History of graphic design

Drawing of horses in the Chauvet cave.

Drawing of a horse in the Lascaux cave.

A rock drawing in Bhimbetka India.

Aboriginal Rock Art, Ubirr Art Site, Kakadu National Park, Australia

The Lantingji Xu, Preface to the Poems Composed at the Orchid Pavilion is the most famous work of Chinese calligrapher Wang Xizhi, created in year 353. ^[5]

Scribe's exercise tablet with hieratic text on wood, related to Dynasty XVIII, reign of Amenhotep I, c. 1514-1493 BC. Text is an excerpt from The Instructions of Amenemhat II (Dynasty XII), and reads: "Be on your guard against all who are subordinate to you ... Trust no brother, know no friend, make no intimates."

A Chinese traditional title epilogue written by Wen Zhengming in Ni Zan's portrait by Qiu Ying.(1470–1559)

The Papyrus of Ani is a version of the Book of the Dead for the Scribe Ani. This vignette (small scene that illustrates the text) is Chapter for not letting Ani's heart create opposition against him in the God's Domain.^[6] (1240s BC).

A page from Lindisfarne Gospels, c. 710

The Ada Gospels are one of a group of manuscripts, known to modern scholars as the Ada School. Its illuminations include an elaborate initial page for the Gospel of Matthew and portraits of Matthew, Mark and Luke. Late 8th century

A graphic decoration in the Book of Kells, c. 800

Opening page of Book of Durrow, 7th century

A page from a Persian Quran in 11th century .

Graphic art in an Egyptian Quran of 9-10th century.

An Iranian Quran of 15th century found in Uzbekistan.

A Quran with Kuffi Alphabeth of 12th century.

Many believe that calligraphy adds a mystical dimension to a writing. Such mysticism appears to be consistent with the feeling that a religious text tries to convey. This is why to create a spritual feeling many religious texts use calligraphy.

Art of calligraphy in China goes back to 2000 B.C. Chinese calligraphy was used to communicate the philosophical ideas of Confucious and Hundred Schools of Thought (諸子百家; zhūzǐ bǎijiā")^[8]

Calligraphy entered Japan in the third century B.C. from China during its states wars. Japanese used calligraphy to write their Haikus on decorative banners.

This is a hand-colored engraving chart from Andreas Cellarius book Harmonia macrocosmica sev atlas universalis et novus . . . (Celestial Atlas). Amsterdam 1708. This chart from the second edition of the atlas (1708) shows the constellations in the form of Christian saints, in contrast to the better known patterns of classical antiquity which were based on the writings of second century geographer Claudius Ptolemy.

This is Page 2 of a hand-copied manuscript map from Korea, Chonhado (World Map) from Chonha Chido (Map of the World), mid-eighteenth century.

This is page 2 and 3 of a hand-colored engraving of Reiner Ottens' Atlas maior cvm generales omnivm.Amsterdam 1729.The constellations on this chart are elaborately represented by figures from classical antiquity. In the corners of the chart are illustrations of four European observatories, including that of the noted sixteenth-century astronomer Tycho Brahe (1546-1601).

These four chromolithograph Chinese cards from Mah Jong pack, c.1910, depict characters from the 'Story of the Water Margin'. There are 108 cards in the suit. The origin of Mah Jong has been traced to Confucius who had developed the game about 500 BC. The appearance of the game in various Chinese provinces coincides with Confucius' travels at the time he was teaching his new doctrines. Confucius was said to be fond of birds, which would explain the name Mah Jong (Hemp Bird).^[16]

These are Card designs from the Mamluk Sultanate of Egypt. c. 1500. According to a passage in Ibn Taghri Birdi's HISTORY OF EGYPT, 1382-1469 A.D., the future sultan al-Malik al-Mu'ayyad won a large sum of money in a game of cards. ^[17] In the Islamic empire playing cards the suits were coins, cups, swords, and polo sticks.

When the Islamic empire playing cards were introduced to Italy, the batons (which were in fact the empire's polo sticks) were changed into smooth rods with decorated ends. In Spain and Portugal, they became rough cudgels. ^[18]

During the fifteenth century, Germans introduced wooden blocks printing technique to produce playing cards. They could quickly export these cards throughout Europe because of their lower costs. The substitution of wood blocking and hand coloring with copper plate engraving during the sixteenth century was the next significant innovation in the manufacturing of playing cards. The mass printing of playing cards was revolutionized with the introduction of color lithography in the early nineteen century.^[19]

The extinct Ancbacher Nuremberg design (by F.X Schmid).

