Poster Design

Basic Block

Compiler:
Lic. Ingrid Riquelme

Bachelor's Degree in Graphic Design

["KNOWING ONESELF","ACCEPTING ONESELF","LOVING ONESELF","TAKING CARE OF ONESELF","IMPROVING ONESELF","TRANSMITTING","TRANSFORMING"]
Poster Design

Index

Index 1
Introduction 3
General objective 4

Theme 1. Brief historical reference of the poster 5

Learning objective 5
Introduction 5
1.1 Main creators and exponents 5
1.2 Jules Cheret (Francia 1836 – 1932) 6
1.3 Henri Tolouse – Lautrec (France 1864 – 1901) 8
1.4 Iko Tanaka (Japan 1930 - 2002) 9
1.5 Other authors 10
1.6 The cartel in Latin America 15
1.7 The cartel in Mexico 17

Theme 2. Conceptual definition of the contemporary poster 20

Learning objective 20
Synopsis 20
2.1 Functional Requirements 20
2.2 Iconic message and textual message 22
2.2.1 The image 24
2.2.2 The spatial composition 24
2.2.3 The texts; headers, footers 25
2.2.4 Color as a reaffirmation of content 25

Topic 3. The techniques of the poster 27

Learning objective 27
Synopsis 27
3.1 The illustration 27
3.2 Photography as a Testimonial Expression 29
3.3 Typography 30
3.4 Photomontage 31
3.5 College 33

Theme 4. Relationship between text and image in the poster 34

Learning objective 34

Index 1
Poster Design

Synopsis 34
4.1 Image by text 34
4.2 Text by image 38
4.3 Composition 40

Summary 43
General bibliography 44

Index 2
Poster Design

Introduction

As Richard Hollis says in the introduction to Graphic Design: A History

abbreviated: "The starting point was the poster. As a single sheet, unbent and
printed only on one side, it is the simplest medium of graphic design. It exemplifies
the essential elements –alphabet and image– and their means of production.” By
There must be an awareness on the part of the designer to explore the relationship
from the word – image on the poster and the results you can achieve with it
relationship.

Since the late 19th century, we have observed the action of the cartel in daily life.
The poster is one of the most functional and effective means of communication.
of messages and information of a commercial or ideological type.

The passage of time has influenced the posters in their language in a

very close relationship with social and cultural movements but also the
new technologies have affected the cartel, the use of the computer, the new
printing techniques and the history itself, however, this has not transformed its
original function, nor has it lost value as a means of communication. Therefore, the
designer continues to use it to communicate and inform a society
progressive.

Introduction 3
Poster Design

General objective

At the end of the course, the student will design different poster projects.
taking into account formal and conceptual aspects in the creation of
messages applying them in their professional practice.

General Objective 4
Diseño de Cartel

Theme 1. Brief historical reference of the poster

Subtopics

1.1 Main creators and exponents

1.2 Jules Cheret (France 1836 – 1932)
1.3 Henri Toulouse Lautrec (France 1864 – 1901)
1.4 Iko Tanaka (Japan 1930 – 2002)
1.5 Other authors
1.6 The cartel in Latin America
1.7 The cartel in Mexico

Learning Objective
At the end of the topic, the student will reflect on the origin of the design of
posters in the world and Latin America, and what are their main ones
representatives.

Introduction
This topic will review the history of the poster in the world since the end of the century.
XIX to our days, the work of the main ones is mentioned and shown.
representatives of the cartel in various cultural and social movements.

1.1 Main creators and exponents

Art has played a leading role in graphic design at times.

it is difficult to differentiate the thin line between an artistic work or advertising, still
having very different purposes. However, design could not be born without art
because it has had an influence not only on materials and techniques,
but also in artistic composition.

We can observe this influence in the first posters, which are

they date back to the late 19th century and early 20th century, being their main
exponents Jules Cherét, Lautrec, Picasso.

Theme 1. Brief historical reference of the poster 5

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1.2 Jules Cherét (Francia 1836 – 1932)

Jules Cherét in an interview with the English critic Charles Hiatt, assured that the
The poster was not the best means of propaganda, but it did create some excellent murals.
Basically, Jules was a muralist at heart, in most of his works there are
absence of inscriptions, these were added to the work later by
I will send, a friend of Jules.

Jules' work is full of color, vitality, stylized figures, and beauty, with little
text and very understandable for the general public.

