A beautifully packaged collection of Tove Jansson's classic Moomin artwork showcased alongside warm, witty and mindful quotes from the original books and characters. Packed full of stunning artwork from the Moomin archive including book covers, illustrations and a detailed map of Moominvalley, this book is a wonderful introduction to the magical world of the Moomins and a must-have for any Moomin fan. Printed on sturdy, high-quality A4 card, each picture can be pulled out and framed, or the book can be read from start to finish to give a history of the Moomins and their unique world. Tove Jansson's art, creative vision and philosophy have led her to become one of the world's most treasured children's authors and illustrators. Born in Helsinki to artist parents, she worked as a celebrated artist, author, and political cartoonist, but she is best known as the creator of the Moomins, the charming and quirky inhabitants of Moominvalley whose lives are filled with adventure, warmth and kindness. Publishing to celebrate the 75th anniversary of the creation of the Moomins, this gorgeous gift book is peppered with inspirational quotes and additional info alongside the artwork, and will appeal to collectors and new fans alike.

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 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.

Harryhausen - The Movie Posters showcases the posters from all of Ray's movies, from 1949's Mighty Joe Young, to Clash of the Titans in 1981. There has never been a book published devoted solely to the promotional art associated with the films themselves. Featuring posters from all over the world, as well as commentary from The Ray & Diana Harryhausen Foundation, this is an essential addition to any fan's library.

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.

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.

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.

"We seek to inform as well as to celebrate. The best posters about American workers and the jobs at which they labor make up a visually fascinating body of work that rewards our attention. The posters were produced with a dual purpose: to entertain and to inform. They were also vehicles for working people to present themselves visually, which is rarely as straightforward as it might seem because the labor force itself is not monolithic. Nor are the posters about just paid or wage labor. They repeatedly demonstrate that labor issues include both the workplace and the outside community and often portray families and neighbors, not just fellow workers." from Agitate Educate Organize

In Agitate Educate Organize , Lincoln Cushing and Timothy W. Drescher share their vast knowledge about the rich graphic tradition of labor posters. Lavish full-color reproductions of more than 250 of the best posters that have emerged from the American labor movement ensure that readers will want to return again and again to this visually fascinating treasury of little-known images from the American past. Some of the posters were issued by government programs and campaigns; some were devised by unions as recruiting tools or strike announcements; others were generated by grassroots organizations focused on a particular issue or group of workers all reveal much about the diverse experiences of working people in the United States.

American labor posters are widely scattered, difficult to locate, and rarely archived. Cushing and Drescher examined several thousand such images in the course their research, guaranteeing a truly representative selection. The presentation of the posters is thematic, with a brief history of activist graphic media followed by chapters on Dignity and Exploitation; Health and Safety; Women; Race and Civil Rights; War, Peace and Internationalism; Solidarity and Organizing; Strikes and Boycotts; Democracy, Voting, and Patriotism; History, Heroes, and Martyrs; and Culture. Along with the stunning color images, the text contributes to a much deeper understanding of the politics, history, artistry, and impact of this genre of activist art and the importance of the labor movement in the transformation of American society over the course of the twentieth century. For more information about this book, visit www.docspopuli.org/ArtWorks.html."

Artist Tony Both worked in Liverpool during the early 1960s, just around the corner from The Cavern Club and close to the Beatles' manager Brian Epstein's office in Whitechapel. Tony's work caught Epstein's eye, and he would go on to produce posters, printed leaflets and a wide variety of publicity and display materials for Epstein's artists, most notably for a young four-piece beat combo called the Beatles. Alongside his work for Epstein, Tony produced hand-painted gig posters for many promoters, including Sam Leach, Allan Williams and The Cavern Club's DJ Bob Wooler, who also promoted many of the big events. Tony's original posters now fetch a considerable sum of money, and The Beatles in Posters features these as well as exact replicas of those that have been lost to time. This is the first book of its type and is a must-buy for all fans of the Fab Four and the Merseybeat scene.

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.

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.

Austin Cooper was by chance of birth a Canadian but built his career as a commercial artist in London. Art-educated in Wales and Scotland, he became, in the inter-war years, one of the most highly-respected poster artist in the United Kingdom - one of L.N.E.R's 'elite' five, his name comparable to that of McKnight Kauffer for work for London Transport, and a contributor to Post Office posters for some ten years. He was to become the Principal of the distinguished Reimann School for its short life in London just prior to WWII. He then virtually disappeared from the commercial art world, leading a reclusive life in a frustrated attempt to build a belated career as a 'fine' artist. His 'Making a Poster' book is as valid in its advice now as when it was written in 1938.

Railway posters have a huge appeal to the modern audience, but just what is it that appeals to us? Enduring images of iconic locomotives, bathing beauties and characters such as Sunny South Sam are testament to the persuasive power of the railway company marketing departments established in the late nineteenth century. Railway posters not only tell us about railway history and technology, architectural and engineering accomplishments, but they also give us insights into the cultural and social significance of the railways. The influence of the railway industry on our cities and coastlines and the development of leisure time and holiday resorts can be seen in the recurring images of ramblers, bathers and idyllic tourist destinations. This book explores the changing styles and functions of the railway poster from the early pre-grouping days through to the inter-war 'golden age', World War Two and the nationalised British Railways.

