Search results for "*" | Collection of Cooper Hewitt, Smithsonian Design Museum

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A tornado-like object composed of metal strips at center; text in blue above in a wavy line; text on either side, and photographs of buildings.

Poster, Environmental Design at Art Center College of Design, ca. 1989–95
lithograph on paper.
Gift of Rebeca Mendez.
1996-59-1

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

Three photographs in a row with text in yellow in blue boxes. Photograph on right contains four young men, one wearing a t-shirt that reads: safe sex. Above them: The moral majority. Center photograph shows to men without shirts in an embrace, one sporting a tattoo that reads: No Fear / SAFE SEX; with text above that reads: Family values. The photograph on the right features a condom with text: Right to life.

Poster, The Moral Majority, ca. 1995
lithograph on paper.
Gift of the San Francisco AIDS Foundation.
1995-155-2

This object was made by San Francisco AIDS Foundation.
This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

Long, horizontal sheet divided into three sections about areas of green energy found in the five counties of New York City. Map of New York City presented in a low, bird's eye view.

Poster, The Powerful Green Map of NYC: Energy and NYC, after 2006
off-set lithograph on paper, folded.
Gift of Wendy Brawer, Green Map System.
2011-46-5

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

Black and white poster composed of white sans serif font spelling the words "Light" and "Years" which are superimposed to create a flickering image. Produced for the Architectural League's Beaux Arts Ball, March 13, 1999.

Poster, LIGHT/YEARS, 1999
offset lithograph on white wove paper.
Gift of Michael Bierut.
2007-12-2

This object is part of the Drawings, Prints, and Graphic Design collection.

On black ground, black text: NAPOLI / [black eyes]; in white text: vedi Napoli / e poi muori. Lower right, a hand in horn gesture.

Poster, Napoli, Vedi Napoli e poi Muori [See Naples and Die], 1986
off-set lithograph on white wove paper, string.
Gift of Lella and Massimo Vignelli.
2009-42-13

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 3 images of this object.

Poster (folded to be mailer brochure) to announce American Institute of Graphic Arts (AIGA) Fall 1997 Conference in New Orleans. Recto: Main image is color image of white headless chicken running in grassy terrain; six red drops of blood arranged around throat of chicken. At far left, brown-feathered headless chicken; trees at right. From upper right, in various text styles, "BUT, HURRY! (apprearance of font similar to chicken feet)/ Jambolaya/ THE DESIGN OF CULTURE/ MEETS/ THE CULTURE OF DESIGN/ THE 1997 BIENNIAL CONFERENCE/ OF THE AMERICAN INSTITUTE OF GRAPHIC ARTS/ NEW ORLEANS/ LOUISIANA/ NOV. 13-16, 1997" (in yellow). Imprinted in handwritten cursive font around date arranged in three sections "NEW Orleans is/ THE AMERICAN MELTING POT/ AT A ROLLING BOIL,/ WHERE FRENCH, BRITISH,/ SPANISH, AFRICAN-AMERICAN/ AND NATIVE AMERICAN/ CULTURES HAVE COMBINED/ TO CREATE BREAKTHROUGHS/ IN MUSIC, ART/ LITERATURE AND FOOD./ WHAT BETTER PLACE/ FOR 2000 OF THE COUNTRY'S/ BEST GRAPHIC DESIGNERS/ TO MEET, TALK, EAT, DRINK,/ DANCE, ARGUE,think, AND LEARN/ HOW OUR WORK AFFECTS THE WORLD/ AND HOW THE WORL/ AFFECTS OUR WORK?/ (next section) FORGET ABOUT THE USUAL SUSPECTS WITH THE / SAME OLD SHOW-AND-TELL/ SLIDE SHOWS...THERE ARE DESIGN CONFERENCES YOU GO TO FOR/ INSPIRATION, AND THEN/ THERE ARE CONFERENCES/ THAT CHANGE YOUR LIFE./ THIS FALL'S AIGA CONFERENCE/ IN NEW ORLEANS WILL/ BE ALL THREE:/ DON'T EVEN THINK ABOUT MISSING IT".
At lower right corner, labels scattered with names of various participating designers. [To personalize and interact with the design, designers were asked to write their names or provide an image on a small label.] At upper right corner, vertically in yellow, imprinted in handwrinting font, "WHY A HEADLESS CHICKEN? IS IT A METAPHOR FOR THE PROFESSION?/ SHOULD WE STOP RUNNING AROUND LIKE ONE AND SIGN UP/ FOR THIS VERY INTERESTING CONFERENCE?/ IS IT A VOODOO SYMBOL?/ ANTI TECHNOLOGY?/ WILL A MIXTURE OF TELEPHONE SCRIBBLES AND TURN OF THE CENTURY/ ART BRUT REALLY BE THE HOT NEW STYLE REPLACING WOOD VENEER/ ITSY-BITSY TYPE BOXES AND AROUND CORNERS? WASN'T NEW Simplicity SUPPOSED TO COME FIRST? EURO-TECHNO?"
Verso: Poster organized into 12 sections based on folds. From from top left to right:
Section 1: "ADDED ATTRACTIONS"
Section 2: "Main Stage speakers"
Section 3: for mailing, postage, mailing address, etc.
Section 4,8,12: "The Speakers. that WILL COME" followed by list of various designers participating in this event.
Section 5: "CONFERENCE/ Registration"
Section 6: "AFTERNOON PANEL DISCUSSION/ FRIDAY"
Section 7:"And always remember: Style=FART/ JAMBALAYA/ New Orleans"
Section 9: "AIGA Membership"
Section10: SATURDAY MORE AFTERNOON PANEL DISCUSSION"
Section11: "New Orleans Jambalaya" and color photographic reproduction of head of chicken. When folded, this page is cover page.

