Pictorial Modernism: The Foundation of Simplicity in Design

Poster designers of the early twentieth century were very aware of the need to maintain a pictorial reference. Their main objective was to communicate with the general public, and “they walked a tightrope between the desire for expressive and symbolic images n the one had and concern for the total visual organization of the picture plane on the other” (Meggs 276). This combination, in my opinion, proved to produce interesting poster designs with a modern look.

A new style of design emerged. Plakatstil poster style emerged in Germany in the early 20^th century. It consisted of reductive, flat colors. Also, they used bold lettering, a simple central image, and distinctive, eye-catching colors.  Plakatstil was “a universal style without direct links to any specific school or artistic movement” (Plakatstil 1). I believe that the Beggarstaffs and Lucian Bernhard can be given much credit as to being part of the foundation of this new style of poster design.

The Beggarstaffs, British painters James Pryde (1866-1941) and William Nicholson (1872-1949) had a brief yet recognizable career during this period of pictorial modernism. They decided to open an advertising design studio in 1984. They created a new technique of moving around cut pieces of paper and pasting them into a position on a board. This technique was later called collage. However, their advertising studio proved unsuccessful, as they only attracted a few clients. Below, is the Beggarstaff’s poster for Kassama corn flour, 1894. This was one of their earliest posters, which firmly established thieir straightforward style. Below this poster is their poster for Harper’s Magazine, 1895. This poster is meant to bring closure to the viewer by combining the pieces and shapes into a symbolic image. 

The Beggarstaffs, poster for Kassama corn flour, 1894

The Beggarstaffs, poster for Harper's Magazine, 1895

Lucian Bernhard (1883-1972) was another artist who added to the simplicity of poster designs during this period. Bernhard entered a poster contest for Priest matches, after his career in poetry was unsuccessful.  He first painted two matches on a round table, and thought that it looked too bare. So he added ladies and a cigar, but thought that it was too much. In a rush, he painted over the excess designs, kept the matches on the poster and painted “Priester” across the top. Berhard’s first attempt at poster design had won the contest. Below, is Bernhard’s poster for Priest matches, c. 1905.  “Color became the means of projecting a powerful message with minimal information” (Meggs 279). Bernhard stuck with the trend when he created his poster for Manoli Cigarets, 1910. He uses a similar layout and design as he did with the Priester poster.

Lucian Bernhard, poster for Priester matches, c. 1905

Lucian Bernhard, poster for Manoli Cigarets, 1910

Little did he know, Bernhard “had moved graphic communications one step further in the simplification and reduction of naturalism into a visual language of shape and design” (Meggs 279).  He emphasized reduction, minimalist form, and simplicity. “Bernhard was a pivotal designer… His work might be considered the logical conclusion of the turn-of-the-century poster movement” (Meggs 280).

Works Cited

Bernhard, Lucian. Poster for Priester Matches. Digital image. Csun.edu. N.p., n.d. Web. 22 Feb. 2014. <http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/Lecture06/Plakastil.html>.

Meggs, Philip B., and Alston W. Purvis. Meggs' History of Graphic Design. Hoboken: J. Wiley & Sons, 2005. Print.

"Plakatstil." Csun.edu. N.p., n.d. Web. 22 Feb. 2014

<http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/Lecture06/Plakastil.html>.

The Beggarstaffs. Poster for Kassama Corn Flour. Digital image. Csun.edu. N.p., n.d. Web. 22 Feb. 2014. <http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/Lecture06/Plakastil.html>.

The Beggarstaffs. Poster for Harper’s Magazine. Digital image. Csun.edu. N.p., n.d. Web. 22 Feb. 2014. <http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/Lecture06/Plakastil.html>.

Victorian Influences in Graphic Design

The Industrial Revolution, which occurred between 1760 and 1840, brought about many changes and innovation, specifically in the world of graphic design.  Victorian style design proved to be very influential during this time period, and it was seen throughout various different print works during the nineteenth century.  From advertisements to children’s novels, Victorian design seemed to flourish.