Cherét, 'Theater of Opera' (1897)

Theme 1. Brief historical reference of the poster 6

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Cherét, "Loie Fuller" (1897) Cherét, “Pan” (1897)

The technique of his work is basically lithography, due to its extensive use.
in the books of that time, however, it was taken to a large scale and with a style
own, where he brings together his mastery of drawing and the conjunction of a language
popular.

Jules managed to influence the Art Nouveau artistic movement throughout Europe and
America with its theatrical posters. Artists like Seurat or Lautrec emphasized the
work of Jules. An example of this can be found on the cover of the
Novel L'Homme à femmes (1889, Seurat) with some resemblance to the work of Jules
“L´Amant des Danseuses” (1888).

1.3 Henri de Toulouse – Lautrec (France 1864 – 1901)

Theme 1. Brief historical reference of the poster 7

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For Lautrec, Cherét was a master. Lautrec accentuated the characteristics of the
Cherét's work, although seeking in that medium a form of expression for himself
same, taking refuge in the nightlife of the City, managed to capture through
these posters the very expression of life, completely distancing from the
easel painting or book lithographs, did not seek to please the public but
it was simply a form of artistic expression. The use of blobs of color
retakings of Japanese engravings and the minimal expression of the text led to the
cartel to a new era almost pictorial, addressing directly to the senses of the
spectator.

With her life being short, her work is scarce, with only 31 posters in comparison.
of the hundreds done by Cherét, and even so, his work has left a great
mark your work.

Cherét, Lautrec,
“L´Amant des danseuses” (1896) “Divan Japonais” (1896)

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Lautrec, Lautrec,
Jane Avril (1898) Ambassadors (1896)

1.4 Ikko Tanaka (Japón 1930 – 2002)

Ikko Tanaka sought originality through the expression of elements.
characteristics of culture, as he said: "Without a culture of its own, any
a country in a continent would be the same as the others, then it would not have its own identity:
If everyone consumes and eats the same thing, where will originality be? His work
without adhering to a specific graphic style, it adapted to the client's needs,
maximizing the concepts, with refined simplicity in their compositions.

His work was recognized with the gold and silver medals from the Directors Club.
of the Art of Tokyo, from the International Poster Biennale in Warsaw, and with the
awards from the New York Art Directors Club, being these just a few of
them. He also participated in the 'Nouveau Salon des Cent', which was a
exhibition where one hundred graphic designers from around the world participated to
to pay tribute to the work of Toulouse-Lautrec, on the centenary of his death
(1901 - 2001).

Topic 1. Brief historical reference of the poster 9

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Tanaka, "New Salon of the Hundred,

Homage to Toulouse-Lautrec

1.5 Other authors

Another important creator of that time was Alexander Steinlen (1859 -

1923), Swiss by birth, developed his work in Paris, adopting the style of
Lautrec capturing the daily life of the city dwellers, his posters could very well be
reports of the events that occurred.

Pierre Bonnard was the one who taught Lautrec the technique of lithography, however,
this has a somewhat unprolific work in terms of the poster, the best known for its subtle
sense of humor is "La Revue Blanche," from 1894. Most of his work
it keeps a certain style of this poster.

The overall style of all these Parisian artists shifted from being naturalistic to
descriptive and simple, it was a notable change between the end of the 19th and 20th centuries.

Topic 1. Brief historical reference of poster 10

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The Art Nouveau we have seen in all these artists generally presents
common characteristics, one of them is the influence of Japanese art, due to the use
of the black funds and by the compositions of daily life, this influence
it was due to the arrival of Eastern wrappers with engravings in Paris
belonging to Hiroshige, Utamaro or Hokusai of the Ukiyo-e school. The Art
New simply takes from nature, colors that at times could
dissonance, fresh and free forms. These characteristics in the posters
we can find in the works of artists from all over Europe.

From left to right:

Steinlen, “Chat Noir” (1897)

Steinlen, “Compagnie Francaise” (1899)

Bonnard, 'The White Review' (1896)

The presence of Art Nouveau in Europe and America was evident, however,
This does not mean that new ideas were not generated, as each country developed
a distinctive nationalist style. Italians were distinguished by their great
drama, the Germans for their tendency towards medievalism, the Dutch for their
simplicity.

