ifferent time periods and thus have different styles,, Lucian Bernhard’s Priester Matches (1905), and Stefan Sagmeister, AIGA poster (1999 they are all innovations that derive from the social problems at that time and given place. It is significant that these innovations were made to solve social problems.
William Morris’s design of a chapter cover for Ruskin, The Nature of Gothic, clearly shows that it evolved from a social concern in which the Industrial Revolution caused a deficiency of aesthetic advertising and artwork. People did not want to spend their time on flyers that ultimately disappear and be surpassed with new artwork within a few days. William Morris realized that this problem came out of the Industrial Revolution and he attempted to fill society with beauty through decorative and ornamental artwork. He believed that beautiful designs would benefit the people and help to build morality in the people as well. Thus, his beliefs are clearly demonstrated in his design. As a leader of the art and crafts movement, he used very ornamental decorations on the borders of the cover and he showed how he considered aesthetics as an important part of his design. He borrowed medieval imagery and adapted it to a style more suited to the 19th century. His designs helped propel the art and crafts movement and replaced amateur designs, which lacked aesthetics.
Similarly, Bernhard’s innovation was also one of the most successful designs that met the social needs of the day. After the Industrial Revolution, many new businesses were established. At that time, every company’s advertisements followed Art Nouveau. The typical advertisement of the day was busy and crowded looking. Within this vast amount of companies, it was really hard to identify one from another. In contrast to the ornamental and decorative style that dominated advertising and artwork at that time, Bayer’s design was definitely an innovative style. Unlike other advertisements, he did not use