On the other side of the Calder collection was a U-shaped gallery, like some small form of intermission of posters. There’s a remarkable consistency to the posters across their nearly five decades of production. They’d started as an in-house promotion for the internal corporate party, in 1970, for Herman Miller. All of the framings were tight, too close, almost, as if they were in your face, about to smell and eat the screen printed colors.
All situated at once, the consistency was quite enjoyable and inspiring and impressive. It was a series, the white space constituting the year-long gap between summers.
“These could be your Solstice posters,” she beamed.
“Totally,” I answered, excited and sheepish all at once.
Yes, if you made one per year, or per month, or per day, as I had, eventually that would add up to a series. So first decide on a format, a size, a limited perspective, and just keep working within those constraints.