Fundamentals of Graphic Design: Making Meaning with Words and Images | Joshua Gajownik | Skillshare

Fundamentals of Graphic Design: Making Meaning with Words and Images

Joshua Gajownik, Freelance Design + Direction

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4 Lessons (32m)
    • 1. Defining our Context

      9:59
    • 2. Making Imagery

      6:06
    • 3. Working with Typography

      8:43
    • 4. Composing a Poster

      7:12

About This Class

Welcome. My name is Joshua Gajownik (Guy-äv-nik in Polish, Ga-jon-ik in…well, American). This class will explore the careful combining of words and images through the design process to create meaningful, lasting impressions and tell stories. It will outline some of the most fundamental skills of a graphic designer. Through the project we will consider what information and imagery would encourage a viewer to visit an art exhibit. What makes it stand out? What emotion should it induce? To achieve this we will:

  • Create a concept for an exhibit of your choice or choose an existing exhibit to 'rebrand'
  • Create a typographic identity using the exhibit name
  • Consider the historical context of fonts. How does a typeface's origin enhance or detract from its ability to effectively communicate information? What does the choice of typeface(s) say about the exhibit?
  • Create imagery which supports the identity and conveys the theme of the exhibit. 
  • Take photographs, draw illustration in vector or by hand.
  • Is there one image, many images, or a combination of photo and illustration?
  • Combine image and type into a promotional poster with a clear hierarchy 
  • Convey all pertinent information like name, artists, date of exhibit, location, where to find more information, etc.

Through these modules we will consider design fundamentals such as:

  • Composition
  • Hierarchy
  • Scale
  • Color
  • Texture
  • Contrast and more

