2. Rule of Thirds
The ‘rule of thirds’ layout dictates that,
showed an image be divided into nine
sections, the resulting grids provides a
structured indication of where various
poster aspects should be placed.
This layout is effective in terms of its clear,
direct manner, allowing consumers to
view a logically structured product which
is not over-complicated. This enhances
the aesthetic value of the product on the
basis that all aspects of an image are given
equal weighting, with loose variation as to
where these features can be placed within
the grid.
On the other hand, it can be argued that
such a layout can create aspects of ‘forced
symmetry’ and unnatural divisions,
leading to a product which feels more
mathematically planned than creative. In
addition to this, the focal point of a poster
can become unclear, and little guidance is
given as to the way in which this is
constructed – when compared to, for
example, a circle layout, the placement of
an intended unique selling point becomes
ambiguous.
3. Circular Layout
A circular layout sets out a clear
structure for the composition of a
poster. The main image – which is
generally the focal point in such
layouts – holds central
importance, and is framed by
text. This directs audience
attention to the poster’s unique
selling point with little
speculation or ambiguity,
allowing the preferred reading to
be communicated effectively.
It can, however, be argued that the
structure of this layout hinders
creative experiment in composition.
The layout follows a clear, almost
unalterable structure which has a
primary intention of drawing
audience attention to that which is
inside the ‘circle’. This would
therefore be beneficial depending on
that which we decide is our unique
selling point.
4. Z Layout
A Z layout acts in a similar fashion
as the circular layout, wherein it
constructs a clear frame into
which a main image and text can
fit. This allows for the
establishment of a clear focal
point to which the audience are
attracted, with all information
composed in a logical, organised
fashion.
There are, however, limitations to
this layout in the sense that the
central image must be carefully
positioned in order to fit the ‘Z’
shape, hence may be unsuitable
for the promotion of an artist on
a digipak. For example, though
movie posters often feature
characters in stills from the film,
digipak/digipak adverts
conventionally feature only a
singular, basic image of an artist –
thus making it more difficult to fit
this layout.
5. Conclusion:
Overall, I feel that this task has provided me with a more profound understanding of
the conventional layouts which I could apply to my own digipak and/or poster. With
this basic understanding, I feel more able to use aspects of repetition and difference
(Neale) within my own production; however have come to the conclusion that the
most suitable option is that of a circular layout. Though I will be able to manipulate
placement of text, prior research has indicated that the focal point of an artist/actor
is essential to the promotion of a product in which they feature. Our image is able to
convey a great amount surrounding narrative, and when complemented with
features such as font style and background colour, I feel that a focus on this central
point will provide us with the highest possible degree of success.
