Chapter 14

1. Sum up the reading in your own words in 1 paragraph.
Guess what we got to read about? More designs from the early twentieth century! However, the key difference here is that this chapter's focus was primarily on propoganda and posters. In particular, Dudley Hardy stands out among all the advertising names. Of his various contributions to this era of design, the most prominent was probably his formula of text and figures against a flat background for theatrical posters. He was also key to the introduction of French graphic pictorial qualities to billboards in London throughout the 1890s. "Beggarstaffs" was an group of artists James Pryde and William Nicholson. who developed the technique of collage. Pryde and Nicholson took the name off of a sack of corn (technically it said Beggarstaff Brothers). Since the times in Europe were hostile to any artists in general, they wanted to protect their anonymity as artists, leading to the development of Beggarstaffs. In 1894, they opened an advertising graphic design studio. Beggarstaffs was a huge success, especially with the "invention" of the collage as an artistic technique, but the studio's financial status went under quickly. Next we have another style contribution from Germany, Plakatstil. Art in this style had its focus on simplified big images, flat color background, and the name of the product.

Continuing with what seems to be the trend of simplification and a rejection of naturalism in art from this progressive era, Lucian Bernhard moved towards a visual formula of signs and shapes by developing an alternated version of type. It was basically a new sans-serif with broader stroke lines. Bernhard also whet his artistic appetite with commercial and interior design and architecture. He did move to America where his art work was not widely accepted because it was too different and naturally, we as humans don't really appreciate change when it happens. It would take Bernhard 5 years to become a recognized name in design in the U.S. The main differences between Central Powers' and Allied Powers' posters was in the main difference between Hardy's French graphic pictorial designs and Julius Klinger's plakatstil/Vienna Secession style designs. The Central Powers had their propaganda present the message through more abstract symbolism in their drawings. The Allies had their propoganda take a more literal approach with detailed life-like designs, focusing a large proportion of their efforts to more traditional illustration. The Central Powers would push the message of saving their leaders and their country, while the Allied Powers constructed their message around the protection of traditional values, the family and the home.

2. Name the one thing (or person) you found most interesting from the reading.

I found it very interesting that until now I had no idea that the Uncle Sam poster was a remake from a British artist that created a similar design. It's kind of funny, but at the same time shocking because that poster and its image is a very noticeable part of our country's history and I found out it's kind of a copy-cat.

3. State at least one question you have after the reading.

Did Hitler ever host his own little art show or something like that while he was in power? Or did he ever contribute some kind of poster propaganda himself?