Posters can be roughly divided into commercial posters, cultural posters, movie posters and public service posters according to their different applications, and here they are roughly introduced.
1. Commercial posters:
Commercial posters are commercial advertising posters that publicize goods or commercial services. The design of commercial posters should appropriately match the style of the product and the audience.
2. Cultural posters:
Cultural posters refer to a variety of social and recreational activities and various types of exhibition posters. There are many kinds of exhibitions, different exhibitions have their own characteristics, designers need to understand the content of exhibitions and activities in order to use the appropriate method to express its content and style.
3. Movie posters:
Computer posters is a branch of the poster, movie posters are mainly to attract the attention of the audience to stimulate the role of box office revenues, and theater posters, cultural posters, and so on a few similar.
4. Public service posters:
Social posters are with a certain ideology. These posters have a specific educational significance to the public, the poster theme includes a variety of social welfare, moral publicity, or political ideology of publicity, to promote love and dedication, *** with the spirit of progress. Poster design: store posters are usually used in business stores, do store decoration and publicity purposes. Poster design needs to take into account the overall style of the store, color and business content, and strive to blend with the environment.
Poster design: investment posters are usually for the purpose of business promotion, the use of striking visual effects to achieve the purpose of publicizing certain goods or services. Investment poster design should be clear about its commercial theme, while the application of the text should pay attention to highlight the key points, should not be too fancy.
Exhibition poster design: exhibition posters are mainly used for the exhibition of publicity, often distributed in the streets, theaters, exhibitions, commercial districts, stations, wharves, parks and other public **** place. It has the role of dissemination of information, involving a wide range of content, rich artistic expression, strong visual effect.
Steps in poster design
1, the purpose of this poster?
2, who is the target audience?
3, what about their reception?
4, how about other posters of the same type of product in the same industry?
5, the embodiment of this poster strategy?
6, creative point?
7, expression?
8, how to combine with the product?
Specific elements of poster design
1, full of visual impact, can be achieved through images and colors
2, the poster expresses the content of the concise, to seize the main demand point.
3, the content should not be too much
4, generally picture-based, copywriting as a supplement
5, the theme of the font eye-catching
How to design posters (a)It can be said that the poster design is a graphic design of the master. But sometimes it is its expression is too broad, but to make us in the beginning a little confused. In two installments, we will discuss how to design an attractive poster and what are the principles and techniques in designing it. Original article by Piper Nelson. Poster design is a challenge for every graphic designer. As a poster in a two-dimensional space, its uses are innumerable, and its subject matter ranges from advertisements and promotions to public **** service announcements. The challenge for designers is to create posters that are appealing and convey a specific message that will ultimately inspire those who view them. You can find posters everywhere when you are wandering the streets of a city, waiting for a train at a subway station, or visiting a museum. The best posters always make us stop, their message is clear, and they are still in our minds after we leave. In this article, we'll explore some of the basic principles of creation that can help you when designing an impressive poster. You will learn how to create a unified, coherent and rhythmic work that will attract the attention of passers-by on the street. Figure 1 The poster above, designed by Moroni, uses harmonization, repetition and other attractive creative techniques to achieve an effective communication with the viewer and to make it unforgettable. The basis of poster design a long time ago, when mankind has something to announce to others on the poster, at that time there is no sign that the poster can have greater advantages than other publicity media. But why do people nowadays always use TV commercials and billboards as the symbol of our public ****? One answer is that there is still something about a well-designed piece of graphic art that appeals to us. Figure 2 Many buildings in the city usually prohibit posters, but with temporary fences, posters are everywhere. Posters are a very economical form of presentation - using a minimum amount of information to achieve a good publicity effect. Sometimes poster designers are asked to reduce the amount of text, convert other text into visual elements, and sometimes the entire poster is designed using only a few distinctive typefaces. Designers are also often asked to organize a large number of trivial details and make them clear and understandable. A designer's choice of images when designing a poster can be the difference between success and failure. The role of images is to simplify the message - to avoid overly complex compositions. Pictures usually explain what the product is, who provides it or who is going to use it. Pictures can make a message that is difficult to put into words into a short, clear message, such as the somewhat complex-sounding words "Home loans for working people who can't afford to buy a house". Figure 3 In the poster above, how do you combine dozens of names of performers and creators in a way that keeps the audience interested in watching, and doesn't overwhelm them? --Combine these names into an appealing art plane! In this Lincoln Center poster, the designer has cleverly used an image and typeface in such a way that the viewer can't help but read on. A poster designer needs