In this collection of 20th century alcohol and tobacco ads, we see how the marketing of these productsspanned from the elegant to the offbeat. Each era’s ads are captured with images that were once icons, from the Marlboro Man to Spuds MacKenzie. Explore advertising in a time when even doctors recommended smoking. Selling the most delicious vices Vices or virtues: drinking and smoking provided marketers with products to be forged into visual feasts. In this lush compendium of advertisements, we explore how depictions of these commodities spanned from the elegant to the offbeat, revealing how manufacturers prodded their customers throughout the 20th century to imbibe and inhale. Each era’s alcohol and tobacco trends are exuberantly captured page after page, with brand images woven into American popular culture so effectively that almost anyone could identify such icons as the Marlboro Man or Spuds MacKenzie, figures so familiar they could appear in ads without the product itself. Other advertisers devised clever and subliminal approaches to selling their wares, as the wildly successful Absolut campaign confirmed. Even doctors contributed to a perverse version of propaganda, testifying that smoking could calm your nerves and soothe your throat, while hailing liquor as an elixir capable of bringing social success. Whether you savor these visual delights, or enjoy inhaling and wallowing in forbidden pleasures, you will certainly be thrilled by this exploration of a decidedly vibrant—and sometimes controversial—chapter of advertising history.

Popis není dostupný

Popis není dostupný

Se slevou nabízíme rozbalené exempláře - drobné vady na obalu knihy. “I love music so much and I had such ambition that I was willing to go way beyond what the hell they paid me for. I wanted people to look at the artwork and hear the music.” —Alex SteinweissAlex Steinweiss (1917–2011) invented the album cover as we know it. In 1940, as Columbia Records’ young new art director, he pitched an idea: Why not replace the standard plain brown wrapper with an eye-catching illustration? The company took a chance, and within months its record sales increased by over 800 per cent. Over the next three decades, Steinweiss made thousands of original artworks for classical, jazz, and popular record covers for Columbia, Decca, London, and Everest; as well as logos, labels, advertising material, even his own typeface, the Steinweiss Scrawl. His daring designs, gathered here in all their bright combinations of bold typography with modern, elegant illustration, revolutionized the way music was sold. The book includes Steiweiss’ personal recollections and ephemera from an epic career, as well as insightful essays by three-time Grammy Award-winning art director/designer Kevin Reagan and graphic design historian Steven Heller.

Gleaned from thousands of images, this book offers the best of American print advertising in the age of the “Big Idea.†From the height of American consumerism, bold and colorful campaigns paint a fascinating portrait of the 1950s and ’60s, as concerns about the Cold War gave way to the carefree booze-and-cigarettes capitalism of the Mad Men era.Digitally remastered for optimum reproduction quality, the ads burst with crisp fonts and colors, as well as a sexy sense of possibility, beguiling their audience to buy everything from guns to girdles, cars to toothpaste, air travel to home appliances. At turns startling, amusing and inspiring, this panorama of midcentury marketing is at once an evocative period piece and a showcase of design innovation and advertising wit.

Alex Steinweiss invented the album cover as we know it, and created a new graphic art form. In 1940, as Columbia Records’ young new art director, he pitched an idea: Why not replace the standard plain brown wrapper with an eye-catching illustration? The company took a chance, and within months its record sales increased by over 800 per cent. His covers for Columbia—combining bold typography with modern, elegant illustrations—took the industry by storm and revolutionized the way records were sold. Over three decades, Steinweiss made thousands of original artworks for classical, jazz, and popular record covers for Columbia, Decca, London, and Everest; as well as logos, labels, advertising material, even his own typeface, the Steinweiss Scrawl. He launched the golden age of album cover design and influenced generations of designers to follow. Less well known—but included here—are his posters for the U.S. Navy; packaging and label design for liquor companies; film title sequences; as well as his fine art. Includes an essay by design historian Steven Heller; Steinweiss’ personal recollections from an epic career; and extensive ephemera from the Steinweiss archive, most of it never before published.