DESIGNING POSTERS: Strategies for Communicating Scientific Projects

DESIGNING POSTERS
Strategies for Communicating
Scientific Projects
Dr. Maryam Bolouri
mbr@hsrw.eu (University)
maryam.bolouri@posteo.de (Private)
Faculty of Technology and Bionics

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1. Introduction
Definition of Concepts
Levels of Science Communication
2. Pre-Design: Planning the Poster
Learning from Paradigms in Design
Preparing Poster Concepts & Script
Elements of a Scientific Poster
3. Design Principles
Content and Context
Text and Typography
Composition and Layout
Visualisation and Imagery
Colour
4. Post-Design: Review & Print
Reviewing and Printing
Copyrights and Plagiarism
Media Platforms
5. Preparing a Scientific Poster: Basic Steps
6. Assessment Criteria
Contents
2019 Hochschule Rhein-Waal
Written, visualised, and designed by:
Maryam Bolouri
Lecture Date: 11.12.2019, 15:00 hrs, Cleve
Faculty of Technology and Bionics
Winter Semester 2019/20
For education purpose only. Please do not use slides,
contents and visualisations for commercial usage.

Poster Design
Strategies for Communicating Scientiﬁc Projects
INTRODUCTION
DESIGNING
POSTERS
Topic I
PhotoLicencebyPixabay

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Nexus of Science, Communication and Media Design
In the following text, we discuss the nexus of design,
science, media, communication and art and reexamine
their symbiosis for designing powerful scientific posters.
In ancient history, there are various evidences to
demonstrate the interconnections between art, culture
and science. The ancient wisdom are preserved in time
and are transmitted in spaces/places by using artistic and
human-centred communication systems. Some civilisation
used visuals while others used poetry. For instance, Omar
Khayyam, a Persian mathematician, astronomer and poet,
who lived during 11th century and is known for his
geometric algebra, wrote his mathematical teaching in
form of poetry.
During the modern history, specially after industrialisation,
a sharp conceptual distinction is made between the fields
of sciences, technology and engineering on the one hand,
and humanities, art, communication and cultural studies,
on the other hand. Today, we are witnessing a complex
interdisciplinary and intercultural network between these
fields. As rightly pointed out by Edward A. Shanken, the
sprout of these interrelationship has developed during
1960s. Considerably, the contemporary art influenced by
science and technology from ideas, methods, to tools and
images (see Shanken, 2002 & 2007).
Science Communication and Poster Design
We are witnessing a transformation in media culture and
communication systems globally. The media culture is
expanding towards visualisation of various spheres of life
and activities. And systems of visual communication and
media design platforms are changing rapidly. Poster
design, in general, is not a new communication practice in
history. With the sophistication and excessiveness of
information today, however, designing poster demands
thoughtful decisions and intelligible processes of design.
Designing a scientific poster is not only presentation and
visualisation of research results and data, but also is an
interactive installation to creatively, cognitively and
scientifically engage people.
The aim of this lecture e-notes is to compile strategies,
techniques and tools, which can be used in designing a
powerful visual posters for communicating scientific
projects. These strategies should be seen as a source of
inspiration rather than universal rules. The visual culture is
in course of metamorphosis.
INTRODUCTION
Introductory Remarks
Dr. Maryam Bolouri | Designing Posters | Science Communication |
Faculty of Technology and Bionics | WiSe 19/20
Colour in Science
Timeline of ‘all issues of
Popular Science magazine
from the beginning of
publication in 1872 to
1922’, without colour and
design. Source: Huber,
Zepel, & Manovich (2010)

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Definition of Concepts
INTRODUCTION
*These definition are simplified for this presentation. For complex research usage please refer to your discipline
(e.g. information may be defined differently in science and informatics)

