Click here to load reader

  • date post

  • Category


  • view

  • download


Embed Size (px)


Week 6, Posters: Type + Image Presentation from Introduction to Graphic Design, Columbia College Chicago. Much of the content taken from readings, including the textbooks: Timothy Samara's "Design Elements" and "Design Evolution." Other references cited in presentation. Please note: many slides are intended for class discussion and might not make sense out of context.

Transcript of DESIGNING POSTERS (Intro to GD, Wk 6)

  • As a single sheet, unfolded and printed only on one side, it is the simplest medium for graphic design. It exemplifies its essential elementsalphabet and imageand its means of reproduction.
  • In Graphic Design: A Precise History, Richard Hollis breaks down graphic design practice into three categories:
  • 1. Identification: symbols, logos, etc 2. Information & Instruction: diagrams, maps, etc 3. Presentation & Promotion: posters, ads, etc, where it aims to catch the eye and make its message memorable.
  • As graphic design, posters belong to the category of presentation and promoting, where image and word need to be economical, connected in a single meaning, and memorable.
  • Jules Chret, poster, LAureole Du Midi. Ptole de Suret, 1893.
  • Henri de Toulouse-Lautrec, poster, quot;La Goulue au Moulin Rouge,quot; 1891. Shapes become symbols; in combination, these signify a place and an event.
  • Alphonse Mucha, poster for Job cigarette papers, 1898. Mucha delighted in filling the total space with animated form and ornament.
  • Maxfield Parrish, poster for Scribners magazine, 1897. Parrish created an elegant land of fantasy with his idealized drawing, pristine color, and intricate composition.
  • Alfred Roller, poster for the fourteenth Vienna Secession exhibition, 1902. Dense geometric patterns animate the space. Will Bradley, poster for Bradley: His Book, 1898. Medieval romanticism, Arts and Crafts-inspired patterns, and art nouveau are meshed into a compressed frontal image.
  • Alfred Roller, poster for the fourteenth Vienna Secession exhibition, 1902. Dense geometric patterns animate the space.
  • Alfred Roller, poster for the sixteenth Vienna Secession exhibition, 1902. Letters were reduced to curved corner rectangles with slashing curved lines to define each character.
  • Berthold Lffler, poster for a theater and cabaret, c. 1907. Masklike faces were simplified into elemental linear signs.
  • Josef Hoffmann, Wiener Werksttte exhibition poster, 1905. A repetitive blue geometric pattern was created by a hand-stencil technique after the lettering and two lower rectangles were printed by lithography. This lettering was combined with other patterns in an advertisement and other posters.
  • Ilya Zdanevitch, poster for the play Party of the Bearded Heart, 1923. Vitality and legibility are achieved using typographic material from over forty fonts.
  • Kthe Schmidt Kollwitz, The Survivors Make War on War! poster, 1923. This powerful antiwar statement was commissioned by the International Association of Labor Unions in Amsterdam.
  • Lucien Bernhard, poster for Priester matches, c. 1905. Color became the means of projecting a powerful message with minimal information.
  • An image is a powerful experience that if far from being inerta simple depictor of objects or places or people. It is a symbolic, emotional space that replaces physical experience (or the memory of it) in the viewers mind during the time its being seen. (from Samara text)
  • Image Modes
  • Mediation
  • ABSTRACT the medium is the message
  • I L L U S T R AT E D I M A G E & T E X T
  • P H O T O + I L L U S T R AT I O N