German single-headed Schwerterkarte playing cards,(by SA)

File:A northern Germany suit design of playing cards (by ASS).

German art nouveau playing cards printed in Attenburg, 1900.

Traditional English playing cards, James Hardy, London 1827.</ref> and Germany C 1810 ^[20]

Latvian playing cards designed by Arturs Dubrus in 1942.

Tarot cards from France ^[21] and Germany C 1810 ^[22]

Russian playing cards with Mayan Image, 1960s.

Frescoes in Nerezi near Skopje (1164). The Byzantine graphic art emerges out of artists attempt to convey divine spiritual statements. The graphic represents the Christian narrative of salvation in stylized two dimensional elongated figures.

Mosaic from Basilica of San Vitale in Ravenna, Italy, showing the Emperor Justinian and Bishop Maximian of Ravenna surrounded by clerics and soldiers. Here the graphic statement conveys the unification of the church and state.

Mosaic from the church of Hagios Demetrios in Thessaloniki, late 7th or early 8th century, showing St. Demetrios with donors. Artists used highly decorative, symbolic, and flattened graphical representations of Christian saints by setting small pieces of colored glass into the mortar of the church walls at different angles to catch the light. An heavenly atmosphere was created by using gold backgrounds together with haloed figures.

Two-Sided Icon with the Virgin Psychosostria (saver of souls) and the Annunciation.Byzantine (Constantinople), early 14th century. One of the most important genres of Byzantine graphic art was the icon, an stylized image of Christ, the Virgin, or a saint, used as an object of veneration in Orthodox churches and private homes alike.

In this miniature painting of king Henry I of England, from illuminated Chronicle of Matthew, Paris, (1236-1259), now in British Library, ^[24] many of the principles of the modern graphic design is followed. The 13th century paintings with their bright and golden colors were influenced by the Byzantine art. After crusaders sack of Constantinople in 1204 many of the Byzantine art entered and influenced Europe. ^[25]

ٔIn this Iranian miniature, based on the tragedy of two lovers Laily and Majnoon by Nezami Ganjavi,(second half of the 16th century) the broken perspective, together with utilization of text and design is used to communicate the message of the story. ^[26]

In this 16th century miniature of Reza Abbasi the simplicity of composition and the harmony of color scheme are consistent with the minimalist principles of the modern graphic design.

The Iranian graphic designers of Indian court Mir Sid Ali, and Abdol-Sanad Khan in the second half of the 16th century influenced the Indian miniature paintings. In this 18th century miniature the impact of this influence can be detected. ^[27]

The study of graphic design technique and the drawing style in this early 13th century work of the Chinese painter Ma Lin is revealing. The artist conveys his message by breaking the perspective rules of proportionality. For example, the person in front of the picture is smaller than the person in the back. This is intended to show that the person in the back is of greater importance (perhaps he is a sage or a spiritual teacher), The composition of trees in the form of an X, which is centered on the main character, adds to his significance. These techniques are being used in the modern graphic design. ^[28]

This wood print of the 18th century, a graphic work by the Japanese artist Toshusai Sharaku, is a two-dimensional compositional design. Japanese woodblock printing and painting style have influenced the design of modern posters through the works of artists like Toulouse Lautrec. ^[29]

This Chinese wall painting of figures in a cortege, in the tomb of Li Xian, during Tang Dynasty in the 7th century uses a simplified composition, together with a particular use of a color scheme in order to create an intended impact. The artist uses two parallel lines created by the composition of soldiers' black boots and red hats and visually connects them by the linear composition of their rifles.^[30]

This Vietnamese woodprint of the village of Dong Ho Painting creates a specific aesthetic impact that can be attributed to its graphic design ^[31]

This Greek lekythos (used for storing oil, especially olive oil) depicts the scene when Peleus (left) entrusts his son Achilles (centre) to Centaur Chiron (right). White-ground black-figured by the Edinburgh Painter, ca. 500 BC. From Eretria.National Archaeological Museum of Athens.

