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Why should we study Art/Graphic Design History?

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Why should we study Art/Graphic Design History?

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To build a visual vocabulary and recognize how design elements are used and organized

To learn to see rather than simply look

To acquire good taste

To strengthen one’s communication skills

To become a better designer

To appreciate the past, be inspired in the present and anticipate the future

Because other designers know design history and they’re the competition

To cultivate one’s curiosity

To recognize that design is one of the oldest of human pursuits and is not the result of nor reliant on computer technology

To understand what good design is and why it is important.

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Graphic design is so much a part of our modern world that it is hard to imagine living without it. And in some ways, we never have: visual communication is about as old as our opposable thumbs, though it's been a long journey from stone tools to digital tablets. In short, the history of graphic design is a story that spans the entirety of human existence and it has the power to inspire and inform even modern graphic designers.

For one thing, knowing where, why and how this industry came about helps designers understand their place alongside history. In more practical terms, stylistic trends are cyclical, and studying the past can inspire some innovative ideas in the present. So join us as we trace the roots of design from pre-industrial history into the industry we know today. With any luck, you might just leave your own footprint along the way!

Before the printing press: Prehistory to the Renaissance
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Graphic design proper really began after the invention of the printing press in 1440, but the roots of visual communication stretch all the way back to caveman times. In this section, we'll run down the events of early history that paved the way for graphic design centuries before the world was ready for it.

Cave paintings ~38,000 BCE

It seems like humans have always had an inherent drive towards art, evidenced by the early cave paintings dating back to prehistoric times. Subjects vary from animals to hand imprints to events like hunting, and they've been found all over the world (Australia, Spain, Indonesia, France, Argentina, just to name a few). Historians debate the fine details as to who these were meant to communicate with (whether each other or their gods), but one thing that's clear is, right from the start, humanity displayed a knack for communicating with visuals.

Sumerian written language - 3300 - 3000 BCE

An ancient Sumerian tablet bearing sad news: a letter written to the king of Lagash informing him of his son's death in battle.

As you read this article, interpreting all these tiny, abstract marks of the Latin Alphabet into words and sentences, it's easy to forget that alphabets are a man-made invention. As far as we know, the Sumerians created one of the first written languages, most likely as a means of recording trader inventories to ensure couriers didn't steal anything on deliveries.

These earliest languages were logographic-icons represented entire words instead of phonetic sounds. This suggests a natural ability of humans to use visual representation to communicate complex ideas, a cornerstone of modern graphic design. And in the last few millennia, not much has changed: designers still rely on icons like hamburger menus or magnifying glasses to represent entire words and concepts in limited space.

Advancements in Chinese printing 200 CE - 1040 CE

A woodblock print of a Chinese play from the Yuan dynasty.

China holds most of the records for printing discoveries, including non-papyrus paper making, woodblock printing, and movable type-all of which occurred earlier than you might have guessed.

As far back as 200 CE, China used wood reliefs to print and stamp designs on silk clothes, and later paper. In 1040, Bi Sheng invented the world's first movable type printing press out of porcelain, more than 400 years before Gutenburg brought a similar technology to Europe.

Medieval calligraphy - 700s

In the Middle Ages, typography started to take off as humanity started expanding its aesthetic horizons into the letters and words themselves. Because texts in this period were produced and replicated by hand, a little artistry made the books more valuable and set certain scholars apart from others. In Islamic cultures, typography was doubly important because figurative art was seen as sacrilegious, meaning typography was one of only a few permissible ways of artistic expression.

Famous sixteenth-century Persian calligrapher Mir Emad Hassani, demonstrating the Nasta'liq style.

European heraldry - ~1100

Technically, the world's first logo is the coat of arms, used as a symbol to represent family houses or territories. Scholars theorize the practice was popularized during the Crusades, where intermingling soldiers from different countries and houses incentivized a means to tell everyone apart, particularly on armor and battle flags.

Like logos, a house's coat of arms aimed to represent the values, characteristics and styles of the people. Later, these emblems took on more practical purposes, such as wax seals to reflect authenticity.

Storefront signage - 1389

In the 14th century, beer and ale were viable if not preferable alternatives for drinking water at a time when most water sources were polluted. King Richard II of England made a law that ale houses must have signs out front so the public could find them easier.

Not only were these the first signage that actually represented companies rather than houses, but they're also the origin of a beautiful tradition that survives to this day.

The birth of graphic design: Renaissance and Industrial Era
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With the advent of the printing press in Europe, humanity was able to recreate text, art and design on a massive scale, and for relatively cheap. The ancestors of modern companies-also on the rise-soon took notice of how such visuals could affect shopping behaviors and increase profits, thus modern graphic design was born.

Invention of the Gutenberg press - 1439

Johannes Gutenberg brought moveable type to Europe in 1439, introducing mass communication to Western culture and forever changing civilization. With the Gutenberg press, people no longer had to rely on lengthy scholarly reproductions of books, opening up literature (and literacy) to the masses and making it affordable. The Gutenberg press paved the way for more commercial uses of design, which ushered in the era of graphic design as we know it.

First logos - late 1400s

It was the printing industry that first used logos, although they were limited to just marks on their own documents. It wasn't just a branding device, but also a means to show off your printing skill-how well your logo was printed reflected how well everything was printed.

First print advertisements - 1620s

The printing press gave way to the "coranto," the precursor to the newspaper. And in the early 1600s, these corantos featured the first printed advertisements.

(To be fair, written advertisements date back to ancient Egypt, but this is the first time we see images in mass-produced ads.)

Chromolithography - 1837

Early advertising isn't known for its subtlety.

Technological advancements continued to fuel the progression of graphic design, such as the ability to print in color, or chromolithography. While used primarily for recreating paintings for home decor, chromolithography also opened new doors for advertising.

Brands were now able to use a lot of the familiar marketing tools we know today, such as characteristic color schemes and building emotional connections through slice-of-life scenes. Before, visuals were stilted by the tech of the time (see the ink blot coranto image in the previous section) and prioritized basic clarity instead of touching on complex emotions. But chromolithography enabled some degree of realism, allowing advertising to capitalize on attractive models, fashions of the day and artistic usage of colors.

Graphic design in the modern era
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Graphic design as we know it today really started developing in the modern era, roughly the late 1800s up until the end of World War II. While the 19th century was more about technological advancements and new capabilities, the modern era was about learning how to exploit these advancements for more artistic aims. With printing now a common tech and competition fueling innovation, artists and designers were pushed to explore new styles and techniques, which quickly trickled into advertising and branding.

The Wiener Werkstätte (first graphic design agency) - 1903

With more and more companies recognizing the benefit of graphic design, it was just a matter of time before the first graphic design agency emerged. That honor belongs to Austria's Wiener Werkstätte, an organization who made contributions to design style and business alike.

Meaning simply "Vienna workshop," the Wiener Werkstätte was the first such organization of visual artists, including painters, architects, and early graphic designers. Organizationally, it set the precedent for all other collaborative agencies to follow.

Perhaps its greatest legacy was stylistic innovation, such as cubism. And as a group of professional artists working together, they held great influence over establishing design standards for upcoming generations of artists, particular those after World War I when cultural attitudes were changing worldwide. The work done at the Wiener Werkstätte set the stage for the popular Bauhaus and Art Deco styles that soon followed.

Staatliches Bauhaus founded - 1919

Furthering what the Wiener Werkstätte started, the Staatliches Bauhaus, or just simply " Bauhaus," first opened its doors in Weimar, Germany in 1919. Theirs was an ambitious goal: to create a Gesamtkunstwerk, an artistic ideal that encompasses or synthesizes existing art forms into one perfect work. The interesting thing is they actually succeeded: Bauhaus was one of the central driving forces behind the popularization of the modernist style.

The term "graphic design" appears for the first time - 1922

In his article "New Kind of Printing Calls for New Design" (printed in the Boston Evening Transcript, August 29, 1922), book designer William Addison Dwiggins first used the term "graphic design" to describe exactly what his role was in structuring and managing the visuals in book design. From day one, designers were struggling to explain to non-designers what, exactly, they did.

Paul Rand publishes Thoughts on Design - 1947

With one foot in modernism and the other in post-modernism, legendary designer Paul Rand helped lead graphic design into its current form. He posted his theories and ideologies in the seminal work Thoughts on Design, which largely shaped the future of the entire graphic design industry.

His book candidly explains his design philosophies he used throughout the latter half of the twentieth century, namely a call for "functional-aesthetic perfection," an ideal balance between a logo looking good and communicating its points effectively, seen in his popular logo designs for brands like Ford, Westinghouse, Yale, ABC, UPS, and IBM.

A glimpse into the digital era
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From the 1950s onward, the world began its slow approach to the digital era we're currently enjoying. The mass-adoption of home computers is a technological advancement comparable to the invention of the printing press, ushering in a new age for mass communication and granting access to esoteric art styles and digital software for new methods of creating art.

MTV's usage of logos.

Adobe Photoshop-first released in 1990-even on its own changed the face of graphic design. Photo manipulation created a whole new subcategory of graphic design, blending together elements of photography, illustration, and CGI (it would have made the Gesamtkunstwerk artists proud).

Simultaneously, the nature of branding also evolved to meet the changing times. We partially have MTV to thank for this-they brought a fresh new take on logo usage, particularly in constantly changing theirs while retaining recognizable characteristics.

When the internet came into prominence around the turn of the century, designers took a page out of MTV's book and adopted youthful and at times edgy designs to draw the younger generation into the world wide web. This can be seen in online trends like flat design, which incorporates bright colors and cartoonish figures.

The history of graphic design is ongoing
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That pretty much brings us up to date with graphic design, but one area still remains a mystery: what is the future of graphic design?

The progression of visual communication from cave paintings to digital software can serve as great inspiration, but what fruit that bears is up to you, whether you're the next generation of designer or the client whose brand might lend itself to a new leap in design thinking. Though today the process is hard work, tough feedback, countless late nights in front of a glowing screen, the result might just bring about the Bauhaus or Thoughts on Design of tomorrow...

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A brief history of graphic design - 99designs

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Graphic design is so much a part of our modern world that it is hard to imagine living without it. In some ways, we never have-design has been evolving nearly as long as we humans have! Join us as we trace the roots of graphic design from pre-industrial history into the industry we know today.

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A Brief History of Art Movements | Behind the Masterpiece

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At the start of any graphic design project, you wonder what style should I choose? what style do I like? what style is best for the topic? what style will I feel comfortable with? Whether you're designing a single image or a full house style / company brand the style you use will be dependant on the what is most appropriate for it.

The following list of graphic design styles is not a definitive list but rather a selection of some of the most common or popular graphic design styles, more styles exist and more are being created all the time. You should use this list to gain a basic understanding of common graphic design styles and what is involved in each of them, how they differ and how to create them.

This Article Discusses The Following List Of Different Graphic Design Styles...

Victorian Style Graphic Design:

The Victorian era of Britain was the period of Queen Victoria's reign which ran from 1837 to 1901 and was a time of strong moral and religious beliefs. The Victorians loved complex and ornate objects and this influence filtered through to all areas of design including architecture, furniture, interiors, fashion, typography and commercial art.

The Victorian style was deeply influenced by their nostalgia for objects from the past. The Victorian design style almost always filled the entire page with images and type. Typical design elements of early Victorian style were the use of outer decorative borders and elaborate typography. Symmetry was also used heavily in layout and design.

Later Victorian style tended to use the decorative borders less but still used ornate type and romantic imagery. Typography through the Victorian era generally appeared in a curve or wave and was commonly encompassed in a banner.

To Recap, the main characteristics of the Victorian graphic design style are...

decorative outer borders

elaborate typography

symmetry

highly ornate and 'busy' imagery

very few straight lines or edges

Arts & Crafts Style Graphic Design:

The Arts and Crafts movement was an international movement in decorative and fine arts that began in Britain and then flourished in Europe and North America between 1880 and 1910, later re-emerging in Japan in the 1920s. It stood for traditional craftsmanship using simple forms, and often featured medieval, romantic, or folk styles of decoration with heavy use of textures and illustrated initials.

Arts & Crafts advocated economic and social reform and was essentially anti-industrial. It had a strong influence on the arts in Europe until it was replaced by Art Nouveau and Art Deco before being eventually displaced by Modernism in the 1930s.

To Recap, the main characteristics of the Arts & Crafts graphic design style are...

reused traditional/older style features

simple forms

illustrated typography

lots of textures

Art Nouveau Style Graphic Design:

Art Nouveau is a style of decorative art, architecture, and design prominent in western Europe and the USA from about 1890 until about 1920 and was characterised by intricate linear designs and flowing curves based on natural forms and an 'earthy' colour palette.

These identifiable flat, outlined illustrations and hand-drawn typefaces leads to Art Nouveau sometimes being confused with Art Deco, but there is a clear distinction between the two. Art Nouveau looks hand drawn and prefers natural lines and shapes to the highly geometric shapes that define the Art Deco style.

To Recap, the main characteristics of the Art Nouveau graphic design style are...

intricate hand drawn style

linear based designs

use of natural forms

regularly features female form

Futurism Style Graphic Design:

Futurism was not only an art movement but also a social movement that developed in Italy in the early 20th century. Although it was largely an Italian phenomenon, there were parallel movements in Russia, England and elsewhere. It emphasized speed, technology, youth, and violence, and objects such as the car, the aeroplane, and the industrial city. It was a movement that particularly despised not just certain aspects of classical antiquity, but everything that was not totally new - the antithesis of Arts & Crafts

The painters of Futurism were particularly successful and they often broke light and color down into a series of dots or geometric forms through a process called divisionism. Futurism influenced many modern art movements of the 20th century which in turn influenced the development of contemporary graphic design.

To Recap, the main characteristics of the Futurism graphic design style are...

eclectic style

featuring or using new technology

offset text

some cubist influences

no traditional features

Art Deco Style Graphic Design:

Art Deco had it's heyday in the 1920's and 30's but, as a term, it was not coined until 1925. Art Deco uses sharp, aero-dynamic shapes, Egyptian zigzags, motion lines and, in more modern times, an airbrushed / grainy look. Perfect examples of the Art Deco graphic design style can be found in period comic books, old car show posters, book covers and movie posters.

These images are defined by geometric shapes, bold curves, strong vertical lines, aerodynamic forms, motion lines, airbrushing and sunbursts Unlike the Early Modern style, Art Deco highly exercises its use of illustrations and graphic representations of everyday objects. But these features do not do justice to the spirit of the Art Deco style which was bold, positive, industrial and often futuristic and one which emerged from a world rising from the ashes of WW1.

The Art Deco style itself has also seen a rebirth in recent years, having become increasingly popular over the last decade.

