3 Approaches to Poster Design

 

I chose these three posters because despite a similar goal and framework, they still manage to be completely different from one another. The main thing that all of these have in common is their use of image. In every single one, the image is the thing that catches the eye and encourages the audience to interact with the poster more.  It takes up most of the poster  and it will leave the biggest impression. So what separates them from one another? I think that the answer is determined by target audience first and foremost. I have ordered them from most broad to most niche. 

The first poster is an advertisement for a national park area - specifically a cave. It has a very limited color palette. Not only is it exclusively yellow and blue, but there are only 5 individual hues total. The text is not exempt from this and uses the same colors. This creates a poster that looks like one large illustration. The image used is a simple illustration, but highlights the beauty of the place being advertised. This poster is meant to appeal to everybody who comes across it because national parks have a target audience of everyone. 

The hierarchy is interesting because it's a bit subtle. "Jewel Cave" is noticeably larger than the rest of the text, but it's a very gradual shrinking from there. It's also at the bottom of the page, yet is the first text you are meant to read. This is achieved by the size, but also because the big clump of text at the bottom is larger than the thinner one on the top. The order of importance is the name of the cave, that it's a monument, who is in charge of it, a specific thing that can be done there, and some features that the cave has. Your eye goes to the middle, bottom, and then top. 

There are some questionable choices here, mainly that the logo separates text; some of it is supposed to be read over the logo and some is not, which is confusing. One thing that does work is the way the tracking was done. It's really obvious that it was done on the bottom, yet I don't think that I would notice if I wasn't looking for it. The font itself is used in a lot of different stretchy variations that it doesn't necessarily look out of place.

Despite being the most detailed image, I would say that this approach to poster design is the most basic (not in a bad way). You're going to see a movie, so the priority is to get people excited to watch something. You don't usually get someone excited to watch something by having them read a lot of words, so text is used sparingly. The image shows you what's in the movie and what you should be excited to look at. The only information you're given is the title and the names of the most famous actors in it. 

Movie posters appeal to people who like a certain genre. While it's ideal to attract a wider audience, there is a lot of emphasis on communicating what kind of movie this is going to be. The cyberpunk aesthetic is communicated right away for example. In terms of hierarchy the name of the movie is in large text in a unique font at the bottom and the names of the actors are in smaller, but still large text in the top corners. I don't see any use of kerning or tracking, just because "Ryan" is so much closer together than the other names. The title is completely custom to the title, so it likely wouldn't need any tweaking. 

The last example is a poster for a music festival. These posters almost always look like this because there's a large emphasis put on cramming a lot of information onto a page in a way that looks wacky. The legibility isn't as much of a concern because they're not trying to sell people on anything so much as they're trying to attract people who are already fans of the attending bands. They're appealing to an existing audience that they already have to work with. Since so many of these posters look this way, even from a distance it's going to be clear to most people what kind of thing it's advertising. The title of the whole thing is used as word art.

The most important information is the dates, which are given priority by being in a much thicker font and not being included in the crammed paragraph. The most well-known or anticipated bands are put in order. The more important they are, the more interesting the font is and the larger it is. By the time you get to the bottom the text becomes a lot smaller and is in a more recognizable font that can be read at that size. 

JSE Exhibition Posters

     

These are different takes on using shape to highlight the main information. The one on the left is my favorite because it's more environmentally friendly and a bit less rigid than the other one. The one on the right would be better for a more formal occasion. I've given them both white outlines so that they're easier to print out. The red is included only in the title to bring more attention to it, but all of the grays are slightly warm to make up for it. 

Analyzing Design #2 - What Makes a Good Graphic Design?

 

This design is pretty simple but very effective. The first thing that draws the eye is the distinct contrast between black and gold. They're both equally demanding of attention but in different ways. The black being matte and the gold being shiny adds to this. From there, the numbers stand out second. They take on contrasting colors to their respective pages, which helps them stand out. That, and they're large enough to fill the entire page. It is then clear that said numbers are made up of maple leaves. This level of detail is not matched anywhere else on the page, so the eye is drawn there for that reason as well. The inside of the "0" contains more information, highlighting that it's been 50 years since fighting for freedom in reference to Canada. The white text stands out more than the black text, but the black text balances by being larger. It is not English, but French. They are the same sentence translated into different languages. 

