SPEAKING OF PICTURES: A VINTAGE GRAPHICS BLOG

A RAPID CHANGE IN MIDTOWN ARCHITECTURE

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We used to be pretty bored with midtown Toronto architecture and its precious earnestness seeping into everything about the place. We’re delighted to survey here the new mid-town, dropping British constraint and beginning to see the point of shooting skyward. The residue of New York City devolving from this change—unlike the old idolatry regarding London—cares little for New York landmarks, and prefers to introduce its own landmarks, produced in conjunction with architects from all over the world.

The ROM’s dish of badass—if you leave aside the shambles of the delivery of the collection—is, from the street, anyway, not only making a contribution in itself but having an impact on the surround.  Continue reading

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OUR VINTAGE POSTER GALLERY TREASURE TROVE !

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The permanently situated framed vintage posters (for sale) in our entrance-way gallery and the rotating display of unframed vintage posters in our studio combine to provide in a flash (the speed, in fact, posters get going with blowing us away) the kind of communication great designs, almost always in a crowd, thrive upon. Our first three designs, larger than first imagined, by virtue of large frames, play along as a story of seasons–fall, winter, spring/summer, in that order. Moreover, the first two designs pertain to luxury apparel in connection with the season at hand–this being a launch pad, among other things, for meeting the public.    Continue reading

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WHERE THE LIVEWIRES LIVE (IN EXTERIOR AND INTERIOR ARCHITECTURE)!

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At last week’s IDS design show/think-tank/trade day, Norwegian architect, Craig Dykers declared that interior design would be better called “interior architecture.” His reasoning was that the makings of an effective interior involve complex considerations akin to those of architecture as generally understood. Though at first blush this sounds facile, patronizing and wrong-headed, by following the heart of several presentations (including that of Dykers) we come to the exciting jist of how the two disciplines merge.

Dykers’ slide show included the photo above, showing his Snohetta staff on their annual trek to the Norwegian wilds, more specifically the home of Valhalla as pertaining to the Viking energies of their world-wide hunt for treasure. This was, however, not a primarily Ultraman macho test, but instead an exposure to silent kinetic forces at the essence of their métier. In accordance with that navigational foundation, Dykers’ was far from the only voice casting doubt upon academic credentials as adequate for the future of profitable building and designing in the 21st century.      Continue reading

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RALLYING FROM ADVERSITY– ADVENTURE DESIGN BY FORTUNE MAGAZINE

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Fortune February 1937 ;Antonio Petruccelli;13 3/4″ x 11″;A-,P; complete magazine

These days financial reversals are a dark cloud we try to put in perspective. A most elegant and resolved instance of picking up the pieces can be found in the Depression-era editions of Fortune Magazine.

Today we’ll be guided by the cover (as to putting out a dangerous aberration) shown above, with its iconic deco graphic design by the superb Antonio Petruccelli, to make our way to an account of its contents facing up in various ways to craft and enterprise challenged to rising to the occasion.  Continue reading

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A MOVIE HOUSE HEAVEN, HERE IN TOWN!

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The Rainbow Theatre, in Toronto, is that rare conjunction of a staff of young, savvy and sweet devotees, a fabulously appointed vehicle and movies that matter. Housed in a former deep underground parking lot across from the ancient St. Lawrence Market food emporium, it constitutes a challenge to industrial design on the order of maintaining the poetry of the produce on the screen, in face of flagging everydayness.    Continue reading

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THE VISUAL ESSENTIALS OF MUSIC

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http://www.idesirevintageposters.com/entertainment-mostly-mozart-festival-1974.html

We all know that music can make large and important inroads into middling experience. The impact of music in movies, for instance, can leave us enchanted with the action. There are fascinating vintage posters and other graphics which try to approximate visually the lift of musical intervention.

We begin here with a painter, Jack Bush (having worked as a graphic artist to pay the rent), who, when into full gear with his career, became a dazzling exponent of the tonality of blithe fields of color incisively arranged. The sensuous interplay of such presences is in itself a silent form of musical logic. Here the deft spree joins forces with the always scintillating lucidity of Mozart.    Continue reading

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APPRECIATING SOME OF OUR  BEST !

We’re rounding out the year of design blogs with a fond farewell to some vintage graphics sold in 2015. They’re a varied array; but each has a kick all its own!

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http://www.idesirevintageposters.com/travel.html

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PEPPY AND WONDERFUL VANTAGE POINTS IN VINTAGE GRAPHIC ART

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Graphic designers (even today) live to light a fire under the viewer, in hopes that the attractiveness and excitement of the evocation will create an irresistible demand for a specific product or service and that the irresistibility will lift the client to a new effervescence. (A designer as establishing many such coups comes to be less anonymous and adds to the enjoyment of the lithographic artistry.)

Here we have rather sharp drama in the perspective, and as joined by light humor in the figuration. The product (shown almost parenthetically) does not appear in the central design as such. What we get is a maximum-capacity drama of the mundane product. And the point of view leads the way!   Continue reading

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 CROWD SCENES IN LITHOGRAPHIC DESIGNS—HOW DO THEY MANAGE?

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A number of human figures in a design can accomplish wonders of dynamic intensity and incremental nuance. Whereas most vintage posters and illustrations depend heavily upon an arresting central feature (more often than not an attractive woman), the arrangements we want to explore here become all the more special for being quite rare.

The pochoir Christmas card from 1920 constituting our screen cap here seems to ally itself with theatre staging to produce a sense of an occasion touching everyone in a region. The narrowness of the avenue accentuates the flamboyant and beautiful women’s coats. And in the course of this promenade we have a vignette of a couple paying a visit to a resident. Thereby the anonymity of city life has been primed to a degree of noteworthy solicitude for strangers. There is also (as a sort of topspin to the social buzz) a process of enhancing chromatically a rather austere streetscape.

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INSPIRED BY FURS–A PARIS GRAPHIC REVERIE 103 YEARS OLD!

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Claude Courtet, a true Paris gentleman and discerning expert on the City’s graphic splendors, was always a highlight of our searches across the ocean. One of the treasures from his shop near Moufftard, a centre of chic on paper now sadly gone, is the center of today’s engagement with those endeavors to bring topspins of sensibility to an effective visibility.

The subject of furs–like that of cigarettes–has become a repellent to many of us. But, as with smoking promotions, the visual power of enthusing about furs offers a still-potent means of appreciating the texture, pattern, color and attitude which we can’t afford to ignore (though we might be impelled by it to find comparable areas of stimulation).

Claude’s  comprehensive attentions to the greatest lithographic concern of the Belle Epoque and Art Deco eras, namely, Draeger Freres, came upon the smashing hard-cover portfolio, Fourrures Portraits Miniatures,  Edite Par Leroy  & Schmid Fourrures  Max, Place de la Bourse, Paris (1912; 20 pp.). This work fanfares its dazzling illustrations by way of three vignettes speaking to: 1) a connoisseur of furs who lives for October and the exposure of his collection by placing it about his flat; 2) a reverie upon winter as the golden moment for the ascendancy of furs; and 3) the special bond to furs by a doomed aristocracy in 18th century France.

The first of our bountiful strikes with bountiful dimensions, by Drian, situates the beauty of the wilds in the foyer of an opera house or theatre or concert hall where hopefully the wildness onstage will not be upstaged by the raiment!

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