The Red and the Black
Saturday, April 21st, 2012
Matthew Liebowitz, promotion, 1947
People often ask me, “Sean, what’s the secret with this whole graphic design thing?” Of course, there is no secret. Or if there is, nobody told me. I can say, however, that a big rule for me is contrast. There is no such thing as too bright, or too much contrast in design. I’m not big on de-saturated colors and soft contrast. Design should be bold. There’s an old saying about teaching a donkey. First you smack it in the head with a two by four, and then give it the message. Now, clearly, I don’t advocate donkey cruelty. But, design is the same. First, get the audience’s attention. Then tell them the story.
Red, white, and black are good choices for contrast and bold statements. I’ve used this combination many times and quite enjoyed it. The danger is looking like a Nazi. The Nazis were rather keen on black and red, so you need to be careful to not appear to be a Facist. Using a little bit of red and a little bit of black isn’t the same thing. Remember: donkey, two-by-four, and big.
Alvin Lustig, book cover, 1940s
Gustav Klustis, poster, 1928
Henry Wolf, Esquire magazine cover, 1955
Henry Wolf, Magazine spread, 1960s
Herbert Matter, Arts and Architecture magazine cover, 1947
AdamsMorioka, Frederator postcard
John Massey, Orchestra Poster, 1960s
Karel Vaca, film poster, 1964
Lester Beall, promotion, 1938
Paul rand, Art Direction magazine cover, 1939
Paul Rand, department store ad, 1947
