BSBDES202A- Part 2

Part 2: The Contribution of Two Individual Poster Designers

Wes Wilson

Born 1937 – Present

Wes Wilson had a desire to discover and understand the concepts, the systems of thought and belief that had engaged thinkers and shaped the cultures around the world.
In 1965 Wilson designed a propaganda poster that warned of America adopting the policies of a dictatorship. The primary purpose of Wes Wilson’s poster designs is for advertising. Wilson designed posters mostly in the 1960’s to promote bands and festivals locally, nationally and internationally.
Taking on inspiration from the Art Noveau Movement, Wilson’s work became more and more well known. Using imagery of if the human figure, primarily the female figure is a predominant trait throughout his work. Through these figures Wilson portrayed the philosophical and metaphysical consciousness of the artist and the counter culture. Wilson’s portrayal of the female figure is the most positive and sensitive image of the feminine figure in the modern era.

His unique lettering method has been marked as the representation of the 1960’s and the “psychedelic” era. This being a direct influence from Alfred Rollers typography design, Wilson created his original idea from this inspiration as an intended response to the Swiss style of typography.

Wilson’s individual contribution to the poster industry was his creation of a whole new original style that became the image of the “psychedelic 60’s” and early 70’s. By creating and developing this style Wilson has left his mark on history by gaining inspiration from the Art Noveau Movement. The development of a new type has set the foundations for many other new designers to create a modern version of his designs.

I admire Wes Wilson’s work on general but the aspects that I admire the most is his use of type and integrating it with such simple images. This simple design of imagery and to combine such complex typography harmoniously is a skill that I aspire to and wish to further in my career. His theory and use of colour is a quality I wish to incorporate into my work. I’ve come to realise that to design a successful poster it doesn’t necessarily have to have the whole spectrum of the rainbow, whereas in Wilson’s work all that is needed is a few colours that work harmoniously together.

Referencing: Information and images sourced from http://www.wes-wilson.com
“The Psychedelic Poster Art of Wes Wilson” by Colin Brignall

“Robert Wesley Wilson” by Walter Medieros

Jules Cheret

Born 1836 – 1932

Jules Cheret began his career in lithography, painting and the early stages of poster design. Cheret’s design career was based on “the theory of complementary colours”, absorbing ideologies from Impressionists and Pointillists. His work showed delicate, powdery and graceful imagery and design work that contributed to his unique style and aesthetically pleasing creative endeavours.

Cheret began his influential poster design career by beginning in the field of advertisement. His first break in the design industry was with the advertising campaign of Rimmel in 1866, using his breakthrough in chromolithography Cheret was able to be the first to design a poster with two tones and hues, achieving beyond any other artist of his time.

Cheret’s works were purely his own original ideas and creations. Creating colours that balanced together, blending vibrant colours to work harmoniously together. His work consisted of many advertisements for the Moulin Rouge, such as “La Goulue” and “Cherettes”. He was not only brilliant beyond his time in understanding the aesthetics of colour and images together, but has been credited and acknowledged for creating the first Colour Lithography Printing Press, this being a groundbreaking discovery in the arts and design world paving the way for future poster designers.

I particularly admire Cheret’s use of colour throughout his work. His ability given the era he was in is outstanding and is to be greatly admired by many future poster designers. Cheret’s work has influenced many poster designers throughout the ages looking into his “theory of complementary colours”. This theory is something that I truly admire, his balance of warm and cool colours and being able to produce designs that are atheistically pleasing is something, of his time, I believe to be amazing. His uniqueness a quality that I also admire as his designs are so recognisable within the artistic world.

I feel that by not only just incorporating these features but also taking inspiration from his theories and uniqueness will help me in creating my own recognisable style and designs within the industry. My main focus is colour as I do have some issues with this concept by studying Cheret’s practices I believe I can incorporate his ideas into my own designs to strengthen them and make my designs more atheistically pleasing to an audience.

Referencing: Information and images sourced from http://www.cheret.info