My first reaction when I opened this file was, “Oh, that is cool.”
My major concern was the reading order. Do I go across, or down? I wanted to make sure I understood Christian’s intent before shooting my mouth off, so I emailed him, and got this generous reply:
That was probably the biggest problem I wrestled with while creating the poster, and I don’t think that my solution is perfect. I understand the story as a branching tree of related concepts, which doesn’t lend itself easily to projection into the one and two dimensions of papers and posters, so I struggled to come up with a way of presenting things that conveyed the way I see them.
The idea is that you can read through in more than one direction, depending on what interests you and the amount of prior knowledge you bring, and still experience a coherent story. If you know what problem I’m trying to solve, you can start under the title at “Proposed Solution,” then go to the demo in the center, and then read the extra stuff on the right. If you don’t come with that knowledge, I hoped that you would go to “The Problem” first, read left to right through the top row, and then return to the left for “Proposed Solution.” It is also possible to get a slightly different view of things by going clockwise first, getting the main problem and the sub problems (fonts, input methods), then going to the solution.
When I started working on the poster, I put all of the sections on index cards and then moved them around on a big table until I found a layout that worked. I don’t have any record of the alternative arrangements, but you can get a sense of what I envisioned from the flyer I made to go with the poster.
The timeline is made much more prominent to highlight the importance of the Demotic script in our broader effort to understand Egyptian languages, which is one of the main takeaways that I intended for people to discover. That’s not as clear in the poster, but that was a compromise I had to make during the design process.
The flyer also had a selected bibliography on the back, mainly so that I could avoid using valuable poster real estate for references while still conveying the fact that I had done my research. IIRC I got the idea to do that from your blog, but I don’t remember where or how. You said something about needing to have references, and I didn’t want to do that, so I tried to invent a way to have my cake and eat it too. (Maybe this? - ZF) I ordered prints of the flyers from Moo.com ($50 for 50), and put them in a holder thing under the poster for visitors to take. All 50 had been taken by the end of the second day, so I think people liked that.
I still have concerns some concerns about the reading order. Having a section labelled “The problem” indicates I am supposed to read across, in rows. But it breaks down at “Encoding.”
Having one big central figure helps this poster enormously. The decision to put most of the ancient script in red brings is a smart one. But there is, like many things, a tradeoff. You gain visual interest, but some of the highlighted characters don’t stand out as much as they might have against a more neutral colour. Here’s an attempt to draw attention to the highlighted characters; click to enlarge!
I can see the individual characters more clearly, but the poster as a whole loses its visual punch. Putting the script in gray turns the central space into a drab block that nobody would look at.
The colour choices for the central script from the Rosetta stone are continued throughout the poster, bringing continuity. The minor colours blend well, too. They are distinct enough to be different, but not so distinct as to be distracting.
I also like the addition of the timeline at the bottom. Christian did an excellent job of fitting the timeline to an irregularly shaped space created by his columns.
Finally, while I applaud the placement of the institutional logo down at the bottom, I can’t help but wonder if Christian is a little too modest in the placement of his name. People do care about whose work they are looking at. At a glance, it’s not clear that he is the author. I might have moved his name up next to the title.
It doesn’t do any great damage to the flow of the poster.
The judges who gave out that award made an excellent choice. The combination of both big bold choices and attention to small details make this a very strong poster visually.
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