1 Théophile Steinlen

Art Nouveau / Balanced /

Asymmetric
Spontaneous composition based
on visual weight distribution.

Focal point seems to be the head of

the rooster due to the details and
the colour catching interest. The
larger lettering ‘cocorico’ is difficult
to read but complements the style
of the illustration. The information
is placed in heirarchy based on
size , colour and proximity. The
signature of the painter at the top
left has a considerable weight of
its own and reduced the weight of
the negative space. Visual flow and
rhythm is good.

Opinion - I really like the poster.

However if the lettering of the body
text could have been less untidy it
would have worked for me better
than it does currently.
2 Henri
Privat-Livemont
Art Nouveau / Balanced /
Asymmetric
Intuitive composition based on
visual weights of elements.
Focal point is the face with the
intricate hair using warm colours.
The circle around the head defines
the form of the lettering, increasing
the visual emphasis in the area.
There is also a good visual
flow between the text and the
illustration due to this. The gaze
and the flowline of the arm aids
the transition to the glass which
balances the focal point.
Hence there is harmony in the
triangle of visual elements in
the upper region. The repeating
organic elements in the lower
portion balances out the weights
above. There is a consistent visual
language, contrast in the elements
emphasises the necessary ones.
Opinion - I liked the poster due to
its intricate yet balanced language.
3 Adolfo Hohenstein
Art Nouveau / Balanced /
Asymmetric
Spontaneous visual composition.
Illustration holds 4 main visual
focal points with others aiding
them. Good visual flow. The faces
of the man and the woman hold
the maximum visual interest. other
elements like the flow lines of the
body gestures and the gaze of the
peacock direct the eye to these two
faces. The gaze of the man and the
woman are directed to the child
at the lower right side providing
visual flow downwards. His gaze
is in turn directed to the text
which is then placed in heirarchy
using weight, size and proximity.
Lettering done is compact and
dense. Blue negative space at the
top and bottom balance out each
other.

Opinion - I loved the poster for the

way it plays with eye movements
due to its controlled rhythm.
4 Eugène Grasset
Art Nouveau / Unbalanced
/ Asymmetric
Visual weight of the face in the
illustration defines the focal point.
The warm colours and red of the
hair increases the interest in the
area.Visual flow defined by fowline
of the right arm going down to the
text. excess of visual clutter to the
left is not balanced by the negative
space to the right.
Poster is dynamic due to the angle
of the lettering and the flowline
created by the body. The Hair and
the background texture increases
the motion associated with the
poster. Visual language is consis-
tent and intricate, highlighted by
the blunt but jagged patterns in
the background and the dress.
Colour scheme is triadic.

Opinion - Ambivalent. I liked

the illustration style but the
other visual elements do not blend
harmoniously due to the layout.
5 Will H. Bradley
Art Nouveau / Unbalanced
/ Asymmetric
Barrage of inforrmation at the top
of the poster. Although heirarchy
used is visible (using size weight
and colour) there is large amounts
of visual disturbance. Visual flow
is not harmonious. Red dominates
the region below the optical centre,
hence it is the region of maximum
visual weight. The colour red is
not well distributed, causing the
contrast of the elements in the
poster to seem unbalanced.

Uses dichromatic colour scheme.

Opinion - Ambivalent. I like the

simple illustration. The lettering
of ‘Chap Book’ also complements
the illustration. However the
layout is top heavy. a better choice
of colours , with less of contrast
would have helped lessen the
visual disturbance.
6 Joseph Binder
Art Deco / Unbalanced /
Asymmetric
Spontaneous composition based
on geometric shapes. Visual
language is clean towards the top
but gets cluttered at the bottom
causing the rythmn to break.

The composition seems unbal-

anced. Angled flow lines of the
text seem forced. Emphasis seems
divided beween the bright yellow
and white shapes and the text.
the illustrated buildings to the left
cause visual disturbance. Lettering
is tight due to lack of leading
adding to the unbalance.

Uses a triadic colour scheme.

Opinion - I liked the poster, but

parts of it steal too much attention.
The lettering could have stood out
more and should have been less
dense and packed.
7 Max Hertwig
Art Deco / Balanced /
Asymmetric
Simple grid system, but lettering
and composition seems sponta-
neous. Visual weight distribution
decided intuitively. Good visual
flow due to the simple layout, but
it gives the poster a very flat visual
language.