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Spain, M. Miguel, 'Canuto Berea', Lithograph (1900)

From left to right:

Germany, Roland Holst, "Faust", Lithograph (1918)

Italy, Giovanni Mataloni, "Patent", Lithograph (1895)

Holland, Charles Woodbury, 'Society of painters in water', Lithography (1897)

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Wars and revolutions have mostly marked a change in the

society, and the posters were no exception, in the first world war the
posters had the character of propaganda and recruitment, a vague idea of the
The importance of posters in this era is this: in the United States, it
they generated 20 million posters in two years, that equated to 1 poster for every 4
citizens.

In the former Soviet Union, the Bolsheviks promoted a movement called

constructivism in the face of an increasingly industrialized society, among the
the most important poster designers of this movement are Lissitsky and Alexander
Rodchenko.

From left to right:

Rodchenko, 'Russia Socialist', Lithograph

E.U. Sheridan, "Hey fellows", Lithograph (1918)

Topic 1. Brief historical reference of poster 13

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From left to right:

Lissitsky, 'Russian', Lithography

E.U, Foringer, 'The greatest mother in the world', Lithograph (1918)

As a widespread stylistic movement came Art Deco, with figures

geometric, aerodynamic shapes, with certain reminiscences to the movements
futurists, cubists, and dadaists, all with the aim of having a movement
according to the new technology. Lithography was used less and less, the brush of
air suddenly opened up in Art Deco. From the poster artists most
Famous figures of this movement are Giuseppe Riccobaldi from Italy, Ludwing
Hohlwein from Germany, Kauffer in England, and Francisco Gali from Spain.

With the advent of World War II, the posters continued with
life, were not used as much as in the first, as the printed media and the
radio played an important role in the dissemination. Most of the posters
they left lithography and switched to offset.

In the 1950s in Switzerland, a graphic style with roots was born in the
Bauhaus artistic movement, the characteristic features are the use of the
typography, for this reason it was called International Typographic Style, refined in
the seventies in the schools of Zurich.

Topic 1. Brief historical reference of poster 14

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Styles continued to be created but not with the great importance of the first ones.
movements, the use of the computer set aside the artistic part and began
to machining.

From left to right:

Riccobaldi, "Fiat Rampa", Lithograph (1928)

Hohlwein, 'Spring in Wiesbaden', Lithograph (1930)

Josef Mueller-Brockman, 'The Cavalier of the Rose', Offset (1950)

1.6 The cartel in Latin America

In Peru, the true pioneer of Peruvian graphic design is Claude Dieterich.

(1930), who after working in Paris at various advertising agencies and
In magazine design, it is established in Lima implementing the influences.
Europeans in contemporary graphic design in Latin America.

In Venezuela, the first newspaper edited was in 1808, marking the origins of the
printing in this country, and the initiative to improve the design of the stamps of the
The administration of post offices was due to a group of designers and artists
Venezuelans in which the quality of Venezuelan design improved significantly.

Theme 1. Brief historical reference of the poster 15

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In Cuba, there was a long tradition in graphic design applied to consumption.

probably the oldest in Latin America, before the mid-19th century
had lithographic workshops and an acceptable practice in the procedure
invented in Germany, bringing a South American country closer to one
of the most developed countries in old Europe.

Undoubtedly, the history of Cuban design in lithography was written by Francisco

Murtra and the poster art of Felix Beltrán.

In Argentina, there is a strong French influence, the best poster artists

Argentines from history are Arnaldi and Valerian Guillard. In the sixties this
the country was the leading power in Latin America in book publishing and others
reading materials such as newspapers.

Typography arrives late in Brazil, despite this the establishment of the

branches of the major American advertising agencies, which coincides with the
first great industrial and commercial development of Brazil, allows for the introduction of
the most modern forms of industrial production, with which the Brazilians
they learn to design advertising ads in 1940.

Félix Beltrán, "Long Live Seventeenth Anniversary of

July 26, 1970

Topic 1. Brief historical reference of the poster 16

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1.7 The cartel in Mexico

Art Deco appeared in Mexico not because of the ravages of the World War, but because of
the structural changes in society due to the Revolution of 1910. The Art
Decor in Mexico acquired regional nuances due to the great artisanal heritage.
existing, in general there were two widely discussed themes, one of them was the
humiliated indigenous person and on the other hand the victorious and triumphant warrior. The design
In general, it should have functionality, be aesthetic, and be reproducible in
masses, in short, to obey a consumerist society.

