Activity objectives:
1, get a preliminary understanding of the use of posters.
2. Learn to make posters in various ways.
3. Let children learn to cooperate with their peers and experience the happiness of cooperation.
4. Guide children to enrich their works with auxiliary materials and cultivate their ability of bold innovation.
5. Be able to present your own works and appreciate others' works.
Activity preparation:
1, small stage program, screen display board.
2. The figure of the characters in the Journey to the West story drawn by the teacher.
3, oil pastels, scissors, glue, double-sided tape, waste.
Activity flow:
1, heart-to-heart activities, leading to the theme of the poster.
Discuss the interesting stories in Fantasy Westward Journey.
Make suggestions on the performance of Fantasy Westward Journey. Q: Who can be invited as an audience? Is there any good way to let everyone know that we are going to perform?
2. Discuss the design of the poster.
Observe the poster: "McDull is ringing" to understand the main elements of designing the poster.
Focus on guiding children to understand the poster including program name, main characters, advertising language, time, place and other elements.
Discussion: Which program do you want to design a poster for in Dream Journey to the West? How can we design it?
3, put forward the production requirements
Discuss in groups and determine the scheme of designing posters.
Put forward the requirements of division of labor and cooperation.
Introduce production work, load finished products and waste materials.
Children make posters, and teachers focus on guiding children with weak ability.
4. Introduce and evaluate posters
Introduce each other and enjoy the posters.
Discuss where posters can be posted.
Activity reflection:
Dream Journey to the West is very popular with children. Today's activity is a small integration of The Journey to the West's stories, including Monkey King Thrice Defeats the Skeleton Demon, borrowing a banana fan, fighting King Jinjiao, and pigs eating watermelons. Through this activity, children's interest in the Apple Theater is also growing.
As for several major elements in advertising, I think the advertising language is extremely unfamiliar and difficult for children to master, including time and place. There are still some difficulties for children. Maybe we should pave the way for the relevant content in advance.
When evaluating the cooperation between * * *, too much emphasis is placed on the division of labor of children and the decoration of works, and children are not really guided into the role of watching posters. For example, you can ask which poster attracts you the most and so on. At the same time, you can tell your children that it's not that the posters are more beautiful, but that they have several poster elements of books that everyone likes and welcomes.
How to design a poster (1) It can be said that poster design is a master of graphic design. But sometimes it is its too broad expression that makes us a little at a loss at the beginning. We will discuss how to design an attractive poster in two stages, and what principles and skills are there in the design. Author: Piper Nelson. For every graphic designer, poster design is a challenge. As a two-dimensional poster, its uses are varied, and its themes range from advertising and promotion to public service announcements. The designer's challenge is to make the designed poster attractive and spread specific information in order to finally inspire the audience. When you wander the streets of the city, wait for the bus at the subway station and visit the museum, you will find posters everywhere. And those best poster designs will always make us stop and stay. The message conveyed by the poster is clear and clear, and we are still thinking after leaving our heads. In this article, we will discuss some basic creative principles, which can help you design impressive posters. You will learn how to create a unified, harmonious and rhythmic work that can attract the attention of passers-by in the street. Photo 1 The poster above is designed by Moroni. In this poster, the author used attractive creative skills such as coordination and repetition to communicate effectively with the audience, which is unforgettable. The basis of poster design A long time ago, when human beings had something to announce to others, there was no sign that posters could have greater advantages than other propaganda media. But why do people always regard TV advertisements and billboards as the signs of our company now? One of the answers is that a beautifully designed graphic work still has some power to attract us. Figure 2 Posters are generally forbidden in many buildings in the city. Posters can be seen everywhere after the temporary fence is built. Posters are a very economical form of expression-good publicity can be achieved with the least information. Sometimes poster designers are required to reduce the text content and convert other text into visual elements. Sometimes, the whole poster only uses some unique font designs. Designers are often asked to organize a lot of trivial details to make them clear and easy to understand. Designers' choice of pictures when designing posters can be said to be the key to success or failure. The function of pictures is to simplify information-to avoid too complicated composition. Pictures usually show what the product is, who provided it or who wants to use it. Pictures can turn difficult words into short and clear messages, such as "providing housing loans for migrant workers who have no money to buy a house" and other words that sound a bit complicated. Figure 3. In the poster above, how do you make the names of dozens of performers and creators interesting to the audience, rather than burdensome? -Make these names attractive artistic planes! In this poster of Lincoln Center, the designer skillfully combines a picture with fonts, so that the viewer can read it unconsciously. A poster designer needs to have a strong grasp of typesetting. Because the text on the poster is always very concentrated (relative to packaging or magazines), the typesetting of the poster text is very important. According to an unwritten principle in design, the less elements you use in design, the more careful you should be in design. The words on the poster always convey some specific information, such as "U2 concert on Friday 12" or "the entrance is temporarily closed