In the period 6500–5500 B.C., the farming society of Halaf in northern Mesopotamia and Syria produced pottery that is among the finest in the Near East. The Halaf potters used different sources of clay from their neighbors and created interesting pottery ^[32]

Art and religion are integral to all Native American indigenous peoples that come from many cultural groups and more than 500 tribal nations. They create designs that have been described as bold and imaginative graphic designs in both ceremonial and utilitarian objects. Iris & B. Gerald Cantor Center for Visual Arts ^[33]

The Nazca natives of Peru are best known for their polychrome pottery, with colorful graphic designs. ^[34]

Notched plate of stone from Mississippi region, with graphic design engraving of feathered rattlesnake.^[35]

A Maya vase of the codex style, representing a lord of the underworld stripped of his clothes and headgear by the young Maize divinity, assisted by a midget and a hunchback. Terracotta, northern Petén (Guatemala), 7th-10th century. ^[36]

The Codex Borgia, now in the Apostolic Library of the Vatican, is one of the few surviving graphic art manuscripts of Aztecs. It is believed that it is from the central Mexican highlands near Puebla. This is an area which was under Aztec rule at the time of the Spanish conquest of Mexico. ^[37]

The Codex Borbonicus is a codex written by Aztec priests shortly before or after the Spanish conquest of Mexico. Like all pre-Columbian codices, it was originally entirely pictorial in nature, although some Spanish descriptions were later added.^[38]

The Dresden Codex is an ancient Mayan book of the eleventh or twelfth century of the Yucatecan Maya. It is a highly important work of art. Many sections are ritualistic (including so-called 'almanacs'), others are of an astrological nature (eclipses, the Venus cycles). It was probably written just before the Spanish conquest.^[39]

The Maya civilization is noted for its art, architecture, and mathematical and astronomical systems. At San Bartolo, located in the Department of Petén in northern Guatemala, murals dating from 100 CE depict the myth of the Maya maize god; the colours are subtle and muted, the style, although very early, is already fully developed.The murals depicts the Maya creation Myth as described in the Popol Vuh.^[40]

This detail from an Ethiopian painting with its line drawing, and coloring scheme anticipates many of the techniques used in modern posters. (end of 17th century). ^[41]

The use of graphic design with its broad and bold application of color that reinforces the strength of the carving is a feature of African art which has been described by some researchers as striking . Among the Igbo, such figures are sculpted by men and painted by women. ^[42]

Handbuilt pottery made by women, including those from the Kabyle, an older, probably indigenous tradition, dates back 2000 years before the birth of Christ. The vessel depicted here originates from earlier prototypes. To this day, Kabyle women coil and decorate pottery with painted geometric designs for their own household use and for sale. ^[43]

The disconnect between the divisions of the painted surface of this mask and the underlying carved form is an aspect of African art that has been described as striking and first entranced Western audiences. ^[44] This is a mask created by Tsogo peoples of Ogowe River region in Gabon. (Late 19th to early 20th century). ^[45]

Many medical organizations use the rod of Asclepius as their logo, since it symbolizes the healing arts. This kind of sign is called pictogram ^[47][48] The main advantage of a pictogram is that one does not need to be able to read or to understand a particular language in order to be able to understand the information it conveys.^[49]

This is the STOP sign in many of the European countries. These type of signs are called phonogram ^[50] Obviously one needs to be able to read the sign, and to be familiar with the language in order to understand its message.

This is the Swedish traffic sign for no parking zone . The red circle with a diagonal line crossing it coveys the idea of "Not Allowed", and is called an Ideogram.

This is the imperial Coat of arms of Charles V, Holy Roman Emperor. From the time of Otto the Great onward, the various German princes elected one of their peers as King of the Germans, after which he would be crowned as emperor by the Pope. The last emperor to be crowned by the pope was Charles V; all emperors after him were technically emperors-elect, but were universally referred to as Emperor.

This the coat of arm of Albert of Sweden. He was the King of Sweden from 1364, and in 1384 he inherited the ducal title of Mecklenburg and united the two countries in a personal union.

Like Western heraldry, Japanese mons were initially held only by aristocratic families, and were gradually adapted by commoners. Japanese traditional formal attire generally displays the mon of the wearer. Commoners without mon often used that of their patron or the organization they belonged to. This the coat of arm of Gion Mamori of Japan.

