Message on the theme of the poster. Poster - what is it? The meaning and types of posters

In Russian, the word poster (from the German "das Plakat") appeared in the 19th century. In England and America, the word poster was used, and in the French version this word sounds like "affich" - a poster.

The poster has been known to mankind since ancient times. For the first time, posters (or rather, their forerunners, since these images cannot be fully correlated with the modern concept of a poster) appeared in Ancient Egypt. This was due to the then dominant slave system, and the fact that sometimes the slaves managed to escape. And it was precisely in order to post information about the capture of runaway slaves that special announcements were used at that time, which, with some stretch, can be considered the ancestors of modern posters.

Further, with the development of culture and art, original posters began to be used in Ancient Greece and Rome to inform the population about upcoming performances and interesting events. trade offers. In a sense, little has changed since then - posters are still successfully used, among other things, for these purposes.

The official birthday of the poster is 1482. It was then that the English bookseller Batdold, advertising a new edition of Euclid's Geometry, first used a poster to attract buyers. Since that time, the history of the appearance of the poster begins, but unfortunately it has not been preserved.

The modern life of the poster began in the 19th century, it was then that the word poster familiar to us appeared - translated from German "das Plakat". The beginning of the history of the poster is considered to be 1866, when the Frenchman Jules Cheret, a graphic artist and stage decorator, founded a small lithograph in Paris. It was this person who formulated the basic principles of the modern poster - catchiness (primarily due to contrasting and bright colors), the ability to perceive images and text "on the go", conciseness and concentration of attention on one main figure. Shere created more than a thousand posters, mostly advertising masquerades and exhibitions.

Speaking about the history of the development of the poster, one cannot fail to mention the great Henri de Toulouse-Lautrec. Posters of Parisian cabarets, created by him in the 90s of the XIX century, raised the advertising art of the poster to an unattainable height. The first of them - a poster opened in 1889 "Moulin Rouge" with the infamous dancer La Goulue ("Insatiable") - made a splash.

For a long time, many advertising artists used various visual art styles that were popular at that time as the basis for writing their posters. Therefore, over time, the advertising poster moved into the section of works of art. On it, more and more often they tried to depict the world in iridescent colors, to attract a potential visitor or buyer.

The history of the poster is inextricably linked with the processes that took place in the social environment.

Artists immediately reacted to this and released new works that kept pace with the times.

Toward the end of the 19th century, an advertising poster received official recognition of a cultural fact, and Russia became the organizer and initiator of this important event in the history of the poster. At the end of 1897, the World Exhibition of Posters and Posters was opened in St. Petersburg, which brought together many talented advertising artists. They brought with them their best works at that time and presented them to the eyes of the general public. The exhibition was a resounding success and won universal recognition.

AT modern concept the word poster means a graphic image, large format applied to paper or its equivalent. Modern posters are a product of high technologies in the field of fine arts and printing.

AT recent times more and more often in discussions and in the press, a conversation is raised about the specifics of poster art. This really important question remains unclear to this day and, by its unresolved nature, hinders the practical work of artists.

A poster is a special form of fine art, different from easel painting and graphics. In a poster, the most important thing is the degree of persuasiveness contained in it and the skillful transfer of the idea.

From childhood, the poster has been with us everywhere, from the postage stamp on the envelope to the huge advertising on the billboard. The poster is diverse not only in size, it is rich in types, genres and forms. It has firmly entered the socio-political, economic and cultural life of the country and the whole world, into our life and customs. We constantly meet him on the streets, on fences, on the walls of institutions or workshops, clubs, on the facades of cinemas, in shop windows, on billboards along highways, and, finally, lighting gas or smoking, we hold and see him in our hands on a matchbox.

In a word, the poster is familiar to each of us, but not everyone really knows about the features, about the specifics of this diverse art.

Even among artists and art critics, there is still disagreement in the terminology and classification of the poster in terms of the criteria that determine its quality and shortcomings, in terms of tradition and innovation.

Everyone knows that posters come in different sizes. But not only this distinguishes or makes them related to each other.