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What is Communication?
In the modern history, the concept of communication is
defined in different ways. The influential model is the
‘Mathematical Theory of Communication’ developed by
Claud E. Shanon during 1948 in the Bell Laboratory and
introduced to humanities by Warren Weaver. This theory
reduces the communication into a system of information
and it is essentially message-oriented model (see Bolouri,
2019).
During the expansion of the communication studies, many
theories from social science and anthropology, among
others, have been introduced to the field. These theories
highlighted communication as ‘a social function’, ’social
construction’, constituting social reality, or shaping
civilisation (see for example Raymond Williams, Harold
Innis, etc.).
The contemporary theories define communication not
merely as transmission of information, but as a process of
(re)constructing meaning. Accordingly, communication is a
dynamic and organic process of meaning-making. The
context, situations, settings, forms of mediation, inter alia,
can influence the constitution of reality and experience of
life (see Littlejohn & Foss, 2008).
From Intra-personal to Global communication
Communication may take place in various levels (see
McQuail, 2005).
✦ Intra-personal (e.g. cognition, ideation, creation,
expression of meaning at individual level)
✦ Inter-personal (e.g. the process of meaning-making
between two or more people)
✦ Intra-group (e.g. family)
✦ Intergroup or Association (e.g. community)
✦ Institutional or Organisational (e.g. business firm)
✦ Society-Wide or Public (e.g. national level)
✦ Global (e.g. intercultural and international level)
INTRODUCTION
Levels of Communication
Further Readings
Littlejohn, S. W. (2002).
Theories of Human
Communication. India:
Wadsworth.
‘We live in communication just
like fish live in water, wrapped
in but unconscious of
communication [processes] as
much as fish are unaware of
water’ (Hsia, 1988: p. 8).
Intra-
Personal
Inter-Personal
Intra-Group
Inter-Group / Association
Institutional / Organisational
Society-Wide / Public
Global

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INTRODUCTION

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INTRODUCTION
Levels of Science Communication

PRE-DESIGN
PLANNINGTHE
POSTER
Topic II
Poster Design

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PRE-DESIGN
INTRODUCTION
Design paradigms
There are two levels of design, which are involved here.
One is the actual design of your project (which is a
product design) and, the second, the poster design (which
is a media design). Here the major focus is on media
design.
There are various paradigms in design in general. What is a
paradigm? How can we learn from design paradigms? A
paradigm gives us a system of values and enables us to
make a judgment about particular design.
Form follows function
This designing principle is attributed to Lois Sullivan from
“Art and Crafts” movements during 1886 (Hammer, 2008:
p. 28). This paradigm gave value to functionality rather
than form. This is basically a functionalism approach in
design, which was glorified during the Bauhaus and the
Ulm School of design during 50s and 60s (p. 28).
In today’s context, can we rely on a functional poster? You
can design a functional poster, but not essentially an
efficient one.
Form follow emotion
The second paradigm is considered as a response to the
dominance of functionalism in design practices. The
emphasis was on emotional effects and aesthetics values
rather than the cause and effect relationship between
function and form.
Can we rely on aesthetically pleasant poster? A scientific
poster is not only a beautiful design but also
communicating meaning. A poster can simplify the
complex research projects.
Form follow form (cognition)
Bolz, In his book, Band-Design-Manifest des 21.
Jahrhunderts (2006) argued for a paradigm-shift in design
after “form follow function” and “form follow
emotions” (Hammer, 2008: p. 29). This idea was
influenced by the self-organisation of the nature (p. 29).
This paradigm-shift in design is cognitive-oriented. An
effective scientific poster uses the laws of perception in
design.
Learning From Paradigms in Design

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PRE-DESIGN
INTRODUCTION
The Language of Poster Vs. Research Article?
A poster is a space-based, non-linear medium, while the
research article is a linear and time-based medium. People
may decide how to get involved with your research results
presented on a poster. But, their gaze can be directed by
the information flow and visual narrative structure.
Central Narrative
Brainstorm the central narrative in your group. Decide
how to visualise your research story and results in a
meaningful way to other people. Visual narrative is the art
of building a bounding and comprehensive structure. It
would be discouraging for a viewer to search for data and
connecting meaningless information together. Designing a
poster is not merely a research report, but a cognitive and
comprehensive knowledge transfer. Decide on the
information flow and think of a clear structure which can
support it.
One “aha” moment!
It is important to communicate one central ‘wow’ effect /
‘aha’ moment to the viewer. Choose the major character
of your research and build the story around it. Use
another three supporting argument to back the central
discussion. Do not use too many details or wide-range of
concepts to communicate.
Time-based vs. Space-based Medium
Preparing a Poster: Concept and Script

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Scientific
Information
Design &
Entertainment
Poster Media
Platform
1 ‘Wow’ effect
Background / Overview
Process / Methodology
Results / Inferences
Follow up on
other media
platform
Imagery
Flow and narratives
Consistency
3 Supporting ideas
Visualisation of
complex data
Visual Metaphors
Title
PRE-DESIGN
INTRODUCTION
Brainstorming: Elements of a Scientific Poster
Acknowledgement

