This moodpboard is meant to represent the official and unoffical differences in 1980s culture! unofficial culture is seen as rebellious and more open to talks about struggles in life. whereas official is more commercial and mainstream, a lot more family friendly.  I personally love the outspokenness of the unofficial culture, as to me its more real and raw, I feel like bands like the smiths and joy division really paved the way for speaking out how you truly feel in songs. 

​Victor Moscoso was born in Spain, 1936 but was brought up in Brooklyn, New York. He studied art at the Cooper Union Art School before getting into Yale University school of art where he studied with modern colourist, Joseph Albers, he was influenced by him as he was one of the first of the rock poster artists to use photographic collage in many of his posters. He learned the importance of colour theories which he then used in his posters later in life. In 1959 he then moved to San Francisco to attend the Art institute there. After he graduated he built himself a career as a freelance graphic designer. 
 
Moscoso’s love for psychedelic art was inspired by Wes Wilsons’ Paul Butterfield poster for the family dog. He was inspired by many other artists and posters in his time, Stanley Mouse and Alton Kelley and their posters for ‘Zig Zag man’. Moscoso became a frequent designer for concerts in 1966. Moscoso, Rick Griffin, Stanley Mouse, Alton Kelley and Wes Wilson all produced posters for the music venues that filled the Avalon Ballroom for the Family Dog Collective. 

​This poster was created for the Chamber Brother’s spring concert in 1967 in San Francisco. This was an unusual poster for its time because of the lack of information you need from it, the blue text with the band name melts away into the pink and orange of the model’s sunglasses and the face. You can see Moscoso’s influences coming through with the typography font and how the lettering is curved in different formations like the Paul Butterflied poster by Wes Wilson. Not only that but his use of photography used in the poster and how he has recoloured to make it more eye catching. 

After this lecture was given, I feel a sense of empowerment to be more like Moscoso in a way that is unapologetic and focuses on his own work, he does his own thing and its something I heavily admire. 

​Bernie Fuchs is one of Americas most famous artists and has gained recognition for his many pieces that were used in advertising, magazines and postal stamp designs. He kick started his career off in the 1950s by working as a car advertisement illustrator, where his most renound pieces were for sports magazines, capturing the energy and speediness from the likes of biking and race cars.
 
He then experimented with landscapes and incorporated people into the scenes, these pieces were far more layered than the ones he previously did for advertising, and he soon adopted a more abstract and light infused style. 

Thrasher magazine is a magazine dedicated solely to skateboarding. following the death of their main editor Jake Phelps, a whole issue was dedicated to him in June 1019, which shows unseen photographs and stories of Phelps and his friends from back in the day. I picked this spread because I liked how the images were vintage looking and nostalgic to show how time had passed. the photographs were also taken by his friends which shows a more friendly and less staged feel, this connects with the viewer as they can relate to home photographs that they may take with their own friends. the photos become more personal if they aren't as edited and staged. I specifically like the photograph with Phelps and the fire, fire and skateboarding are iconic to the thrasher logo, so showing the roots of the logo ideas and history behind the brand gives a more authentic and personal style, the size of this photograph emphasises the importance of Phelps in the spread as it takes up one whole A4 page. the contrast of the photos are bright and happy, this shows the viewer the times were happier and more raw. The typography is simple in this spread, I feel this is to ensure the viewer isn't distracted by the text, but is instead attracted to the brightly coloured photographs of Phelps and his friends, which should be the main focus of the article. I personally love spreads like this that show a more raw stream of photographs as opposed to staged modelling photos, i enjoy viewing vintage photos taken on old disposable cameras and polaroids as I like the sense of you only get one shot to take the photo.

​Dieter Rams was born in Weisbaden, Germany in 1932. His grandfather was a carpenter and loved to watch him work on numerous projects, this is where his love for design stemmed from. He absorbed his grandfather’s way of thinking and learned the skills to become a skilled carpenter. He began a course at age 16 for interior design at the reopened Handwerker Kunstgewerbe Schule in Wiesbaden. After two semesters of studying there he left to begin a carpentry apprenticeship that lasted for 3 years. He began taking an nterest in architecture, having been heavily influenced by his professers and lecturers such as Dr. Soder, Hugo Kuckelhaus and Professor Haffenrichter. Rams soon became an architect and interior designer at Braun, this company focused on developing new products such as kitchen utensils, electric shavers and the first radio/record player. 
The post war consumer electric market struggled selling technology, as the consumers were scared of technology due to their stigma in the war, so it was important to design electronics in a ‘friendlier’ way. They did this by hiding gramophones and televisions in wooden cabinets to resemble traditional furniture. 
 
