Socially significant posters. Social poster Stages of constructing a social poster

home

It is unlikely that anyone today will dispute or underestimate the importance of design activity in the creation of any advertising product, because a designer is, first of all, a designer of ideas; he also works with the meaningful components of advertising? and with all visual components, from the logo and product name to complex advertising complexes and campaigns. An advertising designer is not just an illustrator or a computer draftsman, he is 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 possible, as required by the overall plan, called an ADVERTISING IDEA, which? in turn, is also an object of development for the designer. The field of advertising is wide and varied; experts usually divide advertising into commercial, social and political. This article will discuss social or humanitarian advertising. What is social advertising today, what is the specificity of the role of the 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 Arens in their book “ Modern advertising

Essentially, the purpose of social advertising is to change the public’s attitude towards any problem, to attract people’s attention to specific social problems or to report on 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, L.N. Fedotova. writes: “...society has demanded a very important type of advertising - social advertising, as it is faced with problems the solution of which depends on mass behavior. It became the function of this type of advertising to multiply the patterns of behavior preferred by society. This type of advertising creates an image of “a socially approved and socially disapproved action or opinion (emotion), the ultimate goal of such an appeal to the masses is the participation of people (participation as action and participation as complicity, empathy) in solving the designated problem.”

The close attention of famous 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; caring attitude towards a person (user, consumer); the desire to be “on the cutting edge” of the most current and topical phenomena and, as a consequence, the desire for the active transformation of life reality in better side. The iconic figure of American design, Philippe Starck, said: “The designer can and must participate in the search for meaning, in the construction of a civilized world.” A particularly favorite and popular form of design creativity in this area is the social advertising poster.

Since Soviet times, there has been a stable verbal expression “poster art”. So what is a poster - art or design? This article examines poster creativity 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 Sergei Serov are convincing: “In the design profession, the poster stands somewhat apart. On the one hand, this is almost an easel form of graphic design, an independent field of creativity. On the other hand, the poster belongs to the very core of graphic design. Here design imagination develops and visual language improves. For designers, a poster is a constant companion to a professional biography. This and educational task in the first year, and the pinnacle of free creativity. Therefore, preserving the poster as a genre is a matter of ecology of design culture. Being deprived of the opportunity for poster expression, all graphic design crumbles and withers.”

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

Posters, as a special form of printed products, are one of the oldest types of advertising. A social poster that became widespread at the beginning of the twentieth century, in 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" - poster - has taken root. Nowadays, in the professional advertising environment, “posters” often refer to large-format advertising posters of various proportions and sizes, including outdoor advertising, therefore, the concept of “poster” can be considered broader than it was accepted at the beginning and middle of the last century. Modern advertisers and designers like to use the slang “print” to mean “poster” (from the English Print - to print).

Thus, a poster today is everything - from a traditional paper printed poster indoors to large-format “bigboards” (from the English bigboard - a large board, i.e. a large advertising plane) on the facades of buildings. Expressive language social poster has its own characteristics. There are several basic graphic principles of poster design, knowledge and mastery of which will help a graphic designer create a truly bright, relevant, eye-catching product. Let's look at these formal graphic principles, as well as some creative techniques in designing a social media 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 - depth, ambiguity and diversity of meanings and images - is completely unacceptable in a poster. All noise and extraneous meanings that interfere with the perception of the main idea, the idea of the poster, must be ruthlessly discarded. L.N. writes eloquently about this. Fedotova: “In social advertising, the idea of committing a plausible and/or unseemly act should be as explicitly and clearly expressed as possible... the very essence of this dichotomy, good - bad, should be clearly present, if not textually, then as an obvious mental conclusion. Art can, while 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.” Most often, a measure that excludes multiple interpretations is the addition of a text comment by the author: a slogan or slogan.

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

Conciseness.

It makes perfect sense to use only concise, easy-to-read graphics in your poster. The pace of modern life requires clear and vivid images, short and not boring phrases that people can literally perceive on the go, in the turmoil of a modern city street. A designer should not count on the possibility of calm, measured contemplation of his product.