To Recap, the main characteristics of the Art Deco graphic design style are...

bold geometric shapes

use of motion lines and sunbursts

high contrast in colours

flat (in terms of depth)

Heroic Realism Style Graphic Design:

Heroic realism is a term which describes art and graphic design used as propaganda. Examples include the Socialist realism style associated with Communist regimes, and the very similar art style associated with Fascism. Its characteristics are easily identifiable from the name; realism and the depiction of figures as ideal types, heroes or symbols, often with explicit rejection of modernism.

Heroic realism designs were used to propagate the revolution in the Soviet Union during Lenin's time. Both socialist art and Nazi art were explicitly ordered to be heroic and romantic, and were in consequence idealistic rather than realistic in form and style.

To Recap, the main characteristics of the Heroic Realism graphic design style are...

realistic imagery

usually featuring one person

promoting an ideal

strong message in the text

clear, bold font

Early Modern Style Graphic Design:

Early modernism was a time when artists and designers broke from tradition to create a new style of design which would influence all artists and designers around the world. Early modern artists were described as new or experimental, as they changed the way others saw design and art.

Following on from some of the ideals of the Italian Futurists the Bauhaus was creating a new design philosophy, putting a design's function before its form and rebelling against tradition in preference of anything new and different. This style became known as "modern" and was the start of the rebelling against tradition that has carried through time influencing all the other art and design styles of the world.

To Recap, the main characteristics of the Early Modern graphic design style are...

American Kitsch Style Graphic Design:

The Art Deco influence of rounded streamlined forms and enthusiasm for modern ideas continued to inspire design of all kinds for many years after the 1930s and American Kitsch design of the 1950s took futuristic styles even further with dramatic curves and space-age forms. Kitsch design was also characterized by its script fonts, informal shapes, and cartoon-like illustrations.

Kitsch is a German word meaning "in bad taste". In design, kitsch had been used to describe art or design that is pretentious, vulgar and displays a complete lack of sophistication. On the other hand, the idea that something is so bad that it's good is how "kitsch" became a term ironically embraced by the American designers using that style.

To Recap, the main characteristics of the American Kitsch graphic design style are...

Late Modern Style Graphic Design:

Late modernism encompasses the overall production of most recent art made between the aftermath of World War II and the early years of the 21st century. The terminology often points to similarities between late modernism and post-modernism although there are differences while the predominant term for artwork produced since the 1950's is Contemporary Art.

Known for, distorted geometric shapes, and informal layouts. The only aspect of this style that isn't informal is the type, which was devoid of decoration.

To Recap, the main characteristics of the Late Modern graphic design style are...

Psychedelic Style Graphic Design:

The psychedelic movement began in the mid 1960's and had an effect on many aspects of popular culture. This included style of dress, art, literature and philosophy. The name "psychedelic" refers to drugs that were popular with the youth culture of the time. Posters for rock concerts tried to visually express the feeling of tripping out. The visual motifs of psychedelic art include Art Nouveau-inspired curvilinear shapes, illegible hand-drawn type, and intense optical colour vibration inspired by the pop art movement.

Use of abstracted curvilinear shapes, clashing colours, hard-to-read fonts. Rarely used in today's designs, the trippy posters of the 60's are the most easily recognizable contribution of the Psychedelic style.

To Recap, the main characteristics of the Psychedelic graphic design style are...

influenced by the prevalence of hallucinatory drugs

featuring abstract swirls of intense color

curvilinear calligraphy reminiscent of Art Nouveau.

intense optical colour vibration

Post-Modern Style Graphic Design:

Post-modernism didn't have much impact on graphic design until the middle of the 1980's. Initially, many designers thought it was just undisciplined self-indulgence. A hodgepodge of styles, with no unifying ideals or formal vocabularies, dreamed up by students in the new graduate programs. But in fact it was a new way of thinking about design, one that instigated a new way of designing. This mixed up style is characterized by a tilted axis, collage-like illustrations, overlying figures, and impulsive decoration. This style has been used in varying degrees since its first uses and, if used correctly, can give projects a unique expression.

They created works beginning in the 1970s without any set adherence to rational order and formal organization. They also seemed to entirely pay no attention to traditional conventions such as legibility. Yet, while post-modern design did not consist of one unified graphic style, the movement was an expressive and playful time for designers who searched for more and more ways to go against the system.

To Recap, the main characteristics of the Post Modern graphic design style are...

collage like illustrations

overlapping elements

impulsive and playful

tilted axis

Grunge Style Graphic Design:

A recent design evolution, this emerged post millennium and is easily recognized by its extensive use of distressed textures, unrefined edges, and a seemingly nonsensical approach to layout.

In such grunge designs dirty stains, torn images, ' broken' icons and creased pieces of paper are as popular as hand-drawn elements and dirty textures. The main purpose of hand-drawn elements lies in their ability to convey a personality and an individual note. And dirty textures are often used as background images for navigation menus, photos and overall layouts. Usually these elements are regular objects from our daily life, replicated in their real form without any glossy effects.

To Recap, the main characteristics of the Grunge graphic design style are...

Dirty textures and background images

irregular lines and frames

coffee rings, spilled out liquids and dirty stains

torn paper and dirty edges

hand-written elements

Flat Style Graphic Design:

Flat design is a current design style and trend, minimalist in nature, it was initially used in graphical user interfaces such as websites, web applications and mobile apps. The flat design style is now also commonly seen in graphical materials as posters, arts, guide documents, publishing products.

Flat design is primarily influenced by the International Typographic Style (also known as Swiss Style), Text User Interface, Modernism, and the styles emerging from Bauhaus. The International Typographic style is often considered the most substantial influence on flat design and is regarded as the starting point of flat design, although the flat design style itself would not make an appearance until the dawn of the digital age

To Recap, the main characteristics of the Flat graphic design style are...

minimalist

no depth

neutral tones

straight lines

use of negative space

Quick Overview...

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This article lists the most common or popular graphic design styles. You can use this article to gain a basic understanding of graphic design history, common graphic design styles, what is involved in each of them, how they differ and how to create them.

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Hypnotomachia
* Hypnerotomachia Poliphili (from Greek hypnos, 'sleep', eros, 'love', and mache, 'fight'), called in English Poliphilo's Strife of Love in a Dream, *said to be by Francesco Colonna but that isn't certain. *The text is written in several different languages including Latin, Greek, Hebrew, Arabic and Chaldean

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Hypnotomachia * Hypnerotomachia Poliphili (from Greek hypnos, 'sleep', eros, 'love', and mache, 'fight'), called in English Poliphilo's Strife of Love in a Dream, *said to be by Francesco Colonna but that isn't certain. *The text is written in several different languages including Latin, Greek, Hebrew, Arabic and Chaldean

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The origins or graphic design predate recorded history. From ancient cave scribbling to early developments in printing to the emergence of distinct styles in design during the 20th century, here is a timeline of graphic design's evolution.

Early Innovations in Visual Communication and Printing

15,000-10,000 BC:Pictographs and symbols in the Lascaux caves in southern France represent the first known visual communication.

Revolutionary Changes to Typeface

The Industrial Revolution

1760:The Industrial Revolution begins and sets the stage for advances in graphic design production.

1796:Author Aloys Senefelder develops lithography, the first "planographic" printing method, which used a flat surface and set the stage for modern offset printing.

1800:Lord Stanhope invents the first printing press made of all cast-iron parts, which required one-tenth of the manual labor of previous presses and doubled the possible paper size.

1816:The first Sans-serif type font appears in a book.

Design Comes Into Its Own

1890:TheArt Nouveau movement begins, making its way into all types of commercial design and utilized all types of arts.

Modern Design Styles Emerge

1900: The Futurism style of design emerges, dropping traditional features and concentrating on sharp, straight lines.

1910:The Early Modern style is developed, which uses photos rather than illustrations and minimalist, geometric shapes.

1910: Hero Realism is influenced by the World Wars, relying heavily on realistic illustrations of people and a strong message (for example, Rosie the Riveter).

1919: The Bauhaus design school opens in Germany.

1920:Art Deco, with its bold geometrics and high contrast colors, becomes mainstream.

Styles Closely Follow Pop Culture

1932: The Times New Roman typeface is created by Stanley Morrison and commissioned by the Times of London.

1940: The Swiss style of design emphasizes negative space, asymmetrical layouts, and heavy use of Sans-serif type.

1945:The Late Modern movement arises, dropping conventional layouts for more geometric designs.

1947: Legendary graphic designer Paul Rand releases his first book, Thoughts on Design, influencing modern designers for decades to come.

1950:Kitsch emerges, emphasizing high contrast, bold colors, fantastic imagery, and illustrations of dramatically posed people, which were popular in movie posters of the day.

1957: Helvetica is developed by Max Miedinger and rapidly becomes a popular and standard typeface.

1959: The magazine Communication Arts releases its first issue and quickly becomes an industry standard.

1968: Inspired by hallucinations, the Psychedelic style emerges featuring swirls, obscure fonts transformed into shapes, and bright colors.

1970: Illustrations that revolved around collages and overlaid elements became popular in the Post-Modern movement.

The Digital Revolution

1990:The first version of Adobe Photoshop is released, creating a revolution in the way graphic designers work.

2000:Grunge design emerges, using rough textures to portray a gritty feeling.

2010: What became known as the Flat style emerges, emphasizing bright colors, minimalist two-dimensional shapes, sharp lines, and generous use of negative space.

2016:Abstract Swiss style continues the minimalist trend, distorting and deconstructing designs in ways that seem random.

2017: Cinemagraphs, photographs where one small movement is made, emerge to grab viewers' attention in the clutter of on-screen marketing.

Thanks for letting us know!

Other Not enough details Hard to understand

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From the first words and pictures to printing innovation and design styles, the timeline of graphic design is a colorful story.

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Art Nouveau in 8 Minutes: Why It Has Never Gone Away? 🤷

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The printing press was invented in the Holy Roman Empire by the German Johannes Gutenberg around 1440, based on existing screw presses. Gutenberg, a goldsmith by profession, developed a complete printing system, which perfected the printing process through all of its stages by adapting existing technologies to the printing purposes, as well as making groundbreaking inventions of his own. His newly devised hand mold made for the first time possible the precise and rapid creation of metal movable type in large quantities, a key element in the profitability of the whole printing enterprise.

The printing press spread within several decades to over two hundred cities in a dozen European countries. By 1500, printing presses in operation throughout Western Europe had already produced more than twenty million volumes. In the 16th century, with presses spreading further afield, their output rose tenfold to an estimated 150 to 200 million copies. The operation of a press became so synonymous with the enterprise of printing that it lent its name to an entire new branch of media, the press?

In Renaissance Europe, the arrival of mechanical movable type printing introduced the era of mass communication which permanently altered the structure of society: The relatively unrestricted circulation of information and (revolutionary) ideas transcended borders, captured the masses in the Reformation and threatened the power of political and religious authorities; the sharp increase in literacy broke the monopoly of the literate elite on education and learning and bolstered the emerging middle class.

For years, book printing was considered a true art form. Typesetting, or the placement of the characters on the page, including the use of ligatures, was passed down from master to apprentice.

Less is more. That is the basic premise of a minimalist color poster design. The Dutch painter Piet Mondrian in the years 1920-21 courageously introduced the style of minimalism in painting. His simple geometric compositions, together with the use of only three basic colors, blue, yellow, and red, in combination with black and white created a new venue for graphic designers. He demonstrated that with simple relocation of these colors, and experiment with the proportionality of various square surfaces one can achieve extremely different ambiances and various feelings. For the graphic designers who intend to convey a message with a minimum interference from the extraneous elements his experiment in minimalism was a valuable gift.

Many medical organizations use the rod of Asclepius as their logo, since it symbolizes the healing arts. This kind of sign is called pictogram. 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. The traffic sign shown, is for no parking zone. The red circle with a diagonal line crossing it coveys the idea of "Not Allowed", and is called an ideogram.

It is here during the early 20th century that our modern version of icons had their roots. Dr. David Canfield Smith first coined the term "icon" in his landmark 1975 PhD thesis "Pygmalion: A Creative Programming Environment". In his work, Dr. Smith envisioned a scenario in which "visual entities", called icons, could execute lines of programming code, and save the operation for later re-execution. Dr. Smith later served as one of the principal designers of the Xerox Star, which became the first commercially available personal computing system based on the desktop metaphor when it was released in 1981. "The icons on [the desktop] are visible concrete embodiments of the corresponding physical objects." The desktop and icons displayed in this first desktop model are easily recognizable by users several decades later, and display the main components of the desktop metaphor GUI.

This model of the desktop metaphor has been adopted by most personal computing systems in the last decades of the 20th century; it remains popular as a "simple intuitive navigation by single user on single system. It is only at the beginning of the 21st century that personal computing is evolving a new metaphor based on Internet connectivity and teams of users, cloud computing. In this new model, data and tools are no longer stored on the single system, instead they are stored someplace else, "in the cloud". The cloud metaphor is replacing the desktop model; it remains to be seen how many of the common desktop icons (file, file folder, trashcan, inbox, filing cabinet) find a place in this new metaphor.

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Graphic Design Through the Ages - Camelback Displays

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The printing press was invented in the Holy Roman Empire by the German Johannes Gutenberg around 1440, based on existing screw presses. Gutenberg, a goldsmith by profession, developed a complete printing system, which perfected the printing process through all of its stages by adapting existing technologies to the printing purposes, as well as making groundbreaking inventions of his own.

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180 Seconds of Art History - Episode 2: Crash Course on Ancient Greece

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Art historical analysis (painting), a basic introduction using Goya's Third of May, 1808

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Living History  Living in Ancient Greece

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An Introduction to the History of Graphic Design

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An introduction to the History of Graphic Design from the dawn of writing until today, including the development of handwriting, history of type faces, history of books, Arts & Crafts and the Private Press, Posters, Printing History, History of Advertising, The Bauhaus, Digital Design and Digital Typography.

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Where the 1960s "psychedelic" look came from

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Glossary:

Black Figure Style: a style of painted pot from the Archaic Period (600-480 BCE) in which figures and forms are created through the application of black slip before firing.

Contrapposto: posing of the human figure in which one part is turned in opposition to another part, typically with the weight of the body being thrown to one foot to create a counterbalance of the body about its central axis.

Geometric Style: a style of painted pot from the Geometric Period (900-700 BCE) dominated by abstract motifs (e.g. the meander pattern) and animals conveyed through black slip.

Humanism: an ideological or philosophical approach that stresses the importance of the human being, rather than divine or celestial forces, and the human being's potential for achievement or greatness in all things.

Kore: Greek for "young woman"; statuary type depicting a young woman.

