Poster on the topic my social. The best social advertising (37 photos). One of the children is holding something prohibited in America. Guess what exactly

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 has become the function of this type of advertising to multiply patterns of socially preferred behavior. 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 of 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. 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 bustle 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 concise 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 relevant poster requires that the aesthetic system of the designer be synchronous and contemporary with the aesthetic system of the message recipient. 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.

The third option is complete dominance of the verbal component in the social poster. In one case, it implies giving a font composition figurative expressiveness using various graphic techniques, without using any active graphic background elements.

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 take action. 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 propaganda, 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 on road safety 3. Well-chosen IMAGE-TEXT RATIO. 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 health care fund) 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.

An advertising poster for the AIDS Society with the slogan “We need your donation to fight it.” 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. The text part and the 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.

New works from social campaigns appear regularly; creatives and public organizations are trying to solve the impossible task of scaring a healthy person with illness and suffering. And also appeal to conscience and understanding.
Advertising against government brutality

Colorado State Police: Crumpled billboard
The Colorado State Patrol posted a three-dimensional billboard simulating the consequences of a car accident.

Your rate = number of days in hospital
An interactive billboard in the US showing the consequences of exceeding the speed limit of 25 mph.

Help feed the homeless

More people die from smoking than from road accidents
In Canada, they installed a car hit by a large cigarette to spread the word that smoking kills more people every year than in road accidents.

There is a better way to build a career
Advertising for an employment service in Germany.

Billboard with blood. Don't drive in the rain
When it rains, red streaks appear on the child as a warning to slow down.

Prosthetics for the disabled
The Indian organization is developing prosthetics for the disabled, including the creation of complex artificial feet with a polyurethane shell.

Buckle up!

Don't hide domestic violence
To open or not to open?

Closed straw
Cholesterol does the same thing to your arteries. Watch what you eat!

Smokers look the same

Prevention of major cardiovascular diseases
It's better to prevent than to deal with it.

Child abuse
“Stay on our side. Report violence!

Save paper

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.