17. afiche magazine 0649 how to design a small poster

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How to design a small poster 0649

How to design a small

posterTo make a big impression at close range,

use bold images and high contrasts.

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How to design a small posterYou use a small poster to make a big impression at close range. To design it, use bold images and high contrasts.

A tabloid page, two average images and brief copy are where the job begins.

The first step will be to look closely at what the photos have to say.

The art department of Roe City College needs a small poster to advertise its next event, a pictorial history of the geisha. The poster will be displayed on indoor walls, windows and tabletops, where it will be viewed mainly at close range.

A good poster is simple and bold. It connects quickly and releases its information easily. Words tell the viewer what, where and when. The design, in this case, must convey drama, mystery and tradition.

We’ve been given two photos from the event, both of average quality, and a small amount of text. We’ll be working in an 11 x 17 (tabloid-size) space. Here’s how to approach the job.

11” x 17”

From:Subject:

Date: To:

Sanji Yosho

January Events Poster

October 15, 2006 3:27 PM PDT

Dexter Mark Abellera

Dexter,

Here’s the copy for our January event. The pix were too big to e-mail, so I’ve uploaded them to our

FTP site; you already have the access code. I’m not thrilled with either pic, but the board felt that

they were pretty iconic so would serve well for the show. The poster needs some drama -- and

some mystery and tradition would be good, too; the geisha culture has a pretty interesting history.

Tabloid-size, portrait format; we figure we’ll display a couple dozen around the campus starting late

November. The show will be pretty nice; I think you’ll like it.

You may e-mail me anytime.

With regards,

Sanji

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

Head: Geisha

Subhead: A unique world of tradition, elegance and art

Info: Roe City College, LH Horton Gallery

January 20-23, 6 p.m.

Free & open to the public






Before&After ® How to design a small poster 3 of 9

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What’s in the pictures? The fan (left) is a simple image with a bold silhouette and a plain background—all good qualities—but it’s too generic to anchor the poster; instead, it may be useful as support. The geisha (1) should convey the story, but the image is weak; it has two focal points (face and box) and many distracting lines and shapes that send the eye to and fro. But she has an interesting face that we might work with. Cropping (2) eliminates the weak parts and retains the strong center of interest.

?

?

?

Her face tells a deep story Mask out the remaining background,

and the image is transformed into one with real power. Now we begin to see elements of line and contrast that

we didn’t see before. Many ho-hum originals have similarly strong images

inside. The key to discovery is to make it simple, and make it big.

Evaluate the photosAs a rule, you want the photos to carry most of the design load. To do this, you must first find their strengths, then work with the “story” they have to tell.

1 2







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Motionless in the center The image is highly triangular. Her shoulders and head form a triangle; her face is triangular; eyes and mouth form a triangle, and the lapels and folds of her kimono are triangular. Her gaze, eyes, eyelids and eyebrows all point down and toward the center.

Such symmetry is naturally motionless and without tension. To mimic that in layout, the photo should be placed at the bottom center, where it’s “on the ground”

at rest. In con-trast, note (inset) that offset and in the air is a tense, unstable position, where photo and layout are not working together.

Where do you put it?The characteristics of a photo help determine where it belongs on a page. In this case, every line points down and toward the center . . .

Black adds dramaTurning the background black adds silence, power and incredible contrast. Her black hair now recedes, while her white face and kimono become the “canvas” against which her black eyes, brows and red lips stand out in arresting relief. Note her head is centered in the poster, which is the strongest position and amplifies its power. The story is in her face, which now has our undivided attention.







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GEISHA How big? Large size usually conveys power, but the biggest possible setting (above) introduces something we don’t want: tension. Its close prox-imity to the edge “con-nects” them like water drops joining across a gap and creates dozens of fussy, irregular shapes. This happens because the letter strokes and the gap are now the same size (inset). The solution is to reduce its size just enough to disconnect it from the edge (left).

