How to make a social poster. Modern social poster. Smoking leads to premature aging

It is unlikely that anyone today will dispute or underestimate the importance of design activities in the creation of any advertising product, because a designer is primarily a designer of ideas, does he also work with the meaningful components of advertising? and with all visual components, starting with the logo and product name, ending with complex advertising complexes and campaigns. An advertising designer is not just an illustrator or a computer draftsman, but a specialist who is able to combine the semantic part (benefit) and the visual part (beauty) of an advertising product in the most creative, original and witty way, as required by the general idea called ADVERTISING IDEA, which? in turn, is also an object of development for the designer. The scope of advertising is wide and varied, experts usually divide advertising into commercial, social and political. This article will focus on social or humanitarian advertising. What is social advertising today, what is the specific role of a designer as a designer of social advertising objects?

Such a concept as social advertising exists only in Russia, in the West it is replaced by "Publik Interest". The largest Western advertising theorists Bove and Ahrens in their book “ Modern advertising” use the term “non-commercial advertising”, which is classified according to the types of organizations using it. Such advertising is also known under the term "public service advertising" (public service advertising and public service announcement, abbreviated as PSA). On the territory of Russia, there is the “Law on Advertising”, which stipulates the possibilities for the production and placement of social advertising.

In fact, the purpose of social advertising is to change the public's attitude to any problem, draw people's attention to specific social problems or inform about the social initiatives of the authorities, and in the long term - to develop new ones. social values. A well-known researcher of advertising, including social advertising, Fedotova L.N. writes: “... society has demanded a very important type of advertising - social advertising, as it has faced problems, the solution of which depends on mass behavior. Multiplying patterns of socially preferred behavior has become a function of this type of advertising. This type of advertising forms the image of "a socially approved and socially unapproved action or opinion (emotion), the overriding task of such an appeal to the masses is the participation of people (participation as an action and participation as complicity, empathy) in solving the identified problem" .

The close attention of well-known designers to the field of social advertising is due to the related nature of the goals and basic principles of design and social advertising - heightened, sensitive perception social ills society; the principle of humanity; indifferent attitude to a person (user, consumer); the desire to be “on the cutting edge” of the most relevant and topical phenomena and, as a result, the desire to actively transform life reality into better side. The cult figure of American design, Philippe Starck, said: “The designer can and should participate in the search for meaning, in the construction of the civilized world.” A particularly favorite and popular form of design creativity in this area is the poster of social advertising.

Since Soviet times, there has been a steady verbal turnover “poster art”. So what is a poster - art or design? This article discusses poster art as a design activity in comparison with artistic creativity in art. Undoubtedly, common features are easy to detect, they exist, but, in our opinion, the social poster was, is and will be an object of design. The words of graphic design researcher Sergey Serov are convincing: “In the design profession, the poster stands somewhat apart. On the one hand, it is almost an easel form of graphic design, independent region creativity. On the other hand, the poster belongs to the very core of graphic design. Here the design imagination develops, the visual language improves. For designers, a poster is a constant companion of a professional biography. This is both a study task in the first year and the pinnacle of free creativity. Therefore, the preservation of the poster as a genre is a matter of the ecology of the design culture. Being deprived of the opportunity for poster expression, the whole graphic design shreds and dies.

A social poster is a time-tested object of non-commercial advertising.

Poster as a special form of circulation printing products, is one of the oldest types of advertising. The social poster, which became widespread in the early twentieth century, was the first world war has not lost its relevance to this day. In general, the word "poster" appeared at the end of the nineteenth century, as a tracing paper from the German "das Plakat". In England and the USA, the name "poster" was used, derived from the word "mail". It is believed that in these countries such sheets appeared primarily near crowded postal stations. In France, the word "affiche" has taken root - a poster. Now in the professional advertising environment, “posters” are often called large-format advertising posters of various proportions and sizes, including those in outdoor advertising, therefore, the concept of "poster" can be considered wider than it was accepted at the beginning and middle of the last century. Modern advertisers and designers like to use the slang "print" in the meaning of "poster" (from the English. Print - to print).