The name "poster" comes from the late Latin "placatum" - an announcement. The types of posters are very diverse. This is the most widespread type of fine art, performing the tasks of visual agitation and propaganda or serving the purposes of advertising, instruction, information and education.

According to their purpose, posters (usually representing an image accompanied by text) are divided into the following:

political - propaganda, propaganda and popular prints;

instructive - on safety, sanitary hygiene, agricultural technology, etc.;

information - lottery, library, etc.;

educational - manuals in various fields of knowledge;

monographic - dedicated to outstanding figures, events, anniversaries.

According to the reproduction technique, posters are:

printed - published in mass circulation with the help of lithographic or offset machines;

stencil-screen printing - replicated manually by means of stencils made of cardboard or matrices on a silk or nylon (as very strong) mesh. Previously, this method was used by graphic designers

hand-drawn - in one or more copies, for example: advertisements for films on the facade of cinemas, commercial or other advertisements on high-rise buildings, posters of various content on billboards along highways, etc .;

light - static or dynamic, combined with the image, or purely type-based with the extensive use of colored neon and argon (mainly for urban advertising) or ordinary electric lamps (when decorating festivities);

volumetric - structures of complex design, widespread in foreign trade advertising.

The posters are also different in terms of the artist's means of performing the original. These means are graphic or pictorial,

Depending on them, the poster is made flat, three-dimensional or combined, one-color or multi-color.

Posters are made with different materials: charcoal, sanguine, pencil, gouache, watercolor, tempera, oil - on paper, cardboard, plywood, canvas, etc.; less often - by autolithography, linocut or photomontage.

In the latter case, this refers to the creative use of special photographs, sometimes in combination with a pattern or colored planes, and not mechanical gluing of random photographs.

Posters vary by genre.

There are draft (heroic) and satirical posters, sometimes combining both features, humorous, decorative and "purely" type.

And, finally, the most important sign of difference in posters is the degree of their ideological and artistic quality. This can best be judged by a political poster, since this is the most massive form of fine art, one of the most effective and intelligible forms of agitation addressed to the broad masses of spectators.

The purpose of the poster is to call and convince. It should be business-like, extremely clear and intelligible. And since the life of a poster does not take place in exhibition halls with special lighting, but in the most random places - both in the rain and under the sun - the poster must be such that under any conditions it does its job. Both the content of the poster and its form should be striking. Such is the ideal of beauty in posters. That is its specificity. The measure of artistry in a poster is different than in painting or easel graphics.

The specificity lies in the fact that a large content, big idea it is necessary to express it not on hundreds of pages of a novel, not in thousands of frames of a movie, and not on any size of a canvas of a multi-figure easel composition, but only on one standard sheet of paper. At the same time, with a small sheet format, the poster must operate with large images, otherwise it will not be noticeable enough. The poster, which is shown in different conditions, is very sensitive to both format and size. And the bigger and more varied they are, the better.

When working on a poster, the artist must make it sharp and sharp, and thus increase the level of its impact on the viewer. Therefore, the question of the sum of techniques that make the poster most effective is not redundant, but, on the contrary, is of practical importance.

Now in poster art one can trace the increased ability of artists to give an in-depth interpretation of the image, certain achievements in the embodiment of the idea are visible.

The poster artist sometimes encounters topics that are extremely difficult to portray. When solving such topics, in a number of cases it is necessary to resort to the wide use of such conditional methods as comparing different plots, different spaces, different scales on one sheet; to resort to a local, generalized interpretation of form and color instead of the plein-air, inappropriate in the poster, “subtle” reflexes and other artistic means of an easel work; apply symbolism; use still life and landscape solutions. Expanding the arsenal of artistic means is one of the ways to diversity, freshness and novelty of solutions, to increase the activity of the poster.

Sometimes poster artists forget about the specifics and features of the genre in which they work. Poster art has its own laws, its own understanding of beauty, its own sense of color, which constitute its nature and distinguish it from painting. The poster artist must use the techniques inherent in this type of art. Naturally, there is no canonized sum of such techniques, there are only a few mandatory requirements which should develop every time in absolute dependence on the theme of the poster, its idea, purposefulness, and individual creative inclinations. The poster should be perceived from a distance, not crushed, so it uses a local color, the shape is modeled by large volumes and planes.