Transcripts

1. Defining our Context: - welcome. - My name is Josh. - I'll be teaching this skill share class, - making meaning with words and image. - The fundamentals of graphic sign. - I'd like to thank you for taking the time to enroll in this class. - I'll tell you a little bit about myself before we get started. - I'm a freelance graphic designer. - I believe in the Big Bang. - This is what they think it looked like a 1,000,000 times a second after the Big Bang. - I think it's pretty beautiful visualization. - Ah, - I'm happily married to a fellow graphic designer. - We have two cats. - I think my spirit animal is probably a bison. - Um, - before studying graphic design actually studied aerospace engineering. - Ah, - love playing hockey in my free time. - And I love the X Hartford Whalers logo, - the positive negative play. - And it is pretty amazing. - Um, - I studied letter press and printed ephemera abroad in college in the U. - K. - So I have a deep appreciation for typography, - and it's pretty much the way that I see the world. - And as the first slide indicated, - my last name is pronounced guy of Nick in polish, - but commonly Cajanek Ah, - in English. - So again, - thank you for enrolling in the class. - Um, - we're not going to dive too deep into software and things like that. - We're going to try to keep this a very fundamental level, - high level principles that are essentially tools for graphic designers. - For the purposes of this class, - we're going to find graphic design as being combining words and images to make meaning - together. - There's many ways that you can go about defining what graphic design is in a change from - designer to designer. - But for the purpose of today's class, - I think this that's a pretty good baseline for what we're going to try to achieve and some - of the topics that we will cover words and images for the project itself. - We're gonna create a promotional poster for museum exhibit. - We chose this project because what it allows us to do is combine a number of the different - elements of the design process, - Um, - but not have to worry too much about going deep into the content. - Eso we won't be laying out pages and pages of material. - We're going to focus on a poster which has a pretty limited duration of attention on, - and that way we can create a clear hierarchy of information. - Based on that for the project, - we're gonna have three options. - The first option is to rebrand an existing exhibit. - So if you've been to an exhibit in a museum that you love, - um, - you can use that as a starting point. - You can take its name and use that to create your own identity with typography and image. - The second option is to create your own exhibit concept from scratch. - So if you have an idea that you've always wanted to see in our museum, - that you think would make a great exhibit, - now is your opportunity to go ahead and design a poster about that concept. - And the third option is to use an exhibit concept that I've created, - which is called on Commonwealth. - And we're going a little bit more detail about what that means. - On Commonwealth is a fictitious contemporary art exhibit that I've created and embraces the - idea that it doesn't take much to change the way you see. - When I was in college, - a dean handed out kaleidoscopes to students and said, - It doesn't take much to change the way you see. - I think it was a very powerful message on one that I keep with me to this day, - that it doesn't matter what the budget is, - what the timeline is or what the constraints of a project might be. - Um, - sometimes all you have to do is just look at something a little bit differently to find new - meaning. - I think on Commonwealth also finds physical or emotional beauty in uncommon ways and places - . - Um, - and lastly, - it's a play on words with uncommon and wealth in that if you change the way you see, - you may find on conventional wisdom with wisdom being something that is typically valued, - um, - and also taking the idea of a commonwealth, - which is a state or a nation, - or a place and creating uncommon wealth, - which proposes a place where the values might be different and might be based on something - that's a little less conventional. - Let's talk a little bit about the medium. - Um, - to me, - a successful poster is beautiful. - It's attention grabbing. - It understands that you have a limited duration, - that you can actually grab somebody's attention. - I mean, - it makes you want to learn more and also clearly conveys what it's promoting. - Um, - where the event is taking place when it is taking place and how somebody can learn more - about the event. - Now, - these airways, - that I'm going to go ahead and define what successful posters for me, - you may want to add some additional things, - so define those before you start the project itself. - Before we get into the actual making of the project ourself, - I want to go through some examples of some of my favorite posters from some of my favorite - designers. - The first is from Graphic Thought Facility, - which is a design studio in the UK On they designed a poster foreign exhibit which eyes in - French on was in Toulouse, - France. - It translates to, - Ah, - the Spring of September with print MP's being spring. - The concept for this poster was they took dead tree branches and dip them in paint and then - photograph those. - It's a really nice idea that it takes something that is very simple and inexpensive, - and it gives it a brand new life. - I also chose this image to start out with because it shows the