In Mexico, typography was greatly influenced by Art Deco, designs were created
many geometric, abstract, and sophisticated typefaces as we can
to observe in the posters of the time.

But like every movement, it fell into decline, and social struggles, the
student movements marked another stage in the design of posters in the
the sixties, especially in 68 and 73, there is a social mobilization against the
state. Students, workers, trade unionists reproduce their posters by
all kinds of techniques from offset, mimeograph or serigraphy widely used by Raúl
Hair.

"The Return", Lithograph (1923)

Theme 1. Brief historical reference of poster 17

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Topic 1. Brief historical reference of poster 18

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From left to right and from top to bottom:

Raúl Cabello, “Vietnam”, Serigrafía

Melecio Galván, “Cartel”, offset

Student Movement Cartel, Offset (1968)

Topic 1. Brief historical reference of Poster 19

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Theme 2. Conceptual definition of the contemporary poster

Subtopics

2.1 Functional requirements

2.2 Iconic message and textual message
2.2.1 La imagen
2.2.2 The spatial composition
2.2.3 The texts; headers, footers
2.2.4 Color as a reaffirmation of content

Learning Objective

Al término del tema el estudiante aplicara los conceptos y requerimientos

functional for achieving verbal and visual reading at various levels of
understanding applied in poster design.

Synopsis

Composition is the most important process in problem-solving.

cartel. The final result of the conjunction of elements will give a meaning and
purpose, which will be interpreted by the viewer.

Visual and verbal literacy has several levels of reading, the designer has the
option to use visual or verbal elements, such as could be the
representation, abstraction or symbolism all depending on the message
and its decoding by the reader.

There are no absolute rules in visual composition, the arrangement of shapes,

elements and colors depend on what one seeks to convey, however the
the non-existence of such rules does not deprive the having of knowledge to organize from
an organized way to arrange the elements and achieve the desired result.

2.1 Functional requirements

Basically, the principles of poster design and other advertisements are the
the same, except in some cases the large scale of the poster, however there is
Some functional requirements for evaluating the effectiveness of the poster,
as it will be seen below:

Theme 2. Conceptual definition of the contemporary poster 20

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Point of sale

This does not basically refer to the situation of the billboard on the street, but rather to
the technique used to capture the reader's attention and imprint on their consciousness or
unconsciously a need, because the goal of a poster is to publish,
to announce or sell something. Therefore, the text or the image must provoke some
reaction about the reader, whether with the use of a slogan or using some
situation outside of the everyday.

This sales requirement must be clear, concise, and convincing for your
effectiveness in the poster.

Simplicity

The use of few elements in the poster should not be seen as a limitation in its
creation, on the contrary, should be taken as a mandatory measure to obtain the
better result. Some mistakenly believe that if an element achieves a
excellent result, why not stuff it with more elements to strengthen the
Message? The answer to why simplicity achieves more than a poster with
various techniques, different fonts, too many elements, it's simply
that the message is not that complex and is very easy to digest.

Unidad

The composition of various elements on the poster must have a meaning in

common to achieve its unification. This can be easily achieved with
a predefined order which cannot accept variations, all this to achieve the
perception of a unique element and not of several arranged on a paper.

Balance

The arrangement of all elements must show a balance, whether following

symmetry or asymmetry, with either of these two techniques it can be achieved
balance on the poster. The balance is based on a personal aesthetic criterion, the
Meta is to have all the elements in a creative and dynamic way.

Surprise element

Capturing the reader's attention is not so easy; there are several ways to do it.
of them is the conjunction of elements known to the reader but with a
a reality different from what they are used to, can be used comically,
sarcastically or absurdly for message retention.

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Quality of the poster

When obtaining all the functional requirements of the poster, we must not forget
From the final point, it is of no use to have simplicity, unity, point of sale, or balance.
if the print quality of this, whatever the method, leaves much to be desired. By
it is necessary to take care until the last moment of the production of the poster and not
we should keep in mind that a good idea is only enough if the quality is also present
It is important to achieve its effectiveness.

2.2 Iconic message and textual message

Visual literacy is the reading of the image at its different levels, the
Verbal literacy is the decoding and understanding of written language.

Language was born from images, transforming into pictograms and finally into
the alphabet, as a necessity for communication. It is made up of very specific rules
structured for their complete understanding and each language is a system
communication complex.