Poster, Hurry!, 1997
offset lithograph on paper.
Gift of Sagmeister, Inc..
2000-61-5

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 3 images of this object.

Poster, How can a design be compa

Poster, How can a design be compa
offset lithograph support: paper.
Gift of Cranbrook Academy of Art.
1991-69-97

This object is part of the Drawings, Prints, and Graphic Design collection.

Poster, How can a design be infor

Poster, How can a design be infor
offset lithograph support: paper.
Gift of Cranbrook Academy of Art.
1991-69-100

This object is part of the Drawings, Prints, and Graphic Design collection.

Image in white ink of Teepee/Tent at left.
Condition: 1 3/4'' tear to the right of lower center
Imprinted in white at UC: How can a design be responsive? / Indian homes had to be mobile and / responsive because the Indians were/ often on the move...; at C 3/ Flexible structures and environments can /respond to changing tasks and needs...; at R: Products that are mobile can be easily moved to where they are needed; at LR: Funded by the Michigan Council for/ the Arts...At lower margin C: Design Michigan."

Poster, How can a design be respo
offset lithograph support: paper.
Gift of Cranbrook Academy of Art.
1991-69-98

This object is part of the Drawings, Prints, and Graphic Design collection.

With the poster opened, both recto and verso are designed for horizontal viewing, in inverted positions. For mailing, the object is folded in half horizontally and in quarters vertically, resulting in eight equal sections. The design is executed in bright blue ink on ivory-yellow paper.

Recto: At the top, in capitals, AIGA National Design Conference stretches across the width of three sections. A line showing the dates, Oct. 5-8, 1989, also in capitals, is centered directly below. Underneath that, three columns, respectively headed General Sessions, Breakout Sessions and Conversations, in smaller capitals, provide the schedule of events, in typewriter-style upper and lower case letters. A registration form (upper half) and addressee form (lower half) comprise column four.

Verso: Across the top, the conference theme, The Search for an Ethos of Design, is imprinted in an upper and lower case serif type. Six lines of smaller type are centered directly underneath the title. The remaining space consists of a rectangle formed on the sides and bottom by thin lines and on the top by a band. Thin vertical lines divide the space into three columns, headed in ivory-yellow type on the band: Art Ethos, Read These Questions First, and Business Ethos. Thin horizontal lines extend between the left and right boundaries of the rectangle, dividing each column into six "boxes." The six lines of type below the title instruct participants to express their views by answering six survey questions, listed in column two and keyed to statements in columns one and three. Answers are to be expressed by placing a dot on a scale, marked at equal intervals C- B- A- Midpoint - A- B- C on the lower horizontal line of each question box. A fourth narrow column on the right (the reverse of the registration form), separated from column three by a dotted line, consists of a duplicate of the survey scales, to which respondents are requested to transfer their answers and mail to AIGA, along with individual respondent information, anonymously; and interest indicators related to columns two and three on the recto.