Also of great importance in the poster are the literary wording and compositional placement of the text. In fact, the semantic and compositional connection between the text and the image of the poster is often very weak. Often this is because the final text is set only after the poster is finished by the artist. Because of this, as a rule, the text is written at the bottom of the poster, which enhances the impression of the template.

Ideally, the text of the poster should be merged with the image, should be organically included in the pictorial plane, that is, be integral part poster not only in semantic, but also in compositional terms. It is not good when the text is verbose and poorly remembered.

The laconicism and expressiveness of the text of the poster are of great importance in achieving the striking power of the poster, the passion of the propaganda appeal, in that this appeal, this short verbal definition of the idea, organically connected with the pictorial image of the poster, would enhance the emotional impression of it and, whether the viewer wants it or does not want, took root in his mind, inspired him with a certain thought, conviction.

Meanwhile, in choosing a text, we often allow for reinsurance and, to the detriment of laconism, “smear” it, trying to prevent imaginary bewilderment that supposedly may arise in the viewer.

Due to distrust of the viewer (what if he doesn’t understand, what if he doesn’t interpret accurately?), many posters are still spoiled by wordy, unenergetic, forgettable signatures. Namely signatures, not appeals. They resort to tautology, to unnecessary repetition in the text of what is clear from the image, because they look at the wording of the call in isolation, as if its text will live on its own, without an image. And this is not so at all.

Laconism, brevity and clarity of expression are very essential features for a poster. Laconism in a poster is a selection and generalization of both content and form.

There is a judgment that a poster is good if it is clear and without a caption. There are no rules without exception. However, to be fundamental to the end, this is not entirely true.

The desire of young artists to search for new forms, methods and ideas is natural, since Advertising activity which permeates our life, demands from artists a full-blooded, truthful and in the highest degree emotional art.

In an effort to generalize and expressiveness in the poster, the artist goes through three stages of work. The first is the search for a composition of elements that express the idea of ​​the poster, its image. This stage is characterized by a general, schematic or, as they say, sketchy definition of form. The second stage is the study and development of the elements selected for the poster. On the third - such a generalization of the form, when everything superfluous is removed and only the essential is emphasized for the sake of the plastic expressiveness of the form, for the sake of the activity of the poster image.

Briefly, these stages can be defined by three concepts: scheme, development, generalization.

The mistake of many artists is that they start work with a diagram and finish with it. As a result, they achieve not a generalization, but a depleted simplification of the form. The “omitted” details in such works are “not guessed” because they were not there. The "lack of construction" and the approximate form are striking. This approximation is usually tried to be justified by poster convention, its specificity.

The fact that the poster is really inherent in conventionality has long been known. But this in no way justifies approximation and schematism. Artistry, and with it laconism in the poster, is the fruit of a great creative work, in which the path to simplicity is far from easy.

Poster schematization is not primitiveness, not simplification, it is the use of the general laws of art, adapted to solve its own, specific task. A poster artist also paints landscapes and draws in the same way as any other artist, but, starting to work on a poster, he discards much that is not characteristic of this type of art, and carefully chooses exactly the means that he needs in his work. this is the professionalism of the poster artist, the difficulty and fascination of his work.

A poster, first of all, should be a work of art - catchy, memorable and necessarily figurative. A good poster is always concise. If the painter allows the viewer to gradually draw the desired conclusion, then the poster calls for immediate action. This is something that an aspiring poster artist should not forget about. To better understand what has been said, we can recall how a truly demanding artist Valentin Serov worked on illustrations for the fables of I. A. Krylov. Achieving specificity, expressiveness and laconicism in his works, he endlessly "traced" one version of the drawing after another, cutting off everything superfluous and leaving only the essential and necessary. These were illustrations. The poster is different.

In the poster, everything should be collected, concentrated. After all, only concentrated, typical makes a big impression.

In order to enhance the activity of the poster, conditional methods are acceptable: generalization of drawing and color, omission of secondary details, combination of different scales, etc.

