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Francois-Caspar-Posters-Paris.Pdf POSTERS is a French award winning poster artist based in Paris. Since 1989, his posters have been shown in over 160 international exhibitions, have been published in specialized books and they belong to public and private collections as in Beijing, Hamburg, Paris, New York… The Art of Poster The Heart of Poster Poster art is an heritage Pieces of heart The industrial revolutions of the modern times have What are we made of? Experiments of life? The soul produced needs for new spaces, new products and of a poster is the heart of the artist who designed it. new messages. The design was born. One of its The heart feels, the mind understands. The poster most symbolic media, the poster, find its roots in artist François Caspar searches in the heart of his centuries of painting and cultures. Some graphic experiences to share universal stories, theatres designers, like François Caspar, have dedicated their of lives. art to poster. Caspar’s influences are in particular surrealism, dada, constructivism and primitives, Out of streets to your lounge and the masters Adolphe Mouron Cassandre for Further its primary purpose outdoor for a construction of image, John Hartfield for political limited time, a poster may find its place indoor involvement, Roman Cieslewicz for generosity and for a unlimited new existence, when its message Raymond Savignac for his humor. passes on values which connect with your mind and your heart. François Caspar’s French “Affiche” tradition Caspar, then, is a figure known in international circles not only for his participation in biennials and conferences around the globe, but also for his capacity to establish François Caspar is driven by a creative exuberance. A designer with a vibrant eye, he uses relations with professionals and associations the world a combination of practice, experience, functionality and communication to confront his work. over, without these being marred by individualist attitudes, For Caspar, a poster is a tool for linguistic research that has many levels of sophistication. marked instead by the principles of a designer, and an Widely known for his defence of professional culture, his work stands out for its high-quality, excellent one at that, whose aim has always been to its focus on the international scene, its pragmatism and its visual culture. advance professional culture, starting in his own country. We are speaking, then, of high-quality design, an awareness of the international scene, a healthy pragmatism and, French poster tradition is so popular that the word specific competences (as in the case of theatre posters, for finally, and this is evident in his production, an outstanding affichiste (and affiche, obviously) is used in many other instance), or because it is based on a particularly incisive image culture. linguistic regions. The reasons for this are readily approach, as in social communication. But, naturally, we identifiable. In the first place, the extraordinary juncture cannot justify this French designer’s attention to posters Thus we arrive at the roots of Caspar’s style. By style— that was Art Nouveau: a concentrate of technological based on a specific type of public alone; indeed, it remains and we repeat this for the hundredth time—we refer to (lithography), aesthetic (the jilting of Western tradition) unchanged in products designed for different targets, as in different ways not of using shapes and colours, but of and social innovation (the Ville Lumière). In addition to carnival or rock concert posters. tackling problems. The point is that to this day, even after Cassandre’s splendorous Art Deco; Savignac’s stylized twenty years of professional activity, François shies away imagery; the Eastern European School’s links with the Rather, we should look to this author’s professional from preconceived formulas. He steers clear of stylemes, world of posters, which became apparent in the work of its experience, accumulated over twenty years of work, as well trademarks, pre-established iconographies, habitual emigrants (including Tomaszewsky and Cieslewicz); and, as to his diverse range of clients and fields of intervention. techniques and other such resources. He designs as if the finally, the public character of graphic design (celebrated We should also observe the fact that these posters can poster on which he is working was the last… or the first. in a large exhibition held at the Beaubourg in 1984), whose be elements of a changing identity: the series of posters We are exaggerating, of course, because one cannot stop leading characters included groups such as Gapus and for the Théâtre de la Tête Noire, a coordinated image feeling the vibration of common registers in the posters individual artists like Michel Bouvet. based on a design