The flow is relatively straightforward. Once one registers the "5" in one's mind, the top of it points the eye toward the "0." Although it's not a perfect circle, it's a very straightforward way of highlighting that the information inside is important. Circling something is universally understood as bringing attention to it. The contrast between the white and black text actually bounces the eye back and forth between them, although the white text takes slight priority due to it not appearing anywhere else on the page. However, it seems that they're meant to balance each other out somehow. There are actually only two hierarchy levels here, considering that the smaller black and white text are balanced out. The maple leaves on the numbers are also sized so that they don't overtake each other and don't look clunky.

Hierarchal List 

1.) 50

2.) 50 Years of Fighting for Freedom / French Translation 

This design is trying to convey themes of remembrance and celebration. Since this is explicitly about Canada, individual representation is also significant. Black and gold used in combination are usually seen as formal and elegant. It's a classic combination and is used for invitations to important occasions such as graduation or award ceremonies. In this case, it's being used to celebrate an important national anniversary. The color choice makes it feel celebratory but dignified. The length of time is the most important, so it makes sense that it would be the most prominent thing on the page. 

In terms of tying it to Canada specifically, the most obvious choice is the use of maple leaves to make up the large numbers on each page. Maple leaves are intrinsically associated with the country. Additionally, Canada is made up of a somewhat equal combination of French and English Canadians. Having the two languages both be there is an apparent reference, and it's made more understandable with how the different text is different but still well balanced - two sides of the same whole. 

This booklet page invokes solemn yet overall positive emotions. It's a reminder of what people have and that it had to be fought for in the first place. To some, this might be grim, but this is a case of it being largely up to interpretation. It may also invoke nostalgia which will generally happen when referencing a significant amount of time. Again, that color choice helps as it's widely used and recognized for serious occasions. 

Analyzing Design #1 - Why and How Design Works

 The object I chose to use for this assignment is my longboard. It's around 37 in. long and 10 in. wide. In other words, it's small for a longboard but still much larger than a skateboard. The deck is called a "drop-through," meaning it's only a few inches off the ground. It looks like a double-sided paddle - a long rectangle with thinner, handle-like ends. The whole board is made of maple wood and is covered in black grip tape. This surface is highly gritty and rough to the touch - similar to a pumice stone. The board has a concave shape, slightly sloping down in the middle. 

It's broken only in the middle of the board, where "LANDYACHTZ" is carved out, exposing glossy, dark purple paint. The text is lined up so that it's more of a logo. There are five rows and two columns. The words are written from left to right, creating a thin rectangle of letters. The font is strange, most notably using triangles on the A's and Y. The corners of the board are sharp, but instead of forming a straight line on each end, they curve to connect into the smaller ends. These ends have slim, rectangular holes where pieces of metal are secured with 4 screws on each. 

The metal doesn't take up the entire hole area, leaving a good amount of space on each side where you can see through to the ground. The metal is black and a very odd shape, like a staircase with a balcony. The longer edges are flat and have screws and extra holes. One end breaks away and starts to slope downward. There's a wall on the inside separating the space. One end has another bigger screw going through it. Another notable thing is that each piece of plastic has a white 50° painted on right before they slope down. 

When the board is flipped over, it's clear that the metal is the top part of the longboard's trucks. The bottoms of the screws come through the board itself. You can also see the other end of the big screw holding the bottom together. The shape is very thick and connects in many different places. The main piece is a curved triangular shape with raised edges. It curves out onto either end and links to the wheels. "BEAR" is carved into the metal, revealing a silver color. The trucks extend sideways just enough so that the wheels are visible on either side of the handle-like ends of the board. They just about line up with the regular edges of the board. On very close inspection, the trucks have some kind of animal skull carved into them near where they connect to the board. 

The wheels are very chunky and are a dark gray color. Their insides are curved in like tires, and each has a long screw in the middle connecting it to the trucks. There is a thin red circle around each screw. Along the edges of the wheels, there is light bluish-gray text that says "HAWGS 70". You don't have to turn the wheels to read it all at once. Spinning the wheels is very smooth, and they don't have any resistance or make any noise. They're made of urethane with a plastic core, making them rubbery to the touch but firm. 

The board's edges are exposed wood, and you can see all of the wood layers. The bottom of the board is sleek black and purple paint. The black is the background, and the dark purple outlines a fox's face using contour to give off the impression of fur. The eyes of the fox are also black. The only other thing on the bottom of the board is a small black rectangle with the brand name in it - this time readable. The entire board is covered in knicks, scrapes, and scuffs from constant use. Most notably, the trucks have the black paint carved off from hitting rocks, and there's a long, deep gash cutting through the bottom. 

---------------------------------------------------------------------------------------------------------------------------

A longboard basically functions as a form of transportation. One uses their feet to kick it forward and roll around to get places faster. They can be distinguished from skateboards by their size, making them safer to use and more suitable for transportation. It's much harder to do tricks on them for this same reason, but they are capable of it. Some designs, like this one, even add kicktails to make flips easier.