Select and set the headline typeBecause a poster has only a few elements to do the work, type plays a bigger-than-usual role in the design, so pay close attention to its style and setting. What to consider:

What typeface? A typeface has many jobs to do—one of which is to be read! It must convey the tone of the event (a pictoral history), reflect the style of its subject (the Japanese geisha), have visual similarities to the photo, and work with, not against, the layout (centered and motionless). Beautiful Centaur does all of this. At a glance, Centaur looks like an ordinary Roman typeface. But it is full of warm idiosyncrasies. Note the serifs circled above are all differ-ent—two are cupped, two are bowed, one curls back; and the letter strokes vary in soft, irregular ways. These are earmarks of a human hand (which categorizes Centaur as a Humanist typeface) and echo the hand-brushed strokes of Japanese characters.

Where? Centered and motionless.

GEISHAGEISHA







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A UNIQUE WORLD OF TRADITION, ELEGANCE AND ARTROE CITY COLLEGE, LH HORTON GALLERY | JANUARY 20–23, 6 P.M. | FREE & OPEN TO THE PUBLIC

GEISHA

Finish with the supporting detailThe supporting detail is the small stuff that can be read only up close. It includes a fuller description of the event, the what, where and when, and a small graphic.

The supporting detail completes the poster. It includes a subhead that finishes the story started by the headline; a line that gives the where and when, and the fan, which visually con-veys “tradition, elegance and art.” Subhead and headline—two parts of the same thought—are set in the same typeface, while the utility line is in a plain, readable sans-serif (above). All of it is centered (stable and motionless like the image) and directly in her line of sight. Very strong.

One story, two stories This poster is actually two “stories” in one. The top half is the big story (face and headline), while the bottom half is the small story (face and support-ing detail). You can see below that one is as important as the other.

GEISHASame

typeface ties top to

bottom


GEISHA








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GEISHAA UNIQUE WORLD OF TRADITION, ELEGANCE AND ART

ROE CITY COLLEGE, LH HORTON GALLERY | JANUARY 20–23, 6 P.M. | FREE & OPEN TO THE PUBLIC

A UNIQUE WORLD OF TRADITION ELEGANCE AND ART

ROE CITY COLLEGE, LH HORTON GALLERY

JANUARY 20–23, 6 P.M. | FREE & OPEN TO THE PUBLIC

GEISHA

Same elements, two bold variationsScaling the photo up or down intensifies its drama. As you arrange elements, remember to work with, not against, the photo. Center the layout; get color from the image.

Boldly small, boldly large Bold design is usually good design. (1) Make the geisha daringly small, and black becomes the dominant element. Black conveys silence and mystery and here suggests a glimpse into a distant, inscrutable culture. (2) Make her very big, and the image becomes intimate, yet her down-ward gaze remains detached, profes-sional, inaccessible. In both cases, note that all text is at the bottom in her line of sight. 1 2

Text block serves as a pedestal to anchor the photo (stable, no tension). White headline comes forward; gray text recedes and doesn’t compete.

Lip color ties eye shadow, lips, fan and subhead together. Note the fan is the size of her lips, an intentional similarity that strengthens the “line.”







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GEISHA


A UNIQUE WORLD OF TRADITION ELEGANCE AND ART

ROE CITY COLLEGE, LH HORTON GALLERY

JANUARY 20–23, 6 P.M. | FREE & OPEN TO THE PUBLIC

GEISHA

GEISHAA UNIQUE WORLD OF TRADITION, ELEGANCE AND ART

ROE CITY COLLEGE, LH HORTON GALLERY | JANUARY 20–23, 6 P.M. | FREE & OPEN TO THE PUBLIC

Typefaces

1 (a–e) Centaur MT | a) 370 pt, b) 53 pt c) 226 pt, d) 48/60 pt, e) 220 pt

2 (a–b) Helvetica Condensed Light a) 35 pt, b) 35/53 pt

(All text has +50 letterspacing.)

Images

3 iStockphoto.com

Article resources

Colors

C30 M30 Y30 K100

C0 M0 Y0 K50

C30 M90 Y58 K43

4

5

4

1c

1e

6

5

6

1a

1b

2a

3

1d

2b

1b2a






http://www.myfonts.com/fonts/linotype/centaur/mt/

http://www.myfonts.com/fonts/linotype/helvetica/condensed-light/

http://www.istockphoto.com/file_closeup.php?id=1772878

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Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understand-able, useful and even fun for everyone.