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Topic III
Poster Design
DESIGN
PRINCIPLES

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DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Major Elements in Design

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DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Poster Title
Choose a simple and creative title to attract people. Avoid
long sentence in the title.
Content Structure
Be aware of the visual nature of a poster. The content
serves as a part of the visual design. Avoid too many text
and write down only a gist of ideas. Summarise longer
sentences and build small paragraphs if required. Use
bullet points or subtitles to communicate important
information. Brainstorm in your group how to visualise
complex processes and complex data instead of writing.
Language
Know who your audience are. Choose simple and
uncluttered language to communicate sophisticated
research problems and results. Choose words and
sentences very consciously and be aware of word usage.
Mind your style and remain consistence if you choose
certain voices/tones. Remove unnecessary information.
• Simplicity: Think clearly and use simple language to
express your ideas. Avoid unnecessary words and
insignificant construction.
• Avoid Clutter: Avoid unnecessary structure in your
narration. Avoid redundant adverbs, adjectives or
prepositions (e.g. tall skyscraper, order up)
• Words and Usage: The usage of the word should be
appropriate and grammatically correct. Be attentive to
the interdisciplinary usage of the words.
• Continuity: Make sure to use appropriate connectors to
build logical relationships between sentences.
• Unity: The unity maintain the order subconsciously
demanded by the reader. Be aware of the unity of
tense, pronoun, tone, voice, British vs. American
English, goal, narrator, etc.
Context
Be aware of the context of your research. Identify the
nature of your research project and the potential readers
of your poster. The context can help you to set clear
design strategies. For instance, a poster for a scientific
project in the area of solar energy, which aims to target
particular group, may demand (semi-)realistic visualisation
with a naturalistic colour composition rather than visual
comics with a factious colour palette.
Content and Context
‘People will rarely spend
more than a minute or two
viewing a poster. Too much
text will communicate less
information, not more –
viewers will switch off if they
see excessive reading matter’
(Odling-Smee, 2013: p. 7).

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DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Summary: Content and Context

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DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Typography Matters
Typography functions as a mediator of information, which
influence attention, emotions, semantic reception and
optical perception (Hammer, 2008: p. 207). Typography is
a powerful expression tool in designing posters. The
aesthetic and effects of typography may vary based on
context, culture and the target group.
Typeface (fonts)
For scientific topics use San Serif fonts (Helvetica, arial,
calibri). They are simple and have less visual density*.
Complex Simple
Font Styles
Avoid too many font styles and colours. For instance
choose two fonts, one for titles/subtitles and one for the
body/text. Avoid CAPITALISATION of all words. It makes it
difficult to read. Our perception identify shapes of words
holistically rather than individual alphabet. Use italics for
names and bold for special labels or bullet points.
Font Size
Use a font size, which is readable from distance. The font
size categorises the information based on the importance.
Use readable typeface from distance. Use maximum three
to four size in the poster and remain consistence.
Remember that typefaces are different in print and digital
forms. Adjust the font size of the graphs to the scale of
the poster.
Text Size and Alignment
Use a readable size for the text. Avoid central alignments
for main text. Give a sense of order by aligning the
information consistently to the direction of reading (e.g.
left alignment or right alignment). Avoid justified option if
the reading flow is disrupted. Avoid long paragraphs in a
row. Build fewer words per line in a poster.
Line and Letter Spacing
The golden rule is, to give a space, space! The space
perceptually helps us to orient and follow the information.
Space design is influenced by culture.
Text and Typography
‘The technical terms for
letter spacing are ‘kerning’
and ‘tracking’. Kerning is
the adjustment of space
between pairs of letters.
Tracking is the uniform
adjustment of space
between all letters in a
range of text’ (Odling-
Smee, 2013: p. 7).
*Source of Imagery: Hammer (2008)

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DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Font Size. Visual Credits:
Hammer (2008)
Examples: Font Size
Choose minimum two or maximum three fonts:
one for titles/subtitles and one for the body/text.
Use maximum three to four font sizes in the
poster and remain consistence.
Typefaces is different in print and digital forms!
Example

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DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Examples: Alignment in Poster

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DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Examples: Typeface (Font Style)

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DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Examples: Spacing and Capitalisation

