A concise history of the bicycle poster

Next year we will be working with the 2012 UCI Track World Championships, running a competition to create a promotional poster in homage to the well loved tradition of vintage bicycle posters.

To get you all in the mood, we’ve put together a short history of the bicycle poster. We’ve all seen them and admired their qualities, now it’s your chance to find out a bit more about their history, and to get your creative juices flowing with ideas on a modern day interpretation. Thanks to Kathryn Thompson for putting this informative piece together…

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During the late 1800′s, bicycles rose to popularity and became the modern hobby craft as we know them today. Bicycles manufacturers struggled to keep up with demand as society embraced the freedom the bicycle carried with it.

It was also at this time that printing and lithography techniques were improving. As bicycle companies were looking for a modern form of advertising to reach the masses, similarly, artists were looking for a medium to show off their new printing skills. Thus we saw the birth of the bicycle poster as the most popular form of advertising.

Bicycles were described as the most civilised, noblest and curious invention of mankind. Conservatives were also worried about the lack of morality the bicycle may bring. Many saw it a vehicle for freedom, especially women. Advertising reflected all of this thinking.

The poster as a vehicle for advertising is unique in that it is embedded in the daily activities of everyday life. It’s message given not more that a fleeting glance at best. Good posters communicate through the originality of its images and through intelligent and sparing use of lettering. No wonder then, that artists of international reputation are attracted to this challenging medium.

As Europe moved into La Belle Epoque (1870- 1914), French artist Jules Cheret lead the way in poster design and production. He inspired many more lesser known artists and the poster movement was soon popularised.  Art nouveau was the style of choice for most artists with it’s whiplash lines, curved patterns and curly motifs. Bicycle posters could be seen on city walls and in bicycle shops throughout the city. They were so popular that by the turn of the century, more posters were created for bicycles than any other product.

Meanwhile in the US, Colonel Pope, the head of American bicycle manufacturers Columbia held a competition to create a new wave of posters for the growing brand. Over 1000 designs were submitted and formed part of a travelling exhibition in the US, drawing large crowds. The winner, a young illustrator named Maxfield Parrish was awarded $250 and his very own Columbia bicycle.

Initial designs seemed quite wild and extreme, compared to the civilised society they were being displayed in. However, the bicycle can be contributed to the growing freedom and liberation that took place in society post during the 20th century. Many saw the bicycle as a truly liberating instrument, especially for women. 

On that note, it is quite significant that many bicycle posters featured beautiful women at the forefront. This can be attributed to many reasons, the most obvious being “sex sells”. Women were also used to depict the freedom that bicycles brought with them in terms of movement, dress and of association. Posters also suggested that femininity was increased on a bicycle, as oppose to some popular thought that it was a crude instrument.
Post WWI, society had changed, and thus posters and advertising changed too. Art deco became the predominant style with much smoother, simpler designs and straightforward text. These designs were based on the straight line and coincided with the cubism and futurism movements.

Other important stylistic facts to be noted are that the bicycle was often left out entirely from the design, and if it was included it was usally hidden, badly drawn and lacking spokes and other features. It can be assumed that while poster artists were intrigued by the bicycle’s diffusion into society, they were completely ignorant to it’s form and functionality. 

Today, due to their general appeal and affordability, vintage bicycle posters became highly prized and valuable collectors items. American collector Brett Horton has turned his collection of cycling memorabilia and posters into a museum in downtown San Francisco.

Almost 100 years old, these design tips from art historian W.S. Rogers, published in 1914, still form the basis of modern poster design.

- A pictorial poster must contain a good idea, original or originally expressed.
- The poster must be simple and broad in treatment.
- It must conform to the rules of pictorial composition.
- The poster must be well drawn and well produced.
- It must deliver its message with no uncertain voice, and if possible, without the help of explanatory lettering, or very little.
- It must be striking in colour scheme.

And finally, it must possess “carrying force”, that is the ability to compel a man to cross the street to see what it’s all about.

For further inspiration visit The Horton Collection, La Belle Epoque poster shop, or check out Jack Rennert’s 1973 book, 100 years of bicycle posters.

Stay tuned to The Squeaky Wheel and Melbourne Bikefest for more information on the design competition.