Thus, the poster today is everything - from the traditional paper printing poster indoors to large-format "bigboards" (from the English bigboard - a large board, that is, a large advertising plane) on the facades of buildings. The expressive language of the social poster has its own characteristics. There are several basic graphic principles of poster design, knowledge and possession of which will help a graphic designer create a really bright, relevant, effective product. Let's take a look at these formal graphic principles, as well as some creative techniques in designing a social poster.

Unambiguity.

The most important principle of poster design is the need for an unambiguous interpretation of the created image, otherwise it will be impossible to achieve an advertising effect. What is the dignity of a work of art - the depth, ambiguity and diversity of meanings and images - is completely unacceptable in a poster. All noises and extraneous meanings that interfere with the perception of the main idea, the idea of the poster, must be ruthlessly discarded. L.N. eloquently writes about this. Fedotova: “In social advertising, the idea of committing a plausible and / or unseemly act should be maximally explicit, clearly expressed ... the very essence of this dichotomy of good - bad should be clearly present, if not textually, then as an explicit mental conclusion. Art can, reproducing all the diversity of the world, “look for positive traits in the villain,” but this technique is not suitable for such a pragmatic message as advertising is. Most often, a measure that excludes multiple interpretations is the addition of a text commentary by the author: a slogan or a slogan.

This poster is dedicated to the death of homeless people from the cold in the winter on the streets of Moscow. The viewer has no doubts that indifference is bad. Advertising campaign turned out to be effective, people paid attention to the freezing homeless, called the indicated numbers, hundreds of lives were thus saved.

Conciseness.

It is perfectly reasonable to use only concise, well and quickly readable graphics in the poster. The pace of modern life requires clear and vivid images, short and boring phrases that people are able to perceive literally "on the go", in the turmoil of a modern city street. A designer should not count on the possibility of a calm, measured contemplation of his product.

The habitat of a social poster is not an art gallery with the viewer initially tuned in to the thoughtful contemplation of the work, it is a rich and aggressive media environment. “The poster is urban art. It is designed to attract our mindlessly automatic views, awakening from constant haste, returning for a moment the meaning of life, ”writes Sergey Serov. Modern advertising is intrusive and active, it finds itself and “attacks” a person. In order for the creative efforts of the designer not to be wasted, not to go unnoticed, the developer must know modern ergonomic requirements in the field of visual perception of graphic objects, skillfully use the entire arsenal of compositional and creative means to create a competitive, memorable and concise poster.

Synchronicity principle.

The key to the effectiveness of a poster is the use of a modern aesthetic system in relation to the addressee, in other words, an actual poster requires that the aesthetic system of the designer be synchronous and modern with the aesthetic system of the recipient of the message. Not by chance, so tightly attached to the social poster figure of speech“on the topic of the day”, firstly, because the “topic of the day” never ends, there are always pressing and acute problems of our time, and secondly, the specificity of the poster, as a short-lived advertising object, requires it to be relevant, sharp and ringing tension , even in those cases when it comes to the timeless, eternal problems of mankind.

In the introductory article to the album-collection "Moscow Conceptual Poster of the 1990s", Sergey Serov argues: "... what only extremes of the pictorial and expressive, intellectual and emotional, personal and social, eternal and momentary are not here (in the poster - approx. The author) converge! His age is short, you have to hurry - and therefore he is always on the cutting edge, captures the spirit of the times, and sometimes ahead of him, looking into the future. A poster is an incorruptible witness… it imprints the rhythms of everyday life, embodies life images, styles, values and meanings. The poster is part of the visual-symbolic environment, the air that animates the modern world.

For a designer, adherence to the principle of synchronization makes it possible to be heard and understood by contemporaries; if this principle is ignored, the recipient will not be able to correctly decode the content of the advertising message, which is permissible in art, but unforgivable in real advertising.

In the history of the poster, the principle of synchronization can be traced very clearly. Commercial advertising in this regard is more loyal to historical quotes and radical stylization of aesthetics for a long time. past days- this is justified by the specifics of the product, the manufacturer or the features target audience. A professional engaged in the development of a social poster for the mass consumer must be able to restrain his impulses of creative self-expression, resulting in the use of historical stylizations and graphic techniques of past eras, no matter how skillfully and competently he mastered them. Awareness and erudition of a specialist in these matters, personal style preferences should not dominate current system aesthetic coordinates, understandable to the target audience.

