In the final peer-assessed assignment in this course,

you'll be asked to design a fully fledged typographic poster.

So in this final video, we're going to look at some examples of typographic

posters and talk about how the concerns of typography,

from typeface selection, to composition, to hierarchy, to typesetting,

can be creatively resolved to produce a compelling piece of design.

These examples are all hand screened printed student posters taken from

the CalArts poster archive.

So they'll also give you a taste of CalArts' tradition

of experimental typography.

This poster, for

a performance of Maori Polynesian music, has a very straightforward composition.

But the type treatment outlined in colored letters from the typeface Organda,

gives the poster interest, and

also subtly references traditional Polynesian visual art.

This poster for a lecture by the Korean artist Beom Kim

is dominated by the large hangul characters of the artist's name.

The designer has used these characters to divide up and define the space of

the poster, creating a four-square grid that the rest of the type can live inside.

And this use of large display type to define an overall composition

can be a really useful trick when designing a poster.

In this example, the title type, made of custom-drawn dimensional letters,

makes a diagonal staircase-like gesture across the composition.

One challenge you may encounter is how to create secondary type like the date and

time information here,

that go well with the title type, without just duplicating the title treatment.

Here the designer has tracked out the secondary type, creating a subtle

staircase-like effect amongst the letters that relates neatly to the title.

This poster for a visiting dance company has a really strong spiraling gesture.

Again, the title type establishes the overall structure of the composition.

Pay attention here to how the smaller type works with and reinforces the gesture.

Company and A History are set on a curved baseline.

The date and time are set on an angle.

And the subsidiary information is arranged in a paragraph whose overall shape

suggests movement.

Each of these treatments is unique but

all of them reinforce the compositional gesture.

Also notice how clearly the typographic hierarchy is defined here,

proceeding from the most important information,

the title, down to the least important, the ticket pricing.

In contrast to the fluid gesture of the last poster,

this poster has a rigid gridded structure that's echoed by the title type treatment,

another custom typeface that's very rectilinear and mechanical looking.

Here again, the secondary type is set in a pretty conventional way but

its arrangement reinforces the compositional gesture of the poster.

Here the title typography pushes into the realm of abstraction.

The letters are fragmented, duplicated and off-set, outlined and scattered around.

To aid with legibility, the title and

subtitle reappear in a more conventional setting in the lower left of the poster.

Duplicating the title like this is a perfectly acceptable move

when legibility is a concern.

In this final example, a poster for a lecture on political theory,

the designers have created an organic handmade aesthetic,

the compositional gesture is scattered and chaotic.

The title type is made of linoleum cut letters and

the secondary type is handwritten.

But even within this chaotic aesthetic, hierarchy is

clearly established by the varying size and handwriting style of the text.

When you design your poster,

your particular subject matter and the constraints of the brief

will shape what design decisions are appropriate in your case.

But these examples will hopefully give you a sense of what to

think about as you start to get to work.

Most importantly, have fun and don't be afraid to experiment.

The Typographic Poster

Introduction to Typography

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