14-02 The Beggarstaffs, poster for Harper’s Magazine, 1895. The viewer brings closure by combining fragments into a symbolic image. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-02 The Beggarstaffs, poster for Hamlet

14-03 The Beggarstaffs, poster for Don Quixote, 1896. Cut paper shapes produce a graphic image whose simplicity and technique were ahead of their time. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-05 Dudley Hardy, theatrical poster for The Gaiety Girl, 1898. The actor and play title stand out dramatically against the stark black background. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-06 Lucien Bernhard, poster for Priester matches, c. 1905. Color became the means of projecting a powerful message with minimal information. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-07 Lucian Bernhard, poster for Stiller shoes, 1912. Against the brown background, dark letterforms, and black shoe, the inside of the shoe is intense red and the front of the heel is bright orange. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-09 Hans Rudi Erdt, poster for Opel automobiles, 1911. Pose, expression, and clothing signify the affluent customer for this automobile. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-11 Berthold Type Foundry, Block Type, 1910. Early twentieth-century German sans-serif typefaces were based on Bernhard’s poster lettering. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-20 Lucian Bernhard, poster for a war-loan campaign, 1915. A sharp militaristic feeling is amplified by the Gothic inscription, “This is the way to peace--the enemy wills it so! Thus subscribe to the war loan!” Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-23 Hans Rudi Erdt, poster heralding German submarines, c. 1916. A powerful structural joining of type and image proclaimed, “U-Boats Out!” Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-25 Alfred Leete, poster for military recruiting, c. 1915. This printed sheet makes confronts the spectator with a direct gaze. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-26 Saville Lumley, “Daddy, What Did YOU Do During the Great War?,” poster, 1914 Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-28 Joseph C. Leyendecker, poster celebrating a successful bond drive, 1917. Leyendecker’s painting technique of slablike brush strokes makes this poster distinctive. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-29 J. Paul Verrees, poster promoting victory gardens, 1918. Public action--the raising of one’s own food--is tied directly to the defeat of the enemy. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-30 Jesse Willcox Smith, poster for the American Red Cross, 1918. Public display of graphic symbols showing support for the war effort were encouraged. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-33 Ludwig Hohlwein, fund-raising poster, 1914. A graphic symbol (the red cross) combines with a pictorial symbol (a wounded soldier) in an appeal with emotional power and strong visual impact. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-34 Ludwig Hohlwein, poster for the Deutsche Lufthansa, 1936. A mythological winged being symbolizes the airline, German victory in the Berlin Olympics, and the triumph of the Nazi movement. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-35 Ludwig Hohlwein, concert poster, 1938. A Teutonic she-warrior looms upward, thanks to a low viewpoint and a light source striking her from below. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-36 Ludwig Hohlwein, recruiting poster, early 1940s. In one of Hohlwein’s last Nazi posters, a stern and somber soldier appears above a simple question, “And you?” Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-38 E. McKnight Kauffer, London Underground poster, 1930. Lyrical muted colors capture the idyllic quality of the rural location. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-38 E. McKnight Kauffer, London Underground poster, 1930. Lyrical muted colors capture the idyllic quality of the rural location.

14-39 E. McKnight Kauffer, poster for the London Underground, 1924. The essence of the subject is distilled into dynamic colored planes. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-39 E. McKnight Kauffer, poster Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-39 E. McKnight Kauffer, poster Flight England’s first cubist poster

14-46 A. M. Cassandre, poster for Dubonnet, 1932. DUBO (doubt): the man eyes his glass uncertainly; DU BON (of some good): the beverage is tasted; and DUBONNET: the product is identified as the glass is refilled. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-46 A. M. Cassandre, poster for Normandie 1935

14-46 A. M. Cassandre, poster for Lantic

14-46 A. M. Cassandre, poster for Lantic

14-46 A. M. Cassandre, poster

14-52 Austin Cooper, poster for the Southern Railway, undated. Cubist rhetoric operates symbolically for mass communications, with fragments and glimpses of a Paris trip. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-53 Austin Cooper, poster for the London Underground, 1934. Color conveys the comfort of warmer temperatures in the underground railway during winter. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-54 Austin Cooper, poster for the London Underground, 1924. Color conveys the comfort of cooler temperatures in the underground railway during the summers. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

14-57 Abram Games, poster to recruit blood donors, c. 1942. Placing the soldier inside the diagram of the blood bottle cements the connection between the donor’s blood and the soldier’s survival. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.