On the other hand, synchrony is not a dogma either! There is such a controversial phenomenon as the fashion for various retro styles, the theme of the poster may require the need for a diachronic cut. Sometimes the clash of modern and historical style can give an unexpected, bright and witty solution to a social poster. AT this case key factor success is the designer's qualification, his cultural intuition, the desire to search for new expressive techniques, together with a clear and conceptually elaborated design pragmatism. Any graphic "madness" must be meaningful and designed within the framework of specific task for a specific target audience.

Verbal (verbal) component of the poster - options are possible.

The text message in a social poster, as a rule, is assigned, if not dominant, then very important role, while any options for its relationship with the visual graphic component are possible - from complete absence to one hundred percent dominance in the absence of graphics.

Option one– the presence of the text tends to zero. Since Soviet times, everyone remembers well the caricatured topical pictures with the caption “without words”, indeed, why need extra words and comments when the graphic image conveys the author’s thought eloquently and expressively. According to the principle of emotional impact, such a poster can be compared with a work contemporary art, the main thing is that the principle of unambiguous reading of an advertising idea is observed and adequately served by graphics. In commercial advertising, there may also be examples of the absence of the text component of the advertising message, while at least the minimum presence of the label of the promoted product is required. Among the latest examples of social posters from the most famous advertising agencies and world-class designers, one can find works where the textual presence is similarly limited to only marking the brand of a project or a public organization such as Greenpeace (GREENPEACE) plus an Internet resource address, the entire design creative, the entire figurative advertising idea poster is concentrated in the image.

The second option is the most common, when the text part and the graphic image, complementing and reinforcing each other, are necessary and integral components of a social poster. The graphic design of the font of the slogan and, in general, of the font composition can be from the simplest, as if imperceptible, to the most complex and pretentious, using zigzag or radial writing trajectories, with flowing and penetrating into the graphic elements. There are a lot of possible graphic solutions, the main criterion for a quality product is the designer's sense of proportion and adherence to the above-mentioned principles of conciseness, readability and compliance with the design task. The third option is the complete dominance of the verbal component in the social poster. In one case, it means giving figurative expressiveness to the type composition using various graphic techniques, without using any active graphic background elements. In another case, the entire advertising creative, meaning and unique author's idea are enclosed and implemented directly in verbal form, the font composition in this case "takes the hit".

The designer's game with signs and letters (Aid - help, support, eng.) clearly shows that when you make donations to the fund, you can help beat AIDS by defeating the disease.

The principles considered in this article are mainly advisory, but not strict and dogmatic. The search for creative deviations from the established genre standards has always been characteristic of a restless, restless, eternally dissatisfied designer's view of the world surrounding a person. The essence of the profession of a designer and the measure of his talent and qualification lies in the ability to create bright, witty and unexpected solutions in a situation of strict design constraints and a huge responsibility to the consumer, especially if it is known in advance that the designed product will be mass-produced, large-circulation, such as a social advertising poster. . On the other hand, the designer, even in the most difficult and unstable times, always had the opportunity to fully realize his creative potential in a small-circulation author's poster, which many art historians call "exhibition posters".

Examining the Russian author's "conceptual poster" of the late 1990s, Sergei Serov writes: "The exhibition wave of the perestroika poster swept across the country. Most of all, the public was surprised, excited, excited by the works of those artists who created their posters on an internal impulse, and not according to thematic plans, filling their works with personal, sincere, confessional intonations ... The exhibition showed and designated the existence of this phenomenon - a poster, the "customer" of which was the author of a poster for himself, a poster in which the artist sought to liberate his thinking, clamped down by rules, dogmas, complexes, designed to be creative. In a sense, "authorship" is a synonym for creativity, and the author's spirit is necessary for any work, no matter how rigid its conditions and frameworks may be. In this quote, it is not by chance that Serov calls the authors artists, although in the book they appear as designers, designers by vocation, by project approach, but due to many historical factors and creative conceptual research, the posters of those years turned out to be so close to art, and not to a mass advertising product. Author's poster art exists today, and it is ranked among contemporary contemporary art.

