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In

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the last lesson,

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we looked at the illusion of transparency.

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In this lesson, I'll take you on a little tour of poster design.

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Poster design goes all the way back to the 19th century,

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over 100 years ago.

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In

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the earliest posters were called broadsides.

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And here's a good example of a broadside.

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Purely typographic,

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and they were called broadsides because they were big pieces of paper and printed only on one side,

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usually in one color.

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They were used for advertising,

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for promotion,

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for announcements,

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things like this,

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or a mass meeting in Central Rink,

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usually to call attention to themselves.

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What's really interesting about the broadsides is that they really express the idea of whatever

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their message was in strong bold typography.

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And the lettering, the typefaces that they were used,

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were very specific to their period.

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They're called slab serifs,

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sometimes called Egyptian typefaces.

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As you can see,

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they have really, really thick bottoms and tops,

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very thick serifs, called slab serifs,

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meant to call attention to themselves.

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This was really the beginning of mass

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advertising,

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when products were being sold on a mass market with the Industrial Revolution.

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In this case,

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calling attention to something that was a mass meeting,

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but very, very much about the period.

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And they continued right into the 20th century.

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Even to this day,

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people still refer to posters,

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oftentimes, as broadsides, especially when there's purely typographic like this.

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They all had this specific look and feel.

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Typography, they would go edge to edge,

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very center-axes.

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Maybe not a real clear sense of visual hierarchy,

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although we'd all read the big type,

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the thick type, the bold type first,

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and then go on to the smaller type.

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So a little of that macro-micro feeling,

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or macro-micro relationship,

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or perception that we think of when we think of modern-day posters.

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This is 1871, but there are examples of broadsides that go farther back than that.

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1890,

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here we have a lithograph,

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a poster printed to promote a particular idea,

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a theatrophone.

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I don't know what that is,

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but clearly this woman is listening to something electronic.

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And as you can see,

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it's really reduced down to primary colors, red, yellow, blue.

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Like a lot of the things at that time,

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it really depended on kind of a primitive technology for printing,

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and yet they were able to get such beautiful line resolution and such beautiful tonality.

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Jules Charest was one of the leading poster designers of the time in France.

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Probably my favorite poster designer of that era is Henri Toulouse-Lautrec,

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and this great poster showing this dramatic artist,

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Jane Lavrelle,

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1899.

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And I love the way

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the negative and positive space work here.

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The dress, and her head, and her arms, and her hair, and her hat really span from top to bottom,

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and they carve a space out of the center of the

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composition that's really beautiful,

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and they allow negative space on either side to become

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very active parts of the composition.

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Typography is very simple,

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and yet its bevels are angled

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in such a way to correspond to the angle of the body.

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Look how the type moves from left

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to right as it moves down.

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Jane and Lavrelle are on two different planes.

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They're staggered, much like the body is.

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And so really thinking very carefully about the negative space and how

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the typography relates to it.

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Beautiful colors again,

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mainly primary colors plus black and white.

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Background color, which is a neutral.

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Just very, very beautiful.

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And Toulouse-Lautrec made many,

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many, many posters, and he was also a painter and a draftsman,

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did lots of things,

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was well known in his time,

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continues to be well known now.

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His posters are absolutely beautiful.

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The Bagersaffs were a couple of brothers in England,

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and that wasn't their real name.

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They adopted that name.

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They were,

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well, it was actually brothers-in-law,

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and they promoted a kind of poster design that we sort of take for granted now

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as something that would relate to, say, silkscreen,

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which we're going to be seeing much,

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much later on again in the history of posters.

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This was made with stencils,

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and it allowed them,

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the brothers, to create these things in volume by using large paper stencils.

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These are big posters.

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I've seen this one in reality,

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and it's quite big,

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bigger than any poster we imagine nowadays,

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maybe as big as the bus shelter poster in New York City.

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1895, Don Quixote.

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Two colors with a ground,

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brown and black on a ground,

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actually three colors as the head is a lighter color.

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Typography is kind of

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squeezed into the upper area of the negative space,

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but such a beautiful composition,

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very reduced down,

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very simple means.

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Now, the Bakersaffs weren't able to stay in business for very long.

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They were painters.

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They were looking for a way to capitalize on their skills and make some money,

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but people at that time were really not interested in this level of minimalism.

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That was yet to come.

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This is another amazing poster done around the same time period in Scotland,

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the Glasgow Institute of Fine Arts.

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This is really part of Art Nouveau,

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and it moves on from those early posters,

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which weren't so much a part of Art Nouveau,

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but this definitely is,

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where the imagery and the typography are all very carefully integrated.

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Center axis,

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beautiful colors,

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stylized images,

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a lot of imagery that relates to,

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say, flowers or growing things,

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and absolutely beautiful typography.

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The way the typography is just drawn,

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the S's and the L's and the J's,

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just gorgeous, right?

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Beautiful.

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Look at the F on February.

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Here's another Art Nouveau poster,

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Henry Vandervilt.

