich and beautiful during the "roaring twenties". The sport was as much about competition as it was about an exclusive lifestyle. Since that time, winter sports destinations have adver tised their assets through artistically designed posters. Renowned Artists have used pencils and water colors to express the ideals of winter vacations in top Alpine locations such as St. Moritz, Chamonix and Groeden, as well as dream places like Vail and Whistler in the Rocky Mountains. The collection in this book documents the stylistic development while presenting in different chapters the most beautiful and exceptional posters of the era.

For many decades the Railways Department's design studios, Railways Studio, was New Zealand's 'go-to' advertiser. Its tourism and product ads appear on railway-station hoardings and billboards throughout the land, and it developed some of New Zealand's most iconic graphic images. This big, beautiful book brings this treasure trove of design together for the first time.

An exploration of infographics and data visualization as a cultural phenomenon, from eighteenth-century print culture to today's data journalism. Infographics and data visualization are ubiquitous in our everyday media diet, particularly in news-in print newspapers, on television news, and online. It has been argued that infographics are changing what it means to be literate in the twenty-first century-and even that they harmonize uniquely with human cognition. In this first serious exploration of the subject, Murray Dick traces the cultural evolution of the infographic, examining its use in news-and resistance to its use-from eighteenth-century print culture to today's data journalism. He identifies six historical phases of infographics in popular culture: the proto-infographic, the classical, the improving, the commercial, the ideological, and the professional. Dick describes the emergence of infographic forms within a wider history of journalism, culture, and communications, focusing his analysis on the UK. He considers their use in the partisan British journalism of late eighteenth and early nineteenth-century print media; their later deployment as a vehicle for reform and improvement; their mass-market debut in the twentieth century as a means of explanation (and sometimes propaganda); and their use for both ideological and professional purposes in the post-World War II marketized newspaper culture. Finally, he proposes best practices for news infographics and defends infographics and data visualization against a range of criticism. Dick offers not only a history of how the public has experienced and understood the infographic, but also an account of what data visualization can tell us about the past.

Way before the advent of social networks, the first, and sometimes only, visual contact you may have had with a movie was its poster. To return to this enlightened approach and escape the hard selling, marketing campaigns of today's releases, this book pays tribute to the artists who celebrate the era when cinematographic posters made us dream. Presented by ARTtitude, this collaboration features the contemporary work of 58 different artists from the PosterSpy art community, one of the most influential groups devoted to alternative posters. The nearly 300 posters presented here cover a diverse range of genres and eras, from pop culture favorites like Star Wars and Goonies to the Wes Anderson filmography to horror and sci-fi classics. Each piece reveals intensely creative and detailed representations of films that ask the viewer to see the film in a new way and challenges the visual package included with the original release.

The Musee international de la Croix-Rouge et du Croissant-Rouge owns a unique collection of posters from around the world. From the beginning of its history, the Humanitarian Movement uses this support to spread its messages and values. For the presentation of the Red Cross and Red Crescent, the recruitment of volunteers, the request for donations, the call for blood donation, the promotion of hygiene rules, the prevention of diseases or disasters, the dangers of mines or the teaching of first aid, posters challenge the public, inform and try to rally to the humanitarian cause. More than a means of communication, they are also witnesses of an era capturing the events that are shaking the world and the concerns of the regions in which they appear. Mirrors of society, the posters carry with them the history of the Movement, its actions, its necessity and, even more, its universality.

In 1946, Abram Games left the War Office armed with this testimonial: 'His work had to be subtly persuasive, or directly "propagandist" - but it was always effective, compelling, and of outstanding quality.' During the Second World War, Captain Games, holder of the unique title of 'Official War Poster Artist', designed a hundred posters for army use. The Ministry of Information adapted several designs for civilians. There is a tale to tell about many of these images, especially about his infamous but most successful ATS Blonde Bombshell recruiting poster. Being the son of a photographer, Games employed many ingenious photographic tricks to convey his message of 'Maximum Meaning, Minimum Means' in his designs. Most books on Graphic Design have included images by Abram Games. This is the only book published that concentrates solely on Games's war work. The Estate of Abram Games holds his large archive, which includes a memo from Churchill, personal correspondence, press cuttings, sketches, paintings, and maps for the Army Bureau of Current Affairs, and photographs from Games's seven years in army service.

