poster writing নিয়ম একটি শিখে লিখুন অনেক গুলা

            

A poster is not high art. Unlike a painting you see in a museum, a poster isn’t unique – hundreds or thousands of copies of a given image would have been printed and disseminated around a city or country, allowing for tens of thousands of viewers to come in contact with it before it would be destroyed through weather, vandalism, or simply by being covered by the next ad. Unlike the Mona Lisa that has survived hundreds of years, a poster would sometimes only be seen for a few days or even hours before it would disappear, most likely forever. As the height of the poster craze happened in an era before photography, we have very little record of many of the designs created – in fact, the only posters that do survive are parts of the printing run that were never displayed in the first place. Just like language, there is no definitive origin story of when or where the first poster appeared. There is evidence of signage and poster-like artifacts dating back to Ancient Egypt when a business owner would chisel his profession on the side of his shop or in Ancient Rome when bathhouses and taverns were marked by terracotta slabs featuring text and symbols to indicate what activities took place inside. Even in the ruins of Pompeii, there appear to be signs advertising bordellos – a physical object proving that as long as there has been something to sell or trade, man has found a way to promote it. In the East, rudimentary woodblock printing existed as early a 3000 BC, where swaths of silk would feature decorative images or chunks of theatrical text. These weren’t necessarily posters or signs, but the techniques developed and used would become the foundation of the modern printing industry. By the 1440s, Guttenberg’s printing press made it easier to replicate handbills to promote an idea, event, or product, resulting in some of the small signs that remain advertising Shakespeare’s shows from the late 1500s. In 1631, Théophraste Renaudot began printing La Gazette, the first weekly newspaper, which, most important to the history of the poster, featured the earliest known personal ads promoting jobs and services available around Paris. Almost 150 years later, in 1786, William Tayler would open the first dedicated advertising agency in London, creating a network of small, regional newspaper printers with those eager to advertise to their specific communities. All of these examples, however, are limited. Newspapers cost money, and were clearly geared toward an upper class, literate, male audience. Handbills could only reach those who passed by a given distributor, and, again, had to be read to be effective. Even with a printing press, reproducing the small posters and notices of the day was costly and time consuming – and there are only so many pages of text nailed to a board that a single person could realistically stop and read. They weren’t eye-catching – in fact, they pretty much looked all the same. From three feet away, an ad for a play would be virtually indistinguishable from one for a tailor. The real game changer was the birth of color lithography (more specifically, chromolithography) that rose to prominence in the late 1870s. While variations of this technique were being used around the world at the time, Jules Chéret is credited with being the first artisan to really see its potential in the world of advertising – hence, his nickname: The Father of the Poster