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Composition
Composing a poster is the art of directing the information
you wish to present. The composition of a poster is to
bring a cognitive and communicative harmony to your
text, visualisation and the space. The integration and
meaningful connection between these three elements are
significant in poster design. The poster appear as one
single photographic image in the mind of people.
Background
The recent studies in visual culture demonstrated that
there is a tendency towards adding layers of background
in design. Avoid, however, low quality pictures and
imagery with high colour contrast. The background should
not dominate, rather it should ease the flow of
information.
Layout
There are many ways to structure the layout. One way is
using the golden ratio in design. Golden ratio classically
refers to areas where more attention is focused. The eye-
tracking researches in recent years show that the visual
communication is influenced by culture and language.
DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Composition and Layout
The Golden Ratio. Visual Credits:
Hammer (2008)

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DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Types of Imagery
There are various types of visualisations: photographs,
pictures, computer graphics, computer modelling,
sketches, graphs, figures, infographics, data visualisation,
symbols, cartoons, comics, tables, charts, and logos, inter
alia.
Qualities of the Imagery
There are important issues to consider in preparing
imagery for the poster.
• Label: Label pictures or graphs.
• Quality of image: Make sure of the print quality of
imageries.
• Description: Write a short description inside/near the
graphs if required.
• Clarity: Make sure the imagery is clear to perceive.
• Place: Be attentive to the context and content. Find an
appropriate place for the imagery. Do not use margins
or invisible areas for communicating important imagery.
• Size: The size of the imagery should be appropriate to
the proportion of the poster and should fit into the
context.
• Logo: Do not change any information in the logo, i.e.
the colour, the font, or the background.
Form and colours
The human perception is attentive to perceive forms
consciously and colours mostly subconsciously. Here are
few instruction to make a powerful imagery.
• Simplicity: Make sure to simplify the complex scientific
graphs. Avoid too much information and usage of
colour. Avoid detailed imagery in small size.
• Accuracy: Make sure the figures, models and graphs
presented are accurate. Consult expert for that matter.
• Clarity of form: Make sure to communicate a clear
form.
• Colour Harmony: Be aware of the colour contrast.
Make sure using the harmony between elements.
Techniques
Communicating complex scientific ideas are not easy.
There are various means to achieve an effective
communication. One powerful example is metaphor.
• Metaphors: Visual and verbal metaphors can be
effective tools. By comparing the known phenomenon,
you can reduce the complexity of a scientific problem.
Be cautious in choosing the metaphor, since an abstract
metaphor may confuse the viewer.
Visualisation and Imagery
Form Consistency &
Unity of Perception
Hammer (2008)

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DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Types of Imagery

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DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Examples: Imagery

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DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Colour Meaning and Association
We associate emotions, values and meanings to colours.
The colour preferences are influenced by culture,
environment, social milieus, individual and collective
experiences.
Colour Symbolism
Colour has had a multi-faced influence on human
behaviour, allowing the communication of information
about the environment, nature and nutritions. From
individual levels of colour preferences, perceptions,
emotions, affects, aesthetics, identity building, to
community symbolism, rituals, religious values, colour
discriminations (such as sexism, homophobia, racism,
nationalism), political parties, architecture, textile, media,
design, corporate and branding identities, colours
symbolism play key roles. Be aware of these difference in
design.
Colour Contrast
Be attentive to the colour composition and background –
e.g. saturated versus desaturated colours, colour contrast,
lightness of colours, etc.
Colour in Print
Colours production on screen and print are different.
There are basically two systems of colour production one
is additive (red, green, blue (RGB)), which emits white
light and two is subtractive (cyan, magenta, yellow, key
(CMYK)) which emits black used for printing.
Make sure to save the file in CMYK (printing) format.
Colour
Visual Credits: Hammer (2008)
After Hammer (2008)
CMYK
RGB

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DESIGNPRINCIPLES
INTRODUCTION
PRE-DESIGN
Examples: Colour Design
Source: Unknown

