Typeface Exhibition Poster
New York, 1991
For Massimo Vignelli, poster design is mostly impact and the organisation of the information to sustain the impact.
"Most of the posters that we design are institutional rather than commercial. Therefore, they are more informational oriented than persuasion oriented."
Knoll International, 1966
Known for its contemporary classic furniture, Massimo played with the name of this well-known company, and on the back of the poster used line drawings to illustrate the furniture collection.
Institute for Architecture and Urban Studies, New York, 1979-1980
Projecting the Institute's identity as strongly as the poster’s content, as a means of enforcing and emphasizing the Institute’s dynamic role. With the audience being primarily architects, this would be perceived and retained appropriately.
Fort Worth Art Museum Graphic Program, 1976
A simple format, a black band at the top for the museum identification, an information band for the events and a band for the illustration.
Bicentennial Poster USA, 1976
This poster celebrates the lively interaction of the various ethnic groups that make up the USA.
As part of a series for the United States Bicentennial, this poster was commissioned to celebrate the "melting pot" in American society.
Massimo bought all the foreign-language newspapers published in New York, and with them he made an American flag.
Everybody liked it in Washington D.C., except one bureaucrat from the Pentagon who called Massimo to ask if he could do another one with better news. He refused their request, and they refused to print it. It still hangs in Massimo's office as a symbol of the melting pot.
European Iceberg Toronto, 1984
For an exhibition of work by artists from Europe, the poster was designed to hang vertically or horizontally. It featured the colours of many European flags to signify the nationality of the artists.