In the early 19th century, artists and printers embraced the new medium of lithography, an innovative method to mass - produce and distribute images. Known for its collection of French prints and posters, the Zimmerli Art Museum at Rutgers University has rich holdings of lithographs made over the course of the 1800s, including examples from lithography's early years in Paris to iconic color posters from the 1890s. Invented around 1796, lithography introduced a new proc ess and new opportunities for the creation and circulation of printed images. Artists, printers, and publishers embraced the new medium for its relative ease and economic advantages as compared with the established printmaking media of woodcut, engraving, and etching. Taking root in Paris around 1815 after the fall of Napoleon's empire, the art and industry of lithography grew in tandem with the city as it became Europe's artistic and urban capital over the course of the nineteenth century. Lithographs play ed a distinct role in both documenting and advancing (and often satirizing) the various and competing art movements of the period as publishers responded to the unprecedented demand for printed images of all types.

Advertising creates dream worlds, yet always simultaneously bears witness to its era. Both these tendencies are exemplified in fashion posters. Moving beyond the latest modish trends and beauty ideals, fashion posters reflect moral codes and social conditions. In particular, they pander to the longing to escape routine everyday life, for these posters suggest that it is possible to attain a completely new identity simply by opting for a different garment or style. Androgynous models and less normative images of men and women in the advertising industry mark the dawn of a new era that entails constantly balancing aspirations to individuality against a sense of collective belonging. Fashion posters from past and present are lifestyle propositions; they tell stories, seduce and shock. Playing with convention and provocation, bodies are sometimes lavishly veiled and disguised, sometimes sensually staged. At times consumers are only indirectly encouraged to shop. A button or a coat collar as a pars pro toto illustrate product quality in historical posters. A new, somewhat controversial approach to fashion advertising emerges in Benetton campaigns from the early 1990s. Overtly erotic ostentation contrasts with poetic allusions that are for example the hallmark of highly aesthetic Japanese fashion posters. En Vogue brings together fashion advertising spanning roughly a hundred years and deploying myriad different PR strategies, in each case reflecting the cultures and periods in which it was created.

Why did collectors seek out posters and collect ephemera during the late-nineteenth and the twentieth centuries? How have such materials been integrated into institutional collections today? What inspired collectors to build significant holdings of works from cultures other than their own? And what are the issues facing curators and collectors of digital ephemera today? These are among the questions tackled in this volume-the first to examine the practices of collecting prints, posters, and ephemera during the modern and contemporary periods. A wide range of case studies feature collections of printed materials from the United States, Latin America, France, Germany, Great Britain, China, Japan, Russia, Iran, and Cuba. Fourteen essays and one roundtable discussion, all specially commissioned from art historians, curators, and collectors for this volume, explore key issues such as the roles of class, politics, and gender, and address historical contexts, social roles, value, and national and transnational aspects of collecting practices. The global scope highlights cross-cultural connections and contributes to a new understanding of the place of prints, posters and ephemera within an increasingly international art world.

Anyone who has ever walked through the gates at a Disney Park knows that there is a magical experience waiting to be had on the other side. All of the telltale signs are there: the sound of joyful music pipes across the promenade; the smells of popcorn and cookies waft through the air; and the colorful attraction posters depict all the wonderful rides and shows created for Guests by the Imagineers. "Poster Art of the Disney Parks "is a tribute to those posters, which begin telling the story of each attraction even before Guests have entered the queue area.
Disney attraction posters have been an important means of communication since Disneyland began displaying them in 1956. Not only are they eye-catching pieces of artwork that adorn the Parks with flair and style, they are also displayed to build excitement and disseminate information about the newest additions to the Disney landscape. When the first attraction posters made their debut at Disneyland, one such piece of art proclaimed that Guests could have a "true-life adventure" on the Jungle Cruise. And in 2012 at Disney California Adventure, a poster announced the grand opening of Cars Land-the newest thrill-filled destination at the Disneyland Resort. Both of those posters are reproduced within this book, along with posters from every decade in between.
As evidenced by the evolution of the attraction posters, art styles and design techniques have certainly changed over the years. These characteristics also differ from continent to continent. Posters from Tokyo Disneyland, Disneyland Paris, and Hong Kong Disneyland exhibit the nuances in presentation that give each Park's pantheon of posters its signature look. But while artistic interpretations and color palettes may vary from Park to Park and from year to year, the spirit of Disney storytelling is a constant that ties them all together.

One of the common features of communist regimes is the use of art for revolutionary means. Posters in particular have served as beacons of propaganda - vehicles of coercion, instruction, censure and debate - in every communist nation. They have promoted the authority of state and revolution, but have also been used as an effective means of protest. This is the first truly global survey of the history and variety of communist poster art. Each chapter is written by an expert in the field and examines a different region of the world: Russia, China, Mongolia, Eastern Europe, North Korea, Vietnam and Cuba. This beautifully illustrated, comprehensive survey will appeal to a wide audience interested in art, history and politics.

The Poster: Art, Advertising, Design, and Collecting, 1860s-1900s is a cultural history that situates the poster at the crossroads of art, design, advertising, and collecting. Though international in scope, the book focuses especially on France and England. Ruth E. Iskin argues that the avant-garde poster and the original art print played an important role in the development of a modernist language of art in the 1890s, as well as in the adaptation of art to an era of mass media. She moreover contends that this new form of visual communication fundamentally redefined relations between word and image: poster designers embedded words within the graphic, rather than using images to illustrate a text. Posters had to function as effective advertising in the hectic environment of the urban street. Even though initially commissioned as advertisements, they were soon coveted by collectors. Iskin introduces readers to the late nineteenth-century "iconophile"--a new type of collector/curator/archivist who discovered in poster collecting an ephemeral archaeology of modernity. Bridging the separation between the fields of art, design, advertising, and collecting, Iskin's insightful study proposes that the poster played a constitutive role in the modern culture of spectacle.
This stunningly illustrated book will appeal to art historians and students of visual culture, as well as social and cultural history, media, and advertising.