The Priester Match poster is a watershed document of modern graphic design, or rather, proto-Modern design. Its composition is so stark and its colors so startling that it captures the viewer's eye in an instant. Before 1906, when the poster first appeared on the streets of Berlin, persuasive simplicity was a rare thing in most advertising: posters, especially, tended to be wordy and ornate. No one had yet heard of its young creator, who, thanks to this poster, was to influence the genre of advertising known as the Sachplakat, or object poster.
"Over the course of his career, which progressed from the turn of the century to the 1950s, Lucian Bernhard became a prolific designer not only of innovative posters but of trademarks, packaging, type, textiles, furniture, and interior design. From his studio in New York City (he left Berlin in 1922), he developed some of the most recognizable American business advertising and trademarks, for such clients as Cat's Paw, ExLax, and Amoco. He also designed more than thirty-five popular display typefaces, including Bernhard Gothic."
Bernhard has, of course, been acknowledged in design histories, but a full-bore exhibition of his work is needed to re-establish his importance in the 21st century. Enter the IFA (Institut für Auslandsbeziechungen) in Stuttgart with a planned traveling exhibit "Lucian Bernhard: Advertising and Design at the Dawn of the 20th Century." At present, its only planned venue is at the Goethe Institut in Kiev, Ukraine (Jan 1 - June 30, 2011). But if we wish hard enough, and someone in this country contacts IFA about the feasibility of the exhibition coming to the United States, then maybe that wish will come true.
In the meantime, a catalog from an earlier exhibit is available in German and English here, including a text by his son and collaborator, Karl Bernhard.
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It became a very useful and persuasive form of advertising. Indeed, it was used to great effect to brand a little-known candidate in Germany's 1932 elections.
Oy Vague.
Thats a stretch Poticha. Moving fwd you can easily see the influence on Michael Schwab and his knock-offs. Never a fan of his Gothic, but Bernhard Modern... what a beaut
I'm referring to the Sachplakat modus, not to Bernhard per se. That poster may have come later, but it's the same idea: simplified iconic image of the "product" on a flat colored background, and the clear full-width product name below. Nothing to distract the mind; a direct path to the memory. Place the Manoli poster next to it and do a comparison.
And yeah, Schwab, for better or worse, based an entire carrier on this one simple idea.
Great article Steven, must tell you that a full Bernhard exhibition came to our small little town 2 months ago, curated by none other than Hubert Riedel himself. He also held a poster workshop on the Sachplakat. A brilliant experience.