Introduction:
Typography has played a major role in our history from scribes with handwritten texts to the invention of the printing press, to its use on our Personal Computers in word processors and design programs in our everyday lives (Ben Barrett-Forrest, 2013, n.p [online video]). Although many people will never understand the importance of typography, it forms a very big part of graphic design. Typography, from a graphic design perspective, will make or break a design, and is the deciding factor between a good design, and a bad design. Typography is used in many was in graphic design; information graphics, corporate identities, logos, web designs and many others, however the area I wish to discuss typography’s importance is poster design. Although posters can be purely visual, you will seldom come across a poster with no form of wording or typography on it. It is for this reason I want to base my essay on this – posters are used to advertise events, products and are also used to portray information, and this information cannot be portrayed without the use of good typography. By looking at the poster designs of Jules Chéret and Henri Toulouse Lautrec, posters from Nazi Propaganda and US war recruitment, as well as more recent works by the graphic designer Paula Scher, I want to show how the type’s physical style and look changed, but it’s use stayed the same although certain posters are more effective than others simply because of the typography used. By taking this knowledge and then looking at the basic framework of how to design a poster and how to make use of typography ‘correctly’ in today’s times, we are still using the same methods as the designers before us.
Posters are supposed to attract our attention, convey info...
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...the trial and error of poster designers throughout the years, we have been able to come up with a straightforward algorithm for creating good posters, which just needs to be read and understood for the design to be good and visually appealing. The propaganda posters from the world wars were a good starting point to see how the physical shapes of the type changed, which backs up the ideas mentioned in the History of Typography short film. We then also see how posters do a full 180 degree twist when it came to Chéret and Lautrec, then coming across Scher, where typography is used as a counterweight to the visuals, and then changing to actually become the visuals themselves. Then for a company to release such an in-depth ‘how to’ guide about typography proves its importance’s within graphic design since a bad design will not be as successful as a good, clear design.
Posters were used during World War II by the U.S. government to get a significant message across to their citizens. To analyze a poster it is important to think about the choice of color, placement of words and images, shapes, and emotional appeal ( Lunsford and Ruszkiewicz 91). All of these factor into the message the author is trying to explain to its viewers visually. In the poster “When You Ride Alone,” the message the author was trying to get across to Americans was the importance of carpooling. This poster successfully conveys the message through the words,color scheme and representation of objects.
World War II propaganda posters were used mainly for three reasons: to invoke public sympathy for the war cause, to help finance the war, and by encouraging people to support the war. Many t...
In America, many have come to recognize Iran as a terrorist nation, but in reality, many Americans stereotype Iranians because they misunderstand the country and how it got to that point. In Marjane Satrapi’s graphic novel Persepolis, she gives her readers an inside look of Iran by writing about her childhood during the Iranian Revolution and the changes in her life during that time. The frames in Satrapi’s graphic novel draw similarities and differences between advertisements and the Iranian culture. After analyzing the Satrapi’s graphic novel to advertisements we will look at the similarities and differences of how graphic novels and advertisements use words and images to establish the visual rhetoric.
From poster design, typography, production processes, and advertising, Art Deco was a combination of various styles that helped advance the way design was seen by the public. The style’s inspiration primarily developed through the analyzation of Modern, Neo-Classic, and Abstract concepts. A.M. Cassandre was known as one of the major contributors to the style, and helped develop an exaggeration of scale and form beyond previous comparison. His works during this time were typically presented in a multitude of travel posters, including his poster for the train Express Nord in 1927 (figure 1), as well as his poster for the ocean liner L’Atlantique in 1931 (figure
Throughout history, the primary focus in life has been to supply oneself with necessities to survive and pass on your legacy through offspring. Now modern life in America has transformed into overloading our brains with advertisements, flashing lights, and constant entertainment regardless if we want it or not. Through considering the history of typography and the transition into the age of entertainment, the switch from typography to television will adversely affect public discourse and through the development of media metaphors, and along with the rise of the internet and its convince has shaped contemporary American thought, sending a wave of ignorance from one generation to the next. This new way of mechanized life is the way of the future,
The proliferation of graphic scores emerging in Europe and America from the mid-1950s has had a profound impact on musical thought, broadening links between performers and composers, audiences and art forms. Exploration of notational methods based on graphics flourished rapidly and diversely during the fifties and sixties, primarily as a trend amongst young radicals. So many composers producing scores of this kind used a personal vocabulary of symbols – often creating different notation systems for each work – that the effectiveness of their approaches in realising a sonic concept can be assessed only on a case-by-case basis. But the significance of early graphic scores does not depend entirely on how they sound; rather it lies in their capacity to accommodate or even to generate new forms, techniques and mediums, and to challenge notions of what constitutes a musical composition. In addition, these works demonstrate that notation can extend beyond instructional functionality to allow for prominent interpretive and aleatoric elements, and can harbour an intrinsic aesthetic value of its own, apparent before a single note is sounded.