The environment for a social poster is not an art gallery with a viewer initially inclined to thoughtfully contemplate the work; it is a rich and aggressive media environment. “Posters are urban art. It is designed to attract our mindlessly automatic glances, awakening us from constant haste, returning for a moment the meaning of life,” writes Sergei Serov. Modern advertising is intrusive and active; it finds and “attacks” a person. To ensure that the designer’s creative efforts are not wasted or 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 tools to create a competitive, memorable and laconic poster.

Principle of synchronicity.

The key to the effectiveness of a poster is the use of an aesthetic system that is modern in relation to the addressee; in other words, a relevant poster requires that the aesthetic system of the designer be synchronous and contemporary with the aesthetic system of the recipient of the message. It is no coincidence that the phrase “on the topic of the day” is so tightly attached to the social poster, 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 from it relevance, sharpness and ringing tension, even in those cases when we are talking about timeless, eternal problems of humanity.

In the introductory article to the collection album “Moscow Conceptual Poster of the 1990s,” Sergei Serov argues: “...what extremes of visual and expressive, intellectual and emotional, personal and social, eternal and momentary are not here (in the poster - author’s note) converge! His life is short, we must hurry - and therefore he is always on the cutting edge, catching the spirit of the times, and sometimes ahead of it, looking into the future. A poster is an incorruptible witness...it imprints the rhythms of everyday life, embodying life images, styles, values and meanings. The poster is part of the visual-symbolic environment, the air that enlivens 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 acceptable in art, but unforgivable in real advertising activities.

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

On the other hand, synchrony is not a dogma either! There is such a contradictory phenomenon as the fashion for various retro styles; the theme of the poster may require a diachronic section. Sometimes the collision of modern and historical stylistics can give an unexpected, bright and witty solution to a social poster. In this case, the key success factor is the designer’s qualifications, his cultural intuition, the desire to search for new expressive techniques together with clear and conceptually developed design pragmatism. Any graphic “madness” must be meaningful and designed within the framework of a specific task, for a specific target audience.

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

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

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

Option two 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 slogan font and the font composition in general can be from the simplest, seemingly invisible, to the most complex and elaborate, using zigzag or radial writing trajectories, flowing and penetrating into visual elements. There are a lot of possible graphic solutions, main criterion a quality product – 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 complete dominance of the verbal component in the social poster. In one case, it involves giving a font composition figurative expressiveness using various graphic techniques, without using any active graphic background elements. In another case, the entire advertising creativity, meaning and unique author’s idea are contained and implemented directly in verbal form, the font composition in this case “takes the blow.”

The designer's play with signs and letters (Aid - help, support, English) clearly shows that by making donations to the fund, you can help defeat AIDS, defeating the disease. The principles discussed in this article are mainly advisory, but not strict and dogmatic. The search for creative deviations from established genre standards has always been characteristic of a restless, restless, eternally dissatisfied designer's view of the world,. The essence of the designer's profession and the measure of his talent and qualifications lies in the ability to create bright, witty and unexpected solutions in a situation of strict design restrictions and enormous responsibility to the consumer, especially if it is known in advance that the designed product will be massive, 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 for full creative realization in a small-circulation author’s poster, which many art critics call “exhibition”.

Exploring the Russian author’s “conceptual poster” of the late 1990s, Sergei Serov writes: “The exhibition wave of perestroika posters swept across the country. Most of all, the public was surprised, excited, excited by the works of those artists who created their posters according to internal motivation, and not according to thematic plans, filling their works with personal, sincere, confessional intonations... The exhibition revealed and outlined the existence of this phenomenon - the poster, the “customer” of which was the author of a poster for himself, a poster in which the artist sought to liberate his thinking, constrained by rules, dogmas, and complexes, designed to be creative. In a sense, “authorship” is synonymous with creativity, and the author’s spirit is necessary for any work, no matter how strict its conditions and framework.” In this quote, it is no coincidence 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 still exists today, and it is classified as contemporary contemporary art.

Social advertising posters have always been and remain a very beneficial topic in the educational process. Educational creativity is free from strict, fixed external settings, therefore, within the framework educational process there is an opportunity to practice the most extreme and expressive creative techniques. For a student designer, social advertising is a testing ground for practicing his personal creative style, an opportunity to master the most spectacular and effective advertising moves and techniques, including “shock” and shocking ones. The topic of social poster remains relevant and interesting both for scientific research, and for more efficient and deep implementation into the process higher education educational institutions, training advertising and graphics designers.