The symbolism of the images is the main artistic property of the poster. This is the art of a generalizing symbol organically growing out of life. After all, the best posters created throughout this art were always symbolic.

The symbolism of the best posters is always based on direct life impressions. Posters always look good and "work" in which a key action or detail is cleverly found.

There are many examples when an interesting, ingeniously illuminated detail makes one think about the complex problems of life, and we know many examples when a work done flawlessly in stylistic terms, but without a bright knot of fiction, leaves us indifferent. The main thing in the poster is the resourcefulness of the plot, the wit in revealing the theme.

The basis of the specifics of the poster is that the poster is propaganda by means of fine art. In this short formula, both parts are equally important - if there is agitation, but expressed anti-artistically, then there will be no art, but if there is only artistry, then there will be no agitation. A natural synthesis is needed here, and tact is very important.

The most important feature of the poster is the combination of visual and text moments in it. The text should organically enter the poster, be associated with it and color and composition.

The text must be eloquent. It is difficult, for example, to imagine a good speaker delivering a speech in one tone, without shades. An experienced speaker enriches his speech with intonations, “pressing” on stressed words and phrases, muffling the images that prepare and connect the main thoughts. The inscription in the poster should "speak" to the viewer, so the artist is not only entitled, but also obliged to diversify its forms.

Recently, the artistic level of posters in terms of drawing, composition and color has increased a lot and acquired its own style. Produced posters have become diverse in form, bolder in decisions. That is why certain shortcomings in the development of this important area of ​​fine art are especially intolerable. Many artists and designers began to unite in groups.

The Association of Graphic Designers "4th Block" is very famous today - public association designers, art managers interested in solving environmental issues means of art. This Association was created on a voluntary basis to support and develop creative initiatives in the field of ecology, design and culture.

Association "4-Block" is named in memory of the explosion nuclear reactor 4th power unit of the Chernobyl nuclear power plant April 26, 1986. The main directions of its activity are: holding the International Triennial of the Ecological Poster “4th Block” (the triennial has been held since 1991 once every three years); replenishment of the collection of modern environmental posters, graphics and design projects related to ecology; creation of a Design Center for demonstration and promotion ecological ideas means of graphic design and art. Association of Graphic Designers "4th Block" is the only Ukrainian member of the International Coordinating Council of Graphic Design Associations ICOGRADA.

Thus, the modern type of printed poster originated in the 19th century. in Europe, in the context of the rapid development of the economy, the flourishing of type creativity and the improvement of color lithography. At the same time, the principle of the artist's unique, subjective approach to creating a poster arose - the poster became truly artistic, authorial. Having arisen in relation to illustrative advertising, this principle later began to be applied in work on a type poster.

The most active development of various artistic movements in Ukraine and Europe in the XX century. finally formed the image of a modern type art poster: asymmetric text composition and functionalism (minimum and importance of information, clarity of structure, expression of the essence of a text message by artistic means of type). Posters of this type continue to be created today, being an almost universal solution for working on typeface posters for advertising purposes. In addition to these functional ones, today there are a large number of complex and artistically or informationally rich type posters. Their presence is associated with the emergence at the end of the 20th century. post-modernist trend in art, which developed especially actively after the start of using the computer in design in the 1990s.

To date, two main artistic types of posters can be distinguished: minimalist-functional and complex-expressive. The first type owes its appearance to the tradition of a standardized text block, as well as to the functional typography of the 20th century. The second type has absorbed the national characteristics of the font cultures of different peoples, the traditions of calligraphy, the principle of living asymmetry and expresses not only the essence of the message presented to the viewer, but also the creative face of the poster's author. It should also be noted that the minimalistic-functional type of a font art poster is international, has the features of a supranational modern design, and the complex-expressive type, on the contrary, is a modern interpretation of national traditions and artistic characteristics of a particular people.

Both directions are currently actively developing, numerous works of a related type are emerging. Many factors, including the continued development of computer and printing technologies, give reason to believe that the present century will be a time of even more active changes in the field of art posters.