for maintenance". The font style, text layout and the ratio of text to pictures chosen by designers will determine whether the information we want to convey can be easily read and remembered. Finally, it should be noted that a poster work itself must arouse the interest and attention of the audience. Even the simplest pictures and words can be confusing if they are not designed properly. How to design an infectious poster, so that viewers can directly contact with the most important information? These are the problems we encounter in our creation. So we will introduce some basic methods in this article. The principle of consistency We have to face the fact that designing posters, like designing any other graphic art, can easily lead to confusion. Photographer? I didn't shoot well. Copy? They couldn't make a final decision until the last second. Marketing staff? They change their minds every two minutes. In the design process, the designer must have a clear sequence of the whole process and implement it one by one. Poster design must be consistent from the beginning, including title, material selection, photos and signs. If there is no unification, posters will become confusing and difficult to read. All design elements must be combined into an organic whole in an appropriate way. How can we design consistent works? Let's cite several principles: the principle of relevance should make the works consistent. The first principle is to adopt the association principle, which can also be called grouping. Relevance is based on a natural principle: birds of a feather flock together, and people are divided into groups. If we see all the components put together in order on a page, we will try to understand them. We always think of them as a group-we don't care whether these different parts are really similar or related. This is a bit like the principle of "implicated offense". Poster designers can realize this relevance principle in many ways. First of all, grouping people, things and words can improve the effect of information dissemination. It is conceivable that many advertisements on billboards are composed of a photo of a consumer, a product picture and advertising words. For character types (children? Old man? The choice of overworked parents is inevitably associated with products. If people's photos are handled well, it's like consumers saying, "I've always used Bleacho bleach", instead of a hard-tied advertising slogan. Second, all the parts together have a greater impact than a loose structure alone. When several items are very similar (for example, several different watches are chained together), the audience's eyes can naturally move from one watch to another. These objects form a visual unit, which can give the audience a single message instead of an indirect message. If all the items in the poster are very similar, then the composition of a group will make the poster more attractive to others. Other elements will be considered secondary by the audience. Figure 4 In this picture, notice how your eyes move from one ring to another. See all the rings as a whole, which is also the focus of the whole picture. Repetition Principle Another way to make works consistent is to repeat shapes, colors or some numerical values. When you see a design element in a plane, its different parts are reused, and our eyes will naturally follow them. Sometimes even if we don't put them together, our vision will still treat them as a whole. We subconsciously drew a line between them. The easiest way to apply repetition is to create a pattern in the background of the poster and then apply it repeatedly. These repeated patterns in the background will produce very interesting visual and composition effects, and then connect the elements of the background and the foreground. Another way to use repetition is to guide the audience's eyes to pay attention to an important information, logo or picture by repeating a line of elements. Repetitive elements can create a path, guide our eyes and make the audience curious-what is the other end? This is actually a way of telling stories and attracting the audience to continue reading. The repeated caterpillar pattern in Figure 5 leads the audience's eyes to the INNU logo. There are some repeated patterns of butterflies behind this sign, which shows the difference before and after you go to this beauty salon. The idea is ingenious. People's vision has a very strong sense of repetition, and sometimes even when the objects in the picture are not repeated, we will regard them as repetition. For example, in a poster about nail polish, we can add a big drop of nail polish at the top of the poster. In another part of the work, the same pattern or color as this drop of nail polish will produce the effect corresponding to the above drop of oil. Inadvertently, our eyes have fallen. Figure 6 In the above picture, these dots use the elements in the logo, and we use them again in the picture-this creates consistency, attracts others' attention and strengthens the promotion of the brand. Repetition is also an effective strategy to persuade the audience to compare some product posters. For example, we may put a dozen shoes on the advertising poster, but each pair is different. The main message (shoes) is easy for the audience to feel, because this item is used repeatedly in the poster, and then the audience will carefully observe the different styles of various shoes. Another popular design technique is to arrange all the same things together, but one of them is different, so as to achieve unexpected results. For example, you can design 15 squares and arrange them into a square, where 14 is blue and one is pink, and it contains the company logo. It is conceivable that this pink color block will be the focus of the audience. Of course, the principle of repetition can also have a consistent effect on designing a series of posters, whether they are put together or separated at the same time. For example, a series of outdoor advertisements for a summer concert, repeating the main elements can produce a sense of strength. When you see one of them, you will think of the other. Repetition of position, color, size or image can enhance recognition and make the audience notice all the information you want to convey. The principle of continuity is there any other way to create consistent works? Go on! As you can see in the above example, it is usually used with repetition. When the designer