Literature

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

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

Serov S. I. “Moscow conceptual poster of the 1990s.” – M.: Line Graphic, 2004.

Max Gallo. L "AFFICHE. Parangon, 2002

Igoshina Tatyana Sergeevna,
graduate student of UralGAKhA,
senior lecturer of the Department of GD
Scientific adviser:
Doctor of Art History,
Professor of the Department of the State Duma of Ural State Academy of Agricultural Academy
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 under the term “public service announcements” (public service advertising and public service announcement, abbreviated PSA). On the territory of Russia there is an “Advertising Law”, which stipulates the possibilities for the production and placement of social advertising.

Essentially, the purpose of social advertising is to change the public's attitude towards any problem, to attract people's attention to specific social problems or to report on 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, L.N. Fedotova. writes: “...society has demanded a very important type of advertising - social advertising, as it is faced with problems the solution of which depends on mass behavior. It became the function of this type of advertising to multiply the patterns of behavior preferred by society. This type of advertising creates an image of “a socially approved and socially disapproved action or opinion (emotion), the ultimate goal of such an appeal to the masses is the participation of people (participation as action and participation as complicity, empathy) in solving the designated problem.”

The close attention of famous 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; caring attitude towards a person (user, consumer); the desire to be “on the cutting edge” of the most current and topical phenomena and, as a consequence, the desire for an active transformation of life reality for the better. The iconic figure of American design, Philippe Starck, said: “The designer can and must participate in the search for meaning, in the construction of a civilized world.” A particularly favorite and popular form of design creativity in this area is the social advertising poster.

Since Soviet times, there has been a stable verbal expression “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 Sergei Serov are convincing: “In the design profession, the poster stands somewhat apart. On the one hand, this is almost an easel form of graphic design, an independent field of creativity. On the other hand, the poster belongs to the very core of graphic design. Here design imagination develops and visual language improves. For designers, a poster is a constant companion to a professional biography. This is both a first-year study assignment and the pinnacle of free creativity. Therefore, preserving the poster as a genre is a matter of ecology of design culture. Being deprived of the opportunity for poster expression, all graphic design crumbles and withers.”

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

1) unambiguity - is one of the most important principles of 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 - depth, ambiguity and diversity of meanings and images - is completely unacceptable in a poster. All noise and extraneous meanings that interfere with the perception of the main idea, the idea of the poster, must be ruthlessly discarded. L.N. writes eloquently about this. Fedotova: “In social advertising, the idea of committing a plausible and/or unseemly act should be as explicitly and clearly expressed as possible... the very essence of this dichotomy between good and bad should be clearly present, if not textually, then as an obvious mental conclusion. Art can, while 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.” Most often, a measure that excludes multiple interpretations is the addition of a text comment by the author: a slogan or 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 winter on the streets of Moscow. The viewer has no doubt that indifference is bad. The social campaign turned out to be effective, people paid attention to the freezing homeless people, called the indicated numbers, hundreds of lives were thus saved;

conciseness - it is absolutely reasonable to use only concise, easy and quickly readable graphics in the poster. The pace of modern life requires clear and vivid images, short and not boring phrases that people can literally perceive on the go, in the turmoil of a modern city street. The environment for a social poster is not an art gallery with a viewer initially inclined to thoughtfully contemplate the work; it is a rich and aggressive media environment. “Posters are urban art. It is designed to attract our mindlessly automatic glances, awakening us from constant haste, returning for a moment the meaning of life,” writes Sergei Serov. An example of a laconic poster would be the poster shown in Figure 6.

Figure 6 - Anti-beer campaign poster

Modern advertising is intrusive and active; it finds and “attacks” a person. To ensure that the designer’s creative efforts are not wasted or 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 tools to create a competitive, memorable and laconic poster;

