Museum für Gestaltung Zürich, Bettina Richter (eds.)

Stop Motion

Poster Collection 31

The medium of the poster is distinguished by displaying messages combining images and text on a static, two-dimensional surface. Designers have, however, always toyed with extending the plane by adding a third dimension, whether spatial or temporal, in order to fool the eye. Stop Motion examines the myriad creative approaches to suggesting movement, recession into depth, dynamics, and rhythm. Perspectival narrowing and plastically rendered motifs are among the traditional stylistic means used in painterly and illustrative posters. Borrowings from Op Art or psychedelic art perplex the eye.

In photographic posters, techniques such as blurring or time exposure are used to cause an image to vibrate. But sophisticated printing techniques can also broaden the possibilities of visual expression. In contemporary posters, it is the strictly graphic means of writing, abstract pictograms, or geometric forms that stretch out nested spaces, through which the gaze wanders restlessly.

Stop Motion reveals that poster designers have in fact traditionally sought to incorporate the aspect of movement. Moreover, the works assembled in the publication show that—with the exception of the current animated poster trend—the simulation of movement and three dimensions is always the result of a conscious design decision motivated by the respective content.

The medium of the poster is distinguished by displaying messages combining images and text on a static, two-dimensional surface. Designers have, however, always toyed with extending the plane by adding a third dimension, whether spatial or temporal, in order to fool the eye. Stop Motion examines the myriad creative approaches to suggesting movement, recession into depth, dynamics, and rhythm. Perspectival narrowing and plastically rendered motifs are among the traditional stylistic means used in painterly and illustrative posters. Borrowings from Op Art or psychedelic art perplex the eye.

In photographic posters, techniques such as blurring or time exposure are used to cause an image to vibrate. But sophisticated printing techniques can also broaden the possibilities of visual expression. In contemporary posters, it is the strictly graphic means of writing, abstract pictograms, or geometric forms that stretch out nested spaces, through which the gaze wanders restlessly.

Stop Motion reveals that poster designers have in fact traditionally sought to incorporate the aspect of movement. Moreover, the works assembled in the publication show that—with the exception of the current animated poster trend—the simulation of movement and three dimensions is always the result of a conscious design decision motivated by the respective content.

This book is part of the Poster Collection series. Get the complete series here

Edited by Museum für Gestaltung Zürich, Bettina Richter

With an essay by Ellen Lupton

Design: Integral Lars Müller

16,5 × 24 cm, 6 ½ × 9 ½ in

96 pages, 170 illustrations

paperback

2019, 978-3-03778-601-7, German
English
CHF 25.00

Bettina Richter

Bettina Richter studied art history in Heidelberg, Paris and Zurich and obtained her doctorate in 1996 with a thesis on the antiwar graphics of Théophile-Alexandre Steinlen. From 1997 to 2006, she served as a research associate at the Poster Collection of the Museum für Gestaltung Zürich, and in 2006 became its curator. Bettina Richter lectures at the Zürcher Hochschule der Künste and works as a freelance writer. She is the editor of the publication series "Poster Collection" and has published articles and essays on art history, literature, and the subject of posters.

Ellen Lupton

Ellen Lupton (*1963) is a writer, curator, educator, and designer. She holds the Betty Cooke and William O. Steinmetz Design Chair at MICA (Maryland Institute College of Art) in Baltimore, where she has authored numerous books on design processes. She serves as a senior curator at Cooper Hewitt, Smithsonian Design Museum in New York City where she curated exhibitions such as Herbert Bayer: Bauhaus Master, Face Values: Understanding A.I., The Senses: Design Beyond Vision, Beauty—Cooper Hewitt Design Triennial, How Posters Work, and Beautiful Users. Lupton was named a Fellow of the American Academy of Arts & Sciences in 2019.

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