Art Nouveau designers Number Department Peter Behrens Peter Behrens designs were highly influenced by Morris’ all-round concepts, thanks to the long stint Behrens had with Morris. During the period Behrens was working as a designer and an architect. The artist is infamous for the significant effort he made in the commercial art industry. The artist used nouveauan geometric concepts to make attractive items such as company logos. The newly redesigned AEG company logo, done in a hexagonal design is an example of his major achievements. Behrens put the company’s corporate identity to all of its brands. In his various arts, Behrens captured modern concepts in his typography, which made his work to be regarded as a typical Art Nouveau. Additionally, his new typefaces done using Roman letterforms, added to the Art Nouveau (Hausman 1977, p789). This progression was a clear divergence from Pugin’s Gothic styles. Henry van de VeldeVan de Velde was also another influential designer, who possessed great layout skills like Morris. His great contribution in the art and design industry earned him great academic achievements at the Weimar School of Applied Arts. The designer mainly concentrated on the designs of publications, demystifying what other designers had done before. Van de Velde managed to be among the first pioneers to capture the Art Nouveau design for use in commercial purposes. Unlike van deVelde’s designs on publications and posters, Pugin was more of a conservative force in his Gothic architectural designs of European edifices (Hausman 1977, p789).Will BradleyAlthough, Will Bradley was initially a painter by profession, he later on acquired design skills. The artist took after Morris, both in design and business venture. He was motivated by the plainness, yet telling nature of Japanese prints. Bradley, therefore, preferred an asymmetrical format of commercial presentation for publications (Hausman 1977, p789). The artist is said to have played a pivotal role in ensuring that art nouveau reached North America. Bradley’s items became collectable for many admirers in the society. Unlike Bradley, Pugin’s work was symmetrical. ReferencesHausman, P.R. 1977. Art Nouveau. Library Journal, 102(7), p789. Print.