Literature

Voronov N. V. "Design: Russian version." – M.: Tyumen, 2003.

Lavrentiev A. N. “History of design. Tutorial". – M.: Gardariki, 2006.

Serov S. I. "Moscow Conceptual Poster of the 1990s". – M.: Line Graph, 2004.

Max Gallo. L "AFFICHE. Parangon, 2002

Igoshina Tatyana Sergeevna,
postgraduate student of Ural State Academy of Arts,
Senior Lecturer, Department of State Duma
Scientific adviser:
Doctor of Arts,
Professor of the Department of State Duma Ural State Academy of Arts
Pavlovskaya E.E.

Such a concept as social advertising exists only in Russia, in the West it is replaced by "Publik Interest". Such advertising is also known as "Public service announcements" (public service advertising and public service announcement, abbreviated as PSA). On the territory of Russia, there is the “Law on Advertising”, which stipulates the possibilities for the production and placement of social advertising.

In essence, the goal of social advertising is to change the public's attitude to any problem, to draw people's attention to specific social problems or to inform about the social initiatives of the authorities, and in the long term to develop new social values. A well-known researcher of advertising, including social advertising, Fedotova L.N. writes: “…society has demanded for life a very important type of advertising - social advertising, as it has faced problems, the solution of which depends on mass behavior. Multiplying patterns of socially preferred behavior has become a function of this type of advertising. This type of advertising forms the image of "a socially approved and socially unapproved action or opinion (emotion), the overarching task of such an appeal to the masses is the participation of people (participation as an action and participation as complicity, empathy) in solving the identified problem" .

The close attention of well-known designers to the field of social advertising is due to the related nature of the goals and basic principles of design and social advertising - a heightened, sensitive perception of the social ills of society; the principle of humanity; indifferent attitude to a person (user, consumer); the desire to be "on the cutting edge" of the most relevant and topical phenomena and, as a result, the desire to actively transform life's reality for the better. The cult figure of American design, Philippe Starck, said: “The designer can and should participate in the search for meaning, in the construction of the civilized world.” A particularly favorite and popular form of design creativity in this area is the poster of social advertising.

Since Soviet times, there has been a steady verbal turnover “poster art”. There are many points of view on the question: is a poster art or design? Undoubtedly, common features are easy to detect, they exist, but the social poster was, is and will be an object of design. The words of graphic design researcher Sergey Serov are convincing: “In the design profession, the poster stands somewhat apart. On the one hand, it is almost an easel form of graphic design, an independent area of creativity. On the other hand, the poster belongs to the very core of graphic design. Here the design imagination develops, the visual language improves. For designers, a poster is a constant companion of a professional biography. This is both a study task in the first year and the pinnacle of free creativity. Therefore, the preservation of the poster as a genre is a matter of the ecology of the design culture. Being deprived of the opportunity for poster expression, the whole graphic design shreds and dies.

The social poster, as a special form of art publication, is one of the oldest types of advertising, which became widespread in the early twentieth century, during the First World War, and has not lost its relevance to this day. The expressive language of the social poster has its own characteristics. There are several basic graphic principles of poster design, knowledge and possession of which will help to create a really bright, relevant, effective poster. Consider these formal graphic principles, as well as some creative techniques in designing a social poster:

1) uniqueness - is one of essential principles poster design. The need for an unambiguous interpretation of the created image is mandatory, otherwise it will be impossible to achieve the desired effect. What is the dignity of a work of art - the depth, ambiguity and diversity of meanings and images - is completely unacceptable in a poster. All noises and extraneous meanings that interfere with the perception of the main idea, the idea of the poster, must be ruthlessly discarded. L.N. eloquently writes about this. Fedotova: “In social advertising, the idea of committing a plausible and / or unseemly act should be maximally explicit, clearly expressed ... the very essence of this dichotomy of good - bad should be clearly present, if not textually, then as an explicit mental conclusion. Art can, reproducing all the diversity of the world, “look for positive traits in the villain,” but this technique is not suitable for such a pragmatic message as advertising is. Most often, a measure that excludes multiple interpretations is the addition of a text commentary by the author: a slogan or a slogan. So in Figure 5 there is a poster called "Indifference = Murder".

