Discover the first posters in history and how this format has evolved to what we know today
The need to express messages graphically has always been there. Throughout history, we have seen all sorts of representations aiming to communicate through images. The electoral propaganda found in the remains of Pompeii, and well-preserved by the effects of the eruption of Vesuvius are considered one of the first posters in history.
The history of posters has always been connected to a city's activity and reality as a faithful reflection of the social, political, and cultural reality that surrounded its inhabitants. Furthermore, its evolution goes hand in hand with each period's communication requirements and has developed at the same pace as art movements and printing systems.
The first paper posters
Although what was found in Pompeii is undeniable proof that posters existed in ancient Rome, those were not more than handwritten messages on walls. We have to wait until 1440, and the invention of the press, to have the necessary means to create posters closer to what we are used to nowadays, i.e., made of paper.
The Gutenberg era's first poster is dated 1477 and is signed by William Caxton—the first printer in England—: an advertising poster listing the benefits of thermal waters. In 1482 the first illustrated poster, made by Jean du Pré, makes its appearance in France.
Industrial (and poster) Revolution
The arrival of the Industrial Revolution and the subsequent development of the cities bring about a new need for communication. Posters acquire renewed importance as they now become the most effective and economical way to reach an ever more demanding population.
From this moment on, lithography allows the creation of posters in all colors and in large format, which is ideal for this new communication form. French artist Jules Chéret comes to fame for creating a wide range of colors using only three lithographic printing stones. The elements on his posters are a precursor of what we use in modern poster design. It provided a perfect balance between illustration and typography and various reading levels.
Artists such as Toulouse-Lautrec, whose works advertised the most popular shows of bohemian Paris, will carry on perfecting the style started by Chéret. However, Toulouse-Lautrec created his own style, dispensing with unnecessary decorative elements and integrating text and images in a masterful method he had learned in part from his Japanese contemporaries and their Ukiyo-e prints. Alexandre Steinlen also stands out: his poster Le Chat Noir is considered a true classic.
Nature and the feminine figure are the great protagonists in the beautiful posters of Art Nouveau's champion Alphonse Mucha.
Early XX century: the product as the main character
Poster-making is still concentrated in Paris, but the center of attention is no longer the female character. The posters created by Italian illustrator Leonetto Cappiello include other subjects that are more related to the products advertised. Although Cappiello imitates his predecessors' style, he modernizes the language and highlights his illustrations and backgrounds.
The posters designed by German illustrator Lucian Bernhard are another example of the product becoming the protagonist. Plain colors and forceful typography, together with a direct and straightforward representation of the product, are the main ingredients of his work.
World War I: the apex of military propaganda
From 1914, the poster is at the service of political and social necessity, which at the time means war propaganda. Posters are used for military recruitment, to justify war participation, seek resources, and galvanize people.
Avant-garde and the poster: Bauhaus, Art Decó, and constructivism
At the end of the war, there is a resurgence in the arts and renovated graphic design development. In Germany, Bauhaus school artists experiment with creating posters where typography is the protagonist, and legibility is the primary goal.
Art Decó is defined by the use of geometric and elegant forms, combined with sans serif typography. Cassandre, one of its most famous artists, incorporated the artistic trends of the age—cubism, futurism, and surrealism—into the world of poster-making.
At the same time, in the Soviet Union, constructivism was gaining foot with photography combined with graphic elements, made up of geometric shapes and steep diagonals. Aleksandr Ródchenko's work—pioneering photomontage in posters—is probably one of the most famous examples of this poster style.
World War II: the apex of offset printing
As for World War I, the poster is now at the service of war propaganda. This is when some of the most recognized posters in the world date back to, despite not being so popular at the time. We Can Do It! by J. Howard Miller and Keep Calm and Carry On were created by the British government in 1939 to uplift the citizens' spirit under the threat of imminent invasion.
This is also when lithography takes a step back, and posters start to be produced with the offset printing technique.
The 50s: minimalism and elegance
The Swiss school becomes a reference in the world of graphic design. Posters are characterized by minimalism, simplicity, and excellent composition, in which typography takes center stage. The colors are subtle, the typefaces are simple and sans serif, and forms are clean. The result is a series of posters where elegance is the common element.
Josef Müller-Brockmann and Armin Hofmann are leading figures of this style, which will dominate until the 1970s, and whose influence is still present nowadays.
The 70s: psychedelia and the poster
The Swiss school's sobriety is in complete contrast with the colored and sinuous shapes of the posters made in the 1970s, that carry the flag of surrealism and pop art. Organic forms make a comeback, and the style reminds us more about Art Nouveau than the trends of the preceding years.
The poster artists and designers who developed their work in this style are some of the most admired figures in graphic design, and their posters are real works of art: Milton Glaser, Saul Bass, Paul Rand...
Present-day: the poster is no longer a poster
With the arrival of new technology come new formats and ways of processing information. The poster, as we used to know it, is no longer indispensable, as we can access information in so many different ways digitally. Nonetheless, the poster still lives and continues to be a favorite form of communication.
In his course Introduction to Poster Design, Miguel Frago, creative director of 12caracteres studio, will teach you the basics and techniques to create conceptual pieces that communicate and persuade at a glance.
English version by @acesarato.
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