Kouros: Greek for "young man"; statuary type depicting a young man.

Krater: a large vessel used by the ancient Greeks to mix wine with water; also sometimes used as male funerary markers.

Red Figure Style: a style of painted pot from the Archaic Period (600-480 BCE) in which figures and forms are created through the absence of black slip, allowing the red of the terracotta to come through for greater design detail and finesse; appeared late sixth century BCE.

Symmetria: symmetry, including a sense of proportion and balance, as achieved by contrapposto poses.

White Ground Style: a style of painted pot from the Archaic Period (600-480 BCE) in which figures and forms are painted on white clay pot, allowing for greater detail and polychromy; also appeared late sixth century BCE.

From the rise of ancient Greek art around 800 BCE to its decline during the reign of Alexander the Great in the fourth century BCE, the artists of this period revolutionized the treatment of the human form. Ushered in with the early Geometric Period, which continued past conventions of stylized and abstracted forms, the rapid advancement of figural treatment and proportion became over the following centuries the hallmark of ancient Greek art and the feature most emulated by artists of both the subsequent Roman Empire and the Renaissance centuries later.

One important impetus for the development of anatomical proportions in Greek art was the emergence of humanism, an ideological or philosophical approach that stresses the importance of the human being, rather than divine or celestial forces. Humanism focuses on human experience and naturalistic perspectives, and emphasizes the human being's potential for achievement or greatness in all things.

Here are some key works, organized by time period, that can be used to illustrate the progression of Greek artists rendering the human form during a one-hour-fifteen-minute class:

Timeline:
Geometric Period (800-700 BCE)
Orientalizing Period (700-600 BCE)
Archaic Period (600-480 BCE)
Early Classical Period (480-450 BCE)
High Classical Period (450-420 BCE)
Late Classical Period (420-323 BCE)
Hellenistic Period (323-31 BCE)

Funerary Krater, Dipylon Cemetery, c. 760 BCE, Geometric, Metropolitan Museum of Art, New York

Mantiklos Apollo, Greece, c. 700-680 BCE, Orientalizing, Museum of Fine Arts, Boston

Exekias, Achilles and Ajax Playing Dice, c. 530 BCE, Archaic, Vatican Museums, Rome

Euphronios, Death of a Sarpedon Krater, 515 BCE, Archaic, National Etruscan Museum, Rome

Phiale Painter, Hermes Bringing the Infant Dionysos to Papposilenos, c. 440-435 BCE, Archaic, Vatican Museums, Rome

Statue of a Kouros, c. 580 BCE, Archaic, Metropolitan Museum of Art

Kroisos Kouros, Anavysos, c. 530 BCE, Archaic, 76 inches high, National Archaeological Museum, Athens

Kritios Boy, 480 BCE, Early Classical, 34 inches high, Acropolis Museum

Dying Warrior, Temple of Aphaia, West, 500-490 BCE (vs. East Pediment, 490-480 BCE), Glyptothek, Munich

Polykleitos, Doryphoros (Spear Bearer), Roman copy of a Greek original from 440 BCE, High Classical, Archaeological Museum of Naples

Praxiteles, Hermes and the Infant Dionysos, Roman copy of a Greek original from c. 340 BCE, Late Classical, Louvre Museum, Paris

Gallic Chieftain Killing Himself and His Wife, Roman copy of a Greek original from c. 320-220 BCE, Hellenistic, Palazzo Altemps, Rome

Defeated Boxer, c. 100-50 BCE, Hellenistic, Palazzo Massimo alle Terme, Rome

The Funerary Krater from the Dipylon Cemetery bears the essential hallmarks of the early Geometric Period, which gets its name from the repeated use of geometric patterns and motifs during this time. Here, clearly divided registers, or levels, of decoration alternate between different abstract geometric designs, including the meander pattern seen in the upper lip of the pot. The belly of the krater is decorated with two larger registers that are separated by geometric patterns and filled with a stylized representation of a funeral procession. The upper register reveals the deceased individual, laid out rigidly across a funerary bier, and to either side appear abstract female forms, whose crossed arms overhead are meant to signal their mourning. The lower register reveals a procession of soldiers with their horses, presenting additional examples of the tendency toward abstracted figures. The soldiers, for example, appear as if they are shields with limbs, while the chariot horses are melded into one horse-like shape with a multitude of legs.

This abstraction of form continued into the Orientalizing Period, as illustrated by the Mantiklos Apollo. Earning this name from the inscription across his thighs that reads: "Mantiklos donated me as a tithe to the far shooter, the bearer of the Silver Bow. You, Phoebus (Apollo) give me something pleasing in return," this small bronze cast votive reveals stylized treatment of the human form similar to that of the Dipylon krater, with an inverted triangular torso, elongated neck, and oblong face.

Moving into the Archaic Period, one witnesses a profusion of painted pottery. These ceramic pieces reflect the talents of Greek painters for rendering figural naturalism. The skill required for these pieces is attested to by the fact that artists signed many of the pieces they painted. The first style to emerge was known as Black Figure Style pottery, so-called because figures appear through the application and subsequent kiln oxidation of applied silica slip. Exekias' Achilles and Ajax Playing Dice illustrates this style of pot. Comparing this to the Dipylon funerary krater, one can see that the repeated geometric patterns and abstracted figures are here replaced with a narrative reduced to one central register and a clearer articulation of figures and compositional elements. It is as if Ezekias has caught Achilles and Ajax in a heated moment of the game, both hunched over the board in observation.

The same feeling can be attained from Red Figure Style pottery, as illustrated by Euphronios' Death of Sarpedon Krater. Here figures are formed through the absence of the silica slip, with the advantage of allowing more intricate details within the composition. In the main narrative panel of the Death of Sarpedon Krater, for example, Euphronios' mastery of the red figure technique allowed him to delineate musculature and bleeding wounds, details that add to the dramatic scene, wherein Sarpedon, defeated by the spear of Patroclus during the Trojan War, is carried off the battlefield by Sleep and Death.

The White Ground technique, the last of the three styles of Greek painted pottery, carried the field forward by introducing the element of polychromy, or multi-colored forms. This style, as illustrated in the Phiale Painter's Hermes Bringing the Infant Dionysos to Papposilenos, involved painting narrative scenes in many colors on a white clay pot. The result, similar to a painting on a canvas, was imagery as intricate as seen in Red and Black Figure pots, but here the addition of vibrant color brings these stories to life.

Also during the Archaic Period, we find that artists become exponentially more adept at conjuring the naturalism of the human body. Statue of a Kouros reveals efforts, for example, to better convey the musculature of a male figure, with incised lines used to delineate abdominal and thigh muscles. This kouros, or "young man," also exhibits greater facial expression, illustrating the tight, mannequin-like expression known as the "archaic smile," a common feature of the sculpture of this period.

Compare the Metropolitan's Statue of a Kouros to the Kroisos Kouros, carved forty years later, and you can get a sense of how quickly artists innovated their approach to the figure. While the Kroisos Kouros figure maintains the archaic smile, mat-like layer of braided hair, and rigid stance similar to the Metropolitan's kouros, the kouros from Anavysos shows great advances in the Greeks' understanding of anatomy and musculature. Contoured muscles have replaced incised lines, and the overall girth of the thighs and torso bring us even closer to a naturalistic human figure.

The Kritios Boy reflects the next step in this evolution during the transition to the Early Classical Period, commenced with the victory of the Greeks over Persian invaders and considered, along with the High Classical Period, the peak years of ancient Greek civilization. Though the Kritios Boy's face is still relatively expressionless, the archaic smile is gone, and the carved eyes, which originally would have had inlaid stone, suggest a step toward imbuing the figure with personality. Also improved is the artist's understanding of musculature, so much so that the sculpture gives a sense of the tactility of its flesh. What is most striking about this figure, however, is the effort to capture the naturalistic stance of contrapposto, wherein the shoulders shift opposite to the pelvis, allowing the figural weight to rest on one leg while the other bends slightly.

The development of naturalism was central to the transition from the Archaic to the Early Classical Periods, as demonstrated by a visual analysis of the Western Pediment Dying Warrior (500-490 BCE) and Eastern Pediment Dying Warrior (490-480 BCE) from the Temple of Aphaia at Aegina. Though these two figures were completed within a decade of each other, they reveal this essential transition. The Western Pediment Dying Warrior maintains the same characteristics of his Archaic predecessors (archaic smile, mannequin-like appearance) while revealing the limitations of this approach to sculptural representation. This figure is intended to be in the throes of death as he grips at the arrow that has pierced his chest; however, his expressionless face and rigid smile do not connote such agony. Added to this missing emotional context is the awkward position in which this warrior's body has been folded. He balances on one hip while jauntily crossing his leg, a position difficult for anyone to assume, let alone a dying soldier. His Eastern Pediment Warrior counterpart, however, reveals a greater sense of naturalism not only in pose but also in expression.

The Greek sculptor Polykleitos was known for his perfection of the contrapposto stance in conjunction with his writing of the Canon, one of the most influential known ancient treatises on art. In this text, Polykleitos advocates for sculptural symmetria, which basically means that all parts of the sculpture should be designed in perfect proportion to each other. This principle is demonstrated in his Doryphoros (Spear Bearer), particularly in the counterbalance of the figure's shoulders to his hips. With his weight resting on his right foot, this figure's left leg is bent and his left foot is extended behind him, as if the spear bearer has been caught mid-stride. While this positioning of the legs causes the spear bearer's left hip to dip downward, Polykleitos compensates for this by adjusting his left shoulder upward. This counterbalancing allows for the symmetria of the sculpture and thus fits Polykleitos's canon for beauty. (A great clip illustrating Polykleitos's canon, excerpted from the Nigel Spivey series mentioned below, can be found here.)

If Greek art of the High Classical Period is characterized by the refined idealism of the Doryphoros, the subsequent Late Classical Period, illustrated through sculptures such as Praxiteles's Hermes and the Infant Dionysos, captures the period's burgeoning interest in a more human approach to artistic depictions. This shift came in part due to the changing political atmosphere in Greece, where the relative calm of the preceding century had been replaced in the fourth century by upheaval and uncertainty. Most notable in this shift was the installation of Alexander the Great, whose father had gained control of Greek territories around 338 BCE yet met with death only two years later. While Alexander the Great's military campaigns expanded Greece's control to unprecedented borders, the atmosphere of unrest initiated artistic shifts.

In Hermes and the Infant Dionysos we see the figure of Hermes adopting a softened contrapposto stance as he cradles the infant Dionysos in the crook of his arm. Hermes's gaze is gentler than that seen in Polykleitos's Doryphoros, and his right arm would have once playfully held a bunch of grapes. In sum, the interaction seen here seems not the exchange between two gods but rather that between a caregiver and child, stressing the human qualities of these previously idealized deities.

The death of Alexander the Great in 323 BCE resulted in the division of his expansive empire among his top generals and signaled another artistic revolution as artists explored more novel means of expression. Building on the humanist qualities of Late Classical art, Hellenistic art emphasized emotion, drama, and theatricality. This was particularly apparent in those works reserved for military monuments, such as the Gallic Chieftain Killing Himself and His Wife. Originally part of a sculptural group erected on the acropolis of the kingdom of Pergamon, near present-day Bergama, Turkey, this dramatic grouping was intended to reinforce Pergamene victory over the Gauls while also expressing reverence for their nobility in defeat.

Here the Gallic chieftain stands poised to drive his sword into his own chest, the tip of his blade already piercing his skin and causing rivulets of blood below. He is depicted just after having killed his wife, whose body hangs limp next to him. His powerful pose, implying that death is more amenable than capture, provides a strong contrast to that of his wife's lifeless body, and when observing this sculpture in the round it is as if you can envision what will happen next.

While Gallic Chieftain Killing Himself and His Wife conveys this strong sense of drama and theatricality, other sculptures from the Hellenistic Period offer greater subtlety of emotion. Such is illustrated by works like the bronze Defeated Boxer. Depicting a boxer who has presumably just lost a fight, this figure expresses a sense of total defeat, with hunched shoulders and a pitiful expression on his face. Thus, while not as immediately dramatic as works such as the Gallic Chieftain, in comparison the Defeated Boxer illustrates the truly remarkable range of emotional expression that Hellenistic sculptors were able to achieve.

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Glossary: Black Figure Style: a style of painted pot from the Archaic Period (600-480 BCE) in which figures and forms are created through the application of black slip before firing. Contrapposto: posing of the human figure in which one part is turned in opposition to another part, typically with the weight of the body being thrown to one foot to create a counterbalance of the body about its central axis.

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Is there a difference between art and craft? - Laura Morelli

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A brief history of religion in art - TED-Ed

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The Renaissance: Was it a Thing? - Crash Course World History #22

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(A*) EPQ Artefact: "A Brief History of Graphic Design" -

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The Met's Heilbrunn Timeline of Art History

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Essay

After the defeat of the Persians in 479 B.C., Athens dominated Greece politically, economically, and culturally. The Athenians organized a confederacy of allies to ensure the freedom of the Greek cities in the Aegean islands and on the coast of Asia Minor. Members of the so-called Delian League provided either ships or a fixed sum of money that was kept in a treasury on the island of Delos, sacred to Apollo. With control of the funds and a strong fleet, Athens gradually transformed the originally voluntary members of the League into subjects. By 454/453 B.C., when the treasury was moved from Delos to the Athenian Akropolis, the city had become a wealthy imperial power. It had also developed into the first democracy. All adult male citizens participated in the elections and meetings of the assembly, which served as both the seat of government and a court of law.

Perikles (r. ca. 461-429 B.C.), the most creative and adroit statesman of the third quarter of the fifth century B.C., transformed the Akropolis into a lasting monument to Athen's newfound political and economic power. Dedicated to Athena, the city's patron goddess, the Parthenon epitomizes the architectural and sculptural grandeur of Perikles' building program. Inside the magnificent Doric temple stood the colossal gold-and-ivory statue of Athena made by the Greek sculptor Pheidias. The building itself was constructed entirely of marble and richly embellished with sculpture, some of the finest examples of the high Classical style of the mid-fifth century B.C. Its sculptural decoration has had a major impact on other works of art, from its own day to the present ( 27.45).

Greek artists of the fifth and fourth centuries B.C. attained a manner of representation that conveys a vitality of life as well as a sense of permanence, clarity, and harmony. Polykleitos of Argos was particularly famous for formulating a system of proportions that achieved this artistic effect and allowed others to reproduce it. His treatise, the Canon, is now lost, but one of his most important sculptural works, the Diadoumenos, survives in numerous ancient marble copies of the bronze original ( 32.11.2). Bronze, valued for its tensile strength and lustrous beauty, became the preferred medium for freestanding statuary, although very few bronze originals of the fifth century B.C. survive. What we know of these famous sculptures comes primarily from ancient literature and later Roman copies in marble ( 14.130.9).