context of a poster and how - many posters may exist. - There's other things going on around that there are people there are noises, - there are scooters. - There's all kinds of things that could distract somebody's attention. - So this begins to dictate on the size but to the amount of information that goes on to it - and also the hierarchy of information. - So a very large headline, - but an even bigger image. - You also notice on this poster that there's information underneath the headline itself and - that that information is some of the details regarding where it is when it is. - Maybe who's part of the show? - Um, - and then down at the bottom, - you'll actually see a number of what looked to be logos. - That may be where you have sponsors and things like that. - So again, - this is a challenging, - um, - project for them because there's a lot of information that has to go into this space. - But they've done a good job of organizing it. - Um, - I wanted also take a look at the catalogue for this. - Now we won't be designing a catalogue with this project, - but the idea that you now have somebody who has seen the poster and they've gone to the - exhibit and they're now looking at the catalogue for the exhibit so you don't need - information like the dates and the place and how to live more on the cover. - All that information is either not needed or it's on the inside. - But again, - the change in location starts to dictate what information needs to be present on the cover - . - The next example that will look at us also from graphic thought facility. - It was poster for a show that was about the work of designer Peter Saville. - And rather than trying to come up with something that either mimic the work of Peter or in - some ways was inspired by, - they decided to use his iconic silhouette. - Peter has its knows that you can see that many people recognize and so they used as - silhouette and screen print of the negative space around his head onto a mirror. - And so, - essentially, - what they're doing is taking something that is supposed to be a poster, - and you start to get some multi dimensional qualities to it. - As far as being able to reflect what's going on behind you. - As you're looking at the poster and even seeing yourself in the poster, - you'll notice that they have the title large at the bottom and then above. - There is also the information regarding date and place and how you learn more. - The third example that will look at us by a designer named Martin, - Va. - Nesky, - who runs a studio called Appetite Engineers in California. - And this is actually a poster for a film festival called Sundance. - Here in the United States, - Martin is renowned for his collaged style of design, - where he uses found images, - images that he's taken patterns, - illustrations and combines them all into very vibrant compositions that get across a sense - of energy and movement. - And, - um, - his work was very influential as I was becoming a young designer. - One of things that he's also done is he's begun to play with tight faces. - So if you look at the words Sundance, - you'll notice that there's a number of different typefaces in there. - Um, - and of course, - we'll tackle both image and tight face coming up. - But I thought this is a good example is someone who really takes his work and has a lot of - fun. - The fourth example that will take a look at us by West Winship and Adam Garcia. - Now, - this poster is not actually for a museum exhibit, - but I thought there were some good concepts that we could talk about. - Um, - this is for the Arcade Fire, - which is an indie rock band, - and it's a Siris of concerts that they were doing on the West Coast. - Um, - Westen. - Adam took a much more illustrative approach for this poster than any of the others that - we've looked at. - Um, - as you can see, - it's got this nighttime scene of a cathedral in the middle of a forest with firefly - surrounding it. - One really cool thing about the poster is that the yellow color that's coming out of the - cathedral and on the fireflies is actually glow in the dark ink. - Um, - Wes and Adam also did a really amazing job down the left side of integrating more - illustrative type than anything that we've seen as well. - So the tight begins to take on a little bit more of a pattern, - and they've also integrated the locations for where the contracts will be happening through - small illustrations in the bottom left corner, - ranging from Hollywood down to Seattle In the last example that will look at us by a - designer named Joseph Laufman from the UK now As you can see, - he's taken a very type of graphic approach to this poster, - and really, - it doesn't need anything else. - He's done an amazing job of using color toe. - Highlight the words, - eat it within the words great British food. - And he's pulled this color palette from the union Jack flag of Great Britain. - Um, - I think this is a great example of being able to have a attention grabbing design, - but without having to use imagery, - so know that this is an option as you are going forward with your project. 