Poster Poster

(German Plakat from French placard - announcement, poster, from plaquer - stick, stick), 1) type of graphics. 2) A single work of art made for promotional, advertising or educational purposes. A modern poster is usually a printed reproduction of an original created by the artist. The poster should be perceived at a great distance, standing out from other sources of information. The poster often uses pictorial metaphors, commonly understood symbols, comparison of images of different scales, generalization of the shape of objects; an important role is played by the nature of the font and the arrangement of the text, a bright conditional decorative color scheme. A photograph is sometimes introduced into the system of visual means of a poster (independently or in combination with a drawing, painting; cm. Photomontage). For many posters on international and everyday topics, satirical images of a collective nature are typical. Until the second half of XIX in. large-scale propaganda engravings were sometimes called posters (for example, "flying sheets" of the period of the Peasant War and the Reformation in Germany in the 16th century, political posters of the Great French Revolution of 1789-94 and the Paris Commune of 1871). The advertising poster originated in Western Europe in the second half of the 19th century. (when the use of lithography, including color, made it possible to publish colorful posters quickly and in large print runs) as a result of the evolution from purely font theater posters and book sales advertisements to posters in which ornament and figured images occupied a significant place. Leading role in the development of the poster at the end of the XIX century. belonged to France (posters by J. Cheret, A. de Toulouse-Lautrec, T. Steinlen and others). In the works of Toulouse-Lautrec, the specific features of artistic language poster: the generalization of instantly memorable, not devoid of grotesque forms, the cropping of the image, the great role of the silhouette, a bright local color spot. Most of the posters of the late XIX - early XX centuries. consisted of ornamental and decorative compositions in the spirit of the "modern" style, similar to works of book and magazine graphics (works by E. Grasse and a Czech by origin A. Mucha (Musch) in France, O. Beardsley in the UK, W. Bradley and E. Penfield in the USA). From the beginning of the 1910s. the poster is gradually losing direct links with book and magazine graphics in the Art Nouveau style, sometimes approaching in character an easel painting (posters by O. Fischer in Germany, F. Brangwyn in Great Britain). AT advertising poster the determining factor is the desire of artists to more specific, substantive display of the object of advertising (at first only in the works of L. Bernhard, J. Klinger, L. Hohlwein and others in Germany, and then by artists from other countries); the artistic originality and stylistic features of the poster (the dynamics of the composition, the metaphorical nature of the image, the conventionality of color, the generalization of forms) were clearly manifested in the works of Cassandra (France). With the development of cinema, posters advertising films appeared, which were originally created on the basis of redrawing individual frames; Later, the film poster acquired an overview nature, giving an idea of ​​the genre of the film, the sharpness of the plot, etc. In the early 1900s. there was a political poster, best achievements which are associated with the democratic movement and the struggle for peace. Among the authors of the first political posters were Steinlen in France, J. Waltkorn and K. Kollwitz in Germany. During the First World War of 1914-18, it became widespread propaganda poster(agitation for conscription into the army, subscription to military loans, assistance to the wounded, etc.), the style of which had a certain influence on the subsequent development of the poster (A. Lit in Great Britain, J. Febvre in France, etc.). The growth of the labor movement, the struggle of the peoples against imperialist reaction and fascism stimulated in the 20-30s. development of the political poster in Western Europe. Posters published in Hungary during the period of the Hungarian Soviet Republic of 1919 (works by R. Berenne, M. Biro, B. Witz, and others), electoral posters of the Communist Party, and anti-fascist posters in Germany (G. Pechstein, J. Heartfield, and etc.). In Spain, during the struggle of the Spanish people against fascism (1936-39), the poster, along with leaflets and caricature, became the leading form of art. During the Second World War of 1939-45, the anti-fascist poster played an important social and political role; in the post-war years, the poster in defense of peace (P. Picasso in France, L. Mendez in Mexico, and T. Trepkowski in Poland). Stylistically, a poster of the 20-80s. largely associated with painting, graphics and photography (J. Hartfield in Germany); its evolution and the formation of its own sharply expressive pictorial language were also influenced by the development of other media, as well as printing. The French poster is developing fruitfully (J. Carlu, Cassander, P. Colin, Ch. Lupo, J. Picard-Ledoux, and others). In pre-revolutionary Russia, I. Ya. Bilibin, V. A. Serov, and K. A. Somov created highly artistic samples of theatrical and exhibition posters.