Visual literacy will not become as orderly and logical as verbal literacy, each
culture has a certain meaning for each image, icon, or symbol, just as each
The individual has their own perception depending on the context.

For example, in Japan, the color white is for mourning, while in Latin culture
it is the color black, some symbols such as the cross can take
various meanings depending on the context, it could be the plus sign, a
cross, a mark... it all depends on the context.

There are three fundamental ways in reading and understanding messages.

visuals, one of them is representation, it is what we see and recognize
automatically by experience. Another way of reading is abstraction, being
the abstraction of what we know, a doodle of a house on a piece of paper, still
being just ink following some lines we visualize the house. And lastly it is the
Symbolically, man has created a vast array of symbols, transferring various
meanings such as the dove. The three levels have their own qualities,
when designing a poster, one can choose the level of reading desired as well as
They can interact together without causing any conflict.

When creating a visual message, we must take into account the meaning of the
symbols, the connotations and denotations of color, shape, in order not to fall into
a contradiction image - word, unless that is the intention or that the
the viewer does not understand the message for not being familiar with the icon, symbol
or written language.

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Alain Le Quernec, 'Bush' (2001)

Protest against Bush

against the use of weapons.

In both posters we can

find a text message
and iconic message.
Within the iconic message we observe
the representative reading (hands)
the abstract (cannons)
the symbolic (right hand,
the president belongs to the right.

Theme 2. Conceptual definition of the contemporary poster

Design of Poster

2.2.1 The image

Obviously, an image is not necessary on a poster; however, the use of

images in conjunction with the texts achieve very good results, and this is
It should be that it is something natural to perception, we are used to the use of the
view, upon observing.

Taking into account the point of sale, we can develop the brainstorming and thus
choose the image that best fits our needs.

Often we cannot fully develop a gallery of images.

completely intuitive and creative, but for that there are many sources
of inspiration, it's not about copying, it's about being inspired based on what
existing to develop something better, such as magazines, catalogs,
photographs, etc.

In the use of images or illustrations, there are some rules to follow:

It must be visible at a minimum distance of 1.50 meters

2. Avoid image saturation
3. Use of few colors when donating plaster
4. Do not try to replace the content of the poster with colorful or very
elaborate.

2.2.2 The spatial composition

Para la creación de un cartel es necesario realizar bocetos, a escala,

they are probably just strokes that are shaping the poster, playing with the
composition of images and texts, as in any design, several must be made,
see which is the most effective and fine-tune the details of the final sketch.

However, before starting with any sketch, the following must be taken into account
following points:

1. Having determined the essence of the concept we want to convey to the

audience
2. Have conducted the brainstorming session where the images have been selected to
to develop
3. Determine the size of the poster to do it to the correct scale.
4. Have all the elements to start with the poster, from the most essential.
how the paper can be up to the sources of inspiration
5. Determine all the information contained in the poster

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Considering all these points, it's time to start the composition.

of the poster.

2.2.3 Los textos; encabezados, pies

There are basic rules for good poster reading, it all depends on the
intention one wishes to convey, however, they should not be lost sight of.

- One of them is that the title must be read from a minimum distance of 3 meters.
this is equivalent to a score of 96 points, using sans serif typography, the
Other information must be read from a minimum distance of 2 meters, this
it means from 36 to 48 points in sans serif typography, the information with
of lesser importance may be exposed to a minimum of 18 points
- Make use of abbreviations when possible for a better
utilization of space
- Follow a visual justification in all texts
- Use simple and easy-to-read fonts like Helvetica or Arial
- USE UPPERCASE IN BOLD STYLE FOR TITLES
- Usar mayúsculas y minúsculas para la demás información

2.2.4 Color as a reaffirmation of content

Color by itself is a source of information due to its connotations and

cultural denotations. Each color holds a meaning in our life
Everyday, by itself speaks, we can verify this in the various theories
existing on color and the effect caused on the individual.

It is well known that red means fury, passion just as blue conveys to us.
tranquility.

Color has a great power in the visual process; for this quality, it is used.
to express and reinforce visual information.

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Teresa Sdralevich, 'The Boomerang'

76 x 98 cm, (1996)
The color and the angles
they make a reference
automatic like a Nazi,
if I had used
any other color,
I wouldn't have
the same effect.

Alex Jordan, 'Barbarism or Algeria?'

1.20 x 1.76 m, (1997).
El color juega un papel importante por
the remembrance of the flag
from Algeria as well as from violence.