Numerous intellectuals have debated on the effects that typography has on the mind. An example of two such intellectuals are Walter Ong and Neil Postman. In Walter Ong’s “Writing is a Technology that Restructures Thought” he describes the difference between oral and typographic cultures and the resulting effects each had on the mind while in Chapter 4 of Postman’s “Amusing Ourselves to Death” similarly focuses on how typography has molded the way that we think, which has become very structured and writing-like, and how that effects public discourse. Overall, both their pieces serve to demonstrate how typography arrogates itself into our lives and is forever embedded in our conscious and unconscious mind, which illuminates how technology is
My intention here is to acknowledge two problems that I believe all scholars of "the visible" will encounter at some point in their work. Both showed up early in my research on commemorative artworks, but I suspect that they crash everyone's party at some point. I have no "solution" to these problems, but I believe they should, actually must, be addressed in work on visual rhetoric. The first, "readability," is both a practical and theoretical problem having to do with the possibilities of interpretation in visual culture. The second, which I'll simply label "materiality" for the moment, has a presence in numerous arenas beyond the study of visual culture, but remains nearly unaddressed and nearly unacknowledged in rhetorical work on visual images.
The famous age-old saying, “A Picture is Worth a Thousand Words,” is the secret that lies behind why these posters were so powerful and successful in the first place. Even though we are looking at them many centuries later, we can still feel the impact and experience the intended effects of their depictions. As Americans, many have been exposed to a range of American war posters through various means such as a school history books.
The poster uses some words on this particular poster. The writing is legible and the fronts chosen are legible and clear. The most dominant aspect is the picture with the exception of the title. The woman on the table brings fear. The man with the red eyes draw a viewer’s attention.
In the 1950s, Switzerland and Germany developed the International Typographic Style. Typically composition has a grid layout and san-serif fonts to create an asymmetrical organization of the elements used. This makes the information clear and easy to read. Later, in the 1960s, the United States went through a poster craze. The first wave of posters were often related to anti-establishment values, rock and roll and psychedelic drugs; often referred to as psychedelic posters. This movement had many characteristics from art nouveau, pop art and op-art movement. This is evident in the use of organic flowing lines and curves, color and the use of pop culture images and manipulation to show the conceptual image. The works of Armin Hofmann, poster
"I am convinced that it is possible to express something even on the smallest space - supposing that you have something to say... The designing of stamps brought me further, because I had to force myself to be as simple and as clear as possible, with a minimum of lines and colors. I understood that it is possible to realize a good work even with only one color” (Hans Erni – A Swiss Artist).
During the technological boom of our current day and age, many argue that printed media is no longer worth the paper it is printed on - between the power of television internet advertising, ads in papers and magazines have become a decaying source, and as such, it is important that the issue be addressed appropriately for the urgent matter putting the jobs of many current and future graphic designers at risk. However, while works such as Stefan Hampel, Steven Heinrich, and Colin Campbell’s “Is an Advertisement Worth the Paper it’s Printed on?: The Impact of Premium Printing Advertising on Consumer Perception” prove to provide the proper rhetorical appeals to convey both the problems and solutions that graphic designers must face, other works
A rare new design that may change the design trends of 2016. Typography- use of letters in an imaginative way that will nail out a brilliant logotype. Sometimes, we should survey all the possible measures to create a twist of excellence in the Logo. Arranging the letters in a new format and adding a sense of drama into your creation, make the typography a captivating logo design. In typography a special attention is given on choosing the font style which should be felt as a personalized script style.
Graphic design gives some the ability to build something magical on a computer or paper and turn it into a solid form for others to see or use. Graphic design or graphic communications is the art and practice of planning and projecting ideas and experiences with visual and textual content. The form of the communication can be physical or virtual, and may include images, words, or graphic forms. The experience can take place in an instant or over a long period of time. The work can happen at any scale, from the design of a single postage stamp to a national postal signage system, or from a company’s