2. Making Imagery: - So we've defined the context. - We just find what our project is gonna be. - We've looked at some examples of other poster designs. - Now it's time for us to start making. - We'll start with what I'm gonna be working on for my project. - This is the image that I've decided that I'm gonna use for my poster. - Um, - again, - I'm using the theme on Commonwealth and for me, - I begin to see a place in this image. - I begin to see topography. - I begin to see highs and lows, - um, - kind of an abstract form of a map. - And I think that the images captivating its color palette. - Um, - and it's deep, - rich textures. - If we go back to again that statement, - it doesn't take much to change the way you see, - Uh, - this is actually the image that I started with, - Um, - and what this is is a plastic bag from the Home Depot. - Um, - so again, - finding beauty and things that maybe you don't typically see beauty in things like a - plastic bag, - which you may use every day. - Um, - what I did was I actually used my scanner and I scan this at a very high resolution. - and I trapped the bag in between the top of the scanner and scan about itself and saw - something in that. - Now, - mind you, - this image itself is not actually that beautiful. - There's all kinds of speckles from dust on the screen on, - and I wouldn't say that it's got a very intriguing color palette. - But if you go ahead and invert the color palette, - which I did using Adobe Photo Shop, - um, - you begin to find something that has these kind of lush greens and really beautiful texture - to it. - So again, - it doesn't really take that much to look at this differently. - Um, - and I think that's kind of the beauty of this idea of an uncommon well, - um, - want take a step backwards and talk about how I got to that image. - So when I started thinking about the idea of an uncommon wealth and one had an idea hated, - it's the one things you should do. - It's just write down notes, - sketches, - um, - about whatever you think your concept is. - Don't edit yourself. - Just let all the ideas come out, - and we can go ahead and work through them later. - But don't try to find the right concept right away. - Let it just be a process. - Um, - so when the first things that I thought about was, - what would the flag of an uncommon lost look like? - So the flag being this kind of iconic symbol of a nation on what I found was through those - I became very attractive. - The idea of flying a flag of the act and ceremony of raising a flag and that it represents - a place in a set of ideals. - So I thought, - What if I actually designed flying and then had a really flag made by a local seamstress? - Or I could also draw it in Vector using Adobe Illustrator and then use that as my poster. - Um, - I also began to think about what would the currency be? - So if we're talking about a place that maybe has different values than, - say, - monetary values and values, - things like the way you see the world, - what would currency look like? - But in the end of this that I came back to the the idea of a flag on, - I came back to the idea of creating a physical place when I took that scan of that ah - plastic bag I wanted to also think about other ways of possibly looking at the same concept - . - So, - for example, - what if I actually took a large plastic bag and hung it and not saying a field, - Um, - from A from a flagpole? - And so there's this contrast. - There would be this contrast of this very every day material a plastic bag kind of staking - claim to a place. - And from there I then start thinking about one of the things that people associate with - classic bags things like Logo's or the bags that say thank you over and over. - Have a nice day or have a smiley face, - Um, - again, - just letting any idea that I'm thinking about onto a piece of paper without editing it. - I then took some of those, - and I drew them in Adobe Illustrator. - So this is what we would call vector illustrations at this point on, - What I wanted to do was just get some of these as options out on the table, - things like Ah, - on I that's been cut in half visually. - On that, - there's a change on 100 a degree change in the way that you see things I also wanted to go - ahead and start mapping out maybe trails for that topography that I was seeing so again, - these air indications of place when you look at a map, - it's typically a representation of a physical place on and then also do an illustration of - the plastic bag itself. - So those could be options for what I could do for the poster. - But at the end of the day, - I still really liked that very textural scan. - So I began thinking, - What happens if I re contextualized this bag? - Let's say in the shape of a vector bag. - So you get some idea that what you're looking at is actually a plastic bag. - Um, - and I think that what I found is that this is taking away some of the beauty of the - photograph for me. - I like the concept, - but it's not completely coming through visually for me. - I could also look at something like maybe echoing the image now for me. - I think this looks beautiful, - but, - um, - this doesn't reinforce my concept. - This has more of an idea of time or motion or growing or expanding, - Whereas my concept is much more about creating a place I could go back to say, - actually doing 1/2 and half image where you see the before and the after So finding beauty - and something that maybe isn't typically the scene is being very beautiful, - and I think this is a viable concept. - But I keep going back to that full bleed imagery, - the very close up detail on the color of the highs and lows. - Um, - of that scan. - And I think this is what I like. - But at the same time, - I miss a little bit of the context in that this image itself begins to look almost like an - island. - It kind of has this context words floating a little bit. - And so I think that for the purposes of this project, - this is gonna be my imagery that I'm gonna work with. 3. Working with Typography: - So now that we've gone through the