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

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Week 6, Posters: Type + Image …

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.

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  • 1. POSTERS: IMAGE + TEXT
  • 2. THE POSTER IN WESTERN GRAPHIC DESIGN
  • 3. As a single sheet, unfolded and printed only on one side, it is the simplest medium for graphic design. It exemplifies its essential elements—alphabet and image—and its means of reproduction.
  • 4. In “Graphic Design: A Precise History,” Richard Hollis breaks down graphic design practice into three categories:
  • 5. 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.
  • 6. 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.
  • 7. Jules Chéret, poster, “L’Aureole Du Midi.” Pétole de Sureté, 1893.
  • 8. 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.
  • 9. Alphonse Mucha, poster for Job cigarette papers, 1898. Mucha delighted in filling the total space with animated form and ornament.
  • 10. Maxfield Parrish, poster for Scribner’s magazine, 1897. Parrish created an elegant land of fantasy with his idealized drawing, pristine color, and intricate composition.
  • 11. 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.
  • 12. Alfred Roller, poster for the fourteenth Vienna Secession exhibition, 1902. Dense geometric patterns animate the space.
  • 13. 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.
  • 14. Berthold Löffler, poster for a theater and cabaret, c. 1907. Masklike faces were simplified into elemental linear signs.
  • 15. Josef Hoffmann, Wiener Werkstätte 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.
  • 16. Ilya Zdanevitch, poster for the play Party of the Bearded Heart, 1923. Vitality and legibility are achieved using typographic material from over forty fonts.
  • 17. Käthe 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.
  • 18. Lucien Bernhard, poster for Priester matches, c. 1905. Color became the means of projecting a powerful message with minimal information.
  • 19. THE IMAGE
  • 20. An image is a powerful experience that if far from being inert–a 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 viewer’s mind during the time it’s being seen. (from Samara text)
  • 21. Image Modes
  • 22. Mediation
  • 23. LITERAL
  • 24. ABSTRACT the medium is the message
  • 25. I L L U S T R AT E D I M A G E & T E X T
  • 26. TEXT AS IMAGE
  • 27. P H O T O + I L L U S T R AT I O N

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