John McWade Publisher and creative directorGaye McWade Associate publisherVincent Pascual Staff designerDexter Mark Abellera Staff designer Before & After magazine323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995E-mail [email protected] www http://www.bamagazine.com

Copyright ©2007 Before & After magazine ISSN 1049-0035. All rights reserved

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Be

fore

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fter | w

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1 of 5

Ho

w to

de

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a sm

all p

oste

r 06490649

Ho

w to

de

sign

a sm

all p

oste

r

How

to d

esign a sm

all poster

You use a small poster to m

ake a big impression at close range.

To design it, use bold images and high contrasts.

A ta

blo

id p

ag

e, two average im

ages and brief copy are w

here the job begins. The first step w

ill be to look closely at w

hat the photos have to say.

Th

e art dep

artmen

t of R

oe C

ity Co

llege need

s a small

po

ster to ad

vertise its next even

t, a picto

rial histo

ry o

f the geish

a. Th

e po

ster will b

e disp

layed o

n in

do

or

walls, w

ind

ows an

d tab

letop

s, wh

ere it will b

e viewed

m

ainly at clo

se range.

A go

od

po

ster is simp

le and

bo

ld. It co

nn

ects q

uickly an

d releases its in

form

ation

easily. Wo

rds tell

the view

er wh

at, wh

ere and

wh

en. T

he d

esign, in

this

case, mu

st con

vey dram

a, mystery an

d trad

ition.

We’ve b

een given

two

ph

oto

s from

the even

t, bo

th

of average q

uality, an

d a sm

all amo

un

t of text. W

e’ll b

e wo

rking in

an 11

x 17 (tab

loid

-size) space. H

ere’s h

ow to

app

roach

the jo

b.

11” x 17”

Fro

m:

Su

bject:

Date: To

:

Sanji Yosho

Janu

ary Even

ts Po

ster

October 15, 2006 3:27 P

M P

DT

Dexter M

ark Abellera

Dexter,

Here’s the copy for our January event. T

he pix were too big to e-m

ail, so I’ve uploaded them to our

FT

P site; you already have the access code. I’m

not thrilled with either pic, but the board felt that

they were pretty iconic so w

ould serve well for the show

. The poster needs som

e drama -- and

some m

ystery and tradition would be good, too; the geisha culture has a pretty interesting history.

Tabloid-size, portrait format; w

e figure we’ll display a couple dozen around the cam

pus starting late

Novem

ber. The show

will be pretty nice; I think you’ll like it.

You may e-m

ail me anytim

e.

With regards,

Sanji

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

Head: G

eisha

Subhead: A

unique world of tradition, elegance and art

Info: R

oe City C

ollege, LH H

orton Gallery

January 20-23, 6 p.m.

Free & open to the public

How

to design a small

posterTo m

ake a big im

pression

at close range,

use b

old im

ages and

high

contrasts.

Be

fore

&A

fter | w

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oste

r 06490649

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w to

de

sign

a sm

all p

oste

r

Wh

at’s in

the

pictu

res? The fan (left) is a sim

ple image w

ith a bold silhouette and a plain background—

all good qualities—but

it’s too generic to anchor the poster; instead, it may be useful

as support. The geisha (1) should convey the story, but the

image is w

eak; it has two focal points (face and box) and

many distracting lines and shapes that send the eye

to and fro. But she has an interesting face that w

e m

ight work w

ith. Cropping (2

) eliminates the w

eak parts and retains the strong center of interest.

??

?

He

r face

tells a

de

ep

story

M

ask out the remaining background,

and the image is transform

ed into one w

ith real power. N

ow w

e begin to see elem

ents of line and contrast that w

e didn’t see before. Many ho-hum

originals have sim

ilarly strong images

inside. The key to discovery is to make

it simple, and m

ake it big.

Evalu

ate th

e p

ho

tos

As a ru

le, you

wan

t the p

ho

tos to

carry mo

st of th

e design

load

. To d

o th

is, you

mu

st fi

rst fin

d th

eir strength

s, then

wo

rk with

the “sto

ry” they h

ave to tell.

12

Mo

tion

less in

the

cen

ter

The image is highly triangular. H

er shoulders and head form

a triangle; her face is triangular; eyes and m

outh form a triangle, and the

lapels and folds of her kimono are

triangular. Her gaze, eyes, eyelids

and eyebrows all point dow

n and tow

ard the center. Such sym

metry is naturally

motionless and w

ithout tension. To m

imic that in layout, the photo

should be placed at the bottom

center, where it’s “on the ground”

at rest. In con-trast, note (inset) that offset and in the air is a tense, unstable position, w

here photo and layout are not w

orking together.