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Theme 3. The techniques of the poster

Subtopics

3.1 The illustration

3.2 Photography as Testimonial Expression
3.3 Typography
3.4 Photomontage
3.5 Collage

Learning Objective
At the end of the topic, the student will decide which is the best option in the techniques.
of the poster based on its needs and stylistic movement that
reinforce that need.

Synopsis

The poster has had a notable influence over time by the

movimientos artísticos así como sociales, las guerras y la evolución tecnológica
they have left their mark on the poster.

Some artistic movements are characterized by the use of certain techniques, a

an example of this is in futurism with the experimentation of typography or in the
the beginnings of the poster the use of illustration, whether for being the best-known technique
at the moment or to reinforce the message through this technique.

3.1 The illustration

The illustration on the poster can be seen from its beginnings, let's remember that the
illustrations in the books led to the creation of posters with the union of
the illustrations and the texts. The illustration has a descriptive and realistic purpose of
concept to address.

There are connections between a realistic illustration and the conjunction of elements.
styled, one of them can be found with the Belgian Duyck & Crespin.

Parisian posters are more stylized and tend toward fantasy, however,
there are also examples of realistic illustration, one of which we can see in the
work by Lautrec called 'The Simpson Chain', 1897.

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The commercial posters of the rest of Europe and America in the early 20th century,
they tend to be more naturalistic and descriptive, especially those that presented new
products, with which it was specifically expected to increase sales.

From left to right and from top to bottom:

Duyck & Crespin, "Farm of Frahinfaz" 1896.

Hemelman, "For Tourist" 1919.

Lautrec, “La Chaine Simpson ” 1897.

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3.2 Photography as a Testimonial Expression

The Parisian style arrived in America and the rest of the world for a very short time, in the
other countries developed another style, called Realist, for advertising posters, the
which sought to faithfully represent the product, all this for purely
commercial after the First World War.

One of the followers of this realist movement was Lyendecker, who had
great care with the details.

Photography helped a lot in this regard in the United States, the poster artists
they could obtain an accurate copy of the three-dimensional product without having to resort to the
lithography or engraving, besides that, they could create a poster with character.
humorous, taking into account even the smallest detail, all this to reach
to a consumerist society.

Artists of the caliber of Moholy-Nagy and Lissitzky made new proposals through
from the camera lens, creating photographic and typographic compositions.

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From left to right:

Lyendecker, 'Arrow' 1926.

Moholy-Nagy, “Goerz” 1925.

Howard Scott, 'Couldn’t have done without you' 1943.

3.3 Typography

Futurism, cubism, and dadaism directly influenced posters,

initiating a new typographic experimentation.

Each style with diverse purposes shows its essence, for example, cubism.
I was looking for a connection with the known reality behind the shelter of words, just
words.

Meanwhile, futurism was in search of movement, dynamism, for

through resonant words, with typography that has its own personality, which by itself
he was just shouting.

Many of the futuristic posters were used for military purposes, all of them
contrary to those of dada, who cried out the despair of a world
mechanical, both using typography differently.

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Cubism, Braque "Motif-Exhibition" 1950

Futurism, 'For tourist' 1919

Futurism, "His home over there" 1917

3.4 Photomontage

Photomontage is the juxtaposition of various photographic materials of different

origin, which may be press clippings, photographs, or magazines.

Dadaism presents a mix of typographic use and photomontage. Evidence of

This graphic composition can be found in the work of Schwitters or Raoul.
Houseman.

Surrealism in posters consists of two stages, one after 1920 and

ends at the end of World War II, at this stage the posters
they show a fidelity to the surrealist movement, taking reality as a

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dream, exploiting it in all its possibilities, whereas in the second stage to

starting from the 50's, the effects of the post-war can be shown through
photo montages. Most of these posters are raw, not only because of the
theme, but also by the expression of each work.

Some of the exhibitors of surrealism are the following:

John Heartfield is one of the leading exponents of the photomontage technique.

his work is basically based on politics another of them is Alan Aldridge with his
extravagant and erotic posters. From Spain, there is a great theorist and
cartelist: Josep Renau, achieving great effects in photomontage, but also
develops the collage extraordinarily.

From left to right:

Dadaism, Hausmann 'ABC' 1927.

Surrealism, Hausmann 'Chelsea Girls' 1927.

Surrealism, Heartfield "Like murder".