There is one main difference between a sketch and a diagram, which is their purpose. The sketch is meant to show the object, and the diagram is intended to explain it. The longboard sketch is at a sharp angle and has shading that puts it in a physical space. One gets a good idea of depth from it and can imagine it as a fully finished product. The diagram takes this basic idea and elaborates on it, allowing for a more complete understanding of how the longboard works. There are specific details about how things connect, what they are supposed to do, and how they're shaped. The sketch sells it, and the diagram describes it. 

---------------------------------------------------------------------------------------------------------------------------

The function is the most crucial aspect of a longboard. It primarily exists to move in a certain way and make that movement as smooth and safe as possible. That being said, aesthetics are important in longboarding, but the visual appeal should not hinder its actual performance. In terms of function, this longboard is primarily for transportation but is also made to do tricks more easily. To have both of these things, the board's shape becomes awkward. No skateboards look like this, which may cause the design to be somewhat offputting to someone seeing it for the first time. Yet, the strange kicktails are necessary for it to be able to consistently pivot and do tricks. It can also be challenging to maneuver the foot to use the kicktails without catching on the wheels. The problem is that the wheels need to be on the ends for transportation to be easy. Since tricks are a secondary function, the transportation aspect takes priority. 

Customization on longboards is vital to a lot of people. Having a unique-looking board helps one identify with it more personally; however, all boards need to have grip tape to be safe to ride. The grip tape holds the feet to the board so that the rider doesn't slide off. This is the first thing to start wearing and tearing and will eventually need to be replaced in many circumstances. Due to these complications, the designs for longboards are actually painted on the bottom. They still get beat up but last longer than they otherwise would. Few people will see someone's board design, but function and safety have to come first. 

---------------------------------------------------------------------------------------------------------------------------

Longboards have been being refined to an ideal form for a long time. Skateboards were made first, so a longboard is just a specialized form of a skateboard. The innovation in this particular longboard is in the kicktails. No design so far is better suited for pulling off tricks while also being a functional cruiser. Skateboards are so good for tricks because they're small, so their kicktails are achieved by simply having the wheels close to the middle of the board. They're light, and they're not meant to be safe so much as they're meant to look cool. However, with a longboard, safety and transportation are the focus. Tricks cannot come at the cost of either. The strangely shaped kicktails keep the wheels wideset but let the rider get a foothold for kicking up the board. 

The usefulness speaks for itself with a longboard. It's a fun method of transportation and an excellent way to exercise. It's more challenging to use than a bike but comes with the reward of having more control and fitting through tighter spaces. Aesthetics take a backseat for the most part when it comes to the design on the bottom. No one sees it in most contexts, and it's usually only seen when the rider goes out of their way to show someone else. Instead, the aesthetic of longboarding (and skateboarding) is the riders themselves. It's usually the person on the board that is getting the attention. The difficulty of the sport and its subculture makes it desirable more so than the actual appearance of any single board. Each rider has their own unique style, and the board is merely a tool to help them show that off to others. The point is mainly how a person uses it rather than how pretty it looks. 

 The design of a longboard is simple and easy to understand. It's simply a plank of wood with wheels. It's very intuitive that wheels = movement. There's nowhere to hide when designing a longboard. It either works really well, or it doesn't. A good longboard is meant to be sturdy and practical. It shouldn't easily snap, especially granted its larger size and more expensive cost. This one, in particular, has a long lifespan assuming that it's taken care of. It's easy to deconstruct, so the wheels can be easily replaced. This is important as they deteriorate much more quickly than the board itself. 

The environmental impact of longboards is complicated, but this brand is eco-friendly for the most part. Boards are made from maple wood and, unfortunately, contribute to deforestation. Bamboo boards are another option but don't last as long. Instead, this brand participates in a program where they plant a new maple tree for every board they sell. One maple tree can make upwards of 60 boards, so they're growing more than cutting down in the long term. The wheels they work with use as little plastic as possible except for the cores, which currently don't have an alternative. Most of the wheel is instead made of urethane, which is very sustainable compared to plastic. It's non-toxic to the environment and deteriorates more quickly. The biggest issue is emissions from production. 

The most well-known environmental impact of longboarding is that they don't run on gas. Like bicycles, the only thing that makes a longboard run is the human body, which happens to be entirely biodegradable. When used in place of vehicles, they can reduce a person's carbon footprint by a substantial amount. In terms of being environmentally conscious, it's a preferable form of transportation.