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This is an ad,

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a poster promoting an egg product.

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So the yellow makes sense.

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The forms are also very

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egg-like, and the shapes are just so amazing.

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You have the very geometric typography at the top,

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that merges with this very organic shape across the center.

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And then the type at the bottom is

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kind of a combination of the two,

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a little bit of geometry,

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a little bit of organic,

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beautiful frame that goes all the way around.

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Definitely one of my favorite posters of that time.

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Another great Art Nouveau poster,

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this one from the Vienna Secessionist Movement.

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The specific typography that I've enlarged on the very right is just amazing, very geometric,

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totally integrated with the imagery of the faces at the top and the patterns.

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Very much about the spirit of that particular revolution,

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moving away from anything related to pure representation,

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very abstract,

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similar to the Art Nouveau posters from the Glasgow School.

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Oskar Kokoschka, another Art Nouveau poster,

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this one very humanistic.

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And again, look at that typography,

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how beautiful that is.

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Peter Behrens,

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this is made in Germany,

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and this is very industrial.

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And I really look at this as kind of a bridge between Art

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Nouveau and the modernism that was yet to come in the Bauhaus.

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The logo,

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which is that small black element kind of in the middle,

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is also very simple and very beautiful.

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AEG was a lamp company,

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electronics company, producing lamps.

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And look at that beautiful lamp that's within the poster in the center with the radiating circles coming off of it,

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this beautiful gradation created by different sizes of circles.

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The typography stacked together,

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locked together in this really tight structure.

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Absolutely beautiful.

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And it looks like it's printed on a metallic

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paper or with some kind of metallic ink.

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Another poster,

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again, promoting electric lights,

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1912.

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Lucien Bernhardt, very representational,

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but at the same time,

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look at that abstract use of positive and negative space.

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Kind of goes back to the image of Jane Abrel,

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where the form is defined

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by the negative space that surrounds it.

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And the image of the bulb actually overlaps the typography.

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And you have the swash of the X coming down and going underneath the image

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and integrating with that.

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So it's such a beautiful integration of image and type.

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Just gorgeous.

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Strong visual hierarchy.

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Your eyes go straight to that orange type at the very top,

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and then down through the image,

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right into the light bulb,

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and then finally back to that typography that's in the middle.

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Pete Zwart, I've talked about Zwart before,

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one of my favorite designers,

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big influence on me.

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Total geometry.

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Now look at the structure of this poster.

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Two squares in each corner,

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upper left, lower right.

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Upper left is a logotype,

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lower right, it's more typographic, and then the black

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type spreads across that and integrates beautifully with it.

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The negative space is very carefully controlled.

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Still mostly background,

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except for the insides of the letters,

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the insides of the logo.

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But negative space used to isolate the typography and to make the poster legible, readable,

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and at the same time, really active, very dynamic.

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Schmidt, this is from the Bauhaus.

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And immediately, we see the angle.

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And that's something we relate so much to when we think about the Bauhaus.

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This is a poster for one of their own exhibitions.

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And you can see the hand-drawn quality of the

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lettering.

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It looks geometric, but if you look very close,

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there's hand-drawn indications.

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So

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geometric, yes, but also humanistic.

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And looking in the upper right-hand corner,

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how beautiful that is.

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That little squiggle,

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it looks almost like an abstraction of a human being who's sitting down.

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Then the face that's right in the middle of the circle on the top,

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upper left-hand area,

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you see the Bauhaus face,

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and that was part of their identity.

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Another Bauhaus poster.

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Now, these are mock-ups.

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This one,

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very much a mock-up.

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Mock-up for a poster.

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But look at the visual hierarchy.

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This is Herbert Baer,

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one of my favorite designers from that era.

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Your eye goes right to the red square and then starts to move around from that.

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And look how the negative space and the positive space are totally integrated with each other.

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Everything is based on rectangles.

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Everything's based on angles.

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Very clear visual hierarchy.

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It's absolutely beautiful to look at.

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Primary colors, again, red, yellow, blue.

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Here we have photography, 1927.

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Another poster meant to publicize an exhibition.

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A beautiful integration of type and image.

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Photography,

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perhaps for the first time, our very early

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experience with photography and type integrated in this beautiful way.

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Typography now playing on an angle opposite the angle of the hand and the arm.

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The typography expressed both in orange type,

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readable orange type, and then with the image of the printed type, the letterpress type.

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It's backwards.

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Beautiful image.

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Paul Renner,

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another poster for an exhibition.

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The giant B,

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strong visual hierarchy,

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great use of positive and negative space, totally integrated.

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Has the angle, but it also has the typography at the bottom.

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It's very straight.

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Look how the V of Bavarians goes straight down into that area.

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Right off of the A,

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V, E, R, N, S.

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Right down into outlining the typography at the bottom.

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Right down to Zurich.

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What a beautiful little touch that is.

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Another great example of photo and type integrated together.

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John Hartfield,

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a great propagandist.