to have a strong grasp of typography. Since the text on a poster is always very condensed (as opposed to a package or magazine), the layout of the poster text is very important. According to an unwritten rule of design, the fewer elements you use in your design, the more careful you have to be in your design. The text on a poster always conveys a specific message, such as "U2 concert on Friday the 12th" or "Entrance closed for maintenance". The font style, the layout of the text, and the ratio between the text and the image will determine whether the message is easy to read and remember. Finally, it is important to note that a poster must be able to stimulate the interest and attention of the viewer. Even the simplest images and text can be confusing if not designed properly. How do you design a compelling poster so that the viewer has direct access to the most important information? All of these things are problems that we encounter in the creation of posters. So in this article we will introduce some of the most basic methods. ConsistencyWe have to face the fact that designing posters, like any other graphic art, can easily lead to confusion. Photographers? The picture is not as good as you would like it to be. Copywriters? They can't finalize it until the last second. Marketers? They change their minds every two minutes. During the design process, the designer must have a clear sequence of events and implement them one by one. The poster design must be consistent from the start, including the headline, choice of materials, photos and logo. Without consistency, the poster will be confusing and difficult to read. All of the design elements must be put together in the right way to form an organic whole. How can we create a "coherent" design? Let's name a few principles: The Principle of Relevance The first principle of consistency is to use the principle of relevance, which can also be called grouping. Correlation is based on the natural principle that things are grouped together. If we see components on a page that are organized together, we try to understand them. We think of them as a group - regardless of whether the different parts are actually similar or related. It's a bit like the principle of guilt by association. There are a number of ways in which a poster designer can realize this principle of association. First, grouping people, objects, and text can improve the effectiveness of the message. As you can imagine, many billboard advertisements consist of a photo of a consumer, a picture of a product, and an advertising message. Grouping the types of people (children? Elderly people? Overworked parents?) The choice of character type (child? elderly? overworked parent?) is inevitably linked to the product. If the photo of the person is handled well, it's as if the consumer is saying "I always use Bleacho bleach" rather than a straitjacketed tagline. Secondly, the pieces together have a stronger impact than if they were loosely structured individually. When several items are very similar (e.g., several different watches in a chain), the viewer's eye naturally moves from one watch to another. These objects form a visual unit that gives the viewer a single message rather than an indirect one. If the objects in a poster are very similar, a group composition will attract more attention to the poster. Other elements will be treated as secondary by the viewer. Figure 4 In this image, notice how your eye travels from one circle to another. All the rings are treated as a whole and are the focal point of the whole picture. Repetition Another way to create consistency in your work is to repeat shapes, colors, or certain values. When you see a design element on a flat surface with different parts applied over and over again, our eyes naturally follow them, and sometimes even if they are not placed together, our vision still sees them as a whole. We subconsciously draw lines between them. The easiest way to apply repetition is to create a pattern in the background of a poster and repeat it. These repeating patterns in the background create an interesting visual and compositional effect, which then connects the background to the elements in the foreground. Another way to apply repetition is to have a line of repeating elements direct the viewer's eye to an important message, logo, or image. Repeating elements can create a path to guide our eyes, creating a sense of curiosity in the viewer - what's on the other end? This is actually a way of telling a story and enticing the viewer to keep looking. The repeating pattern of caterpillars in Figure 5 leads the viewer's eye to the INNU logo. After the logo, there are some butterflies repeating patterns, indicating the difference between before and after you go to the salon, which is a clever idea. Human vision has a very strong sense of repetition, and even when there is no repetition of objects in a picture, we see them as repetitive. For example, in a poster about nail polish, we can add a big drop of nail polish at the top of the poster. In another part of the artwork, the same pattern or color as the drop of nail polish will create an effect that corresponds to the drop of polish above it. Without realizing it, our eyes have gone to the bottom. Figure 6 In the image above, the dots are elements from the logo that we have repeated in the image - creating consistency, attracting attention and reinforcing the brand. For some product posters, repetition is also an effective strategy to convince the audience to make comparisons. For example, in a poster we may put up to ten pairs of shoes, but each pair is different. The main message (the shoes) is easy for the viewer to relate to because the item is repeated in the poster, and the viewer will then take a closer look at the different styles of the shoes. Another popular design technique is to arrange all the same things together, but one of them is different, so as to achieve the effect of surprise. For example, you could design 15 squares and arrange them in a square, 14 of which are blue and one of which is pink and contains the company logo. As you can imagine, the pink color block will be the focus of the audience. Of