12A History of Poster Design - PowerPoint Presentation

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12A History of Poster Design

AWD 4M1

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Toulouse Lautrec 1891

In 1891,

Toulouse-Lautrec's extraordinary first poster, 

Moulin Rouge

, elevated the status of the poster to fine art and touched off a poster craze. During the 1890s, called the Belle Epoque in

France, poster exhibitions, magazines and dealers proliferated;

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Toulouse Lautrec 1892

At the 1867 World’s Fair in Paris, Japan exhibited a wide range of decorative objects and art, including bronzes, brush paintings, textiles, ceramics, and the popular

ukiyo-e

woodblock prints. In attendance was an emerging group of avant-garde artists, soon to be known as the

Impressionists

.

They were awed by what they saw and took special note of the

ukiyo

-e prints, which many of them voraciously collected. The motifs and techniques they observed in the prints—a focus on nature and everyday scenes, as well as compositional methods of extreme cropping, unusual vantage points, and depth created through broad planes of color instead of point perspective—greatly influenced their own work. By 1872, a new term was coined to describe the craze for all things Japanese:

Japonisme

.

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The Great Wave

Hokusai

French artist Henri de Toulouse-Lautrec (1864-1901) was a collector of Japanese prints and routinely applied the visual language of

Ukiyo

-e to his prints and paintings. This portrait of a nineteenth-century French actress

Marcelle

Lender draws on many of the conventions of

Ukiyo

-e actor prints--the highly stylized pose, bold colors and patterning, flattened perspective, and asymmetrical composition

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.Alphonse

Mucha

1894 *pronounced

Muxa

Style: Art Nouveau

Characteristics: intricate designs based on plant qualities -lines look like vines

Just three years later,

Alphonse Mucha, a Czech working in Paris, created the first masterpiece of

Art Nouveau poster design.

T

his

flowering, ornate style became the major international decorative art movement up until World War I.

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Alphonse

Mucha

1898

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The Kiss Peter Behrens 1898

The

Kiss

a central image of

Jugendstil

, the German counterpart of Art Nouveau

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Julius Klinger 1900

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Theophile

Steinlen

1896

Style: Art Nouveau

Art Nouveau gets tiring and artists were

transforming Art

Nouveau's

organic approach. These schools rejected curvilinear ornamentation in favor of a rectilinear and geometric structure based on functionalism.

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Ludwig

Holhlwein

Daimler, Mercedes

1926

Style:

Plakatstil

(Poster Style)

-characterized by an emphasis on flat

colours

and shapes

-work was abstract, more in line with modern visual language

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Lucian Bernhard 1906

Style:

Plakastil

Specific Style:

Sachplakat

(Object poster)

-simplified to image of product and the brand name

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Lucian Bernhard 1908

*also type designer of fonts whose name start with Bernhard

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A.M.

Cassandre

1935

Style: Art Deco

-Art Nouveau style too flowery in

industrial time & the

time

of Cubism & Futurism

-simplified shapes and replace curvy lettering with

Sleek, angular ones

-

Cassandre

uses air brush as medium and his posters

Become icons of the Industrial Age

-the first graphic design courses begin in Europe

*key moment in the transition from illustration to

Graphic design in advertising

-

Cassandre’s

work has really dynamic compositions,

Abstract geometry and bold typography that were

Integrated into the image.

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Cassandre

became

the first poster artist to be honored with a one-man show at New York's Museum of Modern Art in 1936. He is generally considered the greatest poster artist of the

century. Many of his 60 plus original vintage posters are amongst the most expensive and sought after of all posters.

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Roger

Broder

s

c. 1930

Style: Art Deco

Celebrates the decadence and elegance

of 1920s and 1930s

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James Montgomery Flagg 1917

.

Utilizing modern Madison Avenue techniques, America alone produced about 2,500 striking poster designs and approximately 20 million posters - nearly 1 for every 4 citizens - in little more than 2 years.

World War 1

–

poster’s role is huge as tool for propaganda

-biggest advertising campaign to date

-must use to raise $, recruit soldiers and volunteers and influence attitudes

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Rosie Riveter J. Howard Miller 1942

World War 2

Bring out the posters again for propaganda.

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Josef Muller Brockman 1951

The

International Typographic Style, or Swiss Style, was also perfectly suited to the increasingly globally connected world.  Highly structured, systematic designs granted order and clarity to everything from highways and airports to product instruction manuals.

This style

developed in Switzerland in the late '50s and '60s. It employed basic typographic elements with strict graphic rules and often replaced illustration with stark, "modern" photography

.

.

Style: International Typographic Style

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Josef Muller Brockman 1955

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Otl

Aicher

1972

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Saul Bass 1955

*first time the content of the movie wasn’t shown but rather the concept of the movie

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Saul Bass 1958

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Saul Bass 1961

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Jim Fitzpatrick 1967

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Wes Wilson 1967

Psychedelic Posters

-clashing

colours

-type barely legible

Art reacts to what came before it

–

art in

t

he 1960s is chaotic in response to the

o

rderly work of the 1950s. (influence of

Surrealism, Pop Art & Expressionism) the

Styles are more relaxed (intuitive)

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Peter Max

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Milton Glaser 1975

Art reacts to what came before it

–

art in

t

he 1960s is chaotic in response to the

o

rderly work of the 1950s. (influence of

Surrealism, Pop Art & Expressionism) the

Styles are more relaxed (intuitive)

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Heather Cooper 1977

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April

Greiman

1986

*introduction of the personal computer allowed designers freedom to directly produce their own work

Style: Post Modern

–

this describes the breaking of previous design rules

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David Carson 2001

He is best known for his innovative magazine design, and use of experimental

typography.

his widely imitated aesthetic defined the so-called "grunge typography" era.

[2]

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David Carson 2012

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David Carson

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Shepard

Fairey

2008