Poster, American Institute of Graphic Arts (AIGA): National Design...
offset lithography.
Gift of Tibor Kalman/ M & Co..
1993-151-330

This object is part of the Drawings, Prints, and Graphic Design collection.

Poster featuring a color photograph of young male athletes standing, walking, and two are on the ground, in a torrent of rain. Lower right, in black: NIKE [with swoosh].

Poster (USA), ca. 1978
offset lithograph on paper.
Gift of Various Donors.
1981-29-416

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 3 images of this object.

This object has not been digitized yet.

Poster, Guatemala: A Government Program of Political Murder, ca. 1980
lithograph on paper.
Gift of Steven Heller and Karrie Jacobs.
1993-53-56

This object is part of the Drawings, Prints, and Graphic Design collection.

On a black ground, at upper left, three rows of type with the fictitious place "Bergaults." The top one in yellow in FHWA Series E-modified, the middle one in white in ClearviewHwy, and the lower one in white on green showing ClearviewHwy superimposed on the former font. At bottom left, two blocks of text, at lower right exmples of the lowercase "e" with ClearviewHwy superimposed on FHWA Series E-Modified.

Poster, Comparative Anatomy of FHWA Series E-modified to Clearview 5-W, April...
color inkjet print with epson ultrachromek3 ink on epson proofing paper....
Gift of Donald Meeker, Meeker & Associates, Inc., and James Montalbano,....
2011-24-1

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 3 images of this object.

Black and white poster with a photomontage of Fred Astaire dancing in four different poses. Upper margin, under black border: THE FORT WORTH ART MUSEUM / That’s Entertainment: The American Musical Film. Information about series of films.

Poster, Fort Worth Art Museum, That's Entertainment: The American Musical...
offset lithograph on white wove paper.
Gift of Lella and Massimo Vignelli.
2009-42-5

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 3 images of this object.

On a black ground, an image of a newspaper with large print: CALL FOR / ENTRIES; columns of text.

Poster, Call for Entries, 1990
offset lithograph on white wove paper.
Gift of Lella and Massimo Vignelli.
2009-42-8

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 3 images of this object.

Poster for announcing the San Francisco Embarcadero Competition. Recto: Two overlapping photographic reproductions; large one in blue tones showing view of San Francisco harbor with road, pier, and building on left side and second one showing aerial view of San Francisco Harbor in black and white with computer-generated segmented lines highlighting the shape of harbor. Poster organized by text boxes in style of flowchart. Imprinted in black rectangle, upper left: IDEAS COMPETITION, in red across top: Open to all who have vision toward the future; in black: San Francisco is one of the world's most beautiful cities. It is a city known for/ its fine-grained buldings covering the hillsides, as well/ as grand urban scaled planning elements which organize/ the city on a large scale./ [in smaller font] Yet, prominently visible to all who visit, the/ waterfront poorly represents San Francisco to the world in its/ current condition. With the decline of San Francisco as a major/ port, many of the old uses of the waterfront are gone, while new/ ones have yet to emerge. The recent demolition of the earthquake damaged Embarcaderos Freeway, the elevated roadway/ which severed the city from its waterfront, has created an historic moment of opportunity to develop a magnificent/ (new waterfront edge), reuniting city with the bag./ Seeking to act as a (catalyst) for the ongoing public planning and development/ effort, Center for Critical Architecture I(2 AES) is sponsoring this achitectural/urban/ design competition. It is a call for ideas that are at once visionary yet/ contain the seeds of implementation. The competition and subsequent exhibition/ are intended to generate enthusiasm, creative, and inspirational proposals, and/ and a spirit of optimism and collaboration that will carry San Francisco/ proudly into the next century; within text, key words written in large font such as: emerge; catalyst; enthusiasm; optimism; collaboration. Imprinted on right side: THE CHALLENGE/ 1. Develop a set of ideas which organize the waterfront zone--/ the Embaracao Boulevard and adjacent land and pier properties./ 2. Develop in detail the design of a specific site(s) within the/ competition area, illustrating how the overall design concept might manifest/ itself on a human scale. Imprinted in black, right side: SCHEDULE/ [in red:] January 30, 1993 / [in black:] Entry submissions due / March 1 - April 30/ Exhibition/ Competition Catalog. Imprinted in black, right and below: PRIZE/ 3 First Prize/ Awards/ of $10,000 (US) each/ 10 Certificates/ of Outstanding Merit/ Certificates of/ Honorable Mention/ Public Exhibition/ and Catalog...; imprinted in gray and white, vertically on right edge: Call for/ VISION San Francisco Embaracadero Waterfront Competition/ Fall 1992; imprinted in red vertically, below: JURORS/ Allan Colquhoun/ Francis Ford Coppola/ Harold Gilliam/ Fumihiko Maki/ James Stewart Polshek/ Stanley Saitowitz/ Jorge Silvetti. Verso: black and white photographic reproduction of San Francisco Bay with Golden Gate bridge on right and construction area on left; imprinted in various font size and parts overlapping image, in black: emergence/ of new city edge / sequence/ chronology / What is the nature of this suspended city?/ as the land submerges into the sea/ below the waterline/ inhabitation persist; (in black)/ Submergence (left of photo reproduction and in gray)/ life lines of circulation (in black)/ orchestration (in red)/ frontpiece (in red).