This is the White Rose of York, a white heraldic rose, which is the symbol of the House of York.Traditionally the origins of the emblem are said to go back to Edmund of Langley in the fourteenth century, the first Duke of York and the founder of the House of York as a Cadet branch of the then ruling House of Plantagenet.^[58] The actual symbolism behind the rose has religious connotations as it represents the Virgin Mary, who was often called the Mystical Rose of Heaven.^[58][59]

This graphic design of the Coca-Cola logo is the work of Frank Mason Robinson who created it in 1885^[61]. This old Logotype has been around more than a century, which could be regarded as a measure of its success. A successful logotype will create a sense of loyalty among the clienteles. ^[62]

Google is a young high-tech company, and its logotype created by Ruth Kedar reminds us of the Mondrian minimalism. Kedar has emphasized the playfulness of her design, and its simplicity that conveys an illusion of non-design. According to her " The colors evoke memories of child play, but deftly stray from the color wheel strictures so as to hint to the inherent element of serendipity creeping into any search results page ... The texture and shading of each letter is done in an unobtrusive way resulting in lifting it from the page while giving it both weight and lightness. ^[63]

This flag of the Olympic Games that has been designed by Pierre de Coubertin reminds the viewer of the minimalism of Mondrian. According to Coubertin "This design is symbolic; it represents the five continents of the world, united by Olympism, while the six colours are those that appear on all the national flags of the world at the present time" ^[65]

Astrnomical charts have a long history. For instance, an engraving of an ancient Egyptian diagram of the heavens from the Temple of Dendara, depicts the sky on the date of the founding of the temple in 54 B.C. The above chart is an astronomical map of the sky drawn by Nicholas Copernicus in 1543 that replaced an earlier chart by Cellarius showing the Earth centred universe. ^[78]

In this graphic chart the position of two planets in relation to a viewer, and their position as appear to an specific viewer is shown. These types of charts are used in various text books to describe various scientific phenomena. As well, they are used by manufacturers for their manuals in order to help the buyers to become familiar with the working of a gadget. ^[79]

This is a bubble chart, which can show the relationship between three variables. These charts facilitate the understanding of the Social, economical , medical, and other scientific relationships. ^[80]

Computer animation creates the illusion of motion by viewing a succession of computer-generated still images. In the past, animation was produced by filming painted sequences on plastic or paper cels. The above animation has created from photos by Eadweard Muybridge in 1887. Computer animation can be used to produce special effects for educational purposes, such as study of planetary motions, particles collisions, or fluid dynamics. ^[82]

Dynamic graphics are used to facilitate understanding of concepts in science, engineering, medicine, education, and business. Computer graphics facilitates the production of images that range in complexity from simple line drawings to three-dimensional reconstructions of data. The evolution of a phenomenon through time and its interactions with other elements can be shown through animation.^[83]

In this 3-D dynamic design a cube is studied from various angles. These type of animations can be very useful in study of various objects. They can also be used to study the evolution of a process through time. ^[84] :

The art of dynamic designs is still at its infancy. With the availability of sophisticated computer graphic techniques the horizon has been expanded enormously for the graphic designers.

In 1907, AEG (Allgemeine Elektricitäts-Gessellschaft) retained Peter Behrens, a German architect and designer, as artistic consultant. He designed the entire corporate identity (logotype, product design, publicity, etc.) and for that he is considered the first industrial designer in history. He never became an employee of AEG, but worked as an artistic consultant. ^[85]

Paul Rand an American graphic designer, is best known for his corporate logo designs. His career began with a part-time position creating stock images for a syndicate that supplied graphics to various newspapers and magazines.^[86] Between his class assignments and his work, Rand was able to amass a fairly large portfolio, largely influenced by the German advertising style Sachplakat (object poster) as well as the works of Gustav Jensen.^[87]

This Persian rock relief depicts Ardashir I Coronation scene; the first king of the Sassanid Empire of Iran. Ardashir receives the ribboned diadem (cydaris), the symbol of kingship, from the spirit of Darius I of Persia of the Achaemenid dynasty .^[91] Under the horse of the King Ardashir lies the last of the Parthian Kings, Artabanus. Under the horse of King Darius lies Gaumata the usurper, a Magian,. The relief of Ardashir is, therefore, the legitimization of the new Sassanian dynasty by the pre-Alexander Achaemenid dynasty. The inscription in Persian, Parthian, and Greek, reads: This is the image of the Hormizd-worshipping Majesty Ardashir, whose origin is of the gods.^[92]