imagery process, - I've gone ahead and I've got my image that I'm gonna work with. - I looked at a couple of different ways of maybe creating that imagery being photographic or - the scan that I'm using or if we want to use illustration, - um, - and thought of some different ways of how that could come to life. - Um, - now it's time to start working with typography, - which is going to carry a lot of the weight of conveying some of that information that - people will be looking for us. - Faras what it's called, - where you find it when you confine it etcetera. - So our first step is, - you know, - we lay out our content. - We said We know what our name is. - The name is uncommon wealth. - Let's say the location is going to be at the guy of Nick Gallery. - Um, - and the dates are gonna be September 3rd through December 22nd of 2013 and that more - information can be found. - A guy of nick dot com slash on commonwealth. - So these are the words that I know that I need to work with, - and I need to be conveyed on the poster itself. - So when we talk about typography will spend some time talking about tight faces. - Of course, - there are millions of typefaces in the world, - and there are a number of different ways of classifying, - categorizing type. - But for the purposes project, - we're going to simplify it down to what, - say Serifis, - saying tariffs and then display faces on underneath those. - You'll find some variants as far as the third example here say, - being a san serif that has very rounded edges or, - for example, - the fourth here, - where it has slab serif so that take on a little bit more of a square quality than, - say, - the Saref at the top. - And, - as we said at the bottom with display faces here, - scripts but displace faces convey vary greatly from typeface. - The typeface. - If you think about, - for example, - the arcade fire, - a tight face that was running down the side of the poster that we looked at. - That's also a display face, - but it looks very, - very different from the script here. - But I said, - for the purpose of this project, - we're gonna lay out on choose from, - let's say, - a serif sand serve or display typeface. - Let's look a little bit at the type forms themselves a top left. - We have a more traditional serif that is defined by, - um this contrast ing shape that cuts across the top of that stroke A Z you can see to the - example to the right, - which is more of a slab serif. - It has more square Sarasa at the top of it, - so it has a little bit of ah, - harsher feel. - It also doesn't have fix and thins that the serif to left of it has. - If we go down to the bottom left, - we've got ah sans serif typeface, - um, - with sand surf, - of course, - meaning literally without Sarah. - So as you can see this as a flush terminal on the stroke and then to the right, - we have what we would call a san serif that is, - Rounded says. - You can see that terminal has a very round radius to it. - Now it's important to remember with these typefaces, - that's not only how they look, - but it's also they each come with a different connotation. - For example, - um, - the typeface in the bottom right? - The rounded typeface might feel like something that fits more. - See in an elementary school that you would see cut out of construction paper, - whereas the typeface say in the top left might be something that you would see, - say, - a za body copy. - In a novel, - you might see all the type laid out in a serif typeface like that. - Um, - for example, - the slab serif to the right of it feels more like, - let's say, - a typewriter typeface. - If you were to go ahead and use an old school typewriter, - it would look something like that. - And then, - of course, - down in the bottom, - left with a Sand Saref that it has a more contemporary feel. - So in general, - um, - Sarah's tend to feel more traditional, - and San's there's tend to feel more contemporary now. - There are always exceptions to those rules. - It's always good to kind of take that into account. - What are you trying to communicate? - What type of exhibit or is it that you're designing for? - So, - for example, - say your exit was at a natural history museum, - you might be more inclined to use the serif typeface in the top left if it's at a modern - art museum, - which is what I'm working on, - then maybe be more inclined to use the bottom left. - One the other variables that we can then talk about. - So if we've looked at a little bit of what defines us typefaces and their type forms is say - , - how does casework into it? - So, - for example, - lower case, - which we looked at first tends to be what people would say more friendly, - feeling more accessible. - Um, - whereas uppercase tends to make a little bit more of a bold statement, - um, - and have a little bit more of a presence to it. - Now, - as I start looking at these, - I start being able to say, - OK, - which typefaces do I feel start to convey some of my concept to not only what I'm trying to - achieve, - but also the audience that I'm talking to. - So what does the audience, - um, - what are they may be looking for us. - Faras the type of museum that I'm designing for. - I found that the second will in the San Serif is the closest to what I'm looking for. - So this is gonna be my starting point for my typography. - Um, - no. - With that, - there's some options that we can go into on. - We'll look at that a little bit. - Now. - For example, - this typeface that I've chosen comes in a variety of weights, - which talks about the thickness of each of the individual strokes that makes up