In the turbulent days of May 1968 in Paris, a group of artists calling themselves the Atelier Populaire created posters that were vital in spreading the call to unite student and workers. The propaganda of the French revolt was fed by immediate pressures. The day by day events – the disruption of classes at Nanterre University led by Daniel Cohn-Bendit, the supporting student demonstrations in Paris, the police invasion of the Sorbonne and its occupation by students, the barricades, and the government’s reaction and referendum…
Manuel Orazi was a Spanish illustrator, a lithographer who contributed notable Art Nouveau posters of the last quarter of the nineteenth century. He designed the 1884 Théodora poster for Sarah Bernhardt with Gorguet. Others of his posters were for Peugeot bicycles, the opera Aben Hamet and, in the form of an old torn manuscript, for the opera Thaïs by Jules Massenet.
What: A series of blink-and-you’ll-miss-them posters, for Sydney’s Powerhouse Museum exhibition Hybrid: Objects for Future Homes.
Stephen Todd, the design editor of The Australian Financial Review and creative director of this year’s Sydney Design Week, partnered nine designers with cutting-edge neuroscientists, chemical engineers, and robotics experts to create objets for the home of 2030.
Poster mockup by LoveGunn The posters use a series of Soviet typefaces and a “minimalist three colour process”, according to the consultancy, which adds that artist and designer Kazimir Malevich acted as one of the main inspirations behind the design direction, alongside Communist propaganda posters.