Sassanid king Shapur I of Iran in this relief at Naqsh-e Rostam , celebrats his victories over the Roman emperor Publius Licinius Valerianus. Iran, City of Marvdasht, Province of Fars. According to his records: "Just as we were established on the throne, the emperor Gordianus gathered in all of the Roman Empire an army of Goths and Gemans and marched ... against us. On the edges of Assyria,... there was a great frontal battle. And Gordianus Caesar perished, and we destroyed the Roman army. And the Romans proclaimed Philip emperor. And Philip Caesar came to us for terms, and paid us 500,000 denars as ransom for his life and becme tributary to us". ^[93]

Relief at the temple Banteay Srei in Angkor, Cambodia, depicting a religious scene. ^[94]. It is dedicated in 967 A.D. to the Hindu god Siva. In the middle of the scene stands the ten-headed demon king Ravana. He is shaking the mountain in its very foundations as the animals flee from his presence and as the wise men and mythological beings discuss the situation or pray. ^[95]

This shrine stela from the early part of the Amarna Period depicts an intimate family moment of Pharaoh Ankhenaten, his wife Nefertiti, and Princesses Meretaten, Mekeaten, and Ankhesenpaaten worshiping the Aten as a family. While Akhenaten leans forward to give Meretaten a kiss, Mekeaten plays on her mother's lap and gazes up lovingly. At the same time Ankhesenpaaten, the smallest, sits on Nefertiti's shoulder and fiddles with her earring. At the top of the composition, the sun-god, Aten, represented by a raised circle, extends his life-giving rays to the Royal Family. ^[96]

Aristotle printed by Aldus Manutius, 1495-98 (Libreria antiquaria Pregliasco, Turin)

A page from Francesco Colonna's Hypnerotomachia Poliphili, printed by Aldus Manutius

The printer's device of William Caxton, 1478.

A woodcut from William Caxton's second edition of the Canterbury Tales printed in 1483.

Theodor de Bry (1528 – 1598) was an engraver, goldsmith and editor.An engraving portrait of Theodorus de Bry, by himself and confirming his origins from Liège, in Latin "Leodiensis", between brackets: (a city at that time not belonging either to Flanders or Wallonia, or even to Belgium).

Albrecht Durer , St Jerome in his study. Albrecht Dürer was a German painter and printmaker. (1514)

Ecce Homo, Engraving, 15.th century, by Martin Schongauer(c. 1448 – 1491). He was a German engraver and painter, and was the most important German printmaker before Albrecht Dürer.

Matthäus Merian, View of Frankfurt, between 1612 and 1619. Merian was a notable Swiss engraver.

Court jester of Emperor Maximilian I. Etching by Daniel Hopfer, (1493).

Gardener with basket, c. 1612, Etching by Jacques Bellange . He was an artist and printmaker from Lorraine, now in France.(c. 1575 - 1616).

Pornocrates by Félicien Rops. He was a Belgian artist, and printmaker in etching and aquatint, 1896.

William Blake's Ancient of Days, etching/watercolour, (1794).

This fabric design called Peacock and Dragon, which is the work of William Morris (1878) is an example of decorative graphic design. Such designs was revived during the 1960s with the emergence of the hippie movement.

This Morris Tulip and Willow design (1873) is another example of decorative graphics. By using a diagonal blue, with only some suggestion of orange the artist tries to create a harmonious color scheme that could be used effectively in the design of a poster or other graphic design media.

This is the first page of The Nature of Gothic by John Ruskin which was published by Kelmscott Press of William Morris. The decorative design was the revival of the Gothic style in graphic design.

This book of Poetry, called Rubaiyat, by the famous Persian poet Omar Khayyam, is an example of early modern graphic design cooperation. The graphic composition of calligraphy and its decorative design are by Morris and the painting is by Burne-Jones.

Chéret's posters elevated advertisement to an art form. In 1858 he printed his first color poster in France. He ultimately became known as "the father of modern lithography", as well as the "Father of the Poster". Chéret revolutionized the composition of posters, using the design as the dominant features while reducing text to a minor explanatory role. ^[104].

