The development history of graphic advertisement design

The development of print advertisement cannot be separated from the development of design art, and the improvement of design level is always accompanied by the progress of society and the growth of human reason.

The leading figure of the Arts and Crafts movement was the English artist and poet William. Morris (William Morris, 1834-1896), he advocated the reasonable subordination to the nature of the material and production process, production technology and design art distinction, that "beauty is value, is the function". Morris famously said, "Don't put a thing in your house that you think is useful, but you don't think is beautiful." The meaning naturally refers to the unity of function and beauty.

Morris designed the representative works, the beginning of this movement, there is an important contributing factor, that is, in 1888 in London, the establishment of the Arts & Crafts Exhibition Society (The Arts & Crafts Exhibition Society). Since its inception, the Society has held a series of design exhibitions, providing an opportunity to learn about good design and elegant design products in the United Kingdom, thus contributing to the development of the Arts & Crafts Movement.

The modernist design movement flourished worldwide at the beginning of the 20th century. It was a true revolution in design, and it was through this movement that design became, for the first time, an activity in the service of the masses, in the service of large industrialized, mass production. Modernist design emerged on the European continent, culminating in the 1920s, and developed in full swing throughout Europe. In Germany, through the efforts of the pioneers of the modern design movement, such as Walter Gropius and Mies Van der Rohe, and through the creation of the world's first design school, the "Bauhaus", the exploration of modern design has led to the development of the modern design movement. "The exploration of modern design has reached astonishing heights and achieved very important results. The thinking, methodology and form have had a positive and profound impact on subsequent designs, basically changing the connotation and nature of design in the past. As a result of World War II, modernist design and its representatives moved to the United States, where it developed healthily and rapidly, and gradually formed an unprecedented wave of internationalist style.

During this period, the "Style School" in Holland was also extremely active, and its representative was the initiator Theo Van Doesburg (1883-1944), whose concept was fully expressed in the magazine Style, which was founded in 1917. Like the Bauhaus in Germany, the Stylists established a clear purpose for artistic creation and design, emphasizing the cooperation of artists and designers, the development of the individual on the basis of union, and the balance between the collective and the individual. For Mondrian, form is not a representation of a particular condition or characteristic, but rather a reduction to the natural, eternal elements of nature. Mondrian's works fully express his artistic ideas.

Mondrian's works, the founder of the Bauhaus, Walter Gropius (Walter Gropius ,1883-1969) is the most important modern designer, design theorist and founder of design education in the 20th century. His design ideas were distinctly democratic and socialist. He always wanted his designs to serve the working people in general and not just the powerful few.

One of the central ideas behind Groppes' founding of the Bauhaus was his belief that art and craft were not opposites, but simply two different aspects of one activity. As such, he hoped to bring them together in a good, harmonious union through educational reform. As a result of Gropes' devotion and tireless efforts, the Bauhaus became the birthplace of the modern design movement.

As World War II caused serious trauma to the countries of the world, so that the United States away from the war because of the war from the destruction of the rapid development of the United States, after the war, the United States possessed the right place and the right time to become the world's strongest capitalist power, the U.S. economy in the post-war period soon reached the development of a new peak. In the U.S., the only driving force for the development of design activities was the vitality of the economy, and the level of design in the U.S. was once very advanced due to the huge market demand. In the post-war era of extreme material scarcity, what Westerners were most interested in was not the typical and flashy design, but the American-style mass material culture. Because Coca-Cola was the first to enter the world market, it was called "Coca-Cola colonialism". In the second half of the 1950s, Western countries began to learn and imitate American popular culture and cultural concepts, and the core of American design, i.e., the style and design that emphasized the "planned abolitionist system," was also incorporated and absorbed wholesale. If we use one word to summarize the design style of the 1960s, then the most appropriate would be "Pop". "Pop" design movement is an anti-modernist design movement, i.e., against the modernist design tradition developed since 1920, centered on the German Bauhaus. The roots of this movement's ideas are in fact from American popular culture. In other words, American popular and consumer culture has become the reference and inspiration for the "Pop" design movement in Britain and Europe. American design has basically developed along two different paths. The first is the internationalist behavior of large corporations, which represents the capitalist and mainstream direction of development. The other was the rapid growth of independent design firms and their entry into a new field of design: corporate identity design.

Japan, the only non-Western country among the developed countries of the world, whose industrial revolution came more than 100 years later than that of the West, began to develop its own modern design around 1953, and by the 1980s it had become one of the world's most important design powers.

Japanese design has two completely different stylistic characteristics, one is a more nationalized, warm, historical traditional design; the other is an international, ahead of its time, development of modern design, the success of this dual-track system of tradition and modernity has provided a very meaningful model for those countries with a long historical tradition.