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3.5 College

The collage exhibits certain characteristics similar to those of photomontage, use of

various materials, different textures and styles to give greater depth to the work.
The collage can be observed from cubism, being one of its
representatives Picasso, playing with shapes and materials.

Among the surrealists, collage was also present, especially in Max Ernst.
transforming reality into delirious compositions, their work is completely
artistic, non-commercial, in fact, there is no poster of this artist, but
Thanks to their contribution, several poster artists are retaking the technique.

As previously mentioned, Joseph Renal is one of the

great in the collage technique, the theme of their work is basically to attack
the consumerist society, to war, in a completely ironic way.

From left to right:

Surrealism, Max Ernst 'Motif Exhibition Posters', (1923).

Surrealism, Josep Renau "Why are people so worried?"

Surrealism, Josep Renau "American Celebrities"

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Theme 4. The relationship between text and image in the poster

Subtopics

4.1 Image by text

4.2 Text by image
4.3 Composition

Learning Objective
At the end of the topic, the student will explore the relationship between the word and the image.
and how these can be interpreted by the viewer.

Synopsis

The balance between image and word in a poster is essential. The word has
has been used to inform basically, the image is used to capture the
attention and with his mere presence to convey a message. But in this existing relationship
Since the beginnings of the cartel, image and word can play various roles, already
whether the word takes on a leading role or vice versa, or simply does not.
one can cease to exist without the other, the key point here is what is it that
we want to say and how we can achieve it, whether through images or letters.

4.1 Image by text

In recent decades, different forms of expression have been experienced.

based on techniques known as illustration, photography,
collage, etc. In order to produce an impact on the viewer.

Many designers have explored in the technique a form of expression for the
image by itself, where it takes on the leading role in the poster,
due to the fact that in just a few seconds it must capture attention and retention of
viewer, and this in turn understands the implicit meaning in the context of the
image.

If that image has managed to emerge from the common context, it allows for an understanding.
beyond the surface where it rests.

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There are many ways to represent an image, one of them would be photography.
Exponents of this technique are designers Koji Mazutani and Uwe Loesch.

It's not that photography is simply used to achieve the end, but rather that it takes
the main role and the text and other details only supplement the image.

Another way is illustration, where the designer infuses the poster with a
feeling of nostalgia for the old, a singular and personal vision of the
image, thus obtaining another reaction from the viewer.

Mazutani y Uwe Loesch “Juntos por Kobe”, (2000)

Each poster requires a different treatment; the same technique cannot be used.
not the same feeling since each represents a theme and need
unique.

An example of the special treatment of each poster can be seen a

continuation: March 98: The French right allies with the National Front,
Alex Jordan. This designer illustrates the hand with the ring, exemplifying in a way
very digestible for the viewer the result of the French right alliance with the

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far-right, Obviously, if photography had been used as a technique, the

the appearance of the gangrenous hand would make the viewer recoil
automatically, deviating from the main purpose.

Alex Jordan "March 98: The French right allies with the National Front", (1998)

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Pascal Colrat "Capitalization", Lithography of 1.20 x 176 m, was made for the
RE PARIS gallery. The photograph subtly critiques capitalism and wealth.
through a visual metaphor. (2000)

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In other cases, photography is a wonderful resource, if it is used properly.

suitable. The poster created by French designer Pascal Colrat could sell
luxury cars, it could have a reading from any magazine page,
until the moment you observe the context, in the reflection of the car,
social housing and at the bottom, "Capitalism".

4.2 Text by image

Initially, the posters basically represented an image, an object and

subsequently, the text was inserted as a supplement, in some cases the
text has been completely removed from the poster without losing effectiveness, in other cases the
text transforms into an object.

The statement 'letters are things' made by the typographer Eric Gill has generated
as a consequence of an experimentation with typography on the poster.

The question is: How to make the lyrics provoke a reaction from the viewer?
It is what causes several designers to discard the idea of absolute use of
typography. However, others try to achieve a result by transferring it to the
letters a unique value and personality.

The design of completely typographic posters can be found since the

futurist or dadaist movement, but we must also remember that design
these posters were done manually, without the use of the computer, without the purpose of
fill the image with the new photographic effects therefore, there was a
deeper search about the end of the cartel.

Some designers have opted for the use of typography as a sign of

fight against the mechanized nature that computer design can have,
examining the multiple possibilities offered by typography. Among them
we can find designer Marek Sobczyk creating his own typography and
generating the design of the posters manually in a single ink.