The middle of the fifth century B.C. is often referred to as the Golden Age of Greece, particularly of Athens. Significant achievements were made in Attic vase painting. Most notably, the red-figure technique superseded the black-figure technique, and with that, great strides were made in portraying the human body, clothed or naked, at rest or in motion. The work of vase painters, such as Douris, Makron, Kleophrades, and the Berlin Painter ( 56.171.38), exhibit exquisitely rendered details.

Although the high point of Classical expression was short-lived, it is important to note that it was forged during the Persian Wars (490-479 B.C.) and continued after the Peloponnesian War (431-404 B.C.) between Athens and a league of allied city-states led by Sparta. The conflict continued intermittently for nearly thirty years. Athens suffered irreparable damage during the war and a devastating plague that lasted over four years. Although the city lost its primacy, its artistic importance continued unabated during the fourth century B.C. The elegant, calligraphic style of late fifth-century sculpture ( 35.11.3) was followed by a sober grandeur in both freestanding statues ( 06.311) and many grave monuments ( 11.100.2). One of the far-reaching innovations in sculpture at this time, and one of the most celebrated statues of antiquity, was the nude Aphrodite of Knidos, by the Athenian sculptor Praxiteles. Praxiteles' creation broke one of the most tenacious conventions in Greek art in which the female figure had previously been shown draped. Its slender proportions and distinctive contrapposto stance became hallmarks of fourth-century B.C. Greek sculpture. In architecture, the Corinthian-characterized by ornate, vegetal column capitals-first came into vogue. And for the first time, artistic schools were established as institutions of learning. Among the most famous was the school at Sikyon in the Peloponnesos, which emphasized a cumulative knowledge of art, the foundation of art history. Greek artists also traveled more extensively than in previous centuries. The sculptor Skopas of Paros traveled throughout the eastern Mediterranean for his commissions, among them the Mausoleum at Halicarnassos, one of the seven wonders of the ancient world.

While Athens began to decline during the fourth century B.C., the influence of Greek cities in southern Italy and Sicily spread to indigenous cultures that readily adopted Greek styles and employed Greek artists. Depictions of Athenian drama, which flourished in the fifth century with the work of Aeschylus, Sophokles, and Euripides, was an especially popular subject for locally produced pottery ( 24.97.104).

During the mid-fourth century B.C., Macedonia (in northern Greece) became a formidable power under Philip II (r. 360/359-336 B.C.), and the Macedonian royal court became the leading center of Greek culture. Philip's military and political achievements ably served the conquests of his son, Alexander the Great (r. 336-323 B.C.). Within eleven years, Alexander subdued the Persian empire of western Asia and Egypt, continuing into Central Asia as far as the Indus River Valley. During his reign, Alexander cultivated the arts as no patron had done before him. Among his retinue of artists was the court sculptor Lysippos, arguably one of the most important artists of the fourth century B.C. His works, most notably his portraits of Alexander (and the work they influenced), inaugurated many features of Hellenistic sculpture, such as the heroic ruler portrait ( 52.127.4). When Alexander died in 323 B.C., his successors, many of whom adopted this portrait type, divided up the vast empire into smaller kingdoms that transformed the political and cultural world during the Hellenistic period (ca. 323-31 B.C.).

Additional Essays by Seán Hemingway

Additional Essays by Colette Hemingway

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Authors: Seán Hemingway, Colette Hemingway

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The Art of Classical Greece (ca. 480-323 B.C.) | Essay | The Metropolitan Museum of Art | Heilbrunn Timeline of Art History

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After the defeat of the Persians in 479 B.C., Athens dominated Greece politically, economically, and culturally. The Athenians organized a confederacy of allies to ensure the freedom of the Greek cities in the Aegean islands and on the coast of Asia Minor.

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The history of advertising can be traced to ancient civilizations. It became a major force in capitalist economies in the mid-19th century, based primarily on newspapers and magazines. In the 20th century, advertising grew rapidly with new technologies such as direct mail, radio, television, the internet and mobile devices.

Between 1919 and 2007 advertising averaged 2.2 percent of Gross Domestic Product in the United States.[citation needed ]

Egyptians used papyrus to make sales messages and wall posters. Commercial messages and political campaign displays have been found in the ruins of Pompeii and Arabia. Lost and found advertising on papyrus was common in Ancient Greece and Ancient Rome. Wall or rock painting for commercial advertising is another manifestation of an ancient advertising form, which is present to this day in many parts of Asia, Africa, and South America. The tradition of wall painting can be traced back to Indian rock art paintings that date back to 4000 BCE.

In ancient China, the earliest advertising known was oral, as recorded in the Classic of Poetry (11th to 7th centuries BCE) of bamboo flutes played to sell candy. Advertisement usually takes in the form of calligraphic signboards and inked papers. A copper printing plate dated back to the Song dynasty used to print posters in the form of a square sheet of paper with a rabbit logo with " Jinan Liu's Fine Needle Shop" and "We buy high quality steel rods and make fine quality needles, to be ready for use at home in no time" written above and below. It is considered the world's earliest identified printed advertising medium.

In Europe, as the towns and cities of the Middle Ages began to grow, and the general populace was unable to read, instead of signs that read "cobbler", "miller", "tailor", or "blacksmith" would use an image associated with their trade such as a boot, a suit, a hat, a clock, a diamond, a horse shoe, a candle or even a bag of flour. Fruits and vegetables were sold in the city square from the backs of carts and wagons and their proprietors used street callers ( town criers) to announce their whereabouts for the convenience of the customers. The first compilation of such advertisements was gathered in Les Crieries de Paris ( Street criers of Paris), a thirteenth-century poem by Guillaume de la Villeneuve.

Three major forms of advertisement existed during the pre-printing period (before the 15th-century); those forms were trademarks (moon, stars etc.), town criers and sign boards:

Trademarks: The practice of attaching seals or marks to products was widespread in antiquity. Around 4,000 years ago, producers began by attaching simple stone seals to products which, over time, were transformed into clay seals bearing impressed images, often associated with the producer's personal identity. Some of the earliest use of maker's marks, dating to about 1,300 BCE, have been found in India. By the medieval period, hallmarks were applied to high value goods such as precious metals, and assayers were appointed by governments to administer the system and ensure product quality.

Town criers: In ancient towns and cities, where the majority of citizens were illiterate, town-criers were appointed to call out official announcements and general news. Before long, private individuals began to employ public criers to act as an auctioneer. At the same time, itinerant hawkers developed a system of street cries to promote their goods and services. These street cries provided an essential public service before the advent of mass media.

Sign-boards: The use of commercial signage has a very ancient history. Retail signage and promotional signs appear to have developed independently in the East and the West. In antiquity, the ancient Egyptians, Romans and Greeks were known to use signage for shop fronts as well as to announce public events such as market days. China also exhibited a rich history of early retail signage systems. In Medieval Britain and France and much of Europe, innkeepers were compelled to erect a sign-board The practice of using signs spread to other types of commercial establishments throughout the Middle Ages. Sign-boards applied to inns and taverns have survived into contemporary times across Britain and much of Europe.

16th-19th centuries

Modern advertising began to take shape with the advent of newspapers and magazines in the 16th and 17th centuries. The very first weekly gazettes appeared in Venice in the early 16th-century. From there, the concept of a weekly publication spread to Italy, Germany and Holland. In Britain, the first weeklies appeared in the 1620s, and that country's first daily newspaper, The Daily Courant, was published from 1702 to 1735. Almost from the outset, newspapers carried advertising which contributed to the cost of printing and distribution. The earliest commercial advertisements promoted books and quack medicines, but by the 1650s, the variety of products being advertised had increased markedly.

Advances in printing allowed retailers and manufacturers to print handbills and trade cards. For example, Jonathon Holder, a London haberdasher in the 1670s, gave every customer a printed list of his stock with the prices affixed. At the time, Holder's innovation was seen as a "dangerous practice" and an unnecessary expense for retailers. The earliest trade cards were not cards at all, instead, they were printed on paper and did not include illustrations. By the 18th century, however, they were printed on the more substantial card and typically bore the tradesman's name and address. Before street numbering came into common use, trade cards often included long-winded sets of directions on how to locate the store or premises. With the advent of commercial engraving and lithography, illustrations became a standard feature of even the most humble trade card. Eventually, trade cards evolved into business cards, which are still in use today.

In June 1836 the Paris newspaper La Presse - edited by Émile de Girardin - became the first to rely on paid advertising to lower its price, extend its readership and increase its profitability. This formula was soon copied by the competition.

T F G Coates hailed Thomas J. Barratt as "the father of modern advertising" in London in 1908. Working for the Pears Soap company, Barratt created an effective advertising campaign for the company products, which involved the use of targeted slogans, images and phrases. One of his slogans, "Good morning. Have you used Pears' soap?" was famous in its day and into the 20th century.

As an advertising tactic, Barratt associated the Pears brand with high culture and quality. Most famously, he used the painting Bubbles by John Everett Millais as an advertisement by adding a bar of Pears soap into the foreground. Barratt continued this theme with a series of adverts of well-groomed middle-class children, associating Pears with domestic comfort and aspirations of high society.

Barratt introduced many of the crucial ideas that lie behind successful advertising and these were widely circulated in his day. He constantly stressed the importance of a strong and exclusive brand image for Pears and of emphasizing the product's availability through saturation campaigns. He also understood the importance of constantly reevaluating the market for changing tastes and mores, stating in 1907 that "tastes change, fashions change, and the advertiser has to change with them. An idea that was effective a generation ago would fall flat, stale, and unprofitable if presented to the public today. Not that the idea of today is always better than the older idea, but it is different - it hits the present taste."

In the United States around 1840, Volney B. Palmer set up the first advertising agency in Philadelphia. In 1842 Palmer bought large amounts of space in various newspapers at a discounted rate then resold the space at higher rates to advertisers. The actual ad - the copy, layout, and artwork - was still prepared by the company wishing to advertise; in effect, Palmer operated as a space broker. The situation changed in the late-19th century when the advertising agency of N.W. Ayer & Son was founded in New York. It planned, created, and executed complete advertising campaigns for its customers. It created a number of memorable slogans for organizations such as De Beers, AT&T and the U.S. Army.

By 1900 the advertising agency had become the focal point of creative planning, and advertising was firmly established as a profession. At first, agencies were brokers for advertisement space in newspapers. N. W. Ayer & Son was the first full-service agency to assume responsibility for advertising content. N.W. Ayer opened in 1869, and was located in Philadelphia.

The amount of space available in newspapers grew rapidly. The Boston Transcript published in 19,000 "agate lines" Of advertising in 1860, 87,000 in 1900, and 237,000 in 1918.

In 1893, 104 companies spent over $50,000 each on national advertising; most sold patent medicines, which faded away after the federal food-and-drug legislation of the early 20th century. Seven innovators had emerged in the big time: Quaker Oats, Armour meat, Cudahy meat, American Tobacco Company, P. Lorillard tobacco, Remington Typewriters, and Procter & Gamble soap. By 1914, two thirds of the top advertisers came from just five industries: 14 food producers, 13 in automobiles and tires, nine in soap and cosmetics, and four in tobacco.

In the late 19th century in France, Charles-Louis Havas extended the services of his news agency, Havas to include advertisement brokerage, making it the first French group to organize.

Advertising in the developing world was dominated by agencies in the imperial powers, especially from London and Paris. J. Walter Thompson became the first American agency to expand internationally with the opening of J. Walter Thompson London in 1899. It expanded across the globe, becoming one of the first American agencies in Egypt, South Africa and Asia. Much of the pressure to expand came from General Motors, which wanted to export its automobiles worldwide. Ford turned to N.W. Ayer, which began its expansion in Europe and Latin America in the 1930s. The typical policy was to put an American manager in charge, and hire a staff drawn from locals who had a better understanding of the language and the culture. In 1941-42, however, Ayer closed its foreign offices and decided to concentrate on the American market.

In 2011, spending on advertising reached $143 billion in the United States and $467 billion worldwide.

Today, internationally, the largest ("big four") advertising conglomerates are Interpublic, Omnicom, Publicis, and WPP.

Advertising increased dramatically in the United States after 1870 as industrialization expanded the supply of manufactured products to a very large market. In order to profit from this higher rate of production, industry needed to recruit workers as consumers of factory products. It did so through the invention of mass marketing designed to influence the population's economic behavior on a larger scale. Total advertising volume in the United States grew from about $200 million in 1880 to nearly $3 billion in 1920.

In the 1910s and 1920s, many ad men believed that human instincts could be targeted and harnessed - " sublimated" into the desire to purchase commodities. Edward Bernays, a nephew of Sigmund Freud, promoted the approach making him a pioneer of modern cigarette advertising. Glantz argues, "it was really the tobacco industry, from the beginning, that was at the forefront of the development of modern, innovative, advertising techniques."

In the 1920s, under Secretary of Commerce Herbert Hoover, the American government promoted advertising. Hoover himself delivered an address to the Associated Advertising Clubs of the World in 1925 called 'Advertising Is a Vital Force in Our National Life." In October 1929, the head of the U.S. Bureau of Foreign and Domestic Commerce, Julius Klein, stated "Advertising is the key to world prosperity." This was part of the "unparalleled" collaboration between business and government in the 1920s, according to a 1933 European economic journal.

Advertising was a vehicle for cultural assimilation, encouraging immigrants to exchange their traditional habits and tastes in favor of a modern American lifestyle. An important tool for influencing immigrant workers was the American Association of Foreign Language Newspapers (AAFLN). The AAFLN was primarily an advertising agency but also gained heavily centralized control over much of the immigrant press.

At the turn of the 20th century, there were few career choices for women in business; however, advertising was one of the few. Since women were responsible for most of the purchasing done in their household, advertisers and agencies recognized the value of women's insight during the creative process. Helen Lansdowne Resor at J. Walter Thompson Agency, was one of the pioneers.

In 1911, the Woodbury Soap Company became the first to use images of sexual contact to sell a product. Their ad slogan, created by Helen Lansdowne, claimed that women who used the soap would have "Skin You Love To Touch". Her copy promised the soap would increase the beauty of one's skin; it offered a color print and a week's supply of the soap for 10 cents. The slogan became so popular that Woodbury used it until the 1940s. Albert Lasker said the ad's use of sex appeal made it one of three great landmarks in advertising history. It was ranked 31st on Advertising Age's list of the top 100 campaigns of the 20th century.