the letters - . - So here, - maybe it goes from light to regular too bold, - too black. - And these become some options for me. - Not only, - um, - as far as creating the title of the show itself, - but also using these is maybe secondary typefaces to emphasize other information again - black. - Grabbing your attention more say than light does, - um, - We can also look at what the width of the type is. - So this is a variant of the typeface that is more extended, - where each letter is now taking up more horizontal space than the previous example. - And then as you go down, - you also see that you can multiply that times two different weights that we just look bad - or with the with. - You can go the opposite direction and maybe go to a tight face that has a variant that is - condensed where the width of each letter is taking on less horizontal space. - But in the end, - I come back to the regular with and actually kind of like it in the lightweight. - Um, - but knowing that this isn't the heaviest weight of typeface that I could use, - I'm gonna need to work with a little bit. - Um, - first thing I'm gonna do is actually break up to the word into three words. - And this is to emphasize the play on words that I was pitching at the beginning of the - project, - which is uncommon and wealth, - and that there's a couple of different ways that you can read, - Um, - that word as two words, - um, - as uncommon. - And wealth or on commonwealth, - I'm also gonna look into maybe changing the leading, - which is the spacing between the lines. - The word letting comes from literally. - When they were laying out letter press type, - which are metal blocks of type, - you would put pieces of lead in between the lines to change how much space there was - between them. - So, - for example, - if I would go ahead and I open up the letting on these guys, - it's gonna open up a bunch of space that I can then use for something else. - Um, - And again, - it also further reinforces the idea of breaking the words up into on common and wealth, - and you can also look it may be changing. - Let's say the tracking, - which is the spacing in between the letters where it opens it up a little bit more, - starts to increase the footprint of what is a very light, - tight face. - But again, - it starts to draw attention to it because it's being handled in a way that might be - different from other typography. - And I think that what I'm gonna do is also add a piece of content to my poster, - Um, - which is maybe, - say, - a sub headline that says, - beholding beauty in the strangest places. - So this is another piece of content that I can work with in addition to the date, - the place, - how to learn more and, - of course, - the title of the exhibit. - So if I go ahead and start thinking about how I'm gonna integrate, - that kind of like the idea of working the type in between the larger type of the title so - it still reads, - is uncommon wealth, - um, - and beholding beauty in the strangest places. - Um, - but because I'm handling these typefaces in different colors and different sizes with - different letting and different tracking here, - I naturally begins to group them or you group uncommon and wealth together and you group - beholding beauty in the strangest places together. - Now I'm gonna add in another layer of information, - which is September 33 December 22nd 2013 and even smaller typeface, - because that's information that come secondary to them, - understanding what the name of the exhibit is. - And so with this, - I begin to have a pretty good idea of what my type hierarchy is, - and it's probably time to start combining it with my imagery. 4. Composing a Poster: - So now that we have our type figured out at least a good idea of what it's starting to look - like, - it's time to start bringing all the pieces of this post for together. - So you've created your imagery. - You picked out typefaces started toe put a little bit of a type hierarchy together, - and now it's time to really start building those in tow. - One cohesive document, - um, - that begins toe look like an actual poster. - Keep in mind that when you're going through this process, - this might not be a cut and paste kind of process. - Aziz, - you go forward. - You may need to make alterations to your images. - You may need to make alterations to the type. - Um, - and that's OK. - It's OK to do multiple generations on toe have to make some changes so that the two - elements between the type of the image started work well together. - I'll show you a couple of approaches that I've taken with my poster. - You see, - I've done a few layouts to optimize readability and also to change the overall feel the - poster as well. - For the first poster, - what I wanted to do was again maintain some of that beautiful detail, - but also show a little bit of the context. - So you get this kind of almost say, - if this was an island and order wasn't sort of utopia, - you get the sense of island and then maybe water surrounding it. - So you've got this nice open space in the bottom left hand corner. - Um, - and that provides a pretty natural place to put typography at that point. - So the type there's uninhibited it doesn't have anything is competing with it for - visibility. - This would be similar to the first poster that we looked at my graphic thought facility - where the type is surrounding those tree branches that have been dipped in paint. - So with this poster again, - I'm using this type hierarchy that set up with words Uncommon and wealth are split up. - And then beholding beauty in the strangest places