designs in a continuous way, the objects in the work are combined to guide the audience to another location. This method is generally realized by linear effect. When we see a line, our eyes instinctively follow it to see where the line will go. The poster on Figure 7 uses a continuous design method to guide our eyes to walk vertically along the letter U, and the left and right sides are composed of U-shaped characters, and the overall effect is quite good. If the U is not so wide (for example, it is reduced by half), then your attention will be focused on the E and C in the word peace, because under these two letters are the two tops of the U. This method can make the pictures in the poster guide the audience's eyes to the information or brand we want to convey. But if we don't use pictures, but graphics made of words, it is also a good choice. Add background color If the elements in your work are different in shape, color or appearance, how can you unify your work? A simple solution is to put all these elements in a solid color area. This method seems to evade the essence of the problem. Why do you have to put unrelated elements together? Generally speaking, we don't handle it this way. For most commercial posters, you need to make your poster convey the information you want to convey quickly. We usually use related shapes or colors. Figure 8 In the poster above, "red" is not only the title or political theme of the performance, but also a color that can bring all the elements in the design together. Through composition, this poster can also produce related features. For some artistic events or posters, the audience will take the time to understand the meaning of each part by themselves. However, some discordant elements can sometimes convey an interesting and experimental visual effect. Sometimes, an advertiser will ask all the objects to be combined in surreal form, and all the irrelevant elements will be placed in a large background color area, which can make the audience feel that they are related. The principle of coordination can make the layout of posters have a strong visual effect, whether it is coordinated composition or uncoordinated composition. Because breaking the balance will create tension. For children, we know to keep them away from potentially dangerous things, such as leaning trees, rocks, furniture or ladders. So the unbalanced composition also makes us feel this way. Will we fall? Will something hit us? When looking at a work, we always imagine that there will be a vertical central axis and a symmetrical composition on both sides. Coordination is particularly important for design, because the poster always appears as a single individual, and there is nothing around it to make it have other visual support points (others, such as the design of magazine advertisements, adjacent pages or other surrounding elements can be used as support points). Symmetry, harmony and symmetry: Nature is full of symmetry. Butterflies, maple leaves and snowflakes all have very symmetrical shapes. Humans feel particularly close to these symmetrical things, or it may be because our bodies are symmetrical (of course, most people are). Designers use this humanity to design their works. When designers create posters, they often put a main picture or text on the vertical central axis, and they are symmetrical. This composition makes the viewer feel comfortable-everything is in good order. When the object in our picture is a face or a person's body, symmetrical composition can help the audience and works produce * * * sound. Symmetry can also be produced when each design object is placed in the corresponding position on the left and right. This combination of repetition and symmetry creates a sense of harmony and stability in the works. Figure 9 This poster design about sportswear is impressive, because its composition is very symmetrical on both sides, which makes the design (as well as products and brands) feel stable and natural. The combination of heavy colors, lines and the space around the entity in the composition makes the whole work full of power. However, symmetrical composition also has disadvantages. Sometimes we don't want a work to always give people a stable and natural feeling, because these works seem to lack vitality. We know that posters are often used as a propaganda medium to persuade the audience to accept new products, new things or new ideas, and a dynamic work can achieve better publicity results. It should be noted that this does not mean that we have to create an uncoordinated work-we just create harmony through different channels. Asymmetric coordination: We often use asymmetric composition to make posters full of vitality. Designers use colors, values, shapes and positions to create a plane composition that is not completely balanced but will not cause confusion. Absolute asymmetric composition is not easy to achieve-if there is little difference in size, color and other elements, there is also a sense of balance. 10 used asymmetric composition in this poster of Luxing Motorcycle, which formed an eye-catching visual effect. You can even feel the motorcycle moving to the right. Let's look at several asymmetrical compositions and see what can be done: color coordination. Have you ever wondered why the works of the famous Dutch painter Peter mondriaan are so vivid? Mondriaan widely uses color coordination technology in his works. For example, in one of his works, the upper left is mostly white and yellow, and the lower right is a small piece of blue. This small piece of blue is in perfect harmony with a large area of yellow. In order to create this harmony, mondriaan filled the canvas with a grid when painting, and then colored it to ensure that the proportion of coloring could be accurately grasped. Figure 1 1 In the poster of this design exhibition, the large yellow block, the small black block and the chair photo form a beautiful coordination effect. Whether colors are harmonious or not is often determined by intuition, so you need to practice more at ordinary times. There are several principles involved here: smaller color areas and larger non-color areas can produce harmonious effects. Color is more attractive than blank area, and a small piece of color is equal to a large blank area both visually and psychologically. Warm colors attract people's attention more than cool colors. We can easily notice orange and red, while blue and green have a feeling of