In 1936, Woodbury was one of the first companies to use nudity in its advertisements. The ad, known as "The Sun Bath", was photographed by Edward Steichen and showed a nude woman lying on stairs on her side with her back to the camera. The text advertised that Woodbury Soap was now enriched with "filter sunshine". Many celebrities appeared in advertisements for Woodbury Soap.

In international perspective, a 2008 comparison of nudity in advertising in Brazil, Canada, China, Germany, South Korea, Thailand, and the United States reveals that China and the United States have the most demure ads, while Germany and Thailand exposed more of the female body. There is little variation in male undress.

In the early 20th century, psychologists Walter D. Scott and John B. Watson contributed applied psychological theory to the field of advertising. Scott said, "Man has been called the reasoning animal but he could with greater truthfulness be called the creature of suggestion. He is reasonable, but he is to a greater extent suggestible". He demonstrated this through his advertising technique of a direct command to the consumer. The former chair at Johns Hopkins University, John B. Watson was a highly recognized psychologist in the 1920s. After leaving the field of academia he turned his attention towards advertising where he implemented the concepts of behaviorism into advertising. This focused on appealing to the basic emotions of the consumer: love, hate, and fear. This type of advertising proved to be extremely effective as it suited the changing social context which led to heavy influence of future advertising strategy and cemented the place of psychology in advertising.

Chicago, along with New York, was the center of the nation's advertising industry. Albert Lasker, known as the "father of modern advertising," made Chicago his base 1898-1942. As head of the Lord and Thomas agency, Lasker devised a copywriting technique that appealed directly to the psychology of the consumer. Women seldom smoked cigarettes; he told them if they smoked Lucky Strikes they could stay slender. Lasker's use of radio, particularly with his campaigns for Palmolive soap, Pepsodent toothpaste, Kotex products, and Lucky Strike cigarettes, not only revolutionized the advertising industry but also significantly changed popular culture.

Lasker had an inquiring mind about what advertising was and how it worked. Lasker believed that advertising consisted of news and information was news, He changed his mind when a colleague Johnny Kennedy told him, "News is a technique of presentation, but advertising is a very simple thing. I can give it to you in three words, it is 'salesmanship in print'". Lasker and Kennedy used this concept with the 1900 Washer Co. (later Whirlpool). Their campaign was so successful that, within four months of running the first ad, they attracted additional clients and their "advertising spend" went from $15,000 a year to $30,000 a month. Within six months, their firm was one of the three or four largest advertisers in the nation.

Among Lasker's pioneering contributions was the introduction into public schools of classes that explained to young girls about puberty and menstruation (done to promote Kotex tampons). He is also credited as the creator of the soap opera genre, and using radio and television as media driven by advertising. Lasker took time off from business to help the presidential campaign of Republican Warren Harding in 1920, using high-powered advertising techniques that helped produce a massive landslide.

In the early 1920s, the first radio stations were established by radio equipment manufacturers and retailers who offered programs in order to sell more radios to consumers. Madison Avenue early on recognized the importance of radio as a new advertising medium. Advertising provided the major funding for most stations in the United States, which never had a licensing fee for set users. Great Britain used the mandatory fee on set owners to fund the British Broadcasting Corporation, which to this day operates without commercials or advertising. However, the British government permitted commercial television in 1954 and commercial radio in 1972.

Public service advertising, non-commercial advertising, public interest advertising, cause marketing, and social marketing are different terms for (or aspects of) the use of sophisticated advertising and marketing communications techniques (generally associated with commercial enterprise) on behalf of non-commercial, public interest issues and initiatives.

In the United States, the granting of television and radio licenses by the FCC is contingent upon the station broadcasting a certain amount of public service advertising. To meet these requirements, many broadcast stations in America air the bulk of their required public service announcements during the late night or early morning when the smallest percentage of viewers are watching, leaving more day and prime time commercial slots available for high-paying advertisers.[citation needed ]

Public service advertising in the United States reached its height during the world wars. During WWII President Roosevelt commissioned the creation of The War Advertising Council (now known as the Ad Council) which is the United States' largest developer of PSA campaigns on behalf of government agencies and non-profit organizations, including the longest-running public service campaign, Smokey Bear.

Advertising came under heavy pressure in the 1930s. The Great Depression forced businesses to drastically cut back on their advertising spending. Layoffs and reductions were common at all agencies. The New Deal furthermore aggressively promoted consumerism, and minimized the value or need of advertising. Historian Jackson Lears argues that "By the late 1930s, though, corporate advertisers had begun a successful counterattack against their critics." They rehabilitated the concept of consumer sovereignty by inventing scientific public opinion polls, and making it the centerpiece of their own market research, as well has the key to understanding politics. George Gallup, the vice president of Young and Rubicam, and numerous other advertising experts, led the way. Moving into the 1940s, the industry played a leading role in the ideological mobilization of the American people for fighting the Nazis and Japanese in World War II. As part of that effort, they redefined the "American Way of Life" in terms of a commitment to free enterprise. "Advertisers," Lears concludes, "played a crucial hegemonic role in creating the consumer culture that dominated post-World War II American society."

In the public service arena, the Ad Council aggressively promoted Americanism as a Cold War strategy, with campaigns such as the Freedom Train, the Crusade for Freedom, Religion in American Life, Adams for Piece, and Peoples Capitalism. The new Brand Names Foundation sponsored conferences, local campaigns, and educational programs to promote brand loyalty, as well as free enterprise.

In The Hidden Persuaders (1957) popular writer Vance Packard exposes the use of consumer motivational research and other psychological techniques, including depth psychology and subliminal tactics. They had been used to manipulate expectations and induce desire for products since the 1920s, but the popular audience was caught by surprise. He identified eight "compelling needs" that advertisers promise products will fulfill. According to Packard these needs are so strong that people are compelled to buy products to satisfy them. The book questions the morality of using these techniques.

Before the Civil Rights Movement of the 1950s and 1960s, black people were largely missing from mainstream white advertising. Those who did appear typically followed the long-standing "hierarchy of skin color" whereby those with lighter skin tones were seen as being more socially and culturally acceptable than dark-skinned black people.

Most national corporations before the 1960s ignored the black market, and paid little attention to working with black merchants or hiring blacks for responsible positions. Pepsi-Cola was a major exception, as the number two brand fought for parity with Coca-Cola. The upstart soda brand hired black promoters who penetrated into black markets across the South and the urban North. Journalist Stephanie Capparell interviewed six men who were on the team in the late 1940s:

The team members had a grueling schedule, working seven days a week, morning and night, for weeks on end. They visited bottlers, churches, "ladies groups," schools, college campuses, YMCAs, community centers, insurance conventions, teacher and doctor conferences, and various civic organizations. They got famous jazzmen such as Duke Ellington and Lionel Hampton to give shout-outs for Pepsi from the stage. No group was too small or too large to target for a promotion.

By the late 1960s, more than a few token blacks were hired at advertising agencies, and the sensitivity to the problem increased. The leading black magazines Essence and Jet routinely deplored racism in mainstream media, especially in the negative depictions of black men and women. However Essence and Jet in the 21st century themselves ran about a dozen ads a year, especially for skin lighteners, that were pervaded with "racism and White supremacy."

By the 1950s, fears of cancer from tobacco smoking caused consternation in the tobacco industry, which turned to advertisers for help in avoiding falling consumer demand and increased regulation. British and American agencies separately arrived at similar solutions. The Tobacco Industry Research Committee in the United States and the Tobacco Manufacturers' Standing Committee in Britain each assuaged public anxieties and encouraged the misperception that the cigarette makers were resolving the issues through filters and low tar formulations. The public relations approach was successful in the short run, but the accumulation of medical evidence led to a fall in smoking, heavier taxation, and increased regulation. The agencies responded with sophisticated advertising strategies designed to encourage adolescent smokers as well as to recruit new smokers in less-developed foreign markets.

The late 1980s and early 1990s saw the introduction of cable television and particularly MTV. Pioneering the concept of the music video, MTV ushered in a new type of advertising: the consumer tunes in for the advertising message, rather than it being a by-product or afterthought. As cable and satellite television became increasingly prevalent, specialty channels emerged, including channels entirely devoted to advertising, such as QVC, Home Shopping Network, and ShopTV Canada.

With the advent of the ad server, marketing through the Internet opened new frontiers for advertisers and contributed to the " dot-com" boom of the 1990s. Entire corporations operated solely on advertising revenue, offering everything from coupons to free Internet access. At the turn of the 21st century, a number of websites, including the search engine Google, started a change in online advertising by emphasizing contextually relevant ads based on an individual's browsing interests. This has led to a plethora of similar efforts and an increasing trend of interactive advertising.[citation needed ]

The share of advertising spending relative to GDP has changed little across large changes in media. For example, in the US in 1925, the main advertising media were newspapers, magazines, signs on streetcars, and outdoor posters. Advertising spending as a share of GDP was about 2.9 percent. By 1998, television and radio had become major advertising media. Nonetheless, advertising spending as a share of GDP was slightly lower - about 2.4 percent.

The advertising business model has also been adapted since the 1990s. In media for equity, advertising is not sold, but provided to start-up companies in return for equity. If the company grows and is sold, the media companies receive cash for their shares.

Chinese advertising is moving heavily to the smartphone, leaving television behind. Companies in China are increasingly more focused on mobile advertisements than on television advertisements. Central roles are played by Chinese-based social networking sites Weixin (also known as WeChat), and Sina Weibo, and the efforts of Western companies, including Coca-Cola, Burberry, and North Face, to market to Chinese consumers through their smartphones.

Since the 1950s, the industry itself, or the government, has imposed some restrictions on advertising certain types of products, especially liquor and cigarettes. Tobacco bans exist in many major countries across the world and cover 2.3 billion people. In the 1990s Quebec banned some advertising directed at children. The restrictions have hindered competition in the breakfast cereal market when compared with the rest of Canada.

In the United States in the 1960s, public health advocates focused on limiting the advertising of tobacco products. In 1971, cigarette advertisements were taken off of the air (television and radio). This led marketers to shift their money over to print media: billboards, newspapers, etc. In the 1980s, public health groups pressed for more comprehensive restrictions. This posed a problem for the United States due to the constitutional protections of freedom of expression under the First Amendment. However, corporate marketing messages are not granted the same protections as noncommercial speech. Advertising messages, or "commercial speech" include commercial advertising, promises, and solicitations. Although commercial speech has been subject to regulation in order to protect consumers, it is still granted certain rights under the first amendment.

"Even a communication that does no more than propose a commercial transaction is entitled to the coverage of the First Amendment."(Edenfield v. Fane, 1993)

Marcel Bleustein-Blanchet (1906-1996) was the most prominent leader of French advertising in the 20th century. He founded Publicis. After 1945 his little-known Paris-based advertising agency grew rapidly, becoming the world's fourth largest agency. It was a leader in promoting France's post-war economic boom, especially the expansion of the advertising industry. It was successful because of its close ties with top officials of the French government, its clever use of symbols to promote itself, and its ability to attract clients from widely diverse growing industries.

The question of whether advertising reflects society or shapes society, can be seen in European models that diverged from the American style. In France, Michelin dominated the tire industry and was one of the leading advertisers; to this day its famous guidebooks are very widely used by upscale travelers. From 1894 to the present its symbol was Bibendum (the "Michelin Man" made of tires). He was a lord of industry, a master of all he surveyed, and a patriotic expounder of the French spirit. In the 1920s, Bibendum urged Frenchmen to adopt America's superior factory system, but to patriotically avoid using the "inferior" products of those factories. As automobiles diffused to the middle classes, Michelin advertising likewise shifted downscale, and its restaurant and hotel guides covered a broader range of price categories.

J Walter Thompson expanded successfully in many countries, but France was not one of them. French businessmen did not like the American tone, and were fearful of Americanization. The French market was heavily regulated and protected to repel foreign interests, and the American admen in Paris were not good at hiding their condescension and insensitivity.

As millions of American soldiers passed through Britain during the Second World War, there were fearsof an "Americanization" of British commerce and culture. The Marshall Plan explicitly required and upgrading of the marketing and organizational skills of British industry. There were fears among the leaders of the London advertising world of what the brash, rich Americans would do to them. Radio and television was off limits to advertising, because BBC relied on fees paid by owners of radio receivers. The question was whether the heavily funded American methods would prove irresistible. JWT London was an American owned advertising agency controlled by J. Walter Thompson in New York City. JWT London avoided being the bold apostle of the American style. Instead it is relied on soft persuasion, shedding its Americanness to adapt to the British understated style.

In the 1920s, most advertising was handled by manufacturing companies in-house. Numerous small advertising agencies handled purchase of space in the media, but did not design campaigns or the ads themselves. An important role was played by travelling salesmen in promoting products to wholesalers and retailers and providing feedback from the market to the producer.

By the 1950s, German advertising agencies were starting to mimic American methods. Coca-Cola was advising "Mach mal Pause" ("Take a Rest!), and conservative Chancellor Konrad Adenauer was running for reelection with the slogan "Keine Experimente!" ("No Experiments!"). The German agencies have always remained small and limited in scope, even after the unification of East Germany and West Germany in 1991. After unification, Germany became the third largest ad market in the world, with $18 billion in total ad spending in 1994.

The American influence became strong in Italy after 1945. The high risk of communist success led the American government to invest heavily in propaganda activities. Several American firms opened offices, including Young & Rubicon and Ogilvy & Mather. Italian graphic designers, most prominently Armando Testa, were inspired by modernist aesthetics and thinking brought in by the American advertising agencies and techniques in Italy. The advertising industry helped transform Italy into a consumer-oriented society.

A dramatic example of how advertising nudged the Italian middle-class into modern consumer society appears in the heavily advertised automatic washing machine. It appeared on the Italian market in 1958 and by 1965, 23% of families had purchased one, reaching 42% by 1970. Advertisers hailed the mechanization of domestic tedium as the advent of a new women's "liberation." Commentary appeared everywhere, from advertisements to the specialized press, to women's reviews. Architects and designers made room for the new marvel, as the promotional language celebrating the device became a chorus of praise for domestic appliances as the secret of "progress" and "freedom" and "liberation." On the other hand, husbands still insisted on driving the family automobile; it was off-limits to the liberated female.

Armando Testa Set up a full-service advertising agency in 1956, specializing in the new medium of television advertising. He was inspired by Eastern European animation techniques, and often use simple graphics like the blue hippo. His son Marco Testa, trained at Benton & Bowles in New York, and maintained the fast-paced, witty style. Emmanuelle Pirella, who trained at the Italian offices of Young & Rubicon and Ogilvy & Mather, emerged as a leading copywriter.

Benetton gained worldwide attention for its saucy advertising, inspired by its art director Oliviero Toscani. He started with multicultural themes, tied together under the campaign "United Colors of Benetton" then became increasingly provocative with interracial groupings, and unusual sexual images, such as a nun kissing a priest.