The illutration is simple with clean

lines. lettering at the top is large
and less condensed compared to
the condensed text at the bottom.
Analogous colour scheme gives the
poster a controlled and harmoni-
ous look.

Opinion - Ambivalent. Poster could

have been more harmonious if the
face and hands would have been
painted as visual weight around
the face would then have balanced
the poster better.
8 Leo Marfurt
Art Deco / Balanced /
Asymmetric
Good visual Heirarchy. Althought
the face is a strong focal point
due to the interest it generates,
the ‘1940’ in red and the large red
circle below the optical centre
balance the weight around it.
Visual direction provided by all
the elements which give good flow
to the poster with harmonious
transition from one chunk to
another.
Visual contrast of the face is
balanced by the simpler, more
rational chunks around it.
Text is limited to necessary
information. Hence the condensed
font works well. heirarchy of text
determined by colour hence the
dates are in red.
Colour scheme is diadic.

Opinion - Yes, I really like the poster

due to its smooth rythmn.
9 Jean Carlu
Art Deco / Balanced /
Asymmetric
A large portion of the poster is a
mass of positive space including
the illustration and the lettering.
it is balanced by the chunk of
negative space in the centre
which forms a shape as part of the
illustration.

Lettering is inconsistent, disrupting

the rhythm of the illustration. text
box at the lower left helps balance
out the asymmetric illutration.

The illustration is the heaviest of

the visual elements due to the
interest factor and contrast.
Colour scheme is triadic.

Opinion - Ambivalent. I really liked

the illustration but the lettering
does not work for me.
10 A.M Cassandre
Art Deco / Balanced /
Symmetric
Simple 3 column grid. the text is
concentrated above the optical
centre. Heirarchy is maintained by
size and weights of the lettering
done.
The visual weight of the text at
the top is balanced by the mass of
black in the illustration with the
focal point being the more detailed
cap. This is also due to the brighter
colours, which cause the cap to
stand out visually. Its emphasis is
moderated by the black mass.
Visual language is playful due to
the contrast in the detail of the cap
which is more visually engaging,
the slightly less intricate lettering
and the plain illustration of the
man.Uses a complementary colour
scheme
Opinion - I liked the poster to to its
harmonious yet playful rythmn.
11 Ludwig Hohlwein
Propoganda / Balanced /
Symmetric
3 column grid. Visual weight
distributed aong the centre.
Weight of the text at the bottom
is balanced by the rough texture
of the highlights on the face near
the optical centre. This causes
the poster to be very aesthetically
balanced.

Grid has been roughly made as per

the flag required in the back-
ground.Colour scheme is chosen
based on the flag. Lettering done
is based off a regular geometric
font. It seems to balance the visual
weight of the illustration by not
being too loud itself.

Opinion - Yes, I really like the

poster. The illustration really
stands out
12 Unknown / USA
Propoganda / Unbalanced
/ Asymmetric
Spontaneous composition. 2
column grid like structure. Has
an Unbalanced feel to it due to
the heavy text at the bottom
right and the displaced ‘its safer’
text. Negative space below ‘OR’
misleads the eye.

Colour scheme is derived from the

American national flag.

Opinion - I did not like the poster

much. It lacks the use of Guestalt
in a few places. Illustration could
have been simplified.
13 N. Vatolina &
N. Denisov
Propoganda / Unalanced /
Asymmetric
Unalanced due to the uneven
Distribution of red above the
optical centre and to either side of
it. Poster is heavier on the left.

Colour Scheme derived from the

Russian national flag.

Spontaneous Manuscript grid style

composition.

Opinion - Ambivalent. Partially

because i do not understand the
context entirely. But due to the
simplicity of the design it sems to
have become quite significant as a
propoganda poster.
14 Michel Jacquot
Propoganda / Balanced /
Asymmetric
Manuscript Grid with centre
aligned text.

Visual weight is balanced between

the focal point of the text box
“Communisme” and the rough
texture of the illustration. The
intricacy of the wolf head is heavier
due to interest but is balanced by
the red colour of the text.

