Vilmos Huszár

This is using the text to catch and keep peoples attention. Its very well used in matching the need of the company.

Vilmos Huszár (1884, Budapest, Hungary - 1960, Hierden, The Netherlands) was a Hungarian painter and designer, most famously known for being one of the founder members of the Dutch art movement De Stijl. He emigrated to The Netherlands in 1905, settling at first in Voorburg, and was influenced by Cubism and Futurism. He met other influential artists such as Piet Mondrian and Theo van Doesburg, both central figures in establishing the De Stijl movement with Huszár in 1917. He also co-founded the De Stijl magazine and designed the cover for the first issue.

Milton Glaser

This is well just the plane use of text, its not really being used in other way besides to say the message its given.


Designer Milton Glaser is the creative mind behind two prominent American icons: a psychedelic poster of folk singer Bob Dylan, which was included free with Dylan's best-selling 1966 Greatest Hits album, and the "I [heart] NY" logo, originally used in a 1975 tourism campaign for New York and still common on T-shirts and other items over twenty-five years later. (Glaser also designed the updated version of the logo seen around New York in the wake of the September 11, 2001, terrorist attacks, which featured scorch marks on the heart and the words "more than ever" written in under the original logo.) During his career, Glaser has put his visual stamp on many other pieces of late-twentieth-century life, including buildings, consumer goods, advertising campaigns, and numerous publications. He has also illustrated several children's books, including two by his wife, Shirley Glaser.

Herbert Bayer

This poster is more forward in my opinon.
It gets to the point without seeming too open.


The austrian-born American painter, typographer, designer, and photographer. After initial training as an architect, Bayer studied at the Weimar Bauhaus with Johannes Itten, Wassily Kandinsky, and Oskar Schlemmer, then headed the workshop for printing and advertising (1925-8) after the school's move to Dessau. In Berlin over the following decade, before he emigrated to the USA in 1938, he had a varied career in advertising and exhibition design in Berlin, and in 1928-30 was art director for the German edition of Vogue. He also turned increasingly to photography as his preferred medium, producing photomontages and modernistic, sometimes abstract images influenced by Surrealism. In New York he designed several exhibitions for MoMA, then moved to Colorado in 1946, where his creative versatility remained undiminished.

László Moholy-Nagy

To me this is showing the text more like its part of the image its self.

Its as if the text was drawn there in stead of typed.

In 1921 Moholy-Nagy moved to Berlin. His paintings were now completely nonobjective, and he began to study the function and effect of light, which became one of his main continuing interests. Combined with this was his enthusiasm for the potential uses of the new plastic materials. Like Marcel Duchamp, he began to question the traditional involvement of the artist's hand in his own work. In 1922 Moholy-Nagy came up with a brilliant and audacious idea: he had five paintings made for him by a factory. He telephoned the factory and described what he wanted, using the factory's color chart and graph paper. As Duchamp did with his ready-mades, Moholy-Nagy claimed the five paintings as his because he had thought of them rather than actually made them by his own hand.

Richard Huelsenbeck

The poster shows Richard using text, in my words, in an abstract way along with the different fonts to give importance to what is being said in the poster

Huelsenbeck was a medical student on the eve of World War One. He was invalided out of the army and emigrated to Zürich, Switzerland in February 1916, where he fell in with the Cabaret Voltaire. In January 1917, he moved to Berlin, taking with him the ideas and techniques which helped him found the Berlin Dada group. 'To make literature with a gun in my hand had for a time been my dream, he wrote in 1920. His ideas fitted in with left-wing politics current at time in Berlin. However, idealistic Huelsenbeck and his companions were their challenge 'Dada is German Bolshevism' had unfortunate repercussions later, when the National Socialists denounced all aspects of modern art as Kunstboschewismust. Later in life, he moved to New York City, where he practiced Jungian psychoanalysis under the name Charles R. Hulbeck. In 1970 he returned to the Ticino region of Switzerland.

alphonse mucha

On January 1, 1895, Alphonse presented his new style to the citizens of Paris. Called upon over the Christmas holidays to created a poster for Sarah Bernhardt's play, Gismonda, he put his precepts to the test. The poster, at left, was the declaration of his new art. Spurning the bright colors and the more squarish shape of the more popular poster artists, the near life-size design was a sensation. I'm not sure how to talk about this picture but to me it looks its an ad for bikes.