kind of comes in between those larger - letters of the title I decided that I want to do is actually move the word in down to the - second line. - So beholding beauty is one statement and then in the strangest places is another. - And once I did that, - it made that second line longer, - so I decided I'm gonna make the third line longer. - So it kind of has this nice diagonal feel to it. - If you re across those lines of white text, - I also want to see what would happen if I started to bring a little bit of the illustration - into the composition. - And again, - I'm really attracted to that idea of this. - Flying of a plastic bag is being a symbol of of a non commonwealth of it kind of staking a - claim to a place with a very ordinary material. - Eso. - I'm gonna put that on the left hand side and I'm gonna reduce its transparency so that it's - not quite as bright as everything else. - That kind of starts to fade a little bit into the background, - but it's still fitting with the composition and then in the bottom, - right? - I've got a small type treatment that I did for a guy up in the gallery, - and then I've also got the euro or somebody could learn more. - Um, - now, - with that, - this is a pretty complete composition for me. - Um and I think it looks beautiful. - I think it's well balanced, - and I think it conveys the information that it needs Teoh. - But I also wanted to look into what happens if maybe I did a smaller um, - flag, - for example, - where it's not quite as dominant. - And to be honest, - I didn't quite feel like this competition felt was strong. - To me. - The flag feels a little bit more additive, - as opposed, - being integrated into the idea of a non commonwealth. - So I think that the last version is a little bit more of what I'm looking for. - Now. - With that, - I also want to take a look. - It may be starting to include a little bit more of the illustrations that I created, - So some of the trails, - the iconography, - is Forest 180 degree I. - That is changing the way that it sees in some of those elements that I had some fun making - earlier in the project. - So I've taken those and overlay them. - I've used a bright yellow color to try to make sure that there is visible. - It's possible on what is a very, - very active background at this point now for the background. - I've also gone ahead and I panned out from it from the last generation, - so now we're back to the original scan, - which is the full bleed has faced on each side of it, - basically, - And that you kind of get again, - get this idea of it being almost an island, - Um, - and then for the type, - because this image is so much more active with less clear space down in the bottom left. - I wanted to go ahead and do some larger type, - but in order to do that, - I was having some challenges with readability off the type, - eh? - So what I've done has actually taken yellow boxes and place them behind the type. - But I'm also taking in making them a little bit transparent, - so they're about 90% transparency. - So you still get a little bit of that detail in the back of what's going on with the bag - image? - Um, - and you're not losing all it, - but it does make the type a little bit easier to read. - And with this one, - I also want to see how it read. - If I wanna had an ad, - ISI, - behold beauty in the strangest places. - So it's more of an active tone. - If we go ahead and look, - we can see some of the detail of what the active composition looks like, - where there's some of these icons that have been integrated into the into the image itself - . - Um, - but to be honest with you, - in the end, - I feel like that's all detracting. - And I come back to this initial composition, - which I think feels the most balanced to me. - I think it allows the imagery to really shine, - which is what I loved about the process of this project and what I'm most attracted to. - And I think it's allows people to kind of look into different places in that image and see - different places. - You concede valleys and you can see mountains. - Um, - and you be going to get a sense again of that kind of topography. - And I think that's what's most important to me at this point. - Um, - so I think that that said, - I think this is my poster. - Um, - no, - As I said, - you know, - it's okay to do many iterations off your poster on to compare and contrast them. - That's actually favorable, - to be honest. - Um, - so don't be discouraged if the first time that you go ahead and trying to combine your - images doesn't work you might spend even more time than I have here, - going ahead and making sure that your image and your typography really work together, - finding new ways of making sure that its readable and there's clarity, - all sorts of things. - That's the beauty of the design process. - And that, - to be honest, - I think that when you hit what works, - you just kind of know it. - You should just feel it and say, - This is This is what I'm looking for on but that point I think that you know that you're - done so with that, - I want to thank you for taking the class on and wish you happy making I would encourage you - to make sure you take advantage of all of the resource. - Is that air in the project guide? - All of the links to External resource is two Web sites where you can search for typefaces - to museums to see other exhibits and other image making that they may be doing at those - exhibits. - Um, - and I'm look forward to seeing what everybody comes up with. - Please don't hesitate to reach out if you guys have questions. - And as I said, - happy making