Poster, San Francisco Embarcadero Waterfront Competition, 1993
offset lithograph on white paper.
Gift of Lucille Tenazas.
1995-171-3

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

In black text, a lower case 'a' on irregular areas of white. The letter is presented as if collaged together from separate pieces of paper held together with tape. In black, under the loop of the 'a': The big A.

Poster, The Big A, 1991
screenprint on newsprint.
Gift of Pentagram.
1998-42-1

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

On off-white ground, imprinted in red, an irregular rectangle, cut off at upper and lower edges, fills most of the sheet. Within the rectangle, in reserve, a running fox with black stripes, a black coiled tail, black eyes, and a blue nose. Fox appears to be wearing a yellow wood box, (with horizontal black stripes and down left and right edges of box, black dots).

Poster, Running Dog, 1969
screenprint on off-white wove paper.
Gift of Marion S. Rand.
2002-11-31

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

Poster, Goin' Home, for Nike, 1975–81
offset lithograph on paper.
Gift of Various Donors.
1981-29-204

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 3 images of this object.

Poster, There Is No Finish Line, 1977
offset lithograph on paper.
Gift of Various Donors.
1981-29-205

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 3 images of this object.

Portrait photograph of the Nike Pro Club group of basketball players all wearing black robes and white Nike sneakers, some holding basketballs. Above, in black: THE SUPREME COURT. Lower right, in white: NIKE [swoosh].

Poster, The Supreme Court, 1977–79
offset lithograph on paper.
Gift of Various Donors.
1981-29-77

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 3 images of this object.

On a bright red ground, a black and white image of an aircraft, Spirit of St. Louis. Text in white about Charles Lindbergh.

Poster, The Lone Eagle, 1976
lithograph on paper.
Gift of Various Donors.
1981-29-419

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

Poster, Perspecta 13/14, 1971

Poster, Perspecta 13/14, 1971
offset lithograph support: paper.
Gift of E. and C. Pullman.
1991-69-116

This object is part of the Drawings, Prints, and Graphic Design collection.

Black and white photograph of bird’s eye view of New York City with several red dots around. Across the poster in white ink: Designer’s Saturday New York sept. 21 22 73.

Poster, Designer's Saturday, 1973, 1973
offset lithograph on white wove paper.
Gift of Lella and Massimo Vignelli.
2009-42-2

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 4 images of this object.

Image is bisected to left of center. At left a close up of a female torso viewed through a gray-green scrim. At right a medical apparatus in gray is seen on a yellow ground. Red and gray images of a 16th century sailing ship are scattered across sheet. At top center a white rectangle with the text "IDENTIDAD". "EXCESO" in gray is stretched across sheet at center. At center and at right, overlapping Spanish and English text, printed in gray, red and black.