Chéret's style gradually evolved from the complex Victorian decorative graphics into a simpler compositional design in which large central figures were prominent in the motif with simplified backgrounds, and large surfaces of vivid colour. Hand-lettered titles were used in harmony with the design. ^[105]

His large posters displayed free-spirited women which earned him the title of "father of the women's liberation." The women of Chéret's posters, playful, elegant and lively were very different from previously depicted prostitutes or puritans.

Chéret minimized the role of the text in a poster. In this poster all of the relevant information is summarized in one short sentence.

Louis John Rhead was from a family of well-known English artists. He was sent to Paris at the age of thirteen to study under Boulanger, and returned to England several years later. Rhead continued his studies under Edward Pointer and Alphonse Legros.By the time he arrived in America in 1888, he was one of the main leaders in the Art Nouveau movement along with Will Bradley and Edward Penfield. He created posters for Scribner's and Century magazines. ^[106].

In the 1890s Rhead designed nearly one hundred posters. His first posters were done in England for Cassell's Magazine and the Weekly Dispatch, and also for Phitesi boots. In the United States he created posters for a variety of magazines, including The Century, St. Nicholas, Harper's, The Bookman, and Scribner's. He also produced large one- and two-sheet posters for the New York Sun and the New York Journal, and commercial posters for the printing firm Louis Prang and Company, as well as for products such as Lundborg perfumes, Pearline washing powders, and Packer's soap.^[107]

In 1895 he won a Gold Medal for Best American Poster Design at the first International Poster Show in Boston. By the late 1890s, the popularity of poster art declined and Rhead turned his skills to book illustration ^[108]. Between 1902 and his death in 1926, Rhead illustrated numerous children books published by Harpers and others.

Rhead is noted as a great graphic designer. Many consider his use of colors startling, and his compositions sophisticated. He created art work that in his time looked modern and vanguard.

Edward Penfield, has been called the “originator of the poster in America. He was born 2 Jun 1866 in Brooklyn, New York to Ellen Lock Moore and Josiah B. Penfield. Although he is mostly known for his advertising ‘placards’ for Harper's New Monthly Magazine, it should be noted that his Harpers years constitute less than a third of his thirty-four year career. When he was in his early twenties Edward enrolled at the Art Students’ League in New York City. During the fall of 1889, Edward Penfield attended the costume class, from which several of his pen and ink studies still survive. He also studied painting under the impressionist George de Forest Brush around 1890.

An associate art editor at Harper and Brothers who had seen Penfield's work suggested to the head of the art department to hire him as a staff illustrator.Penfield’s first published work appeared in Harper’s Weekly in 1891. In his early works, Penfield executed ink and watercolor wash illustrations in a similar style to the older generation of graphic artists, such as W.T. Smedley, W.A. Rogers, Thor de Thulstrep, Rufus Zogbaum and E.A. Abbey.^[109]

In 1892, Penfield traveled to Europe to further his study in Paris with George de Forest Brush however, soon he was called back by the Harpers to head up their art department. His trademark linework and use of broad tonal areas developed gradually after his return from Europe. It is believed that what made his work compelling was his well-thought design as well as illustration. These and other stylistic trademarks emanated from a number of influences, including the compositional precepts and casual poses found in Japanese prints, the hand-craftsmanship of the Arts and Crafts movement, the impressionistic approach of Parisian poster-making, and British poise and directness.^[110]

The graphic art of Penfield demonstrates a keen sense of design and composition. The Art Center Bulletin of April 1925 remembered his contribution to illustrative art this way: "To everything he produced Penfield brought his great gifts of design and draftsmanship, a wonderful sincerity that never faltered, and a beautiful humbleness of spirit." As early as 1894, his work was described by Publisher's Weekly: "The advertising poster has within recent years actually soared into the regions of art." Penfield is also credited with bringing abstraction to commercial art through his boldly simplified shapes.^[111]

William H. Bradley is considered as one of the leading American poster artists of the turn of the century. Bradley was given the nickname "The American B," referring to Aubrey Beardsley the English graphic artist. However, it should be noted that Bradley was already an established artist by the time Beardsley’s designs became popular in England in 1894. He was born in Boston, Massachusetts, and at the age of 14 he obtained a job as a printer for a weekly newspaper, in 1880. He continued his journalistic pursuits until 1887 when he decided to move to Chicago to work for the prestigious painters, Knight and Leonard.^[112]

