Vintage graphic
Bold, bright and beautiful, the 1960s brought color to the oftentimes drab remnants of 1950s culture. Ditching muted pastels and earth tones for bright neons, the use of color was a sign of rebellion as the Free Love and Flower Power movements took off https://voltage-bet.org/sports-betting/. Bright colors are back in fashion this year, as more designers integrate vivid color and conventions of Psychedelic design.
Often incorporating the same pastels and tropical motifs, 80s Deco was also a popular design trend, often consisting of bright neon colors, drop shadows, clean sans-serif fonts and pronounced angles and curves. And both of these trends are popping up left, right and centre in 2020.
Believe it or not, anything we call ‘retro’ or ‘vintage’ has an undefinable charm, be it an old cuckoo clock, Mercedes-Benz 280 SL, 50s Polka Dot Dress, or Gramophone. Digital arts are no exception, especially graphic design. Let’s gain insight into retro design and the best ways to incorporate retroism in your own design.
While psychedelic influences from the 1960s continued well into the 70s; this groovy decade was all about bell bottoms, disco, funk, and free luuurve. Design-wise, the style of the decade flaunted bold colors, thick lines, flowery patterns, and curvy fonts. And now, 50 years on, graphic design inspiration from the 1970s is still all the rage!
Considering all of the above elements, it’s also important to remember that retro design itself is retro design. In other words, people have been doing and re-doing the same thing for decades. What about the current popularity of “vintage” design? It certainly isn’t the first time that it has happened.
Promotional image
Social buttons thumb up like and red heart background. Social media likes falling background for advertisement, promotion. Social buttons thumb up like and red heart background. Social media likes falling background for advertisement, promotion, marketing, internet, SMM, CEO – for stock
Successful black businessman looking at camera celebrating success got promotion. Successful proud black businessman looking at camera celebrating victory got promotion or reward, happy african employee taking congratulations from colleague on professional achievement in office
Social buttons thumb up like and red heart background. Social media likes falling background for advertisement, promotion. Social buttons thumb up like and red heart background. Social media likes falling background for advertisement, promotion, marketing, internet, SMM, CEO – for stock
Successful black businessman looking at camera celebrating success got promotion. Successful proud black businessman looking at camera celebrating victory got promotion or reward, happy african employee taking congratulations from colleague on professional achievement in office
Joyful excited young latin woman receive reward for good job. Getting promotion. Joyful young latin woman office worker yell look on pc screen receive recognition reward for good job from boss. Female scientist feel excited to find solution of difficult problem
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Cinematic artwork
William Friedkin’s ‘The Exorcist’ mirrors the paradoxical nature of René Magritte’s ‘The Empire of Lights’. The film’s play on light and darkness reflects Magritte’s exploration of reality and illusion, adding a surreal depth to the cinematic narrative.
has played a significant role in his craft. These are the imagery he grew up with, watching Hollywood movies from the 40’s, 50’s, and 60’s, featuring Marilyn Monroe, Humphrey Bogart, and a host of other stars. Form is an immutable concept, but it is a lesson that applies in both the moving image and the still image. The romantic imagery of a film noir sequence can last a lifetime, but so can a still painting, where what is left unsaid in a single moment can often create as much drama as an action movie with a host of explosions, gunfire and chases.
Theo’s work is almost always cinematic, even though he paints mere single moments. What precedes and proceeds from his paintings is left to the imagination and this invitation to the viewer is part of the romance that is at play. We can always watch a movie and be swept up in its story, but afterwards we are removed, inevitably, to some extent. The beauty of a painting is the way in which the viewer is as involved as the painter in the construction of the story and drama. The way in which the painting comes to life is up to you and can involve your own ideas and life experiences. The blurred lines of cinema and painting are not mutually exclusive, but opportunities for artists and viewers of art to find their voices and express themselves in exciting and innovative ways. It is in this way that Theo’s work never fails to enthrall and ignite our imagination, in spite and because of the unavoidable influence of movies on our collective aesthetic.
William Friedkin’s ‘The Exorcist’ mirrors the paradoxical nature of René Magritte’s ‘The Empire of Lights’. The film’s play on light and darkness reflects Magritte’s exploration of reality and illusion, adding a surreal depth to the cinematic narrative.
has played a significant role in his craft. These are the imagery he grew up with, watching Hollywood movies from the 40’s, 50’s, and 60’s, featuring Marilyn Monroe, Humphrey Bogart, and a host of other stars. Form is an immutable concept, but it is a lesson that applies in both the moving image and the still image. The romantic imagery of a film noir sequence can last a lifetime, but so can a still painting, where what is left unsaid in a single moment can often create as much drama as an action movie with a host of explosions, gunfire and chases.
Theo’s work is almost always cinematic, even though he paints mere single moments. What precedes and proceeds from his paintings is left to the imagination and this invitation to the viewer is part of the romance that is at play. We can always watch a movie and be swept up in its story, but afterwards we are removed, inevitably, to some extent. The beauty of a painting is the way in which the viewer is as involved as the painter in the construction of the story and drama. The way in which the painting comes to life is up to you and can involve your own ideas and life experiences. The blurred lines of cinema and painting are not mutually exclusive, but opportunities for artists and viewers of art to find their voices and express themselves in exciting and innovative ways. It is in this way that Theo’s work never fails to enthrall and ignite our imagination, in spite and because of the unavoidable influence of movies on our collective aesthetic.