This poster is dedicated to the death of homeless people from the cold in the winter on the streets of Moscow. The viewer has no doubts that indifference is bad. The social campaign turned out to be effective, people paid attention to the freezing homeless, called the indicated numbers, hundreds of lives were thus saved;

conciseness - it is perfectly reasonable to use only concise, well and quickly readable graphics in the poster. The pace of modern life requires clear and vivid images, short and boring phrases that people are able to perceive literally "on the go", in the turmoil of a modern city street. The habitat of a social poster is not an art gallery with the viewer initially tuned in to the thoughtful contemplation of the work, it is a rich and aggressive media environment. “The poster is urban art. It is designed to attract our mindlessly automatic views, awakening from constant haste, returning for a moment the meaning of life, ”writes Sergey Serov. An example of a concise poster would be the poster shown in Figure 6.

Figure 6 - Anti-beer campaign poster

Modern advertising is intrusive and active, it finds itself and “attacks” a person. In order for the creative efforts of the designer not to be wasted, not to go unnoticed, the developer must know modern ergonomic requirements in the field of visual perception of graphic objects, skillfully use the entire arsenal of compositional and creative means to create a competitive, memorable and concise poster;

2) the principle of synchronicity is the key to the effectiveness of the poster. The use of a modern aesthetic system in relation to the addressee, in other words, the actual poster requires that the aesthetic system of the designer be synchronous and modern with the aesthetic system of the recipient of the message. It is no coincidence that the speech turnover “on the topic of the day” was so tightly attached to the social poster, firstly, because the “topic of the day” does not end in any way, there are always pressing and acute problems of our time, and secondly, the specificity of the poster as a short-lived advertising object, requires from it relevance, sharpness and ringing tension, even in those cases when it comes to the timeless, eternal problems of mankind. Figure 7 shows an example of a poster "on the topic of the day." In the history of the poster, the principle of synchronization can be traced very clearly. Commercial advertising in this regard is more loyal to historical quotes and radical styling under the aesthetics of bygone days - this is justified by the specifics of the product, the manufacturer or the characteristics of the target audience. A professional engaged in the development of a social poster for the mass consumer must be able to restrain his impulses of creative self-expression, resulting in the use of historical stylizations and graphic techniques of past eras, no matter how skillfully and competently he mastered them. Awareness and erudition of a specialist in these matters, personal stylistic preferences should not dominate the current system of aesthetic coordinates, understandable to the target audience. On the other hand, synchrony is not a dogma. There is such a controversial phenomenon as the fashion for various retro styles, the theme of the poster may require the need for a diachronic cut. Sometimes the clash of modern and historical style can give an unexpected, bright and witty solution to a social poster. In this case, the key success factor is the designer's qualification, his cultural intuition, the desire to search for new expressive techniques, together with a clear and conceptually elaborated design pragmatism. Any graphic "madness" must be meaningful and designed within the framework of a specific task, for a specific target audience;

Figure 7 - Poster "Pensioner's Menu"

3) verbal (verbal) component of the poster. There are several options for designing the verbal component of the poster. As a rule, a text message in a social poster is given a very important role, if not dominant, while any options for its correlation with the visual graphic component are possible - from complete absence to one hundred percent dominance in the absence of graphics.

Option one - the presence of the text tends to zero. Since Soviet times, everyone remembers well the caricatured topical pictures with the caption “without words”, indeed, why need extra words and comments when the graphic image conveys the author’s thought eloquently and expressively. According to the principle of emotional impact, such a poster can be compared with a work of modern art, the main thing is that the principle of unambiguous reading of an advertising idea is observed and adequately served by graphics. An example of a poster with minimal text is shown in Figure 8.

Figure 8 - "First breath"

Among the latest examples of social posters from the most famous advertising agencies and world-class designers, one can find works where the textual presence is similarly limited to only marking the brand of a project or a public organization such as Greenpeace (GREENPEACE) plus an Internet resource address, the entire design creative, the entire figurative advertising idea poster is concentrated in the image.