Poster, Identidad/Exceso (Identity/Excess), 1992
screenprint on white wove paper .
Gift of Rebeca Mendez.
1996-59-4

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 4 images of this object.

Poster, Chadwick Modular Seating, Herman Miller, ca. 1974
offset lithograph on paper.
Gift of Various Donors.
1981-29-183

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

Poster, Herman Miller MKD chairs, 1976
offset lithograph on white wove paper.
Gift of Stephen Frykholm.
1991-69-55

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

On beige ground, a photograph depicting rows of rainbow-colored seating, with the narrowest armchair at the front in purple and the largest sofa at the back in red.

Poster, Modular Sofa Group, 1976
offset lithograph on paper.
Gift of Various Donors.
1981-29-415

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

Print of Supreme Court Justices For Planned Parenthood

Poster, Freedom of (from) Choice: It's Your Choice Not Theirs (Planned...
lithograph on paper.
Gift of Steven Heller and Karrie Jacobs.
1993-53-37

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

Promotional poster for Southern California Institute of Architecture, Los Angeles for undergraduate degree program.
Recto: Large digital image in side-way perspective of building and park cars in front inside irregular border. Building is possibly the Institute. Across center: "Southern California Institute (in white) of architecture (in white and in superscript) of Architecture (in white)". Small photo reproductions scattered throughout poster. Two small inversed photo reproductions of landscapes with poem in foreign language below and English translation below second image at top left. One small inversed photo reproduction of rock at top right. Black and white photo reproduction of satellite with sphere superimposed at bottom left. Black text box with "SCI-ARC" in color scheme from green to red in ascending diagonal with "Southern California Institute of Architecture (in blue and white) superimposed at bottom right. "SCI-ARC" imprinted vertically in same color scheme along left side. Image of super-sonic Japanese animé character at center left edge. Image of man climbing rope at top left edge. Short text throughout poster.
Verso: divided into 16 equal sections, made up of either black and white photo reproductions with text, text with colored geometric shapes, or just simple text, with each section describing a facet about school.

Imprinted at top left, poem: "May it be delightful, my house:/ from my head to my feet, may it be delightful./ Where I lie, all above me,/ all around me, may it be delightful./ May it be delightful, my fire,/ may it be delightful for my children./ May all be well./ May it be delightful with my food and (thirst??),/ may all my possessions be well,/ and may they be made to increase" with foreign version next to this. Imprinted in black, at top right: "Architecture can punch a hole in your sky". Just above center, in three text boxes: "At Sci-Arc people do move than they talk about. Architecture is more than a talent or a profession./ It is a way of living" (first box); "What is unique about Sci-Arc is the diversity of its faculty and students. Together they teach me that/ excellence is never singular but of many. This assurance breeds complete creative freedom" (second box); "Sci-Arc is a place that fosters inquires into the essence of architecture, an architecture that is strong/ individually and collectively, an architecture that produces a feeling of acceleration and pleasure".
Imprinted vertically in black, inside yellow text box: "Los Angeles California 90066". Just below center, in three text boxes: "Sci-Arc is a vacant lot where you can build a fort." (first box); "Sci-Arc is an atmosphere in which faculty and students are encouraged not to fear failure/ but instead to fear not taking chances." (second box); Architecture fills our deep epistemic need to understand and provide at least a general sense/ of one's place/placeness in the universe." (third box).
Verso: Text throughout explaining institute's philosophy, projects, programs, and education.

Poster, Southern California Institute of Architecture, late 20th century
offset lithograph on paper.
Gift of April Greiman.
1995-167-2

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

Poster, Artists Interpret the Butterfly, 20th century

Poster, Artists Interpret the Butterfly, 20th century
lithograph on paper.
Gift of Various Donors.
1981-29-381

This object is part of the Drawings, Prints, and Graphic Design collection.

Title upper right, in white: The Architectural League / of New York / Young Architects Forum / Hypotheses. Horizontal poster colored blue. In thin white letters, across poster: HYPOTHESES. Each letter combined with a blueprint of that letter in black; five columns of text above or below the some letters.

Poster, Hypotheses, 1988
lithograph on paper.
Gift of Michael Bierut.
1996-86-3

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

Op-art pattern formed by splitting the word "sustainability" into two parts and stacking the letters to form cubes. Printed in red, black and white, the letter forms echo the optical background that shifts perspective.

