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.