The second option is the most common, when the text part and the graphic image, complementing and reinforcing each other, are necessary and integral components of the social poster. The graphic design of the font of the slogan and, in general, of the font composition can be from the simplest, as if imperceptible, to the most complex and pretentious, using zigzag or radial writing trajectories, with flowing and penetrating into the graphic elements. There are a lot of possible graphic solutions, the main criterion for a quality product is the designer's sense of proportion and adherence to the above-mentioned principles of conciseness, readability and compliance with the design task. The Habit poster shown in Figure 9 clearly demonstrates this.

The third option is the complete dominance of the verbal component in the social poster. In one case, it means giving figurative expressiveness to the type composition using various graphic techniques, without using any active graphic background elements.

Figure 9 - "Habit"

In another case, the entire advertising creative, meaning and unique author's idea are enclosed and implemented directly in verbal form, the font composition in this case "takes the hit". An example of such a poster is shown in Figure 10.

The game of the designer with signs and letters (Aid - help, support, eng.) clearly shows that when you make a donation to the fund, you can help beat AIDS by defeating the disease

The considered principles are mainly advisory, but not strict and dogmatic. The search for creative deviations from the established genre standards has always been characteristic of a restless, restless, eternally dissatisfied designer's view of the world surrounding a person.

The poster of social advertising has always been and remains a very fertile topic in the educational process. Educational creativity is free from strict, fixed external settings, therefore, within the framework of the educational process, there is an opportunity to work out the most extreme and expressive creative techniques. Social advertising for a design student is a testing ground for working out his personal creative style, an opportunity to master the most spectacular and spectacular advertising moves and techniques, up to "shock" and outrageous. The topic of the social poster remains relevant and interesting both for scientific research and for more effective and deep implementation in the process of higher education of educational institutions that train advertising and graphic designers. Thus, social posters contribute to the formation of attitudes, ideas, ethical principles, beliefs and stereotypes, but their main function is to induce the reader to take action. The depth, strength of the audience's reaction to social advertising depends on the degree of identification with the ideas contained in the social poster.

The "Father of Advertising" David Ogilvy credits his contemporary Howard Gossage with the following quote: " Advertising justifies its existence when used in the public interest, it is too powerful a tool to be used solely in commercial purposes ". We agree with this statement, so we publish for you a selection with effective social advertising.

Torture victims are people like you and me.

Stop Violence: Don't Drink and Drive

Premature ending: "If you smoke, according to statistics, your story will end 15% prematurely."

WWF: It's scary. And this is even scarier.

Your skin color shouldn't dictate the future.

As we turn the page the deforestation continues

Non-hatred

Elm Grove Police Department: Radar combined with social advertising. The scoreboard displays the speed of a car passing by and the message "46 days in the hospital." Slogan: The slower the better

Save paper - save the planet

Polluted air kills 60,000 people a year

Sympathy doesn't help. Become a volunteer. Change your life

Protect the Birds: Don't Throw Trash

What do we see when you smoke

Anti-violence. Animal Welfare League: This is not football

Bangalore City Traffic Police: Don't talk while driving

Child Soldiers: It's Not Happening Here, But It's Happening Now

Art Director Pius Walker, Amnesty International, Switzerland

Censorship is lying

Don't get distracted while driving

Every 60 seconds a species dies out. Every minute counts

Innocence in danger: Where is the pedophile?

Art director: Michael Argüello. Copywriter: Bassam Tariq. Additional photos: Jason Musante

Sexual Predators May Be Hiding in Your Child's Smartphone

Smoking leads to premature aging

You are not a sketch. Say no to anorexia

Abandoned children feel invisible. Stop Child Abuse

Australian Childhood Foundation, JWT Melbourne

Global Action for Animals: Plastic bags kill

Keep the sea clean

Distance is not worth it. Pass the truck

Marine Conservation Society (SSCS): When you see a tuna, think of a panda

Sleep is stronger than you. Don't drive when drowsy

See how easy it is to feed the hungry?