During the nineteenth century, Victorian style graphic design appeared to be trending, especially for advertisements.  Many of the persuasive advertisements, using Victorian designs and influences, were developed during the last two decades of the nineteenth century.  Victorian design includes elaborate typography, illustrations, and decorative banners.  Romantic design was heavily influenced on the past, so it has a great sense of nostalgia and romanticism.  “Victorian graphic design captured and conveyed the values of the era. Sentimentality, nostalgia, and a canon of idealized beauty were expressed through printed images of children, maidens, puppies, and flowers” (Meggs 162).  The image below, is an advertisement for Waterloo Organs, made by Malcolm Love & Co.  We can see the Victorian influence in this trade card, by the style of the furniture, the dresses that the women are wearing, and the decorative banner at the bottom. 

Chromolithography also emerged with the Industrial Revolution. “Chromolithographs can be identified by the presence of smooth edged-stippling in multiple colors or tones” (Chromolithographs 1).  Victorian design continued to emerge through the German immigrant to America, Louis Prang (1824-1909).  Popular romantic painting of the Victorian era was closely related with the graphic illustration of Prang and other chromolithographers.  Prang produced millions of album cards, called “scrap.”  These were considered “beautiful art bits” and people would collect them.  This was part of a major Victorian era pastime.  Below, is an example of Prang’s Valentine card, 1833.  This is an example of “the range of tone and color that could be achieved with chromolithography” (Meggs 164).  Below this picture is an example of one of Prang’s collectible albums.   These albums would include his company’s chromolithographs of birds, ferns and mosses, leaves, roses, butterflies, fruit blossoms, wild flowers, and pansies.

Louis Prang, Valentine card, 1833

Lastly, the Victorian era design also was a large influence on children’s books.  “Before the Victorian era, Western countries had a tendency to treat children as little adults” (Meggs 168).  The Victorian designers developed a more gentle attitude while producing design works, and this was greatly expressed through toy books, which were colorful picture books for preschool children.  Walter Crane (1845 to 1915) was one of the earliest designers of children’s books.  Another popular designer of Victorian style children’s books was Kate Greenaway (1846-1901.)  She captured the imagination of the Victorian era. “Silhouetted images and soft colors created pages of great charm, while the use of white space and asymmetrical balance broke with the Victorian tendency for clutter.”  The image below shows one of the children’s books that was illustrated by Kate Greenaway.  The Victorian elements are prominent, with the soft colors and lack of apparent contrast.   Below this image, are other books that were written and illustrated by Kate Greenaway.  The designs are quite similar, but all having their own individual charm.

   

Works Cited:

"Calendar Girl: Kate Greenaway’s Almanacs." Smithsonian Libraries Blog. N.p., n.d. Web. 02 Feb. 2014. <http://blog.library.si.edu/2010/02/happy-new-year-from-smithsonian-libraries-kate-greenaways-almanacs/#.Uu6tWDnU5SU>.

"Chromolithograph." Graphics Atlas:. Image Permanence Institute, n.d. Web. 02 Feb. 2014. <http://www.graphicsatlas.org/identification/?process_id=81>.

"Graphic Arts." Louis Prang, 1824-1909. N.p., n.d. Web. 02 Feb. 2014. <http://blogs.princeton.edu/graphicarts/2010/07/louis_prang.html>.

Meggs, Philip B., and Alston W. Purvis. Meggs' History of Graphic Design. Hoboken: J. Wiley & Sons, 2005. Print.

"Victorian Bookbinding." UNT Libraries: Rare Book & Texana Collections, Victorian Bookbinding Exhibit, Introduction. N.p., n.d. Web. 02 Feb. 2014. <http://www.library.unt.edu/rarebooks/exhibits/binding/introduction.htm>.

Waterloo Organ Trade Card. Digital image. Antique Piano Shop. N.p., n.d. Web. 02 Feb. 2014. <http://antiquepianoshop.com/online-museum/waterloo/>.