shrinking. Therefore, a large area of cool color with a small area of warm color can produce a harmonious effect. The greater the saturation of the color, the more obvious it is. Dark blue is more attractive than gray blue. How can we achieve coordination? A small piece of bright color and a large piece of lighter color can create a sense of harmony. The asymmetric coordination principle of numerical coordination is based on the fact that the two parts have the same attraction to the eyes, so although each object is different, the attraction to the eyes is uniform. "valuedifference" always attracts our attention, such as contrast between light and shade. Black and white are in sharp contrast. The contrast between gray and white is smaller. How to design a color numerical coordination effect to improve the attraction of posters? You can directly use the numerical collocation of light and dark, and you can also intuitively allocate the collocation of shapes. In order to improve your intuition, you can cover some areas that you are not sure about in the poster, and then carefully observe other areas that are not covered. Then, blocked areas are also displayed to see whether they are better or worse than the color and shape values you observed alone when they are together with unblocked areas. Tip: If you are not sure about the color value, you can convert the picture to gray mode. Then observe whether there is a good contrast between the distribution of black, white and gray. Figure 12 in this poster about CubScouts, the design method of color numerical coordination is used. A lot of blue dots are applied to the white area, resulting in a light blue effect-brighter than the red area below. And each element follows the principle of numerical coordination in each area-please pay attention to dark trucks and white fonts. In the poster, the numerical comparison of each part can produce attractive visual effects, and it can also make a tense contrast between the parts. Eyes move from one part to another, trying to connect the two parts. Vivid visual elements and the audience's subconscious excitement are produced through the interaction of different elements in the work. The coordination of shape and position and shape distribution can also make your poster design consistent. A large and simple shape (or graphic area) and a small and complex element can form a good collocation effect. In the works, larger shapes can attract the attention of others, while smaller elements are less important parts, but visually, they can form a large area of stable visual effects. Figure 13 In this figure, the stars with different sizes have a good matching effect with the simple monochromatic wave area below. Figure 14 has a good coordination effect in this photo-based poster design. As the focus, the figure occupies a large area, and his shoes are in good contrast with the street background in the distance below. The position of each element also plays an important role in the coordination of works. The more off-center an object on a page is, the more visual language it conveys. This visual experience is related to our real life observation: for example, when playing the seesaw, if an adult sits near the middle, the child sitting at the end of the seesaw can lift him up. The outdoor advertisement on the map 15 is a consulting company that customizes different strategies for customers. The contrast between plus code and XS code attracted the audience's attention. Coordination theory is also applicable to some angular designs. Large objects placed obliquely can be placed in corresponding positions to form a harmonious effect.
Three Steps of Poster Design —— Analysis of Three Steps of Poster Design
Many people who have just entered the field of art design are at a loss, don't know how to design posters, and feel completely thoughtless. The following is an analysis of the three major steps of poster design that I summarized, hoping to benefit everyone.
A poster often consists of many elements, but three of them are essential, that is, graphics, words and colors. Similarly, an attractive poster will certainly integrate these chaotic elements into a whole aesthetic effect.
The following analysis of a poster production steps, but also almost all the design steps.
First, copywriting
Let's make a poster design. The copy may be provided by the merchant, or it may be written and refined by our designer after the description of the merchant.
The text content of the screenshot below is the text content provided by the merchant to our artist. When we get the copy, the first thing to do is to read the text, understand the content of the text, and sort out the key points, so as to carry out the next typesetting.
Through reading, we sort out the structure of this point:
Second, the framework layout.
After sorting out the primary and secondary priorities of the copy, import the product drawings and make the overall framework layout. According to the primary and secondary and visual center of gravity, put the product drawings and words in the appropriate position.
The following' layout' adopts the way of' picture on the left and text on the right', which is also a technique we often see in propaganda posters. For the text content, it is enough to enlarge the key points and narrow the minor parts to explain. The general visual center, of course, is what we most want users to pay attention to.
Third, coloring and details.
1) background processing
Background production method: I use the color of the product itself as the background color to ensure that the whole poster belongs to the same color system and looks unified and coordinated. Then apply it with a white brush to enhance the layering of the background.
The method to get the product color is very simple, just use the straw tool in Photoshop to suck out the product color. If the baby can't use the straw tool,
2) The text effect of "shaping, detoxifying, whitening and hydrating" is also very simple. Adjust the foreground color to a darker and lighter color than the original font, and then use the brush tool to smear the text, which can give the text a luminous gradient effect.
3) The S-shaped white spot decorative elements of the product are also painted with appropriate brush parameters.
4) Use small color block and polygonal wireframe to add frame decoration, so as to define the target position, make the whole poster layout clearer and cleaner, and improve readability.