Plakatstil (German for "Poster Style"), also known as Sachplakat ("Object Poster"), was an early modern style of poster design that emerged in Germany around 1906. Pioneered by the graphic artist Lucian Bernhard, the movement was a radical simplification of advertising and a direct reaction against the ornate, complex illustrations of Art Nouveau . The Plakatstil formula is defined by its focus and clarity: it typically features a single, isolated image of the product being advertised, rendered in flat colors against a plain background. This central image is usually paired only with a bold, simple brand name.

By stripping away all non-essential elements (such as decorative details, slogans, and complex scenery ) the style created an immediate and memorable visual impact. This reductive approach to graphic design was a major step towards modernism and heavily influenced later movements like the Bauhaus and the International Typographic Style .

Plakatstil originated in Germany in the early 1900s. Lucian Bernhard , who was a largely self-taught artist, is one of the most relevant figures in its development. He began his career after moving to Berlin in 1901, working as a poster designer and art director. Bernhard had a innovative approach to graphic design; he had the idea to show advertisements in a simplified form, limiting it to the announced product and its respective brand. One of the early works by Bernhard that initiated Plakatstil is his poster for Priester, which was presented in a contest in 1905. This new style influenced by Modernism contrasted with Jugendstil, the local variation of Art Nouveau that was the most prominent aesthetic on German advertising at the time.

Ludwig Hohlwein was another pioneer of Plakatstil, known for his posters with abstract patterns, vivid colours, and inspiration from Art Deco and Expressionism . He began his career as an architect but transitioned to graphic design in the early 1900s. He often used dramatic perspectives, foreshortening, and also a bit of humor in his works. This aspect of irony is shown in one of his most iconic posters, which was designed in 1912 for Audi automobiles. Unlike some Plakatstil artists who focused solely on commercial work, Hohlwein also created posters for cultural events and political causes. His work during World War I included propaganda posters that promoted German nationalism. Hohlwein's reputation was negatively impacted later on in his career; he joined the Nazi Party in 1933.

Another influential artist in Plakatstil is Hans Rudi Erdt . His works feature simple yet harmonically balanced compositions, but above all, he is known for his unique way of using typography and calligraphy. He pushed the boundaries of Plakatstil beyond Bernhard's original tendences and remarkably used sans-serif typefaces, as well as textual letters. One of his most well-known works is the poster for the 1917 German propaganda film " U Boote Heraus! ", which is about the naval theatre of World War I. Visually, it exemplifies his "textual letter" technique and has a strong emotionally charged message that reflects the historical context of the German Empire during the forementioned era.

The core principles of the movement were further estabilished with the publication of " Das Plakat ", which was founded in 1910 by Han Sachs. The magazine was published from its beginnings to 1921 by the Verein der Plakatfreunde ("association of friends of the poster"). Bernhard himself was the director of this association. It focused primarily on poster production, featuring works by artists like Heinrich Inheim and Ernst Carl Bauer. It also included early examples of political pictorial maps in 1915, including reproductions of maps by Paul Hadol and Walter Trier. Although it initially only sold 200 copies, the magazine grew significantly, eventually selling 5000 copies before ceasing publication in 1922.

During World War I, Bernhard contributed to the propaganda efforts of the German Empire by designing posters. The directness of Plakatstil proved effective in communicating these messages. In 1920, Bernhard became a professor at the Akademie der Künste. He held this position until 1923 when he moved to New York City. He later co-founded the Contempora Studio, working alongside other artists and designers.

Artists like Ludwig Hohlwein joined the Nazi Party and subsequently designed propaganda posters for Nazi Germany during World War II. While Plakatstil typefaces were initially popular in Germany due to these influences, they were eventually banned by the Nazi regime based on the incorrect belief that Lucian Bernhard was Jewish. Bernhard focused on painting and sculpture during his later career, but his most significant contribution remains as the development of Plakatstil.

Plakatstil posters primarily use simple shapes and forms, solid colors, and avoid the complex details and ornamentation of other graphic design trends of the time such as Jugendstil . The backgrounds are plain and free from clutter, and information is presented in a minimal form. The main focus is the object depicted in the poster, as well as readable bold typography that usually only announces the brand and completely integrates with the design, becoming a central aspect of the posters.

Designers used basic shapes to represent objects and people, reducing figures to their simplest outlines. Colors were limited, commonly using a color palette or two to four hues (some of the most common colors being red, blue, olive, and black). One of the most important parts of Plakatstil is its typography, which is simplified, clear and direct, supossed to convey information in a clear form. Sans-serif fonts were also favored because they are easy to read from a distance. The goal of Plakatstil was to communicate a message quickly and effectively, similar to other movements like the Bauhaus School or Swiss Design .