Bradley established his own studio in and produced theater posters as well as commercial advertisements. He moved back in Boston in 1895 and set up the Wayside Press, where he published "Bradley, His Book: A Monthly Magazine Devoted to Art, Literature, and Printing". It was the rise of the poster movement that established his reputation. His poster The Twins (1894), created for the periodical The Chap-Book, was considered to be the first American Art Nouveau poster, and it and others for this magazine increased his fame.. He was awarded a gold medal by the American Institute of Graphic Arts in 1954.^[113]

Bradley's artistic style is regarded as emanating from Art Nouveau. However, it is also argued that his style has been influenced by the Arts and Crafts Movementand Japanese block printing. ^[114]. Bradley is credited with popularizing the two-dimensional poster style in the United States. His typographic and illustrative work pushed the boundaries of these fields into new directions. In addition, his re-introduction and use of Caslon type brought it back into popularity.

Will Bradley was active, throughout his life, in a wide range of graphical arts including poster, magazine and book design; cartoon, illustration, decoration, and architecture. He designed well over fifty covers for books, many of which were reused or copied for other titles. They ranged from plain cloth covers with simple paper labels to lavish designs with gold stamping or several colors. ^[115]

Henri Raymond de Toulouse-Lautrec (1864-1901) was born as the son of an aristocratic and rich family in the South of France. From early childhood he developed a passion for drawing and painting and received painting and drawing lessons by a professional artist, Rene Princeteau. He went to Paris in 1882 to study painting, where he met Émile Bernard and Vincent van Gogh. He became attracted to the Impressionist style and joined the movement. Lautrec became a part of the bohemian community of Montmartre with its nightlife of cabarets, cafes, restaurants, sleazy dance halls and brothels. ^[116]

Toulouse Lautrec, was deeply influenced by Japanese woodblock printing. From the 1850s onwards, Japanese art work flowed into the west and attracted the attention of both artists and collectors. The term "japonisme" was coined in 1872 by Philippe Burty, a French art critic. Lautrec lived during the height of what have been called "the banquet years" of Paris. Although his handicap and his alcohol abuse kept him from enjoying some of life's pleasures, it was the nightlife of Montmartre which inspired his work. (1892)^[117]

The ideal, elegant, and joyful women of Jules Chéret were replaced in Lautrec posters by prostitutes and madams who accepted him as a fellow outcast, and permitted him to wander about, sketching and painting freely on his own initiative or on commission to the brothels. He grew close to his prostitute models; he played games with them, brought them presents, and accompanied them to his studio, restaurants, circuses, or theaters during their time off. He neither vilified nor glamorized these women, but presented an objective, almost documentary view of the everyday life they shared with him; (1892)^[118]

Lautrec gradually reduced the role of text in his posters. I his last poster, all the necessary information is captured by the name of the dancer; Jane Avril (1893). ^[119]

The English graphic artist Aubrey Beardsley as well as the other art nouveau designers created highly decorative posters that were based on elegant and flowing lines; and splendid and elongated figures. These romantic posters were in quite contrast with the simplicity of Lauterc's realist posters. ^[120]

Alphonse Mucha was another influential Art Nouveau designer. The subjects of his posters are often beautiful, and joyous young women, dressed in elegant fashion and surrounded by decorative flowers. He used an innovative soft pastel coloring scheme in his posters. ^[121]

The art of graphic design began to penetrate paintings with the works of Art Nouveau artists like Margaret MacDonald (Mackintosh) and her sister Frances Macdonald^[122]

The works of Gustav Klimt an Austrian painter is a clear example of the influence of graphic design on painting. ^[123] This portrait of Adele Bloch-Bauer exhibits many of the influences of graphic design^[124]

After the First World War the art of poster changed drastically. Posters were used for war propaganda, to encourage young people to enlist in the army, and to sell the government war bonds in order to finance the costs of war. From strictly artistic view these posters were unimaginative and stale, and were very far from the master pieces of the 19th century posters. ^[125]

Norman Rockwell is considered the "quintessential middlebrow American artist".^[126] Some critics view his sentimental and nostalgic vision out of step with the harsh realities of American life, such as The Great Depression.^[127] Nevertheless, among the propaganda war posters, it appears that this Rosie the Riveter poster with its distinct blend of humor and sacrifice may stand out.

