#20 POSTER ISSUE
Each graphic designer and artist designed a poster that expresses personal social agenda. This project reviews the social function of posters. This issue of GRAPHIC consists of 22 folded posters and designers' short commentaries.
EDITORIAL
Mass-produced and posted in public places, posters communicate with the public. Traditionally, they have represented a powerful means of expressing certain values or opinions, but the posters of today are relatively restricted in function, serving for the most part to advertise products, promote sales and publicize events. We are hard pressed to find any kind of social statement in the posters that cover our roadside bulletin boards, buildings, billboards and road signs. In reaction to this, our aim here is to recall the social purpose of the poster.
GRAPHIC asked 22 graphic designers and artists to develop poster designs to express their own social “agenda.” The posters you see in this issue are the fruits of this voluntary collaboration, containing a diverse array of ideas ranging from positions on particular social issues to the mottos that inform the designers’ work. While differing a bit in their focus, all of them share one common quality, namely a message that powerfully captures not an economic interest, but the values that they wish to share with the public.
We have printed about one hundred thousand copies of these posters in total. In addition to appearing on the pages of this issue, they are to be put up in exhibition venues, on roadside walls, and on the windows of shops and bookstores. We hope all of you reading will hang a poster you like in your own workspace. Offer them as gifts to friends. It is this kind of physical action that most clearly shows the social function of the poster. The year 2011 was an eventful one for the world, including Korea, the Middle East, Europe, the United States and Japan. Posters are something we need more of.
CONTRIBUTORSGRAPHIC asked 22 graphic designers and artists to develop poster designs to express their own social “agenda.” The posters you see in this issue are the fruits of this voluntary collaboration, containing a diverse array of ideas ranging from positions on particular social issues to the mottos that inform the designers’ work. While differing a bit in their focus, all of them share one common quality, namely a message that powerfully captures not an economic interest, but the values that they wish to share with the public.
We have printed about one hundred thousand copies of these posters in total. In addition to appearing on the pages of this issue, they are to be put up in exhibition venues, on roadside walls, and on the windows of shops and bookstores. We hope all of you reading will hang a poster you like in your own workspace. Offer them as gifts to friends. It is this kind of physical action that most clearly shows the social function of the poster. The year 2011 was an eventful one for the world, including Korea, the Middle East, Europe, the United States and Japan. Posters are something we need more of.
Åbäke
Alex DeArmond
Anthony Burrill
Bart de Baets & Sandra Kassenaar
Bureau Mirko Borsche
Experimental Jetset
Jin Dallae & Park Woohyuk
Jin Jung
Kimm Kijo
Lawrence Weiner
Mark Owens
Metahaven
Moon Seungyoung
Paul Elliman
Paul Sahre
Pierre Bernard
Richard Niessen & Esther de Vries
Rumors
Scott King
Sulki & Min
Sung JaeHyouk
Workroom Press
Alex DeArmond
Anthony Burrill
Bart de Baets & Sandra Kassenaar
Bureau Mirko Borsche
Experimental Jetset
Jin Dallae & Park Woohyuk
Jin Jung
Kimm Kijo
Lawrence Weiner
Mark Owens
Metahaven
Moon Seungyoung
Paul Elliman
Paul Sahre
Pierre Bernard
Richard Niessen & Esther de Vries
Rumors
Scott King
Sulki & Min
Sung JaeHyouk
Workroom Press