POST-DESIGN
Topic IV
Poster Design

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Reviewing
It is advisable to review the poster in a printed version. In
this way, you can have a realistic view of the font sizes
and mistakes. You can alternatively do a test print of font
sizes in A3 or A4.
Printing
Consider the following issues before printing:
• Frame/Bleed: The printer may leave few millimetre
(approximately 3 mm) empty around your poster. Mind
this white frame in your design, specially if you use
colourful background. Avoid using graph and text too
close to the margins.
• Poster Size: Make sure to design the poster in
appropriate size you wish to print.
• Resolution: Make sure about the resolution of your
graphs and imagery. The printing standard is 300 dpi
(dots/pixel per inch) (e.g. for a 20 inches picture you
need at least 6000 pixel resolution)
• CMYK print colours: Make sure to save your digital
RGB colours into CMYK (or PMS) for print.
Ethics and Acknowledgement
Be aware of ethical issues and data protection in your
field. Acknowledge the research fundings and researchers
who contributed.
CopyRight and Plagiarism
Avoid plagiarism. Make sure to write the references in
case you use ideas (indirectly or directly), which are not
yours. Make sure of the copyrights of images, take
permission and give the full credit to the person created
the imagery.
Reviewing and Printing
POST-DESIGN
INTRODUCTION
PRE-DESIGN
DESIGNPRINCIPLES
Written & Illustrated by
Seth Roberts & Brian Hawes

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Bias of Media
Media technologies can distort the process of
communication and create certain bias in human
perception. Consider dynamics of media and their
influence on our perception.
Types of Media
There are many ways to connect your poster to other
media platform. The following infographics demonstrates
various forms of media practice.
QR codes to Website
Social Networking sites (Twitter, Pinterest,
instagram, YouTube, etc.)
Augmented Reality
Designing Softwares
Adobe InDesign
Adobe Photoshop
Adobe Illustrator
QuarkXpress
Google Font (Open San Serif)
Microsoft PowerPoint
Media Platforms
Media Practices. Visual Credits:
Bolouri (2019)
POST-DESIGN
INTRODUCTION
PRE-DESIGN
DESIGNPRINCIPLES

PREPARINGA
SCIENTIFIC
POSTERS:
BASICSTEPS
Poster Design
Topic V

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Design Thinking: Process of Designing a Poster
BASICSTEPS
INTRODUCTION
PRE-DESIGN
DESIGNPRINCIPLES
POST-DESIGN
Visualisation: Bolouri (2019)

ASSESSMENT
CRITERIA
Poster Design
Topic VI

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Poster Design
Colour
Imagery & Visualisation
Composition & Layout
Text & Typography
Content & Context
1. Scientific Content
2. Content Structure
3. Title / Subtitles
4. Clear Narrative
5. Language
ASSESSMENT
INTRODUCTION
PRE-DESIGN
DESIGNPRINCIPLES
POST-DESIGN
BASICSTEPS
Assessment Criteria for
Science Communication Students
1. Text Structure
2. Typeface (font)
3. Font style & size
4. Space design
5. Consistency
1. Composition Structure
2. Information Flow
3. Clear & Simple layout
4. Composition Appearance
1. Visual Communication
2. Simplicity & Accuracy
3. Clarity of Forms
4. Quality & Reception
1. Colour Composition
2. Colour Harmony
3. Colour in Print
40%
22 %
15 %
15 %
8 %

Bolouri, Maryam. 2019. Medial transformations:
Towards theorising the intelligent mediation sphere.
Tübingen: Universitätsbibliothek, TOBIAS-lib. DOI:
10.15496/publikation-30171. http://hdl.handle.net/
10900/88787
Hammer, Norbert. 2008. Mediendesign für Studium
und Beruf. Heidelberg: Springer.
Hsia, H. J. 1988. Mass communication research
methods: A step-by-step approach. New Jersey:
Lawrence Erlbaum Associates.
Odling-Smee, Anne. 2013. Poster design. British
Science Association.
Huber, William, Tara Zepel, Lev Manovich. 2010
Popular Science magazine, 1872-1922. https://
www.flickr.com/photos/culturevis/4670344452/in/
album-72157624959121129 last retrieved on
09.12.2019
Shanken, Edward A. (2007). Historicizing art and
technology: Forging a method and firing a canon. In
Oliver Grau (Ed.). 2007. Media Art Histories.
Cambridge: MIT Press. pp. 43-70.
Shanken, Edward A. 2002. Art in the Information Age:
Technology and conceptual art. ISAST. Leonardo. (Vol.
35), (No. 4), pp. 433-438.
Contact:
mbr@hsrw.eu
maryam.bolouri@posteo.de
@maryamboluri
References
https://orcid.org/0000-0002-3201-703X

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