course, the principle of repetition can also have a consistent effect on the design of a series of posters, whether they are placed together or separately. For example, for a series of outdoor advertisements for a summer concert, the repetition of key elements creates a sense of power. When you see one, you think of the other. Repetition of position, color, size, or image reinforces recognition and allows the viewer to focus on all the information you want to convey. What are some other ways to create consistency with the principle of continuity? Continuity! It's often used in conjunction with repetition, as you've seen in the examples above. When a designer applies continuity, the objects in the work are grouped together to lead the viewer to another location. This is usually achieved by using a linear effect. When we see a line, our eyes instinctively follow it to see where it goes. Figure 7 The poster above applies a continuation of the design method, guiding our eyes vertically along the letter U. The left and right sides are made up of the letter U. The right and left sides are made up of the letter U. The left and right sides are made up of the letter U, and with the text on top, the whole effect is quite good. If the U were not so wide (e.g., narrowed by one-half), then your attention would be focused on the E and C in the word PEACE, because underneath these two letters are the two tops of the U. This method allows the image in the poster to direct the viewer's eye to the message or brand we are trying to convey. However, it's also a good option if we're not using an image, but a graphic made up of words. Add a background color If the shape, color or appearance of the elements in your work do not have **** in common, how to make the work unified? A simple solution is to place these elements in a solid color area. This approach seems to be a bit of a cop-out. Why do you have to put unrelated elements together? Generally speaking, we don't do this. For most commercial posters, you need to be able to get your message across quickly, and we generally use shapes or colors that are related. In the poster above, "Red" is not only the title of the show or a political theme, but it is also a color that brings the various elements of the design together. The composition of the poster also creates an associative character. In the case of art events or posters, the viewer will take the time to understand the meaning of each part on their own, however, dissonant elements can sometimes convey an interesting and experimental visual effect. Sometimes an advertiser will ask for objects to be combined in a surreal way, and placing disparate elements in a large area of background color can give the viewer the impression that they are related. The principle of coordination, whether coordinated or disjointed composition can make the layout of the poster has a strong visual effect. Because breaking the balance will produce a tense atmosphere. With small children, we know to keep them away from potentially dangerous things like leaning trees, rocks, furniture or ladders. So an out-of-balance composition gives us that same feeling. Are we falling? Is something going to fall on us? When we look at a work, we always envision a vertical center line and a composition that is symmetrical on both sides. Coordination is particularly important in design, because the poster always appears as a single entity, with nothing else around it to give it a visual support (other designs such as magazine advertisements, which have an adjacent page or other surrounding elements that can act as a support). Symmetry: Nature is full of symmetry. Butterflies, maple leaves and snowflakes all have a very symmetrical shape. Humans feel a special affinity for these symmetries, perhaps because our bodies are also symmetrical (of course, most of us are). Designers capitalize on this human nature. When creating a poster, a designer will often place a major image or piece of text on a vertical axis and symmetrically left and right. This composition makes the viewer feel comfortable - everything is in order. When the object in our picture is a face or a person's body, symmetry helps the viewer relate to the work. Symmetry can also be created by placing individual design objects in corresponding positions on the left and right. This combination of repetition and symmetry creates a sense of harmony and stability in the work. Figure 9, a poster design for sportswear, is impressive because the symmetry of the two sides of the composition makes the design (as well as the product and brand) feel stable and natural. The combination of the heavy colors and lines and the space around the entities in the composition make for a powerful piece of artwork. However, symmetrical compositions have their drawbacks. Sometimes we don't want a work to always feel stable and natural, because it can seem to lack vitality. We know that posters are often used as a promotional medium to persuade viewers of a new product, a new thing or a new idea, and a vibrant piece of artwork is more effective. It is important to note that this does not mean that we are creating an incongruous piece of artwork - we are simply creating coherence in a different way. Asymmetrical coordination: We often use asymmetrical compositions to make posters dynamic. Designers use color, value, shape, and placement to produce a flat composition that is not completely balanced but does not create confusion. Absolute asymmetry is not easy to achieve - if the differences in size, color, and other elements are not too great, there is also a sense of balance.10 The asymmetrical composition in this Road Star motorcycle poster creates a striking visual effect, and you can even feel the motorcycle moving to the right. Let's take a look at a few asymmetrical compositions and see the ways in which they can be achieved: color coordination Have you ever wondered why the work of the famous Dutch painter Piet Mondrian is so vivid? Mondrian in his works a lot of use of color coordination techniques. For example, in one of his paintings, most of the upper left side is white and yellow, while the lower right side is a small piece of