17. afiche magazine 0649 how to design a small poster
TRANSCRIPT
Before&After ®
Continued
XiBAmagazine.com U
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.
Before&After ®
2 of 9
XiBAmagazine.com U
How to design a small poster 0649
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
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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
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
A UNIQUE WORLD OF TRADITION, ELEGANCE AND ARTROE CITY COLLEGE, LH HORTON GALLERY | JANUARY 20–23, 6 P.M. | FREE & OPEN TO THE PUBLIC
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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 ARTROE 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
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
Before&After ®
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How to design a small poster 0649
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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1 of 5
Ho
w to
de
sign
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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Ho
w to
de
sign
a sm
all p
oste
r 06490649
Ho
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.
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fore
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fter | w
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w to
de
sign
a sm
all p
oste
r 06490649
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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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fore
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w to
de
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a sm
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oste
r 06490649
Ho
w to
de
sign
a sm
all p
oste
r
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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