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Marek Sobczyk “Otwarcie 25”, Serigrafía de 78 x 54 cm, (2001)

The search for an effect of typography on paper has been immersed in

the exploration of the letter-object, in this type of posters we can find
Leonardo Sonnoli, displacing the flatness of typography and transforming it into a
three-dimensional object.

Leonardo Sonnoli
Franco Grignani
Offset of 98 x 68 cm,
(2000)

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Another use of typography on the poster can be seen in Ralph's poster.

Schraivogel, aún utilizando imágenes, podemos notar la jerarquía de la tipografía,
Well, how many times have we seen the direction of an event with so much
presumption?

Ralph Schraivogel "Woody Allen"

Offset of .90 x 1.28 m (1998)

4.3 Composition
The balance between the word-image relationship reinforces the content of the poster and
produce various levels of reading.

Words can reinforce the image by using a message that aligns with it or
contradicting her, achieving unexpected results for the reader.

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David Tartakover "Posters about Palestine"

Photograph of former Israeli Prime Minister Benjamin Netanyahu. (2000)

This photograph of the then Israeli president surrounded by his guards, for itself
alone would not cause any effect on the viewer, however, the simple fact
to imitate Benetton's campaign with attention to words, it provokes a reading
more in depth by the viewer.

The conjunction of image - word can represent a single reading, without the
the need to separate one from the other, or to have a first reading of the image and
another secondary in the text. An example of the excellent union between the image and the
text is the poster for the American Institute of Graphic Arts from 1999 designed by
Stefan Sagmeister.

The outline of the text about the body took some time to give it meaning.
cartel. The designer etched the message into his body with a scalpel, using the
to convey to the viewer the concept of "Visualizing the pain that seems
to accompany most of our design projects." How can we
observe, the text alone would not have achieved the effect, nor the photograph alone, only the
the union of both creates a single image.

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Stefan Sagmeister
Cartel for the AIGA of Detroit
(1999)

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Summary

Art has played a leading role in graphic design on some occasions.

it is difficult to differentiate the thin line between an artistic work and advertising, still
having very different purposes. However, design could not be born without art.
because it has had an influence not only on materials and techniques,
but also in artistic composition.

Composition is the most important process in problem-solving.

cartel. The final result of the conjunction of elements will give a meaning and
purpose, which will be interpreted by the viewer.

Different forms of expression based on this have been experimented with.

techniques known as illustration, photography, collage, etc. With the
to end up having an impact on the viewer.

Many designers have explored in the technique a form of expression for the
an image by itself, where it takes the leading role in the poster,
because in a few seconds it must capture attention and retention of
viewer, and this in turn understands the implicit meaning in the context of the
image.

En un principio los carteles básicamente representaban una imagen, una objeto y

subsequently, the text was inserted as a supplement, in some cases the
Text has been completely removed from the poster without losing effectiveness, in other cases the
text transforms into an object.

The balance between the word-image relationship reinforces the content of the poster and
produce various levels of reading.

Words can reinforce the image using a message that aligns with it or
contradicting her, achieving unexpected results for the reader.

The conjunction of the image - word can represent a single reading, without the
need to separate one from the other, or have a first reading of the image and
another secondary school in the text.

Summary 43
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General bibliography

- Los Carteles su historia y su lenguaje. Barnicoat, John, Gustavo Gili (2000).

Mexico

- The Cuban Cartel, Muñiz, Mirta. Ed. Our America (2003)

- Graphic testimony, (1978). Feb 10-28. Mexico. Prol. Juan Manuel López

- Art Deco: A Nationalist Country, a Cosmopolitan Mexico, (1997). Mexico Pról.

Rafael Tovar.

- Exhibition Art of Popular Struggles Mexico, (1979). Feb. Mexico. pp. 3-9.

- The Syntax of the Image, D. Dondis, G. Gili. (1997). Mexico.

- Word and Image, (1968). Jun – Aug. Mexico.

- New poster design, Bestle, Russell and Noble Ian. Gustavo Gili (2002).
Barcelona.

- Design and print your own posters Biegeleisen Watson-Guptill (1976).

Mexico.

- Creating posters Rabel, J. (1999)

http://www.kumc.edu/SAH/OTEd/jradel/Poster_Presentations/110.html

General bibliography 44