In the first 20 years of communist control of China (1947 to 1966) Mao Zedong tried to reverse the long-standing advertising practices of Chinese newspapers, considering it a capitalist infringement on the goals of socialism. Consumerism, which had been highly developed in Shanghai, was anathema, to Mao's peasant-based communist perspective. The regime emphasized maximum production rather than optimal consumption. The approach worsened the massive famines that happened when national resources were devoted to a highly inefficient factory production at the cost of basic food output. On the other hand, propaganda was highly developed art in the Communist Party, and so a sort of compromise was reached. Socialist-oriented advertising emphasized the collective good, rather than the benefits of products for the individual consumer. Since 1980, the strength of the private economy, and advertising, has grown dramatically. By the 1980s much emphasis was placed on the role of advertising in promoting the Four Modernizations emphasized by Deng Xiaoping. Lip service is still paid to old Maoist ideals by recycling images of historic places and episodes, but it does not inhibit the growth of consumerism.

Since Chinese entry into the World Trade Organization (WTO) in 2002, its advertising industry has fundamentally changed. It has become the world's fastest-growing advertising market and the country with the largest pool of netizens. Major changes have come in terms of shifting cultural values, the growing role of brand names, the attractiveness of English-language titles to the younger generation, the redefinition of acceptable/offensive advertising, the very rapid growth of new media (especially the Internet and smart phones), the emergence of on-line shopping in a country with an underdeveloped system of department stores in shopping centers, and much more advanced techniques of managing advertising agencies.

Many elements of Indian culture and industry have British roots, so that British advertising models usually work well. In 1991, the government dramatically liberalized Indian economy, opening it to international business. The emergence of a moderately affluent middle-class numbering in the hundreds of millions attracts multinational corporations and international advertisers. Advertising in India operates at two levels. Ads for high-value products appear in English-language papers such as The Hindu and The Madras Mail, which targeted Europeans and high-status Indians. By contrast, ads for low-value products are typically placed in vernacular papers and are aimed at a lower middle class with highly restricted spending power. The working class and peasant populations, with very low disposable incomes, are seldom targeted by the advertising agencies. Local merchants might use signs and posters to reach them. Cricket is one sport where the Indians have had an international success, so that cricket stars are prominent endorsers in national advertising.

During the decolonization era from the late 1940s to the 1970s, British and French firms operating in Africa and Asia at first largely ignored local, nationalistic aspirations. However they learned to adjust to exploit the new spirit of independence that was shaping consumer attitudes. The new emergence of a middle class was the target audience. Their advertising abandoned the traditional paternalistic attitude toward the natives. Instead there was a portrayal of locals as up-and-coming middle-class men in control of developing their nations. These more positive images assisted business operations during spells of military dictatorship, economic nationalism, and expropriation of foreign assets. Tobacco advertising was especially important. For example, in Egyptian popular culture the cigar was associated with elites, the water pipe with a lower-class and traditional lifestyle, and the cigarette with the new middle class which was striving to make the transition to modernity. It was the third group that the cigarette industry targeted.

Brazil is the largest country in Latin America, and number five in the world in terms of population. Its economy grew rapidly in the 21st century, until it began to stall in 2010. At that time it was the world's sixth-biggest advertising market, at $US 14.2 billion. Brazil in 2010 ranks #1 in deodorants, #2 in children's products, #3 in cosmetics, and #4 in automobile sales

A key to the new market was that upscale consumers in Mexico typically display "malinchismo", which is a preference for imported American brands rather than local Mexican brands. As a result, American products are sold mostly to the middle class market, and their advertising agencies generally avoid working class and rural areas. They concentrate their efforts instead on Mexico City, Monterrey, and Guadalajara, which purchase 70 percent of the American imports. Advertising battles in Mexico, include not only issues of quality, but issues of national authenticity. For example, in Mexico in the 1990s, two American exporters Procter & Gamble and Frito-Lay fought an advertising battle concerning whose potato chips are tastier, more natural, and more Mexican. Procter & Gamble challenged Frito-Lay's Sabritas which controls 80 percent of the $1 billion chip market.

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Holm, Nicholas. Advertising and consumer society: A critical introduction (Taylor & Francis, 2023), university textbook.

Jacobson, Lisa. Raising consumers: Children and the American mass market in the early twentieth century (Columbia University Press, 2013)

Jamieson, Kathleen Hall. Packaging the presidency: A history and criticism of presidential campaign advertising (3rd ed. Oxford UP, 1996)

Johnston, Russell. Selling Themselves: The Emergence of Canadian Advertising (2001), scholarly history to 1930

Laird, Pamela Walker. Advertising progress: American business and the rise of consumer marketing (Johns Hopkins University Press, 2001.)

Lears, Jackson. Fables of abundance: A cultural history of advertising in America (1995)

McDonald, Colin, and Jane Scott. "A brief history of advertising." in The Sage Handbook of Advertising (Sage, 2007) pp: 17-34.

Marchand, Roland. Advertising the American dream: Making way for modernity, 1920-1940 (U of California Press, 1985) online

Mendelová, Dáša. "The birth of American advertising." Communication Today 9.2 (2018): 4-19. online

Meyers, Cynthia B. A Word from Our Sponsor: Admen, Advertising, and the Golden Age of Radio (2014)

Norris, James D. Advertising and the Transformation of American Society, 1865-1920 (1990)

O'Barr, William M. "A brief history of advertising in America." Advertising & Society Review 11.1 (2010). online

Pease, Otis. The Responsibilities of American Advertising: Private Control and Public Influence, 1920-1940 (1958)

Pechmann, Cornelia, and Ellen Thomas Reibling. "Anti-smoking advertising campaigns targeting youth: case studies from USA and Canada." Tobacco control 9.suppl 2 (2000): ii18-i31. online

Pollay, Richard W. "The subsiding sizzle: A descriptive history of print advertising, 1900-1980." Journal of Marketing (1985): 24-37. in JSTOR

Pope, Daniel. The Making of Modern Advertising (1983), Major scholarly history 1880s-1920s online

Presbrey, Frank. "The history and development of advertising." Advertising & Society Review (2000) 1#1 online

Samuel, Lawrence R. Freud on Madison Avenue: Motivation Research and Subliminal Advertising in America (2010)

Schultz, David A. ed. Lights, camera, campaign (2004); Articles on political advertising

Sivulka, Juliann. Soap, sex, and cigarettes: A cultural history of American advertising (Cengage Learning, 2011)

Spring, Dawn. "The Globalization of American Advertising and Brand Management: A Brief History of the J. Walter Thompson Company, Proctor and Gamble, and US Foreign Policy." Global Studies Journal (2013). 5#4

Twitchell, James B. Adcult USA: The triumph of advertising in American culture (Columbia University Press, 1996).

West, Darrell M. Air Wars: Television Advertising and Social Media in Election Campaigns, 1952-2012 (Sage, 2013)

Darmon, René Y. Advertising management in Canada (1984) online

Elkin, Frederick. Rebels and colleagues : advertising and social change in French Canada (1973) online

Jackson, Steven. "Globalization, corporate nationalism and masculinity in Canada: sport, Molson beer advertising and consumer citizenship." Sport in Society 17.7 (2014): 901-916 https://doi.org/10.1080/17430437.2013.806039

Nesbitt-Larking, Paul, and Jonathan Rose. "Political advertising in Canada." in David A. Schultz, ed. Lights, camera, campaign (2004) pp. 273-299.

Pechmann, Cornelia, and Ellen Thomas Reibling. "Anti-smoking advertising campaigns targeting youth: case studies from USA and Canada." Tobacco control 9.suppl 2 (2000): ii18-i31. online

Stephenson, Harry Edward, and Carlton McNaught. The Story of Advertising in Canada: A Chronicle of Fifty Years (Ryerson Press, 1940)

Atwan, Robert. Edsels, Luckies and Frigidaires: Advertising the American Way (1979), Print ads covering the 20th century U.S.

Cantor, H. J. The fight for truth in advertising (1936) Better Business Bureau story

Cone, Fairfax. With all its faults (1969), autobiography

Hopkins, Claude C. Scientific advertising (1923) and My life in advertising (1927)

Marin, Allan, ed. 50 Years of Advertising as Seen Through the Eyes of Advertising Age: 1930-1980 (1980), reprints of ads and news stories

Ogilvy, David. Confessions of an Advertising Man (1963)

Starch, Daniel. Advertising Principles (1927) [abridgment of his Principals Principles of Advertising; advanced treatise on methods and advertising campaigns]

Watkins, Julian L. The 100 Greatest Advertisements: Who wrote them and what they did (1949)

Wevers, Melvin. "Mining Historical Advertisements in Digitised Newspapers." in Newspapers-A New Eldorado for Historians? (2022): 227+.

White, Percival. Advertising Research (1927), advanced treatise on methods and advertising campaigns

Schwarzkopf, Stefan. "The subsiding sizzle of advertising history: Methodological and theoretical challenges in the post advertising age." Journal of Historical Research in Marketing 3#.4 (2011): 528-548.

Staudenmaier, John, and Pamela Walker Lurito Laird. "Advertising History" Technology and Culture (1989) 30#4 pp. 1031-1036 in JSTOR

"American advertising: A brief history" For student projects

Advertising Educational Foundation, archived advertising exhibits and classroom resources

"The Advertising Century: Top 100 Advertising Campaigns".

Hartman Center for Sales, Advertising & Marketing History at Duke University
Duke University Libraries Digital Collections:

Ad*Access, over 7,000 U.S. and Canadian advertisements, dated 1911-1955, includes World War II propaganda.

Emergence of Advertising in America, 9,000 advertising items and publications dating from 1850 to 1940, illustrating the rise of consumer culture and the birth of a professionalized advertising industry in the United States.

AdViews, vintage television commercials

ROAD 2.0, 30,000 outdoor advertising images

Medicine & Madison Avenue, documents advertising of medical and pharmaceutical products

Art & Copy, a 2009 documentary film about the advertising industry

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The history of advertising can be traced to ancient civilizations. It became a major force in capitalist economies in the mid-19th century, based primarily on newspapers and magazines. In the 20th century, advertising grew rapidly with new technologies such as direct mail, radio, television, the internet and mobile devices.

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Emergence of Advertising in America: 1850-1920 / Digital Collections / Duke Digital Repository

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Over 3,300 advertising items and publications dating from 1850 to 1920, illustrating the rise of consumer culture and the birth of a professionalized advertising industry in the United States.

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Attic Black-Figure: Exekias, Dionysos Kylix

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Please see our updated contrapposto video, link below

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Caryatid and column from the Erechtheion

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The History Of Levi's Advertising In Three Minutes

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How to recognize Italian Renaissance art

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Florence, Italy: Renaissance Art and Architecture - Rick Steves’ Europe Travel Guide - Travel Bite

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A Beginner's Guide to Art History - Envato Tuts+ Design & Illustration Tutorials

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Any great designer or artist, knows their art history. Join us in this series, guiding you through art history, specifically aimed at beginners.

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Looking back through Western history, it's incredible to see how many types of art have made an impact on society. By tracing a timeline through different art movements, we're able to not only see how modern and contemporary art has developed, but also how art is a reflection of its time.

For instance, did you know that Impressionism was once considered an underground, controversial movement or that Abstract Expressionism signaled a shift in the art world from Paris to New York? Like building blocks, from Realism to Lowbrow, these different types of art are interconnected. As the creative pendulum swings, artistic styles are often reactions against or homages to their predecessors. And by looking back at some of the most important art movements in history, we have a clearer understanding of how famous artists like Van Gogh, Picasso, and Warhol have revolutionized the art world.

These visual art movements are fundamental to understanding the different types of art that shape modern history.

Italian Renaissance Art

From the 14th through 17 century, Italy underwent an unprecedented age of enlightenment. Known as the Renaissance-a term derived from the Italian word Rinascimento, or "rebirth"-this period saw increased attention to cultural subjects like art and architecture.

Italian Renaissance artists like Michelangelo, Leonardo da Vinci, and Raphael found inspiration in classical art from Ancient Rome and Greece, adopting ancient interests like balance, naturalism, and perspective. In Renaissance-era Italy, this antiquity-inspired approach materialized as humanist portrait painting, anatomically correct sculpture, and harmonious, symmetrical architecture.

Artists to Know: Sandro Botticelli, Leonardo da Vinci, Michelangelo, Raphael, Titian

Iconic Artwork: Birth of Venus by Sandro Botticelli (1486), The Last Supper by Leonardo da Vinci (1495 - 1498), Mona Lisa (c. 1503 - 1506), by Michelangelo (1501 - 1504), The School of Athens by Raphael (1509 - 1511)

Toward the end of the Renaissance, the Baroque movement emerged in Italy. Like the preceding genre, Baroque art showcased artistic interests in realism and rich color. Unlike Renaissance art and architecture, however, Baroque works also emphasized extravagance.

This opulence is evident in Baroque painting, sculpture, and architecture. Painters like Caravaggio suggested drama through their treatment of light and depiction of movement. Sculptors like Bernini achieved a sense of theatricality through dynamic contours and intricate drapery. And architects across Europe embellished their designs with ornamentation ranging from intricate carvings to imposing columns.

Artists to Know: Caravaggio, Rembrandt, Bernini

Iconic Artwork: The Calling of Saint Matthew by Caravaggio (1599 -1600), The Night Watch by Rembrandt (1642), The Ecstasy of St. Teresa by Bernini (1647 - 1652)

Following the extravagance and power of Baroque art came the lighthearted and flirtatious movement, which blossomed in 18th-century France before spreading to other European countries. The term Rococo derives from rocaille, a method of decoration using pebbles, seashells, and cement to adorn grottoes and fountains in the Renaissance. During the 1730s, the rocaille decoration inspired scrolling curves in ornamental furniture and interior design. In painting, this decorative style transferred to a love of whimsical narratives, pastel colors, and fluid forms.

Artists to know: Jean-Honoré Fragonard, Antoine Watteau, François Boucher

Iconic Artwork: by Jean-Honoré Fragonard (1767)

Neoclassicism is an 18th-century art movement based on the ideals of art from Rome and Ancient Greece. Its interest in simplicity and harmony was partially inspired as a negative reaction to the overly frivolous aesthetic of the decorative Rococo style. The discovery of Roman archaeological cities Pompeii and Herculaneum (in 1738 and 1748, respectively) helped galvanize the spirit of this movement.