The Soviet political poster was born and reached an exceptionally high level during the Civil War of 1918-20. Developing the traditions of satirical graphics of the period of the Revolution of 1905-07 and popular prints, D. S. Moor, V. N. Denis, V. V. Lebedev and others created, in essence, a new, martial arts, which had a huge impact on the development of the world poster. Ideological purposefulness, revolutionary passion, high artistic level made the poster truly mass medium agitation and political and educational work, an effective weapon in the struggle for Soviet power; in the same years, on the initiative of V. V. Mayakovsky and M. M. Cheremnykh, the new kind replicated with the help of a stenciled poster - "ROSTA Windows". In the 20s - early 30s. An important role in the development of the Soviet poster was played by A. A. Deineka, G. G. Klutsis, L. M. Lissitzky, Yu. I. Pimenov, A. M. Rodchenko, the Stenberg brothers, and A. I. Strakhov. During the Great Patriotic War 1941-45 the poster was an effective means of mobilizing the people to fight the enemy: during this period, as in the post-war years, V. S. Ivanov, L. F. Golovanov, A. A. Kokorekin, V. B. Koretsky, Kukryniksy, I. M. Toidze, D. A. Shmarinov. During the war years, the collectives of "Windows TASS" and "Combat Pencil" successfully worked on the poster, as well as many painters - A. A. Plastov, I. A. Serebryany, Vl. A. Serov and others. From the second half of the 40s. poster art began to develop more intensively in the Union republics; in the 60-80s. along with the political poster, cinema advertising, theatrical, exhibition, sanitary and educational posters, and labor safety posters (works by Yu. Galkus, O. M. Savostyuk, B. A. Uspensky, E. S. Tsvik, and others) became especially widespread.

D. S. Moore. "Wrangel is still alive, finish him off mercilessly." 1920.

J. Heartfield. Anti-fascist poster "Blood and Iron". 1934.

I. M. Toidze. "The motherland is calling!". 1941.

Posters surround us everywhere - we see them every day on the streets or in print media. This is mainly advertising and less often announcements of any events. A political poster appears in our field of vision immediately before the elections, when the campaigning begins, and therefore is quite rare. What should be a good poster? First of all, the poster should be informative. People need to instantly read the message - and the task of the designer is to present the idea of ​​​​the poster in the most understandable way. And it doesn’t matter at all by what means this will be done - the main thing is that people immediately understand what they want to tell them.

As a rule, the design of a poster begins with the choice of its size. In this regard, there are no restrictions - a poster can be small, for example, A4 format, or vice versa, gigantic, the size of a house wall. Of course, there are certain size standards, but this is not a matter of design, but a matter of the capabilities of typographic technology. Poster orientation can be either vertical or horizontal, but vertical orientation is most commonly used.

How do you tell a good poster from a bad one? This is, of course, a matter of taste, but a well-designed poster has some hallmarks. FreelanceToday brings you 10 signs of a good poster.

GOOD READABILITY

Let's say we have a poster that announces some upcoming event, such as a concert by a popular artist. The key information placed on the poster should be read from afar and attract people's attention. Accordingly, the text of the poster should have a visual hierarchy. If there is a lot of text, then there should be at least three hierarchical layers.

header. This is the most important and largest text design element. It should be contrasting with the background and typed in such a font that would be clearly distinguishable even from a long distance.

Details. What? Where? When? All such information is located at the second level of the hierarchy. The person who is interested in the poster will definitely want to see detailed information, so it must be presented in an understandable, but at the same time concise form. For the second level, a smaller font is used than in the heading, since this information does not need to be read from afar.

Small font. The third level contains additional information. Very often, small print is found on movie posters and advertising posters.

