LUCIAN BERNHARD IN TERMS OF ADVERTISING LANGUAGE

The societies, philosophies, institutions and governments that do not understand that art has a waterway; one day you should remember that it will fall into its trap. Even though his daily / instrumental charm enchants the power, the way he uses it for his purposes can contribute to their disappearance. It is possible to see this in the history of life of Bernhard ğı who lived at the beginning of the last century, when the advertisement and propaganda of the publicity did not separate. Lucian Bernhard, the creator of the gothic designs, the visual propaganda language of Nazi Germany, tried to give up gradually after learning that he was a Jew.

The advertising, which is the language of the rapidly developing industry in the beginning of the twentieth century, has many opportunities and firsts. In Germany, by creating the concept of yerstasmeplakat iş advertising poster, it has an important place in the history of poster art. His contributions to major corporate companies such as Bosch, Kaffe HAG and Pelikan appear in today's advertising lines. One of his first designs, the Priester Matches, is possible to see the first signs of his outburst. By placing the product on the main axis of the design, Berhard has focused on the product, which is the main purpose of the advertisement. The allegorical, ornate details of his period, renounced the brand, made him a successful artist. In a sense, the object of the German chart has been the object of the designation of the message or brand by avoiding the details. In a sense, Bernhard's poster concept is also the basic logic of the ad graphic: The most attractive way to paint the brand through the poster! After the first bright period in France, England and the USA with modern banner centers, with the beginning of the 20th century. Throughout the World War II, Germany became the center of the poster world through Bernhard. The importance of Berlin is not to be forgotten, it was the center of many big companies like Siemens, Borsig, AEG and it was a very fast growing city.

Bernhard made his first appearance on posters he made for the Priester Match. Bernhard then received a series of orders; The first issue of the magazine di Zeitschrift für Moderne Reklame 21 published in January 1904 was as if it were the Bernhard- Special issue, but it was only 21 years old. His company has made agreements with major brands and his style has spread in Germany. Although the Bernhard style imitated all of Germany, nobody could reach his mastery anymore.

Nowadays, the conflict between the artistic language and the objective graphic language, which is still in conflict, has started at that time. With its distinctive details and original writing style, Bernhard has enriched the advertising graphics. Thanks to its non-inventive approach, its designs are still up-to-date. Bernhard was recruited as an advertising designer to World War I, where he designed designs for the 3rd Corps' Voluntary Donation Center for Erlere and Brussels Military District Governorate. In 1916, the main source of finance of the war, the signature of the government to reduce the willingness to lend to the government and the Central Bank prepared the banners in accordance with the request. For the first time after the war ended, she prepared invitation posters for women to vote.

He settled in New York in 1923; In 1926 he started making designs for cough syrup producer REM. Among them, they designed large posters and Bilboards for the New York subway.

He has developed 40 writing varieties throughout his life. Among the fonts he developed during his most productive 20s were Bernhard Schönschrift, Bernhard Lucian, Bernhard Fashion, Bernhard Gothic, Bernhard Tango and Bernhard Modern. These fonts are still widely used in advertising and book design today. Among them, Bernhard Gotic quickly became widespread because of the softness and typical sharpness of his lines and the spirit of his era (World War I). He has often used the typical German spirit of these fonts for the war period and the Manoli brand. Nationalist Socialist Völkische Beobachter - who did not know that his creator was Jewish - used the official influence of this font. This type of font, which is considered to be a real German in Nazi Germany, was propagated with great efforts. But in 1942 a big problem arose for the Nazis who had captured Europe. The occupied countries were using the Latin alphabet of the Roman script. Therefore, most presses had no gothic letters. To overcome this problem, the Nazis went back to the Romanian letters and doodled the gothic letters as ler Jewish Letters Bu.

Today, Bernhard has over 200 book designs, including books by renowned authors Tolstoy and Rainer-Maria Rilke; With the language left by us in terms of advertising and graphic design history we will live forever.

Kemal ÇİFÇİ

Advertising and Brand Consultant

February 2010 - Öveçler-Çankaya-Ankara- TURKEY

Lucian Bernhard

Priester Hölzer Plakat als Zeitschriftenbeilage 1903, 24.3x16.3 cm

Verein der Plakatfreunde Plakat 1908, 70.5x46 cm

Tops! Pepsi Cola Plakat 1955, 28x71 cm

Manoli Dandy Cigarettes Plakat 1914, 23x34 cm

Propaganda poster for World War I

Some of the brands and firms he works with are: Manoli, Bosch, Stiller, Audi, Heimlicht, UFA, Catichts Paw, Kaffe HAG, Pelican, REM, Amoco, Pepsi.

Short self history:

1883: He was born on March 15 in Stuttgard as Emil Kahn.

1901: He settled in Berlin and renamed it "Lucian Bernhard".

1903: He opened his first workshop and designed the first poster.

1905: Vereins der Plaketfreunde (Banner Lovers' Association) was founded and Bernhard was Art Consultant here.

1907: Deutsche Werkbund was founded and Bernhard became a member.

1911: Manoli started to work with the cigarette factory. He designed the first type of writing.

1914: World War I began. Bernhard was recruited and started working in the ”Savas Newspaper Bern. Here we made poster designs.

1919: ı Werbedienst GmbH ”was founded and appointed as Art Consultant.

1922: He holds the title of Professor of Advertising.

1923: He settled in New York, where he opened an advertising workshop.

1926: He started to work as a lecturer in the New York University Art Students League.

1928: He was among the founders of the first international design firm a Contempora 19.

1930: When he couldn't find much space in American advertising world, he started his art of painting.

1932: American citizenship.

1933: Member of the New Yorker Pratt Institute.

1956: Bernhard puts his professional life in an exhibition and puts his speed to work in painting and sculpture.

1972: He died in New York on May 29th.

References:

1-Lucian Bernhard, Institut für Auslands beziehungen e.V. book

2- http://en.wikipedia.org/wiki/Lucian_Bernhard substance

3- http://www.aiga.org/content.cfm/medalist-lucianbernhard