The History of Poster Design

A poster is usually a printed paper announcement or advertisement that is exhibited publicly. Whether promoting a product, event, or sentiment (such as patriotism), a poster must immediately catch the attention of the passerby. There is no set way to accomplish this; success can stem, for example, from the instantaneous impact of a concise, striking design or from the sumptuous appeal of an ornate work of art.

By extension, the term poster is used to denote a paper panel printed for display as a novelty or as a work of art. Although printed public advertisements can be traced to the 15th century, the poster as it is understood today did not emerge until around 1860, given impetus by the invention of lithography, which allowed brilliantly colored posters to be produced cheaply and easily.

The first of the great modern poster artist, Jules Cheret, began his career in 1867 with a theatrical poster announcing a performance by Sarah Bernhardt. His captivating depiction's of the entertainers of Parisian nightlife, rendered in clear, radiant colors, dominated Paris displays for the last 30 years of the 19th century and also attracted others to the medium. The result was extraordinary diversity of style, from the folk art imagery of anonymous lithographers to major works by the best known of the poster artists.

Henri de Toulouse-Lautrec's posters of the 1890’s, characterized by bold, dramatic designs, are lively and sensitive depiction's of Parisian personalities. Interest in the poster was heightened by the appearance in the 1890s of the style known as Art Nouveau, characterized by flowing, organic lines, elegant grace, and a richly complex symbolism. Because it combined decorative brilliance with a faith that fine art could be popular and useful, the movement found the poster a natural form. The undisputed master of Art Nouveau was a Czech living in Paris, Alphonse Mucha. His first poster was for Sarah Bernhardt; its exotic Byzantine ornament and subtle use of color brought him overnight success; it was the first of a legacy of posters by him, ranging from grand theatre announcements to advertisements for cigarette papers and chocolate, that remain unsurpassed in beauty and inventiveness. Among the many other manifestations of the Art Nouveau poster were, in Paris, the elegant works of Georges de Feure and Eugene Grasset; in The Netherlands, the stylized posters of Jan Toorop; in Austria, the elegantly ordered works of Koloman Moser and Alfred Roller; and, finally, the work of Will Bradley, who brought the style to the United States.

With the outbreak of World War I in 1914, the poster became an art that could influence history. Prior to the ascendancy of motion pictures and television, it was politically the most important of all visual media. It was easily produced and immediate in impact, and it could be posted wherever there was a public to see it. Given such a role, posters of war and revolution may be quite forceful, varied, and revealing. The propagandistic posters of the early years of the Soviet Union, for example, aimed at a largely illiterate population, are blunt and powerful; those of the late Austro-Hungarian Empire have a lyrical medieval gallantry; and those of World War I America display a swaggering hometown naiveté. All reveal a need to embody not only the aspirations of the group that produced them but of the entire people to whom they were addressed. An outstanding example is James Montgomery Flagg's famous U.S. recruiting poster of Uncle Sam pointing directly at the viewer, a forceful call to patriotism during World War I.

The industrial boom of the early 20th century gave rise to advertising posters for virtually every conceivable product and event. Many express the spirit or stylistic excess of their day, from the primitive and folk art quality of early circus posters to the sophisticated and streamlined travel posters of the 1930s.

The onslaught of radio and television and an almost complete reliance on photography in advertising, however, brought about an eclipse in poster art. From the 1960s on, a regeneration of popular art forms, beginning with popular music, led to a new interest in posters. In San Francisco, where the movement was strongest, posters announcing weekly dance hall concerts echoed the golden age of the poster of the 1890s.