Cause cancer on your own

Deforestation and the air we breathe: before it's too late

For the homeless, every day is a struggle

Warning beer mug: Please don't lose control of your drinking

One of the children is holding something forbidden in America. Guess what exactly?

New works from social campaigns appear regularly, creatives and public organizations trying to solve an impossible task - to scare a healthy person with illness and suffering. And also appeal to conscience and understanding.
Advertising against government brutality

Colorado State Police: Crumpled Billboard
The Patrol Service of the US state of Colorado posted a voluminous billboard simulating the consequences of a car accident.

Your speed = number of days in the hospital
An interactive billboard in the US showing the consequences of speeding over 25 mph.

Help feed the homeless

More people die from smoking than from car accidents.
In Canada, they set up a car lined with a large cigarette to say that more people die each year from smoking than from traffic accidents.

There is a better way to build a career
Advertising service for employment in Germany.

Billboard with blood. Don't drive in the rain
When it rains, red smudges appear on the child as a call to slow down.

Prostheses for the disabled
An Indian organization is developing prostheses for the disabled, including the creation of complex artificial feet with a polyurethane shell.

Buckle up!

Don't hide domestic violence
To open or not to open?

closed straw
Cholesterol does the same to your arteries. Watch what you eat!

Smokers look the same

Prevention of major cardiovascular diseases
Better to prevent than to deal with it.

child abuse
"Stay by our side. Report violence!

Save paper

Poster- ? - a catchy, usually large-format, image, accompanied by a short text, made for propaganda, advertising, information or educational purposes. Types of poster - ? 1. Campaign poster. 2.Advertising poster. 3.Information poster. 4. Educational poster. 5. Social poster.

A social poster is a poster that promotes basic social values. The social poster reflects social manifestations personality, the specifics of social relationships in society, significant social problems, threats and disasters. The same concept is also called - social advertising.

MAIN PRINCIPLES OF THE SOCIAL POSTER DESIGN 1. The need for UNIFIED INTERPRETATION of the created image. All noises and extraneous meanings that interfere with the perception of the main idea, the idea of the poster, must be discarded. Advertising agency Bates VIAG Saatchi&Saatchi for Doctors Without Borders This poster is dedicated to the death of homeless people from the cold in the winter on the streets of Moscow.

2. CONCESSION. Clear and vivid images, short and boring phrases that people are able to perceive literally "on the go", in the turmoil of a modern city street. The designer must know modern ergonomic requirements in the field of visual perception of graphic objects, skillfully use the entire arsenal of compositional and creative means to create a competitive, memorable and concise poster.

Joseph Müller Famous road safety poster of the Swiss Automobile Club 3. A well-chosen IMAGE-TEXT RATIO. Option 1: The presence of text tends to zero. This is the case when the graphic image eloquently and expressively conveys the author's thought.

Advertisement for the Berlin branch world organization CHILD HEALTH FOUNDATION (Children's Health Fund) Option 2 (the most common). The text part and the graphic image, complementing and reinforcing each other, are necessary and integral components of a social poster.

Vladimir Chaika "No Beer" Cult poster of the 90s. Option 3. No picture, i.e. complete dominance of the text part. The font composition in this case “takes the hit.

Advertising poster for the Fight Against AIDS Society with the slogan "We need your donation to fightit" ("We need your financial support to defeat him"). The game of the designer with signs and letters (Aid help, support, eng.) clearly shows that by making a donation to the fund, you can help beat AIDS by defeating the disease.

The specificity of the artistic language of the poster is determined by the fact that: it must be perceived at a great distance, attract attention, the meaning of the depicted must immediately catch the eye, the generalization of forms (instantly memorable), the framing of the image, the great role of the silhouette, a bright local color spot, the consistency of all elements of the composition, choice of font (dependence of the pattern of letters on the content of the text, rhythm, stylistic unity of fonts in the poster).

Task: Creation of a social poster in 3 versions: 1. The presence of the text tends to zero. 2. The text part and the graphic image, complementing and reinforcing each other. 3. Absence of a picture, i.e. complete dominance of the text part. Homework: Making a social poster in GIMP.