Nº 283

Posters in Motion

Text: Kim Kaborda

Translation: Emily J. McGuffin

The Laocoon Group is considered to be a prime example from antiquity of representation of the dynamic in static form.

In this context, Lessing speaks of the “fertile moment”, meaning an excerpt of a situation depicting a decisive moment that refers back to what has gone before and forward to what will occur, thus suggesting dynamism to the viewer. Since then, there have been numerous technical developments that can accurately record and reproduce movements in their entire sequence. There are a multitude of ways to present this information. Posters, a medium which had previously been conceived largely in static terms, are now being designed with movement in mind, above all in the university landscape and in the cultural sector. There is no clear definition distinguishing it from pure animation, but in the contemporary application of moving posters, there are certainly some distinctive features that can be identified. The criterion of conveying a message in the public domain remains key. For the time being, the moving poster is performing well in the battle for attention.


Whose Agency




As part of the Inform prize for conceptual design, the designer Anja Kaiser, who moves in the realm between graphic design and art, developed a digital advertising campaign designed to give feminist initiatives a voice. This involved playing the moving image posters she designed on the digital City-Light-Poster spaces in the City of Leipzig, which are usually used for the commercial advertising of large companies. The posters communicated the concerns of, for example, the local women’s library and outside-mag.de, a magazine for feminist social criticism. For her poster designs Anja Kaiser chose only graphic and typographic elements, which at times run vertically and horizontally into the picture. In contrast to the conventional character of centrally placed urban advertising posters, the comparative complexity of her posters appeals for more detailed engagement.








Central Swiss Film Award 2019




For the communications of the Central Swiss Film Award 2019, graphic designer Erich Brechbühl designed a poster that was intended to work in both print and moving forms: in addition to being used as a conventional poster for bill posting, the design was optimised for digital City-Light-Poster panels and smartphones and also converted into lenticular print. In terms of concept, Brechbühl played with the way in which the incidence of light varied the shadows cast by the narrow letters of the font he had also developed for the film award’s corporate design, thus taking up the aesthetics of name lists on film posters. Through transitions in the incidence of light, the information emerges from a black surface, stops for a fleeting moment – the printed version shows only this fleeting moment – before submerging back through its own overlays into the black. This principle is modelled on physical laws and is also applied for the interactive smartphone version, which adapts to the direction of movement of the hand. The lenticular print requires the movement of the observer, who in passing by sees the image emerge and disappear into black again.


KD Lounge





For the public lecture series KD Lounge in winter semester 2018/19, which was organised by students at the HTWG Konstanz – University of Applied Sciences, Hans Findling, Christian Hohloch and Mario Nägele designed a series of posters, each produced in printed form as animated posters and intros with soundtrack, and supplemented by augmented reality, which can be captured using the smartphone app Artvive. In line with the aim of the lecture series, the main design tool of the poster series is a kind of neutral space, which results from the three-dimensional representation of white objects and their shadows. The choice of the objects depends on the guests at each individual event and always integrates a typographic level of information. On some posters, this is briefly overlayed with moving elements. Sometimes this is a copier that ejects a page, sometimes it is a rotating pile of books. Other versions are designed in such a way that the relevant information remains legible despite the animation.








Programming Posters




Arising from his teaching of Generative Design at the Rhein-Waal University of Applied Sciences in Kamp-Lintfort and in preparation for his seminar “Programming Posters”, Tim Rodenbröker engaged with the poster of the future: an interactive, moving, data-driven, possibly even audible and intermedial surface consisting of text and image. In the course of this study, more than 40 generative design systems were created that demonstrate the possibilities resulting from a work approach that involves programming. The contents of the poster can be changed at the touch of a button, as it were, by making small changes to the code or exchanging stored files. The poster series works in two colours, luminous blue and white, which in their respective gradations provide structure and three-dimensionality. Intended as a kind of explorative study, the motifs resulted primarily from experimenting with codes based on simple data sets, such as a list of the largest cities in Africa. We interviewed Tim Rodenbröker about the topic.


What added value do posters that function through movement offer?


Moving posters attract much more attention than static ones. In addition, more complex information can be depicted on them. The possibility of narration on a time level brings new variety and scope to creativity.



What possibilities does generative design offer for the conception of a moving poster?


A digital poster with access to the viewer’s data can react very specifically to this person. If cameras or sensors are integrated into the display, movements or interactions can be used as drivers. This applies in particular to posters in the digital space (AR and VR).



To what extent is the role of the (poster) designer changing?


The design process is shifting from the two-dimensional surface to a flexible visual system that can have countless different states. Designers will evolve more and more into curators and directors, with an algorithm then performing the task. This requires broad technical knowledge and the willingness to work eye-to-eye with experts on the conception.


Nº 284
Region of Design

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