Artists to Know: Jacques-Louis David, Jean-Auguste-Dominique Ingres, Antonio Canova

Iconic Artwork: The Oath o the Horatii by Jacques-Louis David (1784-1785), The Death of Socrates by Jacques-Louis David (1787), Death of Marat by Jacques-Louis David (1793), The Grande Odalisque by Ingres (1814)

Romanticism was a cultural movement that emerged around 1780. Until its onset, Neoclassicism dominated 18th-century European art, typified by a focus on classical subject matter, an interest in aesthetic austerity, and ideas in line with the Enlightenment, an intellectual, philosophical, and literary movement that placed emphasis on the individual.

Artists like Eugène Delacroix found inspiration in their own imaginations. This introspective approach lent itself to an art form that predominantly explored the spiritual.

Iconic Artwork: Wanderer Above the Sea of Fog by Caspar David Friedrich (1818), Liberty Leading the People by Delacroix (1830)

Realism is a genre of art that started in France after the French Revolution of 1848. A clear rejection of Romanticism, the dominant style that had come before it, Realist painters focused on scenes of contemporary people and daily life. What may seem normal now was revolutionary after centuries of painters depicting exotic scenes from mythology and the Bible, or creating portraits of the nobility and clergy.

French artists like Gustave Courbet and Honoré Daumier, as well as international artists like James Abbott McNeill Whistler, focused on all social classes in their artwork, giving voice to poorer members of society for the first time and depicting social issues stemming from the Industrial Revolution. Photography was also an influence on this type of art, pushing painters to produce realistic representations in competition with this new technology.

Iconic Artwork: The Gleaners by Jean-François Millet (1857), The Burial at Ornans by Gustave Courbet (1849 - 1850)

It may be hard to believe, but this now beloved art genre was once an outcast visual movement. Breaking from Realism, Impressionist painters moved away from realistic representations to use visible brushstrokes, vivid colors with little mixing, and open compositions to capture the emotion of light and movement. Impressionism started when a group of French artists broke with academic tradition by painting en plein air -a shocking decision when most landscape painters executed their work indoors in a studio.

The original group, which included Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille, was formed in the early 1860s in France. Additional artists would join in forming their own society to exhibit their artwork after being rejected by the traditional French salons, who deemed it too controversial to exhibit. This initial underground exhibition, which took place in 1874, allowed them to gain public favor.

Iconic Artwork: Impression, Sunrise by Monet (1872), Bal du Moulin de la Galette by Renoir (1876), Water Lilies series by Monet (1890s - 1900s)

Again originating from France, this type of art developed between 1886 and 1905 as a response to the Impressionist movement. This time, artists reacted against the need for naturalistic depictions of light and color in Impressionist art. As opposed to earlier styles, Post-Impressionism covers many different types of art, from the Pointillism of Georges Seurat to the Symbolism of Paul Gauguin.

Not unified by a single style, artists were united by the inclusion of abstract elements and symbolic content in their artwork. Perhaps the most well-known Post-Impressionist is Vincent van Gogh, who used color and his brushstrokes not to convey the emotional qualities of the landscape, but his own emotions and state of mind.

Artists to Know: Georges Seurat, Vincent van Gogh, Paul Cézanne, Paul Gauguin, Émile Bernard

Iconic Artwork: A Sunday Afternoon on La Grande Jatte by Georges Seurat (1884 - 1886), The Starry Night by Vincent van Gogh (1889), The Yellow Christ by Paul Gauguin (1891)

At the end of the 19th century, a movement of "new art" swept through Europe. Characterized by an interest in stylistically reinterpreting the beauty of nature, artists from across the continent adopted and adapted this avant-garde style. As a result, it materialized in sub-movements like the Vienna Secession in Austria, Modernisme in Spain, and, most prominently, Art Nouveau in France.

The French Art Nouveau style was embraced by artists working in a range of mediums. In addition to the fine arts, like painting and sculpture, it featured heavily in architecture and decorative arts of the period. However, perhaps its most enduring legacy can be found in the poster-a commercial craft that Czech artist Alphonse Mucha helped elevate as a modern art form.

Artists to Know: Alphonse Mucha, Gustav Klimt

Iconic Artwork: The Four Seasons by Alphonse Mucha, by Gustav Klimt

A truly revolutionary style of art, Cubism is one of the most important art movements of the 20th century. Pablo Picasso and Georges Braque developed Cubism in the early 1900s, with the term being coined by art critic Louis Vauxcelles in 1907 to describe the artists. Throughout the 1910s and 1920s, the two men-joined by other artists-would use geometric forms to build up the final representation. Completely breaking from any previous art movement, objects were analyzed and broken apart, only to be reassembled into an abstract form.

This reduction of images to minimal lines and shapes was part of the Cubist quest for simplification. The minimalist outlook also trickled down into the color palette, with Cubists forgoing shadowing and using limited hues for a flattened appearance. This was a clear break from the use of perspective, which has been the standard since the Renaissance. Cubism opened the doors for later art movements, like Surrealism and Abstract Expressionism, by throwing out the prescribed artist's rulebook.

Artists to Know: Pablo Picasso, Georges Braque, Juan Gris

Iconic Artwork: Les Demoiselles d'Avignon by Pablo Picasso (1907)

Fascinated by new industry and thrilled by what lay ahead, the early 20th-century Futurists carved out a place in history. Growing out of Italy, these artists worked as painters, sculptors, graphic designers, musicians, architects, and industrial designers. As the early manifesto did not directly address the artistic output of Futurism, it took some time before there was a cohesive visual. A hallmark of Futurist art is the depiction of speed and movement. In particular, they adhered to principles of "universal dynamism," which meant that no single object is separate from its background or another object.

This is best exemplified in Giacomo Balla's Dynamism of a Dog on a Leash, where the motion of walking the dog is shown through the multiplying of the dog's feet, leash, and owner's legs.

Artists to Know: Giacomo Balla, Umberto Boccioni

Iconic Artwork: Dynamism of a Dog on a Leash by Giacomo Balla (1912), Unique Forms of Continuity in Space by Umberto Boccioni (1913)

Iconic Artwork: Fountain by Marcel Duchamp (1917)

Ranging from paintings and graphics to architecture and interiors, Bauhaus art dominated many outlets of experimental European art throughout the 1920s and 1930s. Though it is most closely associated with Germany, it attracted and inspired artists of all backgrounds. Bauhaus-literally translated to "construction house"-originated as a German school of the arts in the early 20th century. Founded by Walter Gropius, the school eventually morphed into its own modern art movement characterized by its unique approach to architecture and design.

Iconic Artwork: Yellow-Red-Blue by Wassily Kandinsky (1925), Wassily Chair by Marcel Breur (1925)

Art Deco is a modernist movement that emerged in 1920s Europe. While many different aesthetics compose the movement-including different color palettes and a range of materials, from ebony and ivory to wood and plastic-it is most frequently characterized by streamlined, geometric forms contrasted by rich ornamentation and linear decoration.

Paintings produced in the Art Deco style typically feature bold forms and busy compositions. Some, like those by Polish-born painter Tamara de Lempicka, depict dynamic portraits of stylish subjects. Typically, these figures are dressed in bright colors and set in abstract metropolitan locations.

Artists to Know: Tamara de Lempicka

Iconic Artwork: Tamara in a Green Bugatti by Tamara de Lempicka (1929)

A precise definition of Surrealism can be difficult to grasp, but it's clear that this once avant-garde movement has staying power, remaining one of the most approachable art genres, even today. Imaginative imagery spurred by the subconscious is a hallmark of this type of art, which started in the 1920s. The movement began when a group of visual artists adopted automatism, a technique that relied on the subconscious for creativity.

Tapping into the appeal for artists to liberate themselves from restriction and take on total creative freedom, Surrealists often challenged perceptions and reality in their artwork. Part of this came from the juxtaposition of a realistic painting style with unconventional, and unrealistic, subject matters.

Iconic Artwork: The Treachery of Images by René Magritte (1929), The Persistence of Memory by Salvador Dalí (1931)

Abstract Expressionism

Abstract Expressionism is an American art movement-the first to explode on an international scale-that started after World War II. It solidified New York as the new center of the art world, which had traditionally been based in Paris. The genre developed in the 1940s and 1950s, though the term was also used to describe work by earlier artists like Wassily Kandinsky. This style of art takes the spontaneity of Surrealism and injects it with the dark mood of trauma that lingered post-War.

Jackson Pollock is a leader of the movement, with his drip paintings spotlighting the spontaneous creation and gestural paint application that defines the genre. The term "Abstract Expressionism," though closely married to Pollock's work, isn't limited to one specific style. Work as varied as Willem de Kooning's figurative paintings and Mark Rothko's color fields are grouped under the umbrella of Abstract Expressionism.

Iconic Artwork: Autumn Rhythm (Number 30) by Jackson Pollock

Rising up in the 1950s, Pop Art is a pivotal movement that heralds the onset of contemporary art. This post-war style emerged in Britain and America, including imagery from advertising, comic books, and everyday objects. Often satirical, Pop Art emphasized banal elements of common goods and is frequently thought of as a reaction against the subconscious elements of Abstract Expressionism.

Roy Lichtenstein's bold, vibrant work is an excellent example of how parody and pop culture merged with fine art to make accessible art. Andy Warhol, the most famous of the Pop Art figures, helped push the revolutionary concept of art as mass production, creating numerous silkscreen series of his popular works.

Iconic Artwork: Campbell's Soup Cans by Andy Warhol (1962)

In the middle of the 20th century, avant-garde artists in America and Europe began producing Installation Art. Installations are three-dimensional constructions that play with space to interactively engage viewers. Often large-scale and site-specific, these works of art transform museums, galleries, and even outdoor locations into immersive environments.

Inspired by Marcel Duchamp's Dadaist Readymades-a series of found objects contextualized as sculptures- this important genre was pioneered by modern masters like Yayoi Kusama and Louise Bourgeois. Today, contemporary artists keep his practice alive, crafting experimental installations from mediums like string, paper, and flowers.

Artists to Know: Yayoi Kusama, Louise Bourgeois, Damien Hirst

Iconic Artwork: Mirror Rooms by Yayoi Kusama

The seemingly contemporary art movement actually has its roots in Impressionism, when artists first began attempting to express movement in their art. In the early 1900s, artists began to experiment further with art in motion, with sculptural machine and mobiles pushing kinetic art forward. Russian artists Vladimir Tatlin and Alexander Rodchenko were the first creators of sculptural mobiles, something that would later be perfected by Alexander Calder.

In contemporary terms, kinetic art encompasses sculptures and installations that have movement as their primary consideration. American artist Anthony Howe is a leading figure in the contemporary movement, using computer-aided design for his large-scale wind-driven sculptures.

Artists to Know: Alexander Calder, Jean Tinguely, Anthony Howe

Iconic Artwork: Arc of Petals by Alexander Calder

Photorealism is a style of art that is concerned with the technical ability to wow viewers. Primarily an American art movement, it gained momentum in the late 1960s and 1970s as a reaction against Abstract Expressionism. Here, artists were most concerned with replicating a photograph to the best of their ability, carefully planning out their work to great effect and eschewing the spontaneity that is the hallmark of Abstract Expressionism. Similar to Pop Art, Photorealism is often focused on imagery related to consumer culture.

Early Photorealism was steeped in nostalgia for the American landscape, while more recently, photorealistic portraits have become a more common subject. Hyperrealism is an advancement of the artistic style, where painting and sculpture are executed in a manner to provoke a superior emotional response and to arrive at higher levels of realism due to technical developments. A common thread is that all works must start with a photographic reference point.

Iconic Artwork: Untitled by Yigal Ozeri

Lowbrow, also called pop surrealism, is an art movement that grew out of an underground California scene in the 1970s. Traditionally excluded from the fine art world, lowbrow art moves from painted artworks to toys, digital art, and sculpture. The genre also has its roots in underground comix, punk music, and surf culture, with artists not seeking acceptance from mainstream galleries. By mixing surrealism imagery with pop colors or figures, artists achieve dreamlike results that often play on erotic or satirical themes. The rise of magazines like Juxtapoz and Hi-Fructose have given lowbrow artists a forum to display their work outside of mainstream contemporary art media.

Iconic Artwork: Incarnation by Mark Ryden

This article has been edited and updated.

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In celebration of Envato Tuts+'s ten-year anniversary, we're going to look back even further in time to explore the era-defining trends and styles in graphic design and illustration over the past ten decades.

Studies of design and illustration have always given historians intriguing insights into changing trends in aesthetics, buying patterns, and popular culture, but it's also invaluable for designers to know what has influenced and continues to influence their work today.

Love vintage design, or simply want to find out more about how designers worked in the past? You'll want to keep reading!

Make sure to pay a visit to GraphicRiver and Envato Elements to source vintage-inspired photos, illustrations, fonts and templates to channel a bygone time in your own designs.

Design in the 1920s

The 1920s marked one of the most important and exciting decades for the visual arts, and its remarkable influence is still felt across the design industry today.

The 'Jazz Age' marked an era of new social freedoms and economic growth, and favored design styles followed suit. At the start of the decade, more fluid, realist styles such as Art Nouveau were still very popular across the commercial arts, but by the middle of the decade this was dramatically replaced by new modernist styles which were gaining traction in Europe.

Art Deco, a style defined by modernist, geometric designs and luxurious materials and colors, first emerged in France but quickly grew in popularity, becoming one of the first international design movements and resulting in some of the most glamorous buildings, interiors and artworks the world has ever seen.

Particularly in New York, the post-war economy was booming, and in this atmosphere of financial excess, advertising design experienced an incredibly creative period. Poster artists embraced the Art Deco style wholeheartedly, focussing on creating strongly graphic layouts, with rich color palettes and geometric type styles. The glamor of flapper girls, exotic travel, and new food and drink dominated billboards, enticing viewers to dance the Charleston or buy Coca-Cola.

French-Ukrainian artist A. M. Cassandre designed this Art Deco poster for Pivolo in 1924. This now famous example of poster advertising displays the traits of early Art Deco style-strong silhouetted forms, simple layout style, and geometric type. © www.cassandre.fr

Design in the 1930s

The excesses of the 1920s unfortunately couldn't last forever. The Great Depression had a sombre influence over design in the 1930s, with a more restrained form of Art Deco which focussed on curved forms replacing the glitter and glamor of the decade before. In poster art, we can see how the rich palette of colors from early Art Deco is replaced with more subdued tones.

Also influential during this decade was the accessibility of modern technology for consumers. Electricity, the automobile, and the telephone made radical changes to daily life, and design increasingly reflected this.

The Futurist art movement emphasized the supremacy of technology, speed and industry in an ever-changing world. Designers and illustrators focussed their efforts on giving a sense of movement and scale to their designs. 3D-style gradients and textures also became popular, helping poster work feel immersive and larger than life.

