November '20

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4 8 G R A P H I C S P R O N O V E M B E R 2 0 2 0 G R A P H I C S - P R O. C O M S I G N A G E & P R I N T I N G R E G A R D I N G D E S I G N This Spanish-language poster for Angels with Dirty Faces is effective in its use of strong color fields and bold, sans serif lettering. (Image courtesy the collec- tion of Mark Oatis) This 1966 Fillmore Auditorium poster by Wes Wilson is deserving of the term "iconic"; a San Francisco poster that came to define the style. The undulating letterforms borrowed from Art Nouveau characters devised 70 years earlier. (Image courtesy the collec- tion of Mark Oatis) Lest we think the psychedelic propensity for other- worldliness was a mid-century phenomenon, examine this poster from 1924, by F. C. Herrick. The London Transport Company was so secure in its image by that time that it allowed the stylized use of its Under- ground logo in the subject's hair. The decidedly futur- istic background completes the picture. (Image cour- tesy the collection of Mark Oatis) In this send-up of a vintage gangster-movie poster, "hands" refer to the cards in play. A smoky haze per- vades the scene. The top-shaded letters seem illumi- nated by the hanging lamp. (Image and artwork cour- tesy Mark Oatis) A genuine magic poster. Here, "hands" also serve to tell a story. (Image courtesy the collection of Mark Oatis) The psychedelic concert posters deliberately broke the mandate for graphic clarity, inviting the viewer to spend time deciphering myriad cryptic messages. (Image and artwork courtesy Mark Oatis)

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