2) the principle of synchronicity is the key to the effectiveness of the poster. Its use of an aesthetic system that is modern in relation to the addressee, in other words, a contemporary poster requires that the aesthetic system of the designer be synchronous and contemporary with the aesthetic system of the recipient of the message. It is no coincidence that the phrase “on the topic of the day” is so tightly attached to the social poster, 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 from it relevance, sharpness and ringing tension, even in those cases when we are talking about timeless, eternal problems of humanity. 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 very clearly traced. Commercial advertising in this regard is more loyal to historical quotes and radical stylization of the aesthetics of bygone days - this is justified by the specifics of the product, the manufacturing company or the characteristics of the target audience. A professional engaged in the development of social posters for the mass consumer must be able to restrain his impulses of creative self-expression, which result in the use of historical stylizations and graphic techniques of past eras, no matter how masterly and competently he masters them. The specialist’s awareness and erudition in these matters and personal style preferences should not dominate the current system of aesthetic coordinates that is understandable to the target audience. On the other hand, synchrony is not a dogma. There is such a contradictory phenomenon as the fashion for various retro styles; the theme of the poster may require a diachronic section. Sometimes the collision of modern and historical stylistics can give an unexpected, bright and witty solution to a social poster. In this case, the key success factor is the designer’s qualifications, his cultural intuition, the desire to search for new expressive techniques together with clear and conceptually developed 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 a poster. A text message in a social poster, as a rule, is assigned, if not a dominant, then a very important role, and any options for its relationship with the visual graphic component are possible - from complete absence to absolute dominance in the absence of graphics.

Option one - the presence of text tends to zero. From Soviet times, everyone remembers well the caricatured topical pictures with the caption “without words”; indeed, why unnecessary words and comments when a graphic image eloquently and expressively conveys the author’s thoughts. Based on the principle of emotional impact, such a poster can be compared to a work of modern art; the main thing is that the principle of unambiguous reading of the advertising idea is respected 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, you can find works where the textual presence is similarly limited only to the marking of the brand of the project or public organization like Greenpeace (GREENPEACE) plus the address of the Internet resource, the entire design creative, the entire imaginative advertising idea the poster is concentrated in the image.

Option two 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 slogan font and the font composition in general can be from the simplest, seemingly invisible, to the most complex and elaborate, using zigzag or radial writing trajectories, flowing and penetrating into visual 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 presented in Figure 9 clearly demonstrates this.

Figure 9 - “Habit”

In another case, the entire advertising creativity, meaning and unique author’s idea are contained and implemented directly in verbal form, the font composition in this case “takes the blow.” An example of such a poster is shown in Figure 10.

The designer's game with signs and letters (Aid - help, support, English) clearly shows that by making donations to the fund, you can help defeat AIDS, defeating the disease

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

Social advertising posters have always been and remain a very beneficial topic in the educational process. Educational creativity is free from strict, fixed external attitudes, therefore, within the framework of the educational process, there is an opportunity to practice the most extreme and expressive creative techniques. For a student designer, social advertising is a testing ground for practicing his personal creative style, an opportunity to master the most spectacular and effective advertising moves and techniques, including “shock” and shocking ones. The topic of 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 persuade the reader to act. The depth and strength of the audience's reaction to social advertising depends on the degree of identification with the ideas contained in the social poster

Poster- ? - a catchy, usually large-format, image accompanied by a short text, made for campaigning, advertising, informational or educational purposes. Types of poster - ? 1.Propaganda 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 the social manifestations of personality, the specifics of social relationships in society, significant social problems, threats and disasters. This same concept is also called social advertising.

BASIC PRINCIPLES OF SOCIAL POSTER DESIGN 1. The need for an UNIQUE INTERPRETATION of the created image. All noise 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 the organization Doctors Without Borders This poster is dedicated to the death of homeless people from the cold in winter on the streets of Moscow.

2. CONCEPTION. Clear and vivid images, short and not boring phrases that people can literally perceive 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 tools to create a competitive, memorable and laconic poster.

Joseph Müller Famous poster of the Swiss Automobile Club about road safety 3. Well-chosen RELATIONSHIP OF IMAGE AND TEXT. Option 1: the presence of text tends to zero. This is the case when a graphic image eloquently and expressively conveys the author’s thoughts.

Advertising for the Berlin branch of the global organization CHILD HEALTH FOUNDATION ( children's fund healthcare) 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” Iconic poster of the 90s. Option 3. No picture, i.e. complete dominance of the text part. In this case, the font composition “takes the hit.

Advertising poster for the AIDS Society with the slogan “We need your donation to fightit” (“We need your donation to fightit”) financial support to defeat him"). The designer's play with signs and letters (Aid, support, English) clearly shows that by making donations to the fund, you can help defeat AIDS, defeating the disease.

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

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

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