Opinion - No I did not like the

poster. The style does not com-
plement the lettering. The poster
seems too dense.
15 Gustav Klutsis
Russian Avante Garde /
Balanced / Asymmetric
Greater Visual Weight at the top of
the poster, above optical centre.
Large portraits draw the eye,
increasing the interest in the area.
it is balanced by the isolated text
at the bottom. The use of photo-
graphs gives the mass of the poster
an intricate and detailed feel.

Angle of the text and the shapes

the images are cropped in give the
poster dynamism. the ascending
text on the left balances the
descending text on the right.
Colour scheme is warm. Con-
densed font style goes well with
the flow lines. Text is minimum but
impactful.

Opinion - I really like the poster.

The use of photographs with a
dense collage like effect and simple
use of colour appeals to the eye.
16 Müller-Brockmann
Modernist / Balanced /
Asymmetric
Rhythm created through Repetition
of squares which confine to a grid.
Strong use of Guestalt,
Visual Focal point is the text box
with bold text at the lower left
corner. It is balanced by the red
square near the optical centre.

Uses a 3 column grid and Triadic

Colour Scheme.
Font - Standard CT

Dense chunk of text is balanced

out by the visually less dense
illustration and isolated text at the
top left.

Visual language is simple and

rational, with inorganic shapes.
The grotesque san serif doesn’t let
the poster feel too rigid.

Opinion - I liked the poster.

However i don’t understand the
context in which the squares are
used.
17 Müller-Brockmann
Modernist / Balanced /
Symmetric
3 column grid with most of the text
concentrated in the middle creates
symmetry.

Font - Standard CT

Focal Point “der Film” is a mass

of bold text in a large font size but
light colour. it is balanced out by
the red text box at the top of the
poster and the negative space
between them.

Overlapping text gives a simple yet

rational feel to the poster. Since
it is light text surrounded by dark
negative space, the visual style
looks clean and stands out.

Opinion - Yes, i liked the poster.

The overlapping text really catches
the eye. However the colours seem
a little too dull.
18 Armin Hofmann
Modernist / Balanced /
Asymmetric
18 * 24 grid

“Die Gute Form” Heavy Geometric

text placed around the optical
centre forms the focal point. it is
heavier to the top but is balanced
out by the text box at the lower left
corner. A chunk of high density is
balanced out by the negative space
and the isolated text box at the
bottom left using a Grotesque San
Serif.

Opinion - Yes, I really like the

poster. However, the text was
illegible at first. The colour goes
well with the rational style used
along with the geometric lettering.
19 Emil Ruder
Modernist / Unbalanced /
Asymmetric
3 column Grid

BERLIN Heavy Condensed text

placed above the optical centre
forms the focal point. It looks
heavier on the top right. A chunk
of high density is balanced out by
the negative space and the isolated
text box at the bottom left.

Font - Standard CT Condensed

The condensed text gives a sense
of rigidity and tightness to the
poster. The grotesque san serif at
the bottom left does not ease the
visual contrast.

Opinion - Yes, I like the poster. It

is a simple yet aesthetic design,
highlighting specific parts of the
text.
20 Richard Paul Lohse
Modernist / Balanced /
Asymmetric
Grid seems to be deconstructed
3 column grid. Most of the visual
allignment is done with reference
to ‘allianz’.

“allianz” dominates the poster,

though the text right above the
optical centre catches the eye
first ( Helmhaus Zurich ) due to its
position and visual contrast.

The balance in the dark and light

colours creates high contrast but
it is well balanced throughout the
poster.
Font used is Standard. 4 point sizes
have been used ( approximately
5pt, 10pt, 16pt and 205pt)

Opinion - I liked the poster. the

colour scheme and contrast seems
to balance out the composition.
Information seems accessible and
21 Depero Fortunato
Futurism / Balanced /
Asymmetric
22 Ardengo Soffici
Futurism / Balanced /
Asymmetric
23 Carlo Carra
Futurism / Unbalanced /
Asymmetric
24 Filippo Marinetti
Futurism / Unbalanced /
Asymmetric
25 Kurt Schwitters
Dada / Balanced /
Asymmetric
26 Tristan Tzara
Dada / Balanced /
Asymmetric
27 Man Ray
Dada / Unbalanced /
Asymmetric