blue. This small patch of blue harmonizes perfectly with the large area of yellow. In order to create this harmony, Mondrian filled the canvas with grids before applying the colors to ensure that the proportions of the colors were accurately mastered. In the poster for the design exhibition shown above, the large blocks of yellow are beautifully harmonized with the smaller blocks of black and the photograph of the chair. Color coordination is often determined intuitively, so it requires more practice. There are several principles involved:? Smaller areas of color harmonize with larger areas of no color. Color is more attractive than the blank area, and a small piece of color and a large blank area in the visual psychology is equal. Ambiguous colors are more appealing to the eye than cooler colors. We can easily notice orange and red, while blue and green have a sense of backwardness. Therefore, a larger area of cold colors with a smaller area of ambiguous colors can produce a harmonious effect. The greater the saturation of the color, the more striking. Dark blue is more attractive than gray blue. How can harmony be achieved? A small block of bright color and a large block of lighter color can produce a sense of harmony. The principle of numerical coordination asymmetrical coordination is based on the fact that both parts appeal to the eye in the same way, so that each object is different but appeals to the eye equally. The "valuedifference" (valuedifference) always attracts our eyes, such as the contrast between light and dark. Black and white form a strong contrast. Gray and white have less contrast. How to design a color-valuedifference effect to improve the attractiveness of the poster? You can directly use the numerical matching of light and dark, and you can also intuitively assign the matching of shapes. In order to improve your intuitive ability, you can be some of the poster you can not determine the area of the block, and then carefully observe the other areas are not blocked, and then, the blocked area is also displayed, look at these areas and just did not block the area together than you observe the color and shape of the numerical value of the match alone is better or worse. Tip: If you do not have too accurate grasp of the value of the color, you can convert the picture to grayscale mode. Then observe whether the distribution of black, white, and gray has good contrast. Figure 12 The design technique of numerical color coordination is utilized in this poster about CubScouts. A number of fine blue dots have been applied to the white areas to create a light blue effect - brighter than the red areas in the lower section. And each element adheres to the principle of value harmonization in all areas - note the dark trucks and white lettering. In the poster, the contrast of values in each section creates a visually appealing effect, as well as a tense contrast between the sections. The eye moves from one part to another, trying to connect the two. Lively visual elements and the subconscious excitement of the viewer are created by the interaction of the different elements in the work. Shape and Position Coordination Shape coordination and distribution can also create consistency in your poster design. A large, simple shape (or area of images and text) works well with a small, complex element. Larger shapes draw attention to the work, while smaller elements, although less important, visually stabilize with the larger area. Figure 13 In this image, stars of various sizes work well with the simple, monochromatic wave area below. Figure 14 creates a nice harmony in this photo-based poster design. The figure occupies a large area as the center of attention, and his shoes contrast well with the background of the street in the distance below. The placement of the elements also plays an important role in the harmonization of the artwork. The more off-center the objects are on the page, the more visual language is conveyed. This visual experience is related to our real-life observations: for example, when playing on a seesaw, if an adult sits near the center, a child sitting at the end of the seesaw can also lift him up. Figure 15 The outdoor advertisement above is for a consulting firm that customizes different strategies for its clients. the contrast between XL (extra large) and XS (extra small) attracts the viewer's eye. For some angled designs, the theory of coordination also applies. A larger object placed at an angle can be coordinated by placing an object in its corresponding position.
Poster graphic design in what board is the most commonly used one occupies the entire e-commerce product poster design more than 80%The first move: alignment
Look at a group of cases (left-aligned/right-aligned)
These are the most common e-commerce posters, basically the use of left-aligned layout, because according to the browsing habits of the people are generally from the left to the right to look at.
Alignment is the most common and basic arrangement. You can casually flip around the books, all the layout will be applied inside the alignment. Aligned layout will have an invisible line, this line is parallel to the border line of the poster, and the poster's edge corresponds to all the text will be naturally linked together. It gives a sense of stability, strength, unity and neatness, and is the most common arrangement.
Case 2 (center alignment)
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9w people state
No
Yes
Bar
To be honest, I think Japan is a country that is really not very peaceful, except for military security, the rest is for their own interests, there is no good sense to say
I
Do kinda nuclear peace
Show
Peace cannot cause the death of 35 million of our compatriots
Chase
No peace where?
Xin
The day Japan becomes peace-loving, the dogs of the world will stop barking.
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Born robbers, underdeveloped materials, from the Ming Dynasty began to harass our borders, burning and looting, fighting for supplies
Lazy
I go to the nippon, beat the little Japanese Laozi the first to go on
Zou
I love Japan too much
Fighting
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