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All of his work was political,

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and he really used these images to promote political causes.

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Here, a poster for the German Communist Party, 1928.

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Look at those fives and how the hand is a symbol for five.

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The five fingers coming out,

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right?

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Almost reaching out to get you.

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Life-size.

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But of course, in a poster size,

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it'd be much, much larger.

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There that poster is on the wall,

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much in the same way that posters here in New York City

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are often used in multiples on construction fences.

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So they knew that through repetition of the poster image,

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which is all about repetition to begin with,

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is about mass production of a single image.

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But they see displayed this way,

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and how the display takes on a whole different meaning when it's multiplied.

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Brachenko,

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Russian constructivist.

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Poster promoting the airline.

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Beautiful integration of type and image again.

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The typography is very squared up.

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Almost no circles except for the globe.

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Beautiful rendering, simplified airplane.

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Here,

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this great information design poster designed by Lidia Namarova,

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1928.

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So complex.

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And it's describing the history of the international trade union movement.

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So it's a very complex subject.

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I saw this thing in person at a show,

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an exhibition of this kind of work,

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and it was just amazing to look at it up close.

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This one too, Elena Semenova.

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Poster for the magazine,

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The Industrial Leather Worker, 1930.

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The depth here is so incredible.

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Ilyitsky,

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one of my favorite designers also,

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did so much different work publicizing an exhibition.

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Look at the typography and the image are totally integrated.

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You've got the red band going up the left side,

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but then the rest of the poster is like one big image.

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The montage of the two faces blending together,

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the USSR running across the forehead.

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The typography that goes across the building foreground.

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Typography down in the lower right corner that announces the date.

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Another great poster design.

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This one really constructivist based on an angle,

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showing us a welder.

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This is a mock-up. And Cassandra,

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one of Paul Rand's favorite poster designers.

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Beautiful image, a poster for a Paris newspaper, 1925.

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You see how geometry plays such an important role in this work.

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Another one of his posters for tennis.

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Such strong visual hierarchy,

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such great sort of illusion of depth in a single surface.

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Herbert Matter.

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Herbert Matter was one of my teachers when I was in grad school.

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He was a great illustrator. He was a great illustrator. He was one of my teachers when I was in grad school.

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He was quite old at the time.

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These are posters that he created in the 1930s

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to publicize skiing in Switzerland.

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Look at the typography at the bottom.

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It's angled to correspond to the angle of the lips,

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the angle of the eyes,

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and counter-angled to the angle of the head and the neck.

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And then that small skier that's coming down the mountain

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in a very abstract way.

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Herbert Matter, like a lot of designers of his era,

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were very conscious of these extreme scale changes.

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Very dramatic, very surreal scale changes.

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So extreme close-ups juxtaposed with extreme far away.

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The lure of the national parks.

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This is a national park poster made in 1934 in the United States.

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Dorothy Waugh.

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Look at that typography.

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So modern, so beautiful.

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All geometric,

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juxtaposed with the image at the top.

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These were silkscreened.

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So very much like the Bakerstaffs with stencils,

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they reduced the image down to three colors.

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Actually just two, the blue and the green.

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The white is really just the color of the paper.

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Such an effective use of economy of means.

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Another great poster for the WPA.

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Herbert Baer, again coming from the Bauhaus.

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Now he's working in 1949.

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Primary colors,

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that angle from the constructivists.

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Picking right up where he left off with the Bauhaus,

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except now working, I think, in the United States by this time.

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Paul Rand's poster for the movie No Way Out.

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Strong visual hierarchy.

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Amazing typography right through the center.

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And then look at the type setting as it moves down the left side.

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All the bold and the light type are totally integrated.

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And they're not stacked flush left,

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flush right, center axis.

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They're asymmetrical.

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Joseph Mueller Brockman,

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1954.

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Again, that juxtaposition of scale.

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Extreme close-ups of the hand kind of reaching out.

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Such a powerful image juxtaposed with the image of the traffic down below.

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Very small people, small bikers, small cars.

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A typography coming straight down the side.

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More type in the lower right-hand corner,

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even smaller.

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So from a distance,

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you could imagine what this might have looked like.

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This giant hand, right?

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This is all you see from a distance.

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And then you get up closer and you start to see there's people,

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there are cars,

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there's typography you can only read when you get up close.

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So true macro-micro perception here.

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Another one of his posters for Da Film.

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Joseph Mueller Brockman, of course, is very famous for grids.

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His book, Grid Systems for Graphic Designers,

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is if you're going to design publications or anything having to do with sequential pages,

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that's really the thing to look at.

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And he talks about poster design in there, too.

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The look at the structure of the type at the top,

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the red type at the top,

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the red type at the bottom,

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and how that aligns with the F in film.

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It's all hinged on that beautiful use of negative space.

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The negative space here doesn't feel empty,

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even though it is.

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The majority of this poster is negative space,

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yet we really focus on just those positive

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elements,

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the film.