Geometry in Advertising Graphics

摘要

For each pictorial work it is possible to identify-perhaps even in retrospect-a geometric rigor on which the graphic composition itself is based. Sometimes these geometries are more evident and highlighted by graphic devices that openly declare their existence; other times, on the contrary, they are to be sought through a succession of attempts and experiments aimed at highlighting all that is not seen. The geometric rigor found in Leonardo's Last Dinner, not only marks the sequence of the characters and their placement, but is also the founding element of the perspective space represented starting from the identification of the simple relationship 2:1. Through attempts and experimentation we can justify with geometry those relations between the parts that make each composition balanced. With the same attention and with the same means we can investigate any graphic composition belonging to the world of painting or any other visual art. This also applies to advertising graphics products that take on an even more interesting role when considered in the historical context between the nineteenth and twentieth centuries, when we witness the birth of modern advertising thanks to the diffusion of Affiches.