CONTRAST

Designers have only one opportunity to attract the attention of the viewer. Therefore, the poster should "cling". This can be achieved with the help of contrasting elements. On the web, you can make a pale illustration with a smooth gradient and fashionable thin fonts - this method is not suitable for a regular poster. The sharper the text or illustration contrasts with the background, the more noticeable the poster. When starting to design, you first need to decide on the contrast of the elements and constantly check it during work. If the designer is working on a color poster, you need to periodically check how it looks in grayscale - the contrast of the main elements should be clearly distinguishable in this mode as well.

SIZE AND LOCATION

Very often the designer knows in advance where his poster will be placed. Based on this information, he must correctly select the size of the poster. It is important that the message of the poster is not interfered with by various visual hindrances - it must occupy a dominant position. As for the color scheme, here you also need to proceed from the realities - if it is known that the poster will hang on a wall painted green, then it is better not to use shades close to green in the poster.

THE POSTER WORKS REGARDLESS OF SIZE

Very often, novice designers refuse tasks in which they need to create big poster, let's say 10 by 6 meters. For some reason, it seems to them that creating such a poster is much more difficult than some poster the size of an A4 sheet. This is a big misconception. If the poster is laid out correctly, it will look equally good regardless of size, and scaling does not affect it in any way. If a designer is commissioned to create a poster, which will then be used in advertising and will be released in a variety of sizes and formats (including digital), he should think first of all about the composition and the main idea and not worry about where it will be placed. his creation.

LARGE IMAGES

If an image is used in a poster, then it should take a dominant position, as well as in the case of text. The image should be clearly visible from afar, while it is very important to take care of the recognition of the image. It’s not worth complicating the visuals too much - you need to use as many elements as you need to convey the main idea. This principle applies to all types of posters, including movie posters, which can be overly detailed at times.

NEGATIVE SPACE

A poster is not a painting, so the designer just needs to work with free space. You should not strive to fill the entire poster - you need to "leave the air." There are several effective ways to increase the readability of a poster. For example, you can increase the spacing between letters. Tight kerning might look good on a postcard, but readability is still more important for a poster. If the letters are too close, then from afar the text becomes hard to distinguish, which is highly discouraged. You can also increase the distance between the lines - this will also benefit the poster.

CALL TO ACTION

The purpose of any poster is to get people to take some kind of action, such as attending a show, an exhibition, buying a product, or going to an election. The call to action is the most important, central element of the poster and the designer should give it the main attention. Unlike web design, graphics do not work interactively, so you cannot use its principles in a regular poster. At graphic designer other communication tools for people and he should make every effort to ensure that the call to action is clear at a glance.

UNUSUAL TYPOGRAPHY

A poster is exactly the genre where you can safely experiment with typography. Some of the most famous posters are made without the use of illustrations and graphic elements, and at the same time perfectly express the idea. Using high-quality typography will give the poster a personality - the main thing is that the designer does not overdo it. You should not use 10 fonts in one poster - the design will not improve from this. It is best to pay attention to the visual hierarchy and the use of negative space. The letters themselves carry a certain message and a proper understanding of the principles of typography will allow designers to create emotional and memorable posters.

HANDMADE

Appearance computer graphics clearly did not benefit the art of the poster. Previously, the designer worked with living materials and posters looked completely different than they do today. Today, the hallmark of a good poster is its execution technique. And it doesn't matter that the designer created it on a computer - if the poster has a soul and it looks like the designer drew it by hand - it's a good poster. Well, if the poster went to print as before, from a physical medium, this is generally wonderful.

Audacity

Any good poster is inherent in some outrageousness - this greatly enhances the emotional message. So do not be afraid to go beyond and use unusual elements in the poster. By breaking some established rules, the designer draws attention to the poster, and this is exactly what is needed.

CONCLUSION A: The poster is a very interesting type of graphics that allows designers to let their imagination run wild. It's also a great way to learn new technology or improve your skills. Sometimes the creation of a poster is very difficult - after all, you need to convey the idea using a minimum of funds. But in any case, it's interesting - especially when the poster turned out to be successful and attract people's attention.

