Daily Posts. Colorful Ideas & Inspirations.
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Here, for your color inspiration is a selection from the site's collection of "graphically interesting, but otherwise uncollectible, books that entered and exited bookstores quietly in the 50s, 60s, and 70s."
Playing cards were found in China as early as the 9th century during the Tang Dynasty (618–907), when relatives of a princess played a "leaf game". The Tang writer Su E stated that Princess Tongchang, daughter of Emperor Yizong of Tang, played the leaf game with members of the Wei clan to pass the time. The Song Dynasty (960–1279) scholar Ouyang Xiu (1007–1072) asserted that card games existed since the mid Tang Dynasty and associated their invention with the simultaneous development of using sheets or pages instead of paper rolls as a writing medium. A book called Yezi Gexi was allegedly written by a Tang era woman, and was commented on by Chinese writers of subsequent dynasties.
Ancient Chinese "money cards" have four "suits": coins (or cash), strings of coins (which may have been misinterpreted as sticks from crude drawings), myriads of strings, and tens of myriads. These were represented by ideograms, with numerals of 2–9 in the first three suits and numerals 1–9 in the "tens of myriads". Wilkinson suggests that the first cards may have been actual paper currency which were both the tools of gaming and the stakes being played for. The designs on modern Mahjong tiles likely evolved from those earliest playing cards. However, it may be that the first deck of cards ever printed was a Chinese domino deck, in whose cards we can see all the 21 combinations of a pair of dice. In Kuei-t'ien-lu, a Chinese text redacted in the 11th century, we find that dominoes cards were printed during the Tang Dynasty, contemporary to the first printed books. The Chinese word pái (牌) is used to describe both paper cards and gaming tiles.
An Indian origin for playing cards has been suggested by the resemblance of symbols on some early European decks (traditional Sicilian cards, for example) to the ring, sword, cup, and baton classically depicted in the four hands of Indian statues.
From ultimate luxury to utilitarian dream to an example of excess and modern inefficiencies, the automobile has had a long history that is reflected in the color and design of the advertising developed for the industry over the years.
Here is a selection of vintage car ads for your color inspiration.
Sea-Monkeys, "X-Ray" Vision, Monsters from Outer Space! These classic comic book ads are as much of a part of comic culture as the books themselves. Here's a selection of ads from the Classic Ad section. The complete collection can be found at Classic Comic Book Ads.
Here's an interesting set of advertising from the 50's, 60's and 70's from flickr user Pink Ponk. The collection is home to a great juxtaposition of American and Japanese commercial design and illustration styles from the time period.
Continuing the color and graphic traditions of those that came before them, these masters of retro modern design have the ability to create something that feels both nostalgic and fresh. Whether using appropriated images, hand-lettered type inspired by sign painters, strict Swiss design, or paying homage to antiquated technology, film posters of the past, and color palettes attached to particular decades, working in such styles takes more than just copying the past. And the outcome is strictly the artist's own, just ask Shepard Faiery's lawyers...
This post in our Masters of Design series is brought to you by our
friends at Full Sail University's Online MFA Program for Media Design.
Learn > Research, Strategy, Development + Branding.
Drawing inspiration from "within" himself, Scott uses the internalized images collected throughout his life to develop his style. With a keen sense of color interaction his palettes instantly take us to a time that is unknown, but that is strictly Scott's.
A selection of Fortune Magazine covers from 1933 through 1969. You can see the complete collection here.
"It was stated in February 1930 that ‘the covers are to be a special feature’ and that ‘a design by a distinguished artist will appear each month, which will be made especially for printing in flat colours and will have the character of an original print’. They did much to convey the spirit of progressive technology that proved so exciting to the American public of the 1930s. Amongst the more celebrated designers contributing such work were Fernand Leger, Bauhaus graduate and tutor Herbert Bayer, Hungarian-born Gyorgy Kepes, who had worked closely with Moholy-Nagy in Britain and the United States, and American born Lester Beall." - Covenger + Kester