Sachplakat or Object Poster

Lucien BernhardHans Rudi ErdtLudwig Hohlwein

Posters that used often a single large image of an object: nothingMetaphorical, very objective andstraight-forward

Rejecting as antiquated the oftenelaborate sentimentality of Victorianadvertising. I saw beauty in the very products of the machine age!

1905–1918(WWI- 1914-1918)

Sachplakat Lucien BernhardPriester matches 1905

Often a strong pairing of a bold singular image and a name.

Lucien BernhardStiller 1912

Lucien Bernhard

Lucien Bernhard

An earlier age might have felt it necessary to depict the power of a spark plug by showing some mythic allegorical figure handing fire to down from Olympus. In the new

objectivity, the spark plug itself is a thing of beauty.

Hans Rudi Erdt 1911

Lost and found contour, Asymmetrical balance Elegant simplicity

Hans Rudi Erdt

Hans Rudi Erdt

Ludwig Hohlwein

Ludwig Hohlwein

What does the term “Sachplakat” mean?

How was this style different from the prevailing Art Nouveau Posters? Why was this appealing to clients of poster-advertising.

Art Nouveau: Sachplakat

Allegorical Objective

Complex Simple

Decadence Purity

Often relaxed High-energy

Natural Industrial

Michael Schwab: contemporary poster designer http://www.michaelschwab.com/store.html

DADA Tristam TsaraFrancis PicabiaRaoul HausmannKurt Schwitters

Dada was a response to WW1

Embraced chance

Simultaneity and Absurdity

Also associated with Marcel Duchamp

Rejected making art: cultivated performance, ready-mades, collage.

1916–1923

Dada Exhibition poster at the Centre Pompidou in Paris 2006

Prospectus for Club Dada printed in 1918 shows the Dadists’ creative use of typography and their desire to shock

Raoul Hausman

Dada Kino, 1920

Raoul Hausman

Tatlin at Home, 1920

Raoul Hausman

Assemblage (1920)

Ckurt Schwitters: Merzwerk (short for “Kommerz”

Hannah Hoch: photocollage

Question:

What would a yard sale sign look like designed by a DADA designer?

David Carson1990s

Ed Fella 1990s

Rejects aesthetics Cranbrook faculty