Reflecting on the design of the posters I had created for the London in the Raw exhibition to be exhibited at the Hayward Gallery in the Southbank Centre, I had received feedback after I gave a presentation on my work to say that the variety of colours that I had used within the posters singularly and collectively as a series of posters directed viewers attention away from the ‘beauty’ of the black and white photo of the Hayward Gallery that was featured in the background.
The original designs for the posters I had created are below.
The colours I had used within the poster designs corresponded with the colours I decided to use within the digital piece of ephemera I designed. I had conceptualised an app which I looked at an idea for the main menu and the Kids section of the app which would allow a younger audience to become engaged in the theme of the exhibition.
Based on the feedback I had received for the design of the posters, I wanted to keep the colours the same within the app. I had decided instead to change the design of the posters. By changing the design of the posters, perhaps the design for the opening title of the app would change, or the design of the wayfinding and signage would change.
Before progressing further into redesigning the posters, I needed to look thoroughly at designs of other posters, and I more specifically wanted to look at how typography was used in the design of posters I had found online. I put together a Pinterest board and had chosen several that had drawn my interest to them.
The first poster that had caught my eye was this typographic poster which taken my eye to focus on the ampersand placed in the very centre of the poster, between the two strips of text which had been cut off to create the impression of the letters being ‘CUT’ as put in the poster, and the word ‘RUN’ which links to the strips of cut text running diagonally across the poster. I liked how minimal the design was due to the sharp monochrome use with the san serif typeface that had been used throughout. The words within the poster ‘CUT & RUN’ remind me of the phrase ‘hit & run’ because it is so commonly used. Instead, this is advertising a creative exhibition. The lack of a variety of words direct my eye to look at the small description sitting in the bottom left hand corner of the poster.
Instead of looking at a poster, I also decided to look at a double-page layout which featured black and white photos and bold monochrome san serif text. What I liked about the design of the left page is how the model is blocking out the centre of the word ‘WHIITE’. The image of the woman direct the viewer to want to look at the details of the woman’ face closer, guiding you to look at the photo on the next page and then the strip of texture in the background of what looks like vegetation. What really intrigues me about the design of the right page is how the text looks as if it’s been intentionally cut off by the image so the text doesn’t fit around the cropped image in the centre of the page.
The design of the poster below reminds me of the design of the original posters I had created because of the diagonal strips on the page. Instead of using bold and vibrant colours, the designer of this poster has decided to use white to direct attention to the colours of the photo behind the shapes to form a sufficient background for the san serif text in the foreground which is advertising the glasses the model is wearing. What I don’t like about this is how the thin white strip blocks out part of the glasses, which detracts attention from the glasses. However, I do like how the design of the logo in the foreground of the first letter, ‘V’, is incorporated so well into the shape the designer created. It really creates a strong sense of value of the brand, making it seem like a luxurious eyewear brand. It seems as if the supreme design of the poster reflects the quality of the eyewear brand.
Another typographic poster which had caught my eye was a poster promoting a Bachelor of Design Show at the University of Washington. The choice of the sharp san serif typeface showcases the subject of design smartly and effectively. I really like how fragments of letters have been cut out and the opacity has been adjusted to focus on the curves, edges and corners of the shape. However, when you look closely at the opaque fragments of the letters they seem to be crosshatch lines. The letters spaced out in the top half of the poster spelling out the words ‘THE’ and ‘SHOW’ makes the poster especially eye-catching, particularly where small details have been added. I like how the poster would work well as a cluster of posters put together, when looking at where the ‘W’ has been placed at the top linking to the bottom of the poster. It breaks up the poster nicely and directs the viewers’ eye to look back on the details within the poster. What would be interesting to see is how primary colours could work in the larger letters which have been spread across the poster.
What I liked about the poster below was the flash of moroccan blue which layered opaquely on top of a corner of the black and white photo behind. The name in the top left hand corner of the poster in san serif typeface in white has also stood out to me. That same colour has been translated to the small piece of text sitting in the bottom left hand corner of the poster. I would like to consider how the identity of the London in the Raw exhibition could be changed by transforming the vibrant yellow of the logo and type to white to attract less attention to the colour and rather to the beauty of the black and white photo I would have placed in the background.
The poster below, again presents a strong sense of attention to the detail in typography, however the letters have been used and developed in the poster in an interesting way. By using the outlines of the letters the designer has created layers of the letters to create interesting new and unique shapes. The hierarchy of the poster is confusing, however the misleading hierarchy confronts the rules of design and instead questions how the subject of fine art can be used within the development of graphic design.
Finally I chose a poster that didn’t contain much information, nor many interesting elements. It was simple, minimal, and monochromatic, featuring a san serif typeface and an arrow pointing to the bottom left. I liked this poster for it’s simplicity. It has encouraged me to consider what small sentences I could use to represent the subject of London in the Raw. And the simple design of the poster has intrigued me as to how simple the posters I design could be to represent the exhibition, and particularly how a series of simple posters could promote the exhibition in a more effective way than individual posters.
The design of the poster below had differed greatly to the mainly typographic posters I had chosen above. I liked the minimalistic approach it took to the subject of a series of classical orchestral concerts, one of which was a piece by Beethoven. The shapes used in the pattern reminded me of a vinyl record or a pattern from the 1960 which reflected a similar style to that of brutalist architecture. In the design of my posters, the design of this poster has encouraged me to look at how patterns I create could reflect the theme of the exhibition in an interesting and more artistic approach.
With several of the elements which had interested me from the posters above, I would like to explore similar techniques and tools that designers of those posters had used. These elements I would like to attempt to recreate to make the posters more interesting to promote the exhibition.