Wh

ere

do

you

pu

t it?T

he ch

aracteristics of a p

ho

to h

elp d

etermin

e wh

ere it belo

ngs o

n a p

age. In th

is case, every lin

e po

ints d

own

and

toward

the cen

ter . . .

Bla

ck a

dd

s dra

ma

Turning the background black adds silence, pow

er and incredible contrast. H

er black hair now

recedes, while her

white face and kim

ono becom

e the “canvas” against w

hich her black eyes, brow

s and red lips stand out in arresting relief. N

ote her head is centered in the poster, w

hich is the strongest position and am

plifies its pow

er. The sto

ry is in h

er face, w

hich now has our

undivided attention.

Be

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r 06490649

Ho

w to

de

sign

a sm

all p

oste

r

A U

NIQ

UE

WO

RL

D O

F TR

AD

ITIO

N, E

LE

GA

NC

E A

ND

AR

TRO

E CITY C

OLLEG

E, LH H

ORTO

N G

ALLERY | JANU

ARY 20–23, 6 P.M. | FREE &

OPEN

TO TH

E PUBLIC

GE

ISHA

Finish

with

the

sup

po

rting

de

tailT

he su

pp

ortin

g detail is th

e small stu

ff that can

be read

on

ly up

close. It in

clud

es a fuller

descrip

tion

of th

e event, th

e wh

at, wh

ere and

wh

en, an

d a sm

all graph

ic.

The

sup

po

rting

de

tail com

pletes the poster. It includes a subhead that finishes the story started by the headline; a line that gives the w

here and when, and the fan, w

hich visually con-veys “tradition, elegance and art.” Subhead and headline—

two

parts of the same thought—

are set in the same typeface, w

hile the utility line is in a plain, readable sans-serif (above). A

ll of it is centered (stable and m

otionless like the image) and directly

in her line of sight. Very strong.

On

e sto

ry, two

sto

ries This poster is

actually two “stories”

in one. The top half is the big story (face and headline), w

hile the bottom

half is the small

story (face and support-ing detail). You can see below

that one is as im

portant as the other.

GE

ISHA

Same

typeface ties top to

bottom

A U

NIQ

UE

WO

RL

D O

F TR

AD

ITIO

N, E

LE

GA

NC

E A

ND

AR

TRO

E CITY C

OLLEG

E, LH H

ORTO

N G

ALLERY | JANU

ARY 20–23, 6 P.M. | FREE &

OPEN

TO TH

E PUBLIC

GE

ISHA

A U

NIQ

UE

WO

RL

D O

F TR

AD

ITIO

N, E

LE

GA

NC

E A

ND

AR

TRO

E CITY C

OLLEG

E, LH H

ORTO

N G

ALLERY | JANU

ARY 20–23, 6 P.M. | FREE &

OPEN

TO TH

E PUBLIC

GE

ISHA

Ho

w b

ig? Large size

usually conveys power,

but the biggest possible setting (above) introduces som

ething we don’t w

ant: tension. Its close prox-im

ity to the edge “con-nects” them

like water

drops joining across a gap and creates dozens of fussy, irregular shapes. This happens because the letter strokes and the gap are now

the same

size (inset). The solution is to reduce its size just enough to disconnect it from

the edge (left).

Wh

at typ

efa

ce? A

typeface has many jobs to do—

one of which is

to be read! It must convey the tone of the event (a pictoral history),

reflect the style of its subject (the Japanese geisha), have visual sim

ilarities to the photo, and work w

ith, not against, the layout (centered and m

otionless). Beautiful C

entaur does all of this. At a

glance, Centaur looks like an ordinary R

oman typeface. B

ut it is full of w

arm idiosyncrasies. N

ote the serifs circled above are all differ-ent—

two are cupped, tw

o are bowed, one curls back; and the letter

strokes vary in soft, irregular ways. These are earm

arks of a human

hand (which categorizes C

entaur as a Hum

anist typeface) and echo the hand-brushed strokes of Japanese characters.

Wh

ere

? Centered and m

otionless.