Nothing is more evocative of the golden age of travel than the railway poster. Speed to the West shows some of the best railway posters used to promote the romance of holiday travel to the West Country, a region formed by Dorset, Somerset, Devon and Cornwall. There are stunning and iconic landscapes, immediately recognizable, painted in wonderful colors that bring together the excitement, spectacle and nostalgia of the golden age of train travel. The general history of holiday express train development is covered including a detailed history of the Atlantic Coast Express and Cornish Riviera Express together with other named trains that served the West Country. The result is a visually stunning collection of posters. It is a journey of nostalgia, displaying the best of British railway advertising of the past and present.

"The authors have succeeded in creating a book that engages the reader in an unconventional and memorable manner...a sound piece of scholarship that accomplishes its task of introducing Indian aesthetic theory and Tamil hoardings"-" Southwest Journal of Cultures"

The Erotic. The Valorous. The Furious. The Terror-stricken. The Pathetic. The Comic. The Disgusting. The Marvelous. The Peaceful.

According to the "Natyashastra," a second-century Indian theory of aesthetics, there is a spectrum of nine emotions that superior works of art should evoke. This book picks each of the emotions apart, exploding them into their modern context: Tamil cinema billboards, or hoardings, as they are popularly known.

A team of hoarding artists from Chennai's Kollywood movie industry have created monumental paintings expressing each of the nine emotions in their own inimitable style. For the initiated, insightful essays illuminate the intersection of culture, commerce, and politics.

Lichtenstein's art is most recognizable for its trademark benday dots and two-dimensional planes, cartoonlike qualities that placed him at the forefront of the American Pop Art scene. With its emphasis on consumer culture, Lichtenstein's style lent itself easily to the poster genre. This volume opens with his earliest poster, designed for his first exhibition at Leo Castelli Gallery in 1962, and closes with his last, which he completed the year of his death. An additional section features reproductions from the Claus von Olden collection and includes posters and flyers that were produced all over the world using Lichtenstein's iconic motifs. The works reflect Lichtenstein's prolific imagination and ability to adapt his vision to the promotion of music and film festivals, theatrical performances, museums, restaurants, and public service messages as well as his own exhibitions. An essay discusses Lichtenstein's development as an artist who blurred the boundaries between lowbrow and highbrow art. The book also includes an illustrated biography of the artist.

This collection of nearly two dozen detachable, frameable, propaganda posters offer an outstanding selection of examples from East Germany, Russia, Southeast Asia, and China. Reproduced in startling color and printed on high-quality paper, they offer fascinating historical insight, as well as sublime examples of how graphic art can be both highly effective as well as visually stunning. The Russian October Revolution of 1917 marked the beginning of decades of communist rule that spanned large parts of the world. For many years and in many countries, the most reliable means of spreading state propaganda was through posters like the ones included in this beautiful collection. Distinguished by their bold, bright colors, and generally featuring one or two main figures or a single forceful image, they were ubiquitously plastered on the walls of factories, farms, office buildings, transportation centers, and public squares. They exhorted citizens to proclaim their patriotism through hard work, exercise, and loyalty, and celebrated technological advances in science, space travel, and architecture. Representing an impressive array of styles, cultures, and historical eras this collection is suitable for walls and coffee tables alike.

"Posters for Change is the kind of project that the world needs right now." - Shepard Fairey Make your voice heard with this collection of 50 tear-out posters created by designers from around the globe! This collection of posters is made for-and by-people who want to make their voices heard in a time of unprecedented political activism and resistance. Stand up for: * Animal Rights * Child Labor * Civil Rights * Climate Change and the Environment * Gun Control * Health Care Access * Immigration * LGBTQ and Gender Rights * Mass Incarceration * Public Arts * Voting Rights * Women's Rights Proceeds will be donated to the following nonprofit organizations: Advocates for Human Rights, Border Angels, Honor the Earth, and the Sylvia Rivera Law Project. A foreword by Avram Finkelstein, a designer for the AIDS art activist collective Gran Fury, looks at the crucial role of graphic activism in the current political climate.

The Graphic Century reveals the symbiotic relationship that exists between graphic design and art. Structured chronologically, the publication presents a survey of posters dating back to 1903. Although they are brought together from the archives of just one institution - the Whitechapel Gallery - they are emblematic of wider ideological, technical and aesthetic tendencies. Edited and introduced by Hannah Vaughan, The Graphic Century surveys the developments in visual communication since the Gallery's launch.