When Rams joined Braun, he applied his architectural skills to the design of sets and offices. He worked with the Ulm tutor Hans Gugelot and his team with developing the SK4 radio and record player. They abandoned the traditional looking record player and introduced the metal case and two metal sides, rather than being hidden away, it was exposed and out in the open.
 
Rams believed that sketching is the best way to bring designs to life, he preffered line drawings that he mastered in school. He didn’t tend to use computer software to brainstorm his ideas. 
He believed in the ‘Good design’ which consister of 10 principles:
 

• Good design is innovative.
• Good design makes a product useful.
• Good design is aesthetic.
• Good design helps to understand a product.
• Good design is unobtrusive
• Good design is honest.
• Good design is durable.
• Good design is consequent to the last detail.
• Good design is concerned with environment.
• Good design is as little design as possible.

 
 
His legacy continues to inspire young designers today and continues to be an influential figure through his unique designs. 

Born 21st May 1902 in Pecs, Hungary, Marcel Breur grew up in a small town near the Danube river. He graduated high school at the Magyar Királyi Föreáliskola
And enrolled in the academy of fine arts in Vienna to study painting with the advantage of a scholarship, he quickly disliked the course and swiftly moved on to study viennese architecture in the form of an apprenticeship. At the age of 18 he moved to Weimar, Germany to enrol at the new school called the Bauhaus which was founded in 1919. His aim was to show that functional design and fine art can be interlinked in a aesthetic but functional way.
 Within a year Breur was quickly promoted to the head of carpentry. He used his skills to create the furniture in the Sommorfeild House in Berlin. His use of steel and glass was substantial in his pieces, the newest innovations in bending tubular steel to create the frames of his designs like tables and chairs was revolutionary and shaped modern design.
 
In 1928, He began the private practice of architecture in berlin, where he designed the Dolderthal apartments in Zurich (1934-1936) He then went on to designing for the Isokon firm in London some laminated, plywood furniture. He didn’t stop teaching, He taught architecture at Harvard University and in Cambridge, Massachusetts (1938-1941). He brought the Bauhaus way of learning to America and went on to lecture new budding designers. 
 
Later in life, he moved to New York City in 1946 and attracted numerous commissions such as the Sarah Lawrence College theatre, The International Business Machines research centre, La Gaude in France and so many more. He then retired from practice in 1976 and died July 1st 1981. 
 
 
Bruer is one of the most iconic designers in the Bauhaus movement, his interesting and dynamic designs from utensils to buildings have shaped the way we use objects and the overall Bauhaus aesthetic.

​The Russian revolution (1917) was a way for Russian artists to create impactive posters regarding political views and develop the visual identity for communism at the time. 
The aim of constructivists posters is to create impact and meaning to the public who view it on a day to day basis, relaying important information that pushes the views of the people. This propaganda promotes agitation and an important message to the pollical climate at the time. 
 
Vladimir and Georgii Stenberg are one of the most famous Soviet constructivist artists and graphic designers of the 20th centaury. The brothers experimented with multiple medias, from theatres sets, costume designs and sculptures. Their revolutionary movie posters were the pieces that set them apart from different artists in their time. Their use of geometry and typography display big impact and shifted the look of the revolution movement. 
 
The brothers created the movie poster for ‘Battleship Potemkin’ which displayed a bold and powerful look. The design was produced to promote the Sergei Eisenstein’s propaganda film which was about the historical 1905 naval mutiny in Odessa. The use of experimental film editing into the poster created a dramatic portrayal effect and promotes maximum impact, the use of red and other vivid colours makes it eye-catching to the audience. The geometric created a sense of stability and assertiveness to the poster, making it powerful. 

​Aleksandr Mikhailovich Rodchenko was another painter, sculptor and designer who impacted the look of the russian revolution. From 1918 – 1922 Rodchenko worked in the constructivists style, using paint and compases to create the geometric forms in his work. Rodchenko had competition with other artists, and in rivalry he painted a series of black on black geometric paintings in response to the famous white on white paintings creating by Kasmir Malevich. This rivalry was powered by his dislike for the older generation avant – garde painters.
 