idea of business-style (rather than that make up a series (the ones designed for the Théâtre visual style) cut; somewhat similar to what Paula Scher de la Tête Noire, already mentioned above, or those for the Establishing a dialogue with such a rich tradition does for the Public Theater. In the case of Caspar, another Forum of Human Rights). Not keeping these registers would does not seem to pose a problem for François Caspar. noteworthy feature is his involvement in furthering the be a waste. However, nobody can deny the fact that Caspar The efficiency of his work is not disturbed by the natural profession from his present post as President of the French has a creative exuberance. Though, authentic designer attempt to place it within the folds of this tradition. First, Designers Alliance, of which he is a founding member: a that he is, in Caspar’s case this creative exuberance it is necessary to put Caspar’s professional trajectory in multi-disciplinary professional association set up after the stems from the practice, experience and functionality context. For him, as for many other designers, a poster can experience of the Syndicat National des Graphistes had of communication. be a personal tool for linguistic research, be it because worn thin, and whose name already makes reference to Carlo Branzaglia it is a sophisticated medium, addressed to a public with other concepts of the trade. Experimenta, architecture and design magazine worldwide François Caspar’s 160+ international exhibitions and awards BELGIUM • Central Academy of Fine Arts, • World Tour of the Cultural Poster, 2002, 2004, 2006, Jury exhibition SLOVENIA • European Triennial of Political Beijing Boulogne, 2001, 2002. 2008, 2010, 2012, 2014, • Poster Festival Ljubljana Posters of Mons, 1992. 2001, 2002.中央美术学院美术馆 • Les Affichades deToulouse , 1996, 2016, 2018. Masterpieces 2009. 1997, 1998 • Design France-Mexico at the BOLIVIA CROATIA • Cultural Posters of Francois Caspar, French institute of Latin America UNITED KINGDOM • International Biennial of Poster, • Zgraf international exhibition Mediathèque, Orléans, 1995. in Mexico DF, 1999. • 100 Best French Posters in La Paz, BICeBé 2009, 2011, 2013 of graphic design and visual • Graphic Advocacy, International Glasgow, 1992. [76 designers for Fukuda], 2015. communication, Zagreb, 2008. GERMANY Posters for the Digital Age, Galería • Zukunftbilder für Design, Artis, Universidad Autónoma UNITED STATES OF AMERICA BRAZIL CZECH REPUBLIC Potsdam, 1997. Metropolitana, Mexico DF, 2013. • Graphic Advocacy, International • Le Spectacle est dans la rue/The • Biennial of Graphic Arts, Brno, • International Theater Poster Posters for the Digital Age. 2013: Show Is On The Street, the French 1990, 1994, 1996, 2000, 2002. Triennial of Osnabrück, 1997. POLAND Boston, New York, Youngstown, poster at Tomie Ohtake Institut, • International Poster Biennial in Wayne. 2014: Sarasota Springs, São Paulo, 2009. FINLAND INDIA Warsaw, 1996, 1998, 2000, 2004, Boca Raton, Towson. 2015: Notre • International Poster Biennial, • 100 Best French Posters in 2006, 2008, 2010, 2012, 2014, Dame, Ada. 2016: Hattiesburg. BULGARIA Lahti, 1995, 2001, 2005, New-Delhi, 1992. 2016, 2018. • Where Is My Vote ? School of • International Theater Poster 2007, 2009, 2011, 2013, 2017 • International Biennial of Theatre Visual Arts, New York, 2010. Triennial of Sofia, 1995, 1998, Honorabe Mention. IRAN Posters of Rzeszow, 1993, 1997, • International Poster Biennial, 2001, 2004, 2010 Silver medal. • Personnal exhibition, Design Week 1999, 2001, 2003, 2005. Chicago, 2008, Jury exhibition FRANCE of Teheran, 2013. • 100 Best French Posters in 2010. CHINA • “NewYork-Sarajevo-Marseille : Warsaw, 1992. • International Invitational Poster • World’s best poster designers l’engagement dans l’affiche”, ITALY exhibition, Fort Colins, 1995, exhibition at the Shenzhen Rencontres du design graphique, • Italian Poster Biennial, RUSSIA 1997, 1999, 2003, 2005, 2009 International Poster Festival Villa Méditerranée, Marseille, Finale Ligure, 2013. • 100 Best French Posters in Saint- Honorable Mention, 2011. 2015. 2014. • Posters For Green Iran, Petersbourg, 1992. • 100 Best French Posters in • International深圳国际海报节 Poster Triennial, • Musée des arts décoratifs, Aussi SocialDesignZine, 2010. • Golden Bee, Moscow, 2006, 2008, New York, 1993. Hong Kong rouge que possible, Paris, 2008. 2010, 2012. • François Caspar at Café du Nord, 2007,香港國際海報三 2010, 2014, 2017. • Graphic design for public matters, JAPAN • Universal Language, Novosibirsk Springfield, 2001. • International年展 Poster Exhibition, Espace 1789, Saint-Ouen, 2007. • International Poster Triennial of Museum of Arts, 2007. Ningbo, 2001 Excellence award, • 100 Best French posters Toyama, 1994, 1997, 2001, 2003, TAIWAN 2004, 2006. 1992-1997,
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