The French graphic artist Jean Carlu who was influenced by cubism was among the first graphic designers who understood the importance of the coloring scheme and the balance of composition for logos. It has been suggested that his posters have also demonstrate an artistic merit. ^[128]

In this British propaganda poster of second world war, based on John Bull character, the subtle message of the poster is aided by a graphically balanced composition. This is in sharp contrast with a more direct message from the American Uncle Sam poster ^[129]

This magazine cover reproduced from an original poster by Guity Novin, depicts four famous Iranian writers of the 20th century (Jalal Al-e-Ahmad, Samad Behrangi, Ali-Akbar Dehkhoda, and Sadeq Hedayat). In order to create this color scheme the artist uses only two colors (orange and green) over a yellow background. By using a circular arrangement of faces she tries to achieve a balanced composition.^[139][140] (1971).

This political poster by Tiocfaidh Ár Lá about Ulster.

Andrew Pavlovsky poster of Poet MAYAKOVSKIY (2003). This poster is a graphic illustration of a true interest to Constructivism in Russia today. This Art Movement (Constructivism) was almost always in demand in Russia and it can become one of principal trends now. Some of the contemporary Russian artists and art historians have already suggested the new term - Additive Constructivism. It emphasizes the return to modernism, which starts to significantly push out the postmodern art practices. It's not a postmodern performance. The Constructivist color solution proves that so it is.

Coppelia ballet poster by Warren Dayton, (2008)

This advertising flier from 1806 is for a traditional medicine called Kinseitan. Display in the Edo Tokyo Museum.

This is a 19th century advertising poster for the hydrotherapic baths of Bagnoles de l'Orne (France).

This is a playbill for Perham's Opera Vocalists, 1856.

This poster from the second half of the 1880's advertises for Buffalo Bill's Wild West show, advertising "Miss Annie Oakley, the peerless lady wing-shot".

This is a French poster for Audibert et Lavirotte. The Audibert & Lavirotte was a French automobile, manufactured in Lyon from 1894 to 1901.

This is a German poster by Fritz Rehm for Laferme Cigarettes (published 1896-1900)

Circus poster, 1899. "Forepaugh & Sells Brothers Shows Combined. The world famed Hanlon Troupe in the most astonishing mid-air achievements ever accomplished."

"Drink Coca-Cola 5¢", an 1890s advertising poster showing a woman in fancy clothes (partially vaguely influenced by 16th- and 17th-century styles) drinking Coke. The card on the table says "Home Office, The Coca-Cola Co. Atlanta Ga. Branches: Chicago, Philadelphia, Los Angeles, Dallas".

With nothing to lose, Lucian Bernhard entered a poster contest for the Priester Match Company. The judges, found this poster bizarre, and ignored it. However Ernst Growald, sales manager for Berlin's leading proto-advertising agency and poster printer, saw the discarded poster and exclaimed: "This is my first prize. This is genius!" Bernhard had won both the contest and a long-term benefactor.^[144]

Born near Stuttgart as Emil Kahn, he changed his name to Lucian Bernhard and left home for Berlin at the age of 18 in 1901. He became the protege of Edmund Edel, an established artist, who brought him into contact with the printing company and poster publisher Hollerbaum & Schmidt. His first poster, for a match company, became an immediate success. In 1903, he opened his own studio in the center of Berlin. He left Berlin in 1922, and set up a studio in New York City.^[145]

In 1910 the Berthold Foundry brought out a new type face in "block" letters based on Bernhard's poster lettering, which displayed a remarkable anticipation of the "Sans Serif" lettering of the 1920's. The Flinsch Type Foundry followed with the production of Bernrnhard "Antiqua," "Kursiv," "Fraktur," and half a dozen others.

Pierce-Arrow auto ad, from advertisement in "Life" magazine, 1919

The London Underground Electric Railway Company Ltd published this poster in 1924.

This is an Official Soccer Posters for World Cup in Uruguay, 1930.

This architectural design by Frank Gehry in Seattle Washington clearly demonstrates the impact of graphic design.

Robert Smithson's monumental graphic art earthwork Spiral Jetty (1970) is located on the Great Salt Lake in Utah. Using black basalt rocks and earth from the site, the artist created an artistic composition in the translucent red water with a graphic design 1,500 feet long and 15 feet wide.

In the architectural design of Steigenberger Hotel in El Gouna Egypt, the minimalist design with 3-D geometric composition, and monochromatic coloring scheme provides graphical compositions from various angles