Uwe Loesch Posters
Uwe Loesch's posters have a strong meaning, without a predefined visual style, his work reveals an intellectual posture with innovative ideas when it comes to communicating a message. The historical and socio-political conditions of the country where a person lives are revealed in their behavior, beliefs and therefore in the "style" of their work. Uwe Loesch was born in Dresden, Germany in 1943 and studied graphic design at the Peter-Behrens Academy at Dusseldorf from 1964-1968. Growing up in the post war Germany, obviously affected the way he perceives and transmits ideas. Loesch's primary medium is the poster since as it is known historically, it is the most elementary carrier of word and image, providing popular means to illustrate aesthetic change and social and political history. Posters have been present in Germany's history from Jugendstil to Post-Modernism and through two world wars. His posters have no particular style, their effectiveness depends not on word or image independently, but on the meaning or meanings that derive from their interaction. Ambiguous use of words, visual "disappointment", wordplay and allusions are some of the resources he uses to blend imagery and type into one concept. Loesch's ideal conceptuali
An important aspect of effective design is the movement between consciousness and communication. Uwe Loesch provides magnificent examples of this fluent and continuous movement in his posters. German history has made European designers of the previous generation (and obviously Uwe Loesch) more sensitive to the image and its relation to the political power and the bourgeois ideology. The stylistic resources employed in his works, that combine image and type resulting in various meanings, require a thinking process behind the visual first impression. It's like discovering the evident, and while observing it, more and more meanings show up. He is successful at communicating because he bases his designs in a rational concept. The balance he creates between image and text is essential aesthetically as well as conceptually, because it unifies the piece as a whole. In the visual aspect the dynamics of communication depend on asymmetry, unbalance and misunderstanding it is evident that Loesch takes into his practice effectively. In his work, Loesch demonstrates the ability to resist conventional communication design. His work restores communication while attempting to liberate products from their images and detach thoughts, emotion and imagination from their linguistic. He calls it "regaining our freedom of the senses", when thinking, feeling and imagination are not subject to conventional communicative stimuli. Another poster that uses the same resource is "Alkohohl" (see image #5 from the appendix). This poster is part of a series from 1985 called "Health and Safety at Work". It consists of a featureless head with the word "alkohohl" written across. Instead of alkohol, it is misspelled as "hohl" which means empty in German. The concept behind this wordplay is the empty headedness that results from drunkenness. sm is achieved by a mixture of his personal German bourgeoisie upbringing and the feeling of political responsibility, raising public awareness. His work began to appear in the early 1980's, and almost instantly att
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Approximate Word count = 1372
Approximate Pages = 5 (250 words per page double spaced)
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