Everything that is red is good?

Research in Language, 2019

The tendency to create messages using the elements belonging to different semiotic systems shifts our perception of a communicative act, contributing to the establishment of multimodal and intersemiotic communication practice.A visual metaphor is seen as one of the instances of a multimodal and intersemiotic message, which generates a text that is revealed gradually, uncovering numerous layers of meaning encoded within a metaphor and within visual, linguistic, and spatial settings it is placed in.The paper sets out to explore the notion of a visual metaphor and focuses on the application of the visual metaphor ‘global warming’on posters created for the needs of public awareness campaigns, investigating simultaneous manifestation of iconic and metaphorical mappings in the given visual metaphor.

International Journal of Innovative Technologies in Social Science

21-st century is very busy, contradictive and tensed because of several cores of wars, accordingly abundant information flows out from the internet. Nobody has time to read several pages for a long time. Minimalism in words is appreciated more. As the 12 th century renaissance period Georgian poet Shota Rustaveli said in the prologue to his famous masterpiece "The Man in the Panther’s Skin”: “A long word is told shortly” (in few words is uttered a long discourse) as “Minstrelsy is, first of all, a branch of wisdom “… So, the idioms, slogans, proverbs, parables, some other kinds of phrasal verbs and witty sayings are still the object of scientific studies as far as they have been in use side by side with ballads, poems, songs and preaches since time immemorial up today. You may meet them in modern publicist texts, in posters, in adverts, in web design as well. Therefore, interpreting the idioms adequately isn’t so easy. It’s well known that idioms are the set of fixed expressio...

Creativity Studies

This study contributes to the history of poster connected with interdisciplinary conceptualization, where poster is examined as a design object and core advertising medium in the context of cross-cultural interaction, cultural integration and national identification. Artistic and stylistic features of famous poster schools (Swiss, German, Austrian, Polish, Japanese, French, Italian, Baltic, Ukrainian, etc.) are analyzed and theoretically summarized on the example of cultural-imagery and tourist posters from different countries. Communicative and aesthetic aspects of image creation are presented in socio-cultural dynamics according to certain stages of social development. Colour is highlighted as the most important and attractive means among compositional factors. Scientific novelty of this study is to justify the world’s cultural heritage of poster. It is proved that poster actively shapes public consciousness and has a powerful influence on public opinion. Also, poster is included ...

This research aims to investigate and set design improvements of the Health Campaign posters towards obesity. The Malaysian government through its agency Kementerian Kesihatan Malaysia has aggressively distributed awareness regarding health issues through poster design. According to literature review; this form of campaign which started a decade ago, places emphasis on critical illnesses such as dengue fever, cancer, heart disease and smoking. D espite this, based on the prelim inary survey re s u lts , it is d is c o v e re d th a t there is no specific campaign w hich focuses on childhood obesity. Previous posters were all focusing on obesity as a common problem. In this study, an exploratory study had been applied. A survey was carried out among young parents in Selangor. The findings show that 60.8% of the respondents are not familiar with previous obesity campaigns. This can be concluded that educating the parents on a healthy lifestyle can prevent childhood obesity through posters in Malaysia is an important and early preventive measure to take and should not be overlooked. It is hoped that the result of this study will assist the related Government bodies and departments regarding the need of a communicable poster design in creating awareness about childhood obesity for the Malaysian public.

2014

"… [a] poster must be a separate sheet, affixed to an existing surface … it must embody a message; a mere decorative image is not enough…. it must be publically displayed, Finally it must have been multiply reproduced; a single hand-done notice is not a poster within the meaning of the act." 1 Before the era of social media, stimulated by the invention and standardisation of the Internet, posters were almost unique in their ability to quickly engage with the masses in a visual context. The definition above captures the basic attributes of a poster. The significance of the poster lies in the fact that they can convey the vitality of popular (or underground) culture in an easily reproduced medium. Once printed, they can transform the streetscape directly and rapidly. Throughout history they have become the weapon of choice for countless revolutionaries; for example the Atelier Populaire in Paris and the Bolsheviks in Russia, where the posters existed as catalysts for dramatic social reform. 2 For centuries they have been created for placement on the streets for the entire public to witness. They act as a vehicle for messages to find a home on the streets, and thus developed into a medium where art was needed beyond the salons and the museums, and could engage directly with the world and its people. 3 Political posters have served a variety of different objectives and identities. By the 1970s they were by no means a new phenomenon; however, the manner in which Australian print groups used was revolutionary for their context. This essay will provide an analysis of the political poster and use posters created by both Earthworks and Redback Graphix as examples of Australian political posters. It will deal with political concepts present in the prints and analyse their significance within both their immediate community and international contexts.

2007

Posters were developed as a medium for both art and advertising forming the foundation for much advertising today which continues to blend aesthetics of art with the practicality of commerce. Accordingly, the history of the development of outdoor and more specifically poster advertising is reviewed for an understanding of how these two domains were married into one. Through this, an understanding of how posters introduced art to advertising thereby representing an important leader to most other more modern forms of media and initiating the longstanding tension in advertising as creative art and commercial gain. The third section reviews the evidence for the significant and substantial effectiveness of outdoor posters.

Posters of the Iranian revolution bring together two graphic styles -- international revolutionary posters in red, white and black; traditional Islamic painting styles of miniatures, coffee houses, and story cloths to prompt oral narrators with a broader palate including prominently green. Apart from the counterpoint between graphic and symbolic traditions, allusions and allegories, the posters also dramatize the competition over legitimacy and the use of symbols by different factions within the revolution. Among the strongest: Khomeini's icy stare melting US guns; a wounded woman with child on an asphalt imperial highway (built with petroleum, literally and with its revenues), and a stamp of Bilal (first muezzin and black Ethiopian) and Malcolm X calling people to the Islamic revolution, and Khomeini as Moses pointing to tortures in hell awaiting the shah with broken crown.

DesignIssues, 2019

Background: A Matter of Context Since the end of the nineteenth century, the poster has been a collected object displayed in museums; thus, a significant and creative museological course runs parallel to the cultural, commercial, and political functions earned by the media in the urban environment. This article explores the subject by applying to design an ecological view, which stresses the reciprocal relations of humans and their built and product-designed environments. 1 It demonstrates how this approach inspired an event at the Danish Poster Museum in 2015-2016: an exhibition titled Spot On! British Posters from the Interwar Years. Initiated by the author and co-curated with graphic designer Michael Jensen, Spot On! marks an example of how poster contexts gave an impetus to a curatorial project. Still, the museological share of poster history is proportionally underexplored, and the subject has often been studied from more conventional perspectives: Studies of poster design too often fall into predictable patterns, determining graphic Authorship [sic], political agendas, and patterns of influence, as well as tracing the development of technical practices. 2

Leonardo electronic almanac, 2014

What is Red Art? Or rather: what could Red Art be in today’s post-communist, post-utopian world, a world shaken by conflicts engendered by contrary beliefs and ideologies which have little to do with communism? A world in which countries and societies are disrupted by territorial disputes, and by bloody fights about questions of religious identity, national identity, and ideology? Where communism has been overrun by capitalism with rare exception; where the European left movement is weak. Where the post-industrial era has produced an economic reality that is orders of magnitude more complex, transnational and therefore more difficult to control or change, than history has ever seen. In this situation, can there (still) be art that deals with ideas of communism constructively, or does contemporary art look at communist ideals only with nostalgia?