In the modern world, a poster is something familiar that a person encounters several times a day and therefore has already learned not to react to it. However, just 100 years ago, this thing was a curiosity and made everyone who sees it freeze in admiration and believe everything that was written on it. How did the poster come about? What's this? What types of posters are there? Let's find out about it.

The meaning of the word "poster"

First of all, it is worth understanding the definition of the noun in question.

Sometimes they are called posters or posters.

Typically, such images are mounted on the walls and doors of buildings or in specially designated places. Some poster lovers paste them over their homes.

In a narrower sense, this word means a specific type of graphics.

Also, this noun was named one of the most famous propaganda publishing houses of the USSR, which existed from the mid-70s until 2006. Throughout this time, Plakat specialized not only in the production of products of the same name, but also in the printing of postcards, portraits, photographs, etc. . P.

Etymology of the term in question

Having learned the answer to the question: “What is this - a poster?”, It is worth considering the origin of this noun.

For the first time in Russian, this word was recorded in 1704. However, it began to be actively used only at the end of the 19th century.

It came to Russian from Latin, from French and German. During the decline of the Roman Empire, citizens often used the term placatum for announcements.

A few centuries later, in French, the verb plaquer (“stick something”) was formed from placatum. And he, in turn, contributed to the emergence of placard.

From the French, the term was borrowed by the Germans and slightly changed - das Plakat. It was in this form that this noun appeared in the Russian language and has survived to this day.

It is worth noting interesting fact: in France today the term placard is used extremely rarely, the word affich is actual instead. And in English-speaking countries it is called a poster.

Poster Features

An image of this kind has a number of special features that distinguish it from another.

First of all, this is the purpose for which it is created: to attract the attention of others and inform them about something. In this regard, posters and inscriptions on them are usually made large and bright. In addition, they use a minimum of text so as not to tire observers with long readings and enable them to quickly understand the meaning.

As a rule, the inscription on the poster is some catchy slogan (often with an element of humor or a play on words) and the name of the product or service that the image was made to publicize.

The history of the poster

Informative and propaganda posters were first used by mankind in ancient Egypt. True, at that time the posters served to capture runaway slaves.

The Greeks and Romans were more practical and cultured. They used leaflets with drawings and text to inform about trade offers, as well as posters for the theater.

The first poster (in its modern sense) was drawn by order of the British book dealer Battold in 1482. The businessman tried to advertise a new edition of Euclidean Geometry with his help.

After that, posters appeared quite rarely for several centuries. However, in the middle of the XIX century. the French lithographer Jules Cheret decided to develop Batdold's idea. In 1866, he opened his own workshop in Paris, specializing in Cheret's venture, which was a huge success. In a couple of years, he created more than a thousand bright posters inviting to visit performances or exhibitions. Each of his posters was a real work of art, and they were all made by hand. By the way, it was Shere who laid down the basic principles of the art of poster design, which have not lost their relevance today.

By the end of the XIX century. posters have become an integral part of any important event. At the same time, more and more often they began to be used not as posters, but for advertising some goods or services.

The inhabitants of the Russian Empire in those years knew quite well what a poster was. This was due to the fact that in the last decades of the XIX century. creating advertising images became very popular in the empire. This is evidenced by the fact that during this period it was in Russia that the World Exhibition of Posters and Posters was held.

The use of political posters especially intensified after the outbreak of the First World War. Thousands of posters were printed and drawn in all European countries in order to urge young men to volunteer for the front, as well as to agitate citizens to financially help the state.

After the revolution of 1917, only one type of propaganda images was created on the territory of the former empire for several years - a political poster. Its significance was well understood by all heads of state, so often such products were produced with the last money, instead of giving them to starving citizens.

1. Work program in fine arts 5th, 6th, 7th, 8th, 9th grades

   Working programm

   ... Abstracts lessons, Teacher Publishing House, Volgograd 2009 B.M. Nemensky O.V. Sviridov " Fine art» Grade 5 Lesson Plans on ... 27 Poster and his kinds. Fonts. one Special view charts. Kinds design work. The role of text in poster. (...

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4. Annotation to the program of B. M. Nemensky "Fine art and artistic work grades 5-8"

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