Design Matters: Flora’s Fauna

Colorful, cubist, cartoon characters populate the world of designer Jim Flora. For many years, the Ohio native designed album covers for Columbia Records (late 1940s), and RCA Victor (1950s). His designs, arguably, defined the genre.Before that, Flora attended the Art Academy of Cincinnati, the nation’s oldest art college (and my alma mater). Later, Flora moved to Connecticut, where he raised a family. Flora passed away in 1998.
In Flora’s day, as during my college tenure, only “Fine Art” was a respected endeavor. Commercial design and illustration were seen as rote compositional exercises or frivolous doodles. I can only imagine the contempt Flora’s work must have met.
Despite those biases, Flora’s prolific future successes ensured he would attain respected-alumni status, and as such, I was exposed to his work.I never forgot the bold colors, the geometric shapes and the strong graphic voice of Flora’s creations. When I graduated and began to make a living as an illustrator, I often mimicked his simplicity of form. I still have a few of his children’s books.
Other distinguished alumni caught my eye during those years (Google Charlie Harper sometime), but Flora’s work has always remained with me. Flora once said his intent was to “create a little piece of excitement”.
This philosophy also applies to any sign designer: bring attention to the sign. The ability to identify current visual trends and incorporate them into your sign designs can be a valuable asset. It’s a great way to stay relevant and keep your clients’ designs up-to-date.
That said, finding new visual influences, and using them where appropriate, is a way to anticipate trends, rather than follow them.
 

REMED-ial Iconography
Large, sharp geometric shapes mark the signature style of internationally acclaimed French muralist Alby Guillaume (aka REMED). Using spray cans, ladders and scaffolding, REMED creates large-scale murals filled with bold colors and graphic elements that are both modern and retro.
Influences such as Picasso, Klee, Mondrian (and maybe even Flora) can be seen in much of his work. Based in Madrid, REMED’s aesthetic reflects the sun-drenched iconography of the region, and also incorporates primitivism and “text-like” elements. The overall effect is multi-cultural and kinetic.