In 1924 he created a poster that combines two medias in an image that comes across as quite mechanical. The text is in big block letters and is extremely clear and legible, no flourish is needed as this would take away the impact of the message. Its straight to the point and coveys an important message. The woman in the piece is calling out the word ‘Books’, the image of her is also clear and detailed with no fancy use of image manipulation to distract the viewer. I particularly enjoy the use of bright primary colours in Russian pieces, it has inspired me to use more colour in my own pieces and to take the likes of Rodchenko's influences into my own work in the future.

​Art Nouveau was an art movement that peaked in popularity between 1890 – 1905, this was practiced in numerous forms s of art such as architecture, applied art, and design. “Art nouveau’ is the French term for ‘New art’ and is heavily influenced by organic forms from plants and natural life. Whiplash’ is the Structures or art pieces that tend to take plant like form, including curves and stylized vegetation. Art Nouveau was interpreted differently across the world.
 
Glasgow has a lot less plant like influence and went for a more refined, geometry path when it came to design. Charles Rennie Macintosh created furniture that was sleeker and more refined, he was part of ‘The Four’ which was an informal group with the English sisters Margaret and Frances MacDonald and James Herbert McNair, they produced some of the most inventive decorative art and design of the period. As the city became more industrialised, it became more successful in shipbuilding, which meant there was a higher demand for consumer goods and arts, as Japan began to let the rest of the world into their country, their style influenced the world, Macintosh was one of these artists. In western culture furniture was seen as an ornament of wealth and stature of the owner, whereas in the Japanese arts it was more focused on quality of space which came across as more calming and organic to the interior, which is something Macintosh was inspired by when designing and building his furniture. 

​Vienna’s most influential artists were Otto Wagner, Josef Hoffman and Adolf Loos. These artists created the world-renowned buildings such as the Secession, the postal savings bank and the Loos House. Otto Wagner is mainly responsible for shaping Vienna’s skyline as we know today, by creating geometric buildings which are clear and symmetrically arranged. The most prominent pieces of the Vienna Art nouveau movement was their ornaments, especially for exterior design, marble, metal, tiles and glass ennobled the houses. The intricate but detailed designs were a common attribute to the buildings in Vienna, tending to be coloured and beautiful. 

​Nancy was influenced by the art nouveau movement in a way that was inspired by plants and herbage. Ecole de Nancy were the leading founders of the Art nouveau in France, they were a group of French artists that designed architecture in the city of Vienna and france, they were inspired by the forms of the giant hogweed, water lily, thistle and animals such as dragonflies. They used materials such as glass, iron and steel in their architecture which was included in buildings and street metal such as gates and fencing. 

​Madrid’s art nouveau movement was introduced to Madrid in the early 20th century. An example of their movement was the construction of the House of Gallardo, it was the work of Federico Arias Rey. It was designed in 1911 as a remodel of a building previously. It incorporates an elegant finish and light-coloured walls that contrast with the dark slate tiles on the roof, and the dome that crowns the building is a distinct look of the Spanish architecture. 

​Japanism is the study of Japanese art and design, Japan began to trade with European countries and the aesthetics of the paintings, and their art style began to grow popular within western countries in the 19thcentury. This was because Japan was a closed off country, so not much influence was taken from the outside, so they developed their own style and way of creating intricate paintings and their use of medias such as block printing. In western culture the pre- Raphaelite artists were very popular amongst the culture and dominated the style. The paintings were usually painted surrounding moral and religious beliefs.
 
Western artists seeked a fresh alternative to the Renaissance tradition, they admired the way the Japanese could simplify palettes, unusual viewpoints and minimalistic arrangements in their work. Western artists then began to experiment with perspective with the influence of these Japanese artists. 
 
When Vincent Van Gogh Lived in France, He travelled to Paris to pursue his love for art, he was a self-taught artist that studied impressionist paintings and Japanese prints. Studying from Japanese art quickly became present in his art. His portrait of Pere Tanguy, an art shop and dealer displayed heavy Japanese influences from the highly visible brush strokes and the bright colours. Tanguy appears before a series of woodblock prints made by Van Gogh; these prints include Japanese women and scenery.  The Japanese influence is used to display the admiration he had for Pere Tanguy as he was a generous supporter of Van Gogh. By placing him in the centre of the piece allows the viewer to know he’s the main focus of the painting, the Japanese prints convey honour and respect felt for his friend. 

​Another artist who was influenced by the style of Japanese art was James Mcneil. He created his famous piece called ‘the princess from the land of porcelain’, this piece was heavily influenced by Japanism, the western woman is dressed in a traditional Japanese garment and surrounded by other Japanese pieces of furniture. The painting itself is a long, tall piece of work that follows the traditional shape of Japanese canvases.