Banner instagram wedding

2066

900×900px
Photoshop PSD File
RGB color mode
Smart Object
100% Layered

More details

9 Items

$5.00

More info

A successful advertising poster must be able to be clearly viewed from a distance of one

hundred feet, suggesting that if such a the prominent image cannot instantaneously attract

the attention of harried passersby, then even an exquisitely beautiful design is ineffectual

publicity. This idea has been tested throughout the twentieth century with methods ranging

FROM THE UNAMBIGUOUS SACH PLA CAT (OBJECT POSTER) IN THE EARLY 1900S TO OPTICALLY

CHALLENGING PSYCHEDELIC POSTERS IN THE LATE 1960S. SOME ARE EFFECTIVE WITH MORE AND

OTHERS WITH LESS VISUAL NOISE, BUT ONE THING IS CERTAIN: EVERY POSTER MUST HAVE THE KIND OF

THE GRAPHIC IMPACT THAT INTIMATE PRINTED MATERIALS DO NOT. THIS IMPACT IS BEST EXPERIENCED

(FOR IT
IS INDEED A VISCERAL EXPERIENCE MORE THAN AN

INTELLECTUAL ONE) IN THE WORK OF SWISS GRAPHIC

DESIGNER AND TEACHER ARMIN HOFMANN

(B. 1920). HIS POSTERS HAVE UNIQUELY BRIDGED THE DIVIDE BETWEEN REPRESENTATION

AND ABSTRACTION. FEW OTHER DESIGNERS HAVE PRODUCED MORE VIVID WORK, WHICH

CAN BE SEEN FROM ONE HUNDRED FEET OR ONE FOOT AWAY.

HOFMANN CREATED A GREAT MANY POSTER ICONS OVER A SIX-DECADE-LONG

CAREER. THESE INCLUDE BUT ARE NOT LIMITED TO THE MULTIPLE HANDS FOR THE

MUNICIPAL THEATER BASEL, THE HUGE “C” FOR THE CAVELLINI COLLECTION, THE

SPIRALING BALLERINA FOR “GISELLE,” AND THE BOLD APPLE FOR “WILLIAM TELL.”

HOWEVER, THE APPROPRIATELY TITLED DIE GUTE FORM (GOOD DESIGN), FOR

A 1954 EXHIBITION AT THE SWISS INDUSTRIES FAIR IN BASEL, IS PERHAPS THE

DESIGNER’S QUINTESSENTIAL CONTRIBUTION TO THE POSTER FIELD. THIS STARK

TYPOGRAPHIC DESIGN IS AT ONCE CONCRETE AND ABSTRACT, SIMPLE AND COMPLEX,

CONVENTIONAL AND RADICAL. IT DOES EVERYTHING A POSTER SHOULD DO—ATTRACT THE

EYE, PIQUE CURIOSITY, IMPART A MESSAGE—ALL, INCIDENTALLY, WITHOUTbenefitOF

AN EXPLICIT PICTURE OR CLEVER SLOGAN.DESIGN

Yet the headline Die Gute Form is, in fact, a picture, and the picture

is a headline that can be read either as words or symbols—or as both at a

single glance. To make this poster indelible, Hofmann designed geometrically

precise yet thoroughly novel letterforms that are so harmonious when

composed into the three words and then partially obliterated that they

phenomenally retain their readability. The viewer is indeed asked to take a

second or two to decode the lettering, but once accomplished, the mysterious

beauty and overt significance of the poster is obvious.design

I have used many words in the above paragraph to explain what

Hofmann so effortlessly achieved with just a few strategic marks on paper,

which just goes to underscore the very essence of his achievement.

Hofmann is a master of eloquent economy, not the cold

stereotypical reductionism associated with the 1950s- and 1960s-era

corporate variation of the Swiss Style (which is used on generic packages,

traffic tickets, and business forms), but rather a graceful complex simplicity

that combines purely aesthetic and distinctly functional values. While his

graphic language, comprised of radical shifts in scale (never superfluous),

precisionist type arrangement (at no time predictable), and stark symbolism

(by no means clinical), is rooted in what is referred to as “Swiss

rationalism,” it is nonetheless imbued with a particular personal dialect

underscored by emotion. I have often heard critics of orthodox Swiss

design who call it unrepentantly cold and formulaic, but Hofmann both

defies and transcends this tunnel view.design