figures

In Europe the first century open with many publications devoted to the poster, at that time the most visible and procedures genre of graphic art. Famous painters who are also designing lithographic posters for theatre, concerts and consumer goods.

Jules Chéret (French, 1836- 1932), a master lithographer who designed well over a thousand posters in his lifetime revolutionised the affiche illustrèe (illustrated poster). He began producing the first colour lithograph posters in 1860s, having finessed the black-and-white process invented by Alois Senefelder in 1798. In 1890s Chéret developed a distinctive and successful formula: rejecting realistic settings and small vignettes in favor of simplified design, his works feature swirls of primary colours: big, bold lettering and large-scale principal and often scantily clad female figure in motion. He used multiple lithographic stones to create rainbow color schemes and deployed a range of techniques including stripping, hatching, and washes to achieve subtle effects. Chéret also incorporated hand-drawn lettering which led to innovative and original typography and a more unified design overall. His posters had a lightness and sense of movement which captivated the public imagination and led to comparisons with decorative painters of the previous century, such as Tiepolo, master of the European Rococo style.

His illustrations became status of high art and by the 1890s collectors could buy them from business and even in special editions rather than having to salvage them from streets. The poster’s new status, visibility and correction with modernity induced a number of “fine” artists to try their hands at it. He turned advertising into fine art.

Victoria and Albert Museum. (n.d.). V&A · A short history of the poster. [online] Available at: https://www.vam.ac.uk/articles/a-short-history-of-the-poster?

Hermann Zapf in 20th-century graphic design is that of an enlightened traditionalist, interested in working with the historical foundations of typography but also ready to adapt designed for use with new technologies. Zapf executed these designs (fig. 2) for German, British and America companies and institutions. A master of elegant, compression, he met a client's need four immediately identifiable symbol while giving nuanced, hand drawn character to the design.

Paul Rand epitomized the optimism of good design and believed that the world could be improved I what he called “the designers art”. He was a key figure in the reception of modernism in American design. He was inspired by fine art, drawing on the ideas of colour, texture and collage in the work of modern painters such as Arp, Matisse, Klee and Kandinsky Modern art had taught Rand the power of negative and positive space in the oration of cut out forms of colour. These elements are evidence in his poster (fig. 3) for the Third International Exhibition of Art Directors club. The logo for the new educational computer company NeXT resembled a child's building block while also making reference to the “black box” of computer technology (fig.4). Rand commented that “A logo is more important than a painting in a certain sense because a zillion people see the logo and it affects what they do”.

Today the younger audience is coming into play in a very large way and their taste in illustration is discerning. They are bringing their love of comics, videogames, non-traditional imagery with them. They have a love for illustration and quirky characters. Previous generations saw design as nice-to-have or aesthetically pleasing, but Millennials understanding how great design enhances and enriches their daily lives, chores and routines.

The craft-beer industry is a good example of how a start-up brand can maintain familiarity but also updating the brand and giving it a level of relevance and authenticity. The images of the old and new Indeed Brewing packaging (fig. 6-7) demonstrate how a refreshment of the original packaging was able to generate compelling design for today, without diminishing the legacy the illustrations.

People want something different. What's interesting is that instead of the continuous sameness in some products, the beer aisle is awash with bold personality, cheeky names, wild lettering and the full spectrum illustration styles are seen on every shelf. Meaning illustration has to be impactful, special and elevate the packaging.

Joe Duffy is one of the world's most respected and sought-after thought leaders on branding and design said, he quoted “learning something new and being inspired by it is what generates truly original, breakthrough design. It's where creative ideas come from.” The illustration style should be influenced by popular culture, which informs the way a brand is going to be designed. Packaging is the silent salesperson. In this case, the illustration is the feature and plays a significant role in the brands growth.

https://www.cuspconference.com/videos/joe-duffy/

An illustration can tell the unique story behind the brand, where it comes from, and reflect the quality of the product inside the packaging. An illustration can be effective by helping the product standout from a crowded shelf all from competitor’s products. Margaux Carpentier is an illustrator and story-teller, her work adapts with various mediums and has developed a unique graphic style. Kielh commissioned Carpentier to create women's day campaign beauty packaging. Using bold, flat shapes in bright playful colours. Feminine illustrations, fantastical elements and wild imagination.

To communicate a consistent brand story to the consumer, the illustration should feature on all marketing materials, from digital campaigns to brochures, merchandise, and point-of-sale items. If the illustration is memorable and the product is enjoyed by the consumer, they will come back to buy more!