1. Chapter III - Sachplakat Key Terms and Definitions:
Sachplakat (object poster) Characterized by a simple and sometimes hyperrealistic approach.
Plakatstil (poster style) The reductive, flat-color design school that emerged in Germany early in the twentieth century; it employed flat background colors; large, simple images; and product names.

2. Text Definitions Chapter III- Sachplakat
“Here is the product, this is its name”
1900 Emil Kahn changed his name to Lucian Bernhard
Changed name possibly to assimilate into a German society which was filled with anti-Semitism.
Lucian Bernhard settled in Berlin in 1903 with no real prosepcts.
Became an overnight success by enterting the Priester poster design competition in prize of $50
This poster displays only 2 mathces and the company’s name. Removes any decoration, allegorical flourish or implied lifestyle.
Declarative statement: “ Here is the product, this is its name”
Bernhard is Often refered to as one of the most important German poster artists. He played a paramount role in shaping the style of product advertizing posters. The product advertized was combined the company name in large letters and placed against a spacious background in a palette that was downplayed.
Lucian Bernhard, 1905.

3. Influences
Beggarstaff Brothers 1896

4. Influences
Cappiello 1896
little ambiguous as to what the product is visually. Contains an allegorical figure of a green demon holding the absinthe.

5. Sachplakat Phenomenon
Represents a direct rejection of the ornamental complexity of Art Nouveau.
Sachplakat style offered an alternative to corporate clients such as Priester, who
were dismayed by the “artiness” of Art Nouveau graphics, and whose complexity of style could obscure their product.

6. Lucian Bernhard Flat color shapes, product name, and product image
Lucian Bernhard Flat color shapes, product name, and product image. Introduced the "sachplakat" (object poster) His formula was simple: flat background color; large, simple image, and product name.
Lucian Bernhard, poster for Stiller shoes, 1912.

7. Hans Rudi Erdt, poster for Opel automobiles, 1911
Hans Rudi Erdt, poster for Opel automobiles, Pose, expression, and clothing signify the affluent customer for this automobile.
One of 6 designers hired by the lithographic firm of Hollerbaum and Schmidt exclusively
Poster shows how Erdt was influenced by Bernhard, using asimilar the stylistic formula. What’s different?
Hans Rudi Erdt, poster for Opel automobiles, 1911.

8. Ludwig Hohlwein ( )
Established himself in Berlin as a graphic designer in the Sachplakat mode. He has a tendency to maintain more volumetric redering of image and form in his figures. More so than Bernhard or the others.
He has more of a hybrid style mixes the simplicity of the sachplakat especially with the simplicity of the product name. However they tend to have more color MORE VOLUME AND MORE DETAIL THAN BERNARD OR TRADITIONAL SACHPLAKAT DESIGNERS.
Hermann Scherrer, 1911

9. Ludwig Hohlwein ( )
Hohlwein's work seems to be dependent more and more on photographic images.

10. Changes in Typography German Fraktur (16th Century German Orgins)
Bernhard Antiqua, 1912.
Berthold Type Foundry, Block Type, 1910.