Poster, Sustainability, 2007
offset lithograph on white wove paper.
Gift of William Drenttel and Jessica Helfand.
2008-7-3

This object is part of the Drawings, Prints, and Graphic Design collection.

Poster depicting graphics like a blueprint, light blue and white text: sustainability, on deep blue background, presented as the infinity symbol. 'Sustainability' is presented in plan, section and elevation. Instructions for assembly at bottom.

Poster, Sustainability, 2007
offset lithograph on white paper.
Gift of William Drenttel and Jessica Helfand.
2008-7-2

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.

Tan field with a constellation of blue and white spheres forming a flow chart. Blue, black and white lines create an eliptical pattern resembling a solar system at center. Below at center, a black horizontal band with the words ORGANS OF THE UNITED NATIONS printed in white.

Poster, Organs of the United Nations, 1946
offset lithograph on paper.
Gift of Anonymous Donor.
1994-109-13

This object is part of the Drawings, Prints, and Graphic Design collection.

Oversized poster for AIGA calling for entries for contest. Poster folds into 16 sections.
Recto: Computerized photo reproduction of whirlpool (in black and white) and fish (in color) in middle. Imprinted below fish: "Communication Graphics 1993" (in black). Red, yellow and black dots assembled to form human figure at left center with head overlapping image of whirlpool. Square cut out in center of head with digital image of brain. Five other digital images of brain in various perspectives superimposed over figure with accompanying labels. Flow chart at left center: "brain/ reading/ unity/ language/ reasoning/ and/ mathematics" (in black). Imprinted, near top center, in text boxes: "neomammalian/ 200 million years old/ cerebral cortex:/ problem-solving, memorizing, creating/ paleomammalian/ 300 million years old/ limbic:/ emotional feelings guiding behavior/ reptilian/ 500 million years old/ self-preservation, hunting, homing, mating, establishing territory,/ and fighting". Photo reproduction (in black and white) of man and inversed image of same photo above. Two images connected by X's (in green and red lines). Along right edge: "AIGA/ Commun-/ication/ Graphics/ 1993" (in yellow), interspersed with names of various designers (in vertical orientation). First name in pink indicating female and first name in blue indicating male. All last name in black and smaller font size. Designers participating include: "Sheila Levrant de Bretteville, Nancy Skolos, April Greiman, Lucille Tenazas, Jilly Simons, Massimo Vignelli, Paula Scher". Across bottom in black text box: "The holographic model offers revolu-/ tionary possibilities for a new under-/ standing of the relationships between/ the parts and the whole. No longer/ confined to the limited logic of tradi-/ tional thought, the part ceases to be/ just a fragment of the whole but,/ under certain circumstances, reflects and/ contains the whole. As individual human beings were are most isolated and/ insignificant Newtonian entities; rather, as integral fields of the holomovement/ each of us is also a microcosm that reflects and contains the macrocosm./ We each then hold the potential for having a direct and immediate experiential access to virtually every aspect of the universe, extending our capacities well beyond the reach of our senses--S. Grof".
Verso: Top off center "AIGA/ Commun-/ications/ Graphics/ 1993" (in red) and "It's a terrible thing to lose one's mind" in between "Commun-" and "ications". Along right edge, the membership and entry form. Along center left, names of designers (same as recto) but in yellow and in vertical orientation. Below, description and instruction for entries for contest. Imprinted at bottom center, inside oval shape superimposed on yellow boarder: "design: April Greiman Inc/pg/sa/Los Angeles, California/ oversize printing: The Pikes Peak Lithographing Co. Colorado Springs, Colorado/ digital output: RPI, Culver City, California/ filmwork: Andersen Graphic Service, Los Angeles, California/ paper: Mohawk Vellum Cool White 60# text, Mohawk Paper Mill, Ic./ thanks to Print Magazine, and Bryan and Phyllis for the brains".

Poster, AIGA Communication Graphics: Holographic Model, 1993
offset lithograph on paper.
Gift of Unknown Donor.
1994-114-6

This object is part of the Drawings, Prints, and Graphic Design collection.
There are 2 images of this object.