"L'Atlantique" poster by A. M. Cassandre, 1931. © www.cassandre.fr

Design in the 1940s

With the outbreak of the Second World War in 1939, fascism began to creep across Europe and threatened to spill over onto a global platform during the early part of the 1940s. This frightening new reality led to the once commercial emphasis of design to be replaced by propaganda and motivational imagery.

Some of the most interesting design to emerge in this period was that of the Soviet propaganda artists, who were inspired by Art Deco and Constructivism (a Russian art movement which emphasized art as having a social purpose) but developed a unique and direct style rendered in sombre shades of red, black and grey.

Stylistically, modernism was becoming a more influential movement, and we can see this in the use of abstract illustration, irregular layouts, and minimal color palettes. At the start of the 1940s, realist illustrations which romanticized battle were very popular, but by the end of the decade, consumers were ready for something very different.

We can see the roots of the Mid-Century Modern movement in design and illustration from the late 1940s. Visible brush strokes, witty designs and rich colors marked the end of the dark days of war and heralded a sunnier Post-War period.

This retro advertisement kit is inspired by the more colorful, optimistic style of the late 1940s

Design in the 1950s

Designers have looked back to 1950s design time and time again, and with good reason. The era was an incredibly rich, optimistic and exciting time for design. Just as we have today, there were many different trends which found their place in the Fifties design landscape.

In America, a booming economy meant that ordinary homes now had kitchen appliances, motor cars, and televisions, all of which were advertised heavily to the public. Across commercial advertising we see atmospheric, cheerful illustrations and photos in pastel ice-cream shades or technicolor brights. The sense of movement, youth and excitement generated by this style of image is infectious, and still has remarkable influence over advertising design today.

Magazine cover illustration for the August 1950 issue of Science and Mechanics.

Meanwhile, other designers were exploring modernism's potential and giving it a fun, playful twist. Flat design was made popular by the Mid-Century Modern movement, which focussed on playful patterns and textures, and used simple, pared-back color palettes in earthy shades.

The Fifties were also a time for boundary-pushing in typography and typeface design. Perhaps the most famous example is designer Paul Rand's reimagining of the logo for IBM in 1956. With its distinctive jaunty, geometric lettering, this type style influenced the perky, animated character of other typefaces which came to dominate billboards and signage across the last half of the decade.

Design in the 1960s

Graphic design in the Sixties tended to split into two main stylistic groups. Some designers continued to evolve the simple, modernist style favored during the 1950s, and many were influenced by the Swiss Style, which came to have a huge influence over layout design and typography during the decade.

The Sixties were also a wonderful time for modernist illustration, with artists like Charley Harper exploring geometric shapes, stylized design and grainy textures in their drawings. Their simple, striking work had commercial appeal, making them a perfect fit for advertising work and textile prints during the period.

The other popular design movement in the Sixties was a reaction to the restrictions of minimal, modernist design. Psychedelic design was influenced by the free love movement, rock 'n' roll, and hallucinogenic drugs.

Graphic design merged with art, as designers and illustrators became more experimental and threw out the traditional rule books preaching grid structures and ordered layouts. A rainbow of acid colors, fluid lines, and trippy patterns came to define the look of the pop culture scene of the Sixties, and it's still much more evocative of the Sixties in popular culture today than its modernist counterpart.

This cover of the San Francisco Oracle, January 1967, has an Art Nouveau-inspired psychadelic design

In today's tutorial, I'm going to show you how to create a vintage vector scooter illustration. I'll show you how to create simplified line art without...

Design in the 1970s

1970s design has enjoyed a recent revival in design, fashion, and illustration, and perhaps this is in part because it's such a rich resource for retro design in so many forms. The decade was defined by a diverse range of pop culture and social movements, which allowed individuals to express who they were more extrovertly through fashion, music, and art. Punk, Disco and the hippy movement were just a few of the cultural trends which defined the decade, and their influence spilled over into the world of design.

Flyer template inspired by the music-centric design styles of the 1970s.

In graphic design, we start to see photography becoming more dominant during this period, with illustration taking a more supportive role in magazine and ad design. Photography, as with everything in the Seventies, explored extremes-it was either moody greyscale or disco-bright technicolor. Magazines like Rolling Stone embellished photos with anarchic collage touches, bright color, and 'look at me' typography.

Developments in typesetting technology also helped the Seventies to become the decade that is defined by jaw-dropping typography, which is at turns both garish and revolutionary. Three-dimensional effects, curved lettering and cartoonish proportions make for type that pushes the limits of good taste, and has become the defining characteristic of 'retro' design.

Design in the 1980s

In the decade of boom and excess, there's also nothing subtle about Eighties design. Topping the Seventies for sheer 'look at me' value, this decade carried over the more brash elements of Seventies design, such as disco typography, and exaggerated them even more.

Punk still had a huge influence on popular culture in the early 1980s, and an anarchic use of color was used by designers to contrast against newspaper-clipping text and moody silhouetted photography. Anti-establishment British bands like The Smiths and The Clash used traditional design elements like serif typefaces and reimagined them with a neon color palette and jumpy grids, creating engaging, confrontational album art in the process.

Album cover for London Calling by The Clash (Released in 1979 in the UK, and 1980 in the US)

Album cover for The Smiths' The Queen is Dead (1986)

In the latter part of the decade, garish, neon-saturated styles came to dominate commercial design and spilled over into music and the arts. Some of the most recognisable design traits of the Eighties can be sourced from the inescapable type styles that were developed from the mid-Eighties onwards. Sharply italicized lettering fonts in neon pinks and purples adorned album covers and advertising billboards alike.

While not all Eighties design is considered to be indeed 'good' at all, let alone tasteful, thankfully some designers were still creating amazing work, some of which has come to be recognized as iconic and well-loved as examples of 'nostalgia art' decades later. Some of the most incredible design during the 1980s appeared on movie posters, with complex collage designs, super-bright colors and highly detailed layouts. Illustrations were hyper-realistic and dramatic, with exaggerated light and shadows.

The promotional artwork for movie Labyrinth (1986) is a beautiful example of the highly detailed, illustrated collage style favored by poster designers in the 1980s

Design in the 1990s

The designs that defined the 1990s take a little longer to come to mind than the visual culture of the hippy 70s and brash 80s, but it's actually an incredibly significant decade for the development of graphic design as we know it today. Digital design technology had evolved and become more accessible (remember Microsoft Paint?), which meant that the days of creating layouts by hand were fast disappearing. As a result, layouts took on a more polished, clean appearance.

While design may have cleaned up its act, its influences were altogether much rougher around the edges. Grunge was a significant influence across pop culture, fashion and design over the early part of the decade, and in many ways this clashed with the clean, tech-forward focus of designers who were embracing digital design wholeheartedly.

You can't mention Nineties graphic design without paying homage to American art director David Carson, who founded alternative music magazine in 1992. A world away from the measured minimalism of digital design, he 'broke the grid', experimenting with collage-style type and edgy photography. It remains the most evocative design example of the grunge era.

Towards the middle and later part of the decade, minimalism became the order of the day, which felt completely refreshing after the scruffy grunge years. Calvin Klein pioneered minimal graphic design in his adverts featuring a waif-like Kate Moss posing next to an ultra-simple, watermarked logo design. It marked a new era for advertising design in which less became more, setting the benchmark for the pared-back fashion advertising we see in print today.

Design in the 2000s

While the 90s marked the first venture into digital design for many designers, it was inescapable during the 2000s. No longer was computer-aided design simply an option, it became a necessity, with designers needing to craft layouts that would work just as well on computer screens as they would on handheld devices like mobile phones.

Logos had been around for decades, but the 2000s were the boom years for branding, with some of the most iconic tech brands like Google, Twitter and Facebook creating and honing their brand identities during this decade. Logo design became a consuming area of focus for many graphic designers during this decade, with many judging the future success or failure of a business from the quality of their brand design.

The 2000s were a decade of great political and social change across the world stage, and design followed was often employed to raise awareness of causes such as environmental change and the impact of events like the financial crisis of 2007.

One of the most memorable examples of design as a political tool was Shepard Fairey's "Hope" poster for the 2008 US presidential campaign. Stylistically, it referenced older street art styles, a hallmark of 2000s design, but the strong sans serif type and ultra-realistic portrait of Barack Obama made it feel fresh and relevant, and ultimately was a significant contributing factor to the success of Obama's campaign.

Design in the 2010s

Sure, we're only seven years into the decade, but the 2010s have already seen plenty of incredible work and look to be an exciting decade for graphic design and illustration. While it can be difficult to assess the dominant trends of the decade without hindsight (and still with three promising years to go!), we can already look back on a few styles that have proved to be almost universally popular in the early and middle part of the decade.

Vintage mania hit the graphic design world at the start of the decade and still remains very dominant in design. With the internet becoming an all-encompassing influence in people's lives, vintage, folk and 'hipster' styles can be seen as reactions to a technology-mad world, even if antique-style textures and vintage logos are used to brand tech products!

Illustration has also experienced a welcome revival this decade, with flat design revisiting some of the modernist traits of mid-century design and vectorized and digital illustration evolving as an art form. We're starting to see more explicitly tech-inspired design gradually creep back into illustration now too, with low-poly and line art taking their cues from the ever-evolving world of web and app design.

Conclusion

A lot can change in a century! Design and illustration offer amazing insights into the social and cultural trends and changes that defined decades, and I hope you've found this trip back in time interesting and perhaps inspiring for your own creative work.

No designer can truly work in a vacuum, so it's fantastic to be able to see what visual culture would have been a constant presence in the lives of your parents, grandparents, great grandparents and beyond.

Do you have a favorite decade for design? Let us know which eras get your creative juices flowing in the comments below.

Head over to GraphicRiver and Envato Elements to find vintage-inspired design elements to take a trip back in time in your own creative work.

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In celebration of Envato Tuts+'s ten-year anniversary, we're going to look back even further in time to explore the era-defining trends and styles in graphic design and illustration over the past ten decades.

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A Beginner's Guide to Art History - Envato Tuts+ Design & Illustration Tutorials

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Any great designer or artist, knows their art history. Join us in this series, guiding you through art history, specifically aimed at beginners.

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Download documents and transcripts
Teachers' notes

This collection of Victorian advertisements is aimed at any teacher or student engaged in a local study of the Victorian period. The sources could be used to help provide a sense of period and show pupils the type of source material they might find in their local archive, museum or record office. The collection could be used alongside our Victorian Lives collection to give further insight into the Victorian home life.

These adverts explore how the Victorians cleaned their homes, what they ate and drank, how they had fun, and how they advertised the products they sold.

It would be useful for pupils to watch the video in our Victorians website before looking at the sources to get the most out of the questions and activities as well as looking at the general guidance questions below on how to evaluate and understand documents. Also included here are some questions with a specific literary focus on the language of advertising. Transcripts are also provided where necessary.

What type of document is it? (Letter, report, photograph or newspaper).

Can you find a date?

What is the document saying?

Check the meaning of any words you are unsure about.

What names appear in the document?

Does the document show the writer's opinions/values?

Are there any clues about the intended audience for the document?

Why was the document written?

Does it have any limitations?

Does it link to other documents in the group?

Does it share the same ideas, attitudes and arguments?

How would you explain any differences between these documents?

Teachers may want to break their class up into groups and get students to feed back on a selection of adverts and/or annotate them at the white board. Others may wish to engage pupils with these documents for an enquiry question on a particular theme, for example on the role of women, domestic service, food and drink or consumer culture.

Teachers can use the collection to develop their own resources or encourage students to 'curate' their own 'exhibition' of the most significant sources on the Victorian period. We have created a based on seven of these advertisements from this collection to demonstrate how the sources could be used in a flexible lesson activity.

Finally, for suggestions on how to carry out a local study use our video guidance in the Victorians website.

Tasks

External links

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Selling the Victorians - The National Archives

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Source: http://www.artsmia.org/modernism/timeline/. Realism. Impressionism. Art Nouveau. British Arts & Crafts. American Arts & Crafts. Cubism. Bauhaus. Art ...

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Ancient Greece 101 | National Geographic

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Share your videos with friends, family, and the world

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Art Nouveau graphic design examples - Google Search

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posters victorian era aubrey beardsley alphonse mucha design styles architecture toulouse lautrec nouveau posters victor horta nouveau movement

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Art Deco graphic design examples - Google Search

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deco poster deco buildings font superman typography deco style nouveau deco period art nouveau exposition internationale

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All About the Renaissance [Full Program]

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All About the Renaissance [Full Program]

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This program discusses the Renaissance from several aspects.  It begins with the historical background necessary to understand its emergence in the early 1300s.  Medieval, classical and Renaissance approaches to art are presented along with the rediscovery of the glories of classical Roman and Greek culture.

The second half of the program focuses on the later developments of the Renaissance.  The impact of enormous changes that took place in science, invention, architecture, exploration and religious reform are examined for this pivotal era of world history.

Here are the answers to the quiz questions with a brief explanation:

Video Quiz Part 1 - 13:39

1. True or False: during the Renaissance, a unified Italy did not exist.
True, Italy was not unified during the Renaissance.
2. True or False: The Dark Ages occurred during the last part of the Medieval Era.
False, the Dark Ages the first part of Medieval Era
3. True or False: The Renaissance began in Northern Spain.
False, the Renaissance did not begin in northern Spain.  It began in northern Italy
4. True or False: Humanism is the study of God.
False, Theology is the study of God(s)
5.  True or False: Perspective was rarely used in medieval art.
True, Medieval art was flat and without perspective

Video Quiz Part 2 - 28:15

1.  True or False: Copernicus and Galileo believed that Earth was at the center of the universe.
False, they did not believe the earth was the center of the universe.  They believed the earth rotated around the sun
2. True or False: Martin Luther wanted to reform Europe's Protestant churches.
False, Martin Luther wanted to reform the Roman Catholic Church
3. True or False: Moveable-type printing was invented in Germany.
True, movable type printing was invented in Germany.  However, block printing and paper were invented in China long before.
4. True or False: Stained glass windows were more popular in churches of the Middle Ages than those of the Renaissance.
True, stained glass windows were more common in the Medieval Era than those of the Renaissance
5. True or False: Spain carried out the first major explorations of the world.
False, Portugal carried out the first explorations

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All About the Renaissance [Full Program]

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80s Design Trends: All About 80s Design Style, Fonts, Poster Design

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Claude Monet: 10 Surprising Secrets Behind the Father of Impressionism

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Looking East: How Japan Inspired Monet, Van Gogh, and Other Western Artists

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Claude Monet: 6 Minute Art History Video

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Better Know: The Starry Night | The Art Assignment | PBS Digital Studios