GE

ISHA

GE

ISHA

Se

lect an

d se

t the

he

adlin

e typ

eB

ecause a p

oster h

as on

ly a few elem

ents to

do

the w

ork, typ

e plays a b

igger-than

-usu

al ro

le in th

e design

, so p

ay close atten

tion

to its style an

d settin

g. Wh

at to co

nsid

er:

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w to

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oste

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GE

ISHA

A U

NIQ

UE

WO

RL

D O

F TR

AD

ITIO

N, E

LE

GA

NC

E A

ND

AR

TRO

E CITY C

OLLEG

E, LH H

ORTO

N G

ALLERY | JANU

ARY 20–23, 6 P.M. | FREE &

OPEN

TO TH

E PUBLIC

A U

NIQ

UE

WO

RL

D O

F TR

AD

ITIO

N

EL

EG

AN

CE

AN

D A

RT

ROE C

ITY CO

LLEGE, LH

HO

RTON

GALLERY

JANU

ARY 20–23, 6 P.M. | FREE &

OPEN

TO TH

E PUBLIC

GE

ISHA

Sam

e e

lem

en

ts, two

bo

ld variatio

ns

Scaling th

e ph

oto

up

or d

own

inten

sifies its d

rama. A

s you

arrange elem

ents, rem

emb

er to

wo

rk with

, no

t against, th

e ph

oto. C

enter th

e layou

t; get colo

r from

the im

age.

Bo

ldly sm

all, b

old

ly larg

e

Bold design is usually good design.

(1) M

ake the geisha daringly small,

and black becomes the dom

inant elem

ent. Black conveys silence and

mystery and here suggests a glim

pse into a distant, inscrutable culture. (2

) Make her very big, and the im

age becom

es intimate, yet her dow

n-w

ard gaze remains detached, profes-

sional, inaccessible. In both cases, note that all text is at the bottom

in her line of sight.

12

Text block serves as a pedestal to anchor the photo (stable, no tension). W

hite headline comes

forward; gray text recedes and doesn’t com

pete.

Lip color ties eye shadow, lips, fan and subhead

together. Note the fan is the size of her lips, an

intentional similarity that strengthens the “line.”

GE

ISHA

A U

NIQ

UE

WO

RL

D O

F TR

AD

ITIO

N, E

LE

GA

NC

E A

ND

AR

TRO

E CITY C

OLLEG

E, LH H

ORTO

N G

ALLERY | JANU

ARY 20–23, 6 P.M. | FREE &

OPEN

TO TH

E PUBLIC

A U

NIQ

UE

WO

RL

D O

F TR

AD

ITIO

N

EL

EG

AN

CE

AN

D A

RT

ROE C

ITY CO

LLEGE, LH

HO

RTON

GALLERY

JANU

ARY 20–23, 6 P.M. | FREE &

OPEN

TO TH

E PUBLIC

GE

ISHA

GE

ISHA

A U

NIQ

UE

WO

RL

D O

F TR

AD

ITIO

N, E

LE

GA

NC

E A

ND

AR

TRO

E CITY C

OLLEG

E, LH H

ORTO

N G

ALLERY | JANU

ARY 20–23, 6 P.M. | FREE &

OPEN

TO TH

E PUBLIC

Type

face

s

1 (a–e

) Centaur M

T | a) 370 pt, b) 53 pt c) 226 pt, d) 48/60 pt, e) 220 pt

2 (a–b

) Helvetica C

ondensed Light a) 35 pt, b) 35/53 pt

(A

ll text has +50 letterspacing.)

Ima

ge

s

3 iStockphoto.com

Article

reso

urce

s

Co

lors

C30

M30

Y30

K100

C0

M0

Y0

K50

C30

M90

Y58

K43

45

41c1e

6

56

1a

1b2a 3

1d2b

1b2a

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Be

fore

& A

fter m

ag

azin

e

Befo

re & A

fter has b

een sh

aring its p

ractical app

roach

to

graph

ic design

since 1990. B

ecause o

ur m

od

ern w

orld

h

as mad

e design

ers of u

s all (ready o

r no

t), Befo

re &

After is d

edicated

to m

aking grap

hic d

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17. afiche magazine 0649 how to design a small poster

Design

Transcript of 17. afiche magazine 0649 how to design a small poster