Cyberpunk Art Analysis

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The punk artwork was very influential to the cyberpunk era, through the art made at the time from music covers or poster designs. Jamie Reid being one of the key leaders in punk art. Working with the “Sex Pistols” from collaborations with Malcom McLaren after 1976, Jamie Reid made some of the most iconic poster designs of the 20th century. These were often very politically anti-establishment and specifically anti-monarchy infused. Many of his designs were black and white with very specific use of typography using mixtures and collages of fonts and sizes from different newspapers that have been merged together. One of his most iconic designs were for “Anarchy in the UK” featuring a ripped-up flag with typography and “God Save The Queen” most…show more content…
In terms of the colour palettes, Reid made some very expressive pieces of work, some posters including various reproductions of “God Save the Queen” [1977] but also other repetitively reproduced posters such as “Fuck Forever” [1979] with varying colour harsh clashing colour palettes. Art work like this as well as the pop art work from the 60s such as Warhol were so influential in creating these rich descriptions and visualisation of the cyberpunk aesthetic particularly due to later reproductions of these art works that have been revisited to add more striking colours onto the streets and high-profile client. The leader and founder for cyberpunk literature is William Gibson for when he finally released his novel ‘Neuromancer’ in 1984. This was the first novel to feature the concept of cyberspace as where the name…show more content…
You see this also with the use of harsh lighting that is described; harsh green or red lighting is a common description to Gibson’s settings and a lot of the descriptions give so much essence to the comic book artwork of the 1960s particularly the works of Jack Kirby or Jim Steranko, it’s almost psychedelic with these clashing colours but also, it’s hard not to imagine these settings to a graphic level. The novel was even adadapted into a graphic novel series by Tom De Haven and Bruce Jensen in 1989. These asethetics are not only relevant to William Gibson’s novels but can easily be described about Bruce Sterling’s or Pat Cardigan’s works of the 1980s and 90s all stemming from Neuromancer. The aesthetic to a cyberpunk story is very unique against other movements or styles although many literature or films have used this aesthetic but is easily placed under a non-cyberpunk
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