Jukka veistola biography samples

he exhibition consists of 101 posters since the beginning of the 20th century, from the collections of the Lahti Poster Museum of Finland.

Surprising, colorful illustrations depict in a refreshing way not only the development of graphic design, but also the development of Finnish society and economy. The exhibition gives a broad picture of sports, tourism, advertising, education etc. Many of the posters are early advertisements of well-known Finnish companies, such as Finnair, Nokia, Fazer and Sinebrychoff and others.

The exhibition is part of the jubilee year program for the 40th anniversary of diplomatic relations between Finland and Viet Nam in 2013.

The Gallery and Exhibition of the City – 92 Le Thanh Ton Street, Ben Nghe Ward, District 1, Ho Chi Minh City, is open from 08:30hrs to 11:30hrs and from 13:30hrs to 17.00hrs every day, from 25 to 29 November, 2013.

“100 years – 100 posters” – An introduction to Finnish poster art

Finnish poster art has developed since the late 19 century along with other European countries. During the last decades of the 19 century many Finnish artists studied in Paris, bringing new winds when they returned to Finland.

During the first decades of the 20 century posters and adverstisements were heavily influenced by national romanticism and Jugend-style, as Art Nouveau is called in Eastern  Europe. During the 1920’ies Finnish designers were influenced by Italian futurism, cubism and French graphic design. During the 1930’ies modernism started to replace national romanticism and classicism. A new generation of designers, educated in Finland, came to the fore.

After the Second World War the teaching of applied graphics began again in Finland. During the 1950’ies new winds started to blow with posters becoming more colorful and connected with the new era of commercialization. Influences were received from North America and continental Europe. A key poster designers suc

The Portfolio

The "Nouveau Salon des Cent" portfolio consists of a hundred posters created by one hundred of the best graphic designers of our time, from 24 different countries including China, Japan, Mexico, Brazil, Zimbabwe, the United-States and most of the European countries, as a tribute to Henri de Toulouse-Lautrec, for the Centenary of his death, 1901-2001. Initiated by the Toulouse-Lautrec Museum Partners' Club. In cooperation with the Toulouse-Lautrec Museum of Albi. The printing was limited to only 380. The posters have been exhibited in major museums and galleries around the world.

The Designer - Jukka Veistola

Date of birth: 10.04.1946.

Place of birth: Helsinki, Finland.

The Russian Embassy bought my place of birth a few years ago.

I could order a double passport Finnish/Russian but I have not found any good reason for that yet.

Studies: Ateneum Art School, Helsinki, Finland.

Some awards: 1968 First prize in national poster competition 'Against Alcoholism', Helsinki. 1969 First prize in international com petition for design of a poster for Unicef childrens' aid, Paris. 1969 Second prize in the Minerva Nordic poster competition Copenhagen. 1970 Bronze medal in international poster Biennale Brno. 1972 First prize in III World congress for Outdoor advertising, London. 1975 Special prize in international design competition for peace poster, Warsaw. 1977 First prize in international Poster Biennale, Lahti, Finland. 1979 Gold and bronze medal in international Poster Biennale Warsaw. 1980 First prize in design competition for Lahti Biennale, Finland. 1982 Bronze medal in international poster Biennale Brno. 1987 Special prize in international design competition for peace poster, Moscow. 1989 Second prize in first international invitational poster competition, Munich. 1995 Honorary mention

in first international invitational poster competition, Buenos Aires, Argentina. Several prizes in national best poster of the year.

Ulla Aartomaa, MA
Amanuensis at the Lahti Art and Poster Museums

Kyösti Varis had a habit of whistling while working. This prompted one of his early bosses to remark that less whistling could mean more money on payday. But this whistling had a function. With it he created a sound-barrier around himself in an open-landscape studio. His concentration to work in this self-made enviroment was famous amongst his colleaques. Paying back a small loan could go unnoticed till Varis would later come around asking for payment. As soon as an idea came to him he started visualizing it in a rapid flow of sketches. His thinking was that this helped him to avoid unnecessary musings about the right solution. Next came his asking for comments amongst those around him. The same intensity of concentration, spontaneity and asking for other’s opinion have stayed with Kyösti Varis to this very day.

While still in his youth the family moved from Joensuu to Lahti, from a city close to the eastern border to another not far away from Helsinki, the capital. The father worked as a foreman in a newspaper’s printing-shop and that’s where his son also started work as an apprentice. Due to a fragmented family-life Kyösti Varis never finished school, further study had to be augmented later as a sideline to work. It did not take long for him to move to Helsinki in order to increase his skills in typography by attending evening courses, even travelling to Hannover, Germany to enhance the sphere of his vision. Next came advertising, in 1957 he started work as an typographist in the Mainos Taucher agency. He stayed two years with Taucher, then moving to the SEK agency apprenticing as an art-director. At SEK he came to work closely with two rising stars in Finnish advertising, Eero Kinnunen and Kari Mannerla. The former was the agency’s planning director, Mannerla was assistant managing director. Their co-operation did produce some of the benchmarks on Finnish a

NEW YORK — The Hungarian-born Bauhaus architect Marcel Breuer once conjured the importance of the building block, that quintessence of child’s play, as a route to good design. After receiving an honorary degree from the university in his childhood town of Pécs, he explained: “When children play with building blocks, they discover that they fit together, because they are square.... Then, the child discovers that the blocks are empty, that the sides turn into walls, and that there is a roof and a structure.... That is when the child will indeed become an architect. Manager of voids and spaces, priest of geometry.”

By the same token, good, simple design might save a child’s life. In 1998, during a famine in Sudan, Doctors Without Borders commissioned the Bracelet of Life. Printable from the organization’s website, the bracelet fits around the upper arm of children younger than 5 and lets emergency volunteers quickly assess their level of malnutrition.

Both these examples are included in “Century of the Child: Growing by Design, 1900-2000,” an intriguing exhibition scheduled to open Sunday at the Museum of Modern Art. Named after an essay by Swedish design and social theorist Ellen Key, which was published onNew Year’s Day 1900, and predicted that the well being of children would preoccupy the 20th century, the exhibition features more than 500 works from five continents investigating the confluence of modern design and childhood.

“Design for children is one of the great, unsung stories of modernism in the 20th century,” said Juliet Kinchin, curator in the museum’s department of architecture and design. “There’s no shortage of material, but I felt the topic hadn’t been accorded the kind of high-profile treatment that it deserves. The exhibition has also been an important vehicle for giving women architects and designers greater visibility, as design for children is an area in which so many have excelled.”

In a catal