PSA Poster Design Lesson

G R A P H I C C O M M U N I C AT I O N S PSA’S & MESSAGING

THE PERSUASIVE POSTER

Frank “Shepard Fairey” is a very famous graphic artist, muralist, and fine artist. Shepard Fairey’s work combines elements of graffiti, pop art, business art, and Marxist theory.

Persuasive Poster Design | Graphic Communications

Introduction: PSA’s & Messaging PSA (Public Service Announcement) is a type of advertisement designed to raise awareness, inform, or educate the public about an issue with the intent of affecting public attitudes.

This first of three lessons is designed to develop an understanding of the genre and how persuasive messages are crafted.

WHAT IS THE PURPOSE OF THIS PSA? HOW IS THE MESSAGE CONVEYED? WHAT MAKES THIS PSA COMPELLING? HOW IS THIS DIFFERENT FROM TRADITIONAL ADVERTISING?

From ToucanEd, a creative firm specializing in educational materials and training.

From Let’s Adopt! Global with a mission to help find homes for foster pets. The poster can be downloaded and printed from their website.

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“The Victory Garden of Tomorrow” is a project of J. Wirtheim and his eco-friendly studio in Portland, Oregon.

Firehouse Agency for Dallas Farmer’s Market. This poster campaign was designed to let these residents know a healthier option could be purchased with the Lone Star Card of Texas. As a result of the campaign, Lone Star Card related sales at the market increased 600%.

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Shepard Fairey, We the People Are Greater Than Fear, 2017

"We Can Do It!" by J. Howard Miller was made as an inspirational image to boost worker morale. “Rosie the Riveter” is used as a symbol of American feminism and women's economic power.

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P E R S U A S I V E P O Persuasive STER D E S IDesign G N || Graphic G R ACommunications P H I C C O M M U N I C AT I O N S Poster

Target Audience A target audience is a specific group of people with shared characteristics who are most likely to be interested in certain products or services. It’s impossible to reach everyone at once, so narrowing your focus to a core audience helps to develop an effective marketing strategy. Narrowing your focus helps craft a messaging that appeals directly to the type of consumers more likely to take action. For example, Facebook Ads allow you to target users according to their interests.

Divide into groups. Choose one social topic, such as the issue of texting while driving.

Research the AdCouncil and find PSAs that relate to this topic.

Discuss the following questions: • How is this message presented for teenagers? For adults?

• Are the messages different among these age groups, or target audiences? Why or why not?

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L U C|TGraphic U S Communications Persuasive Poster Design

Messaging A message is a visual communication motivating your target audience to behave, react or take action in a certain way.

Here are some tips for effective messaging: Major Benefit | Objective or support | Rational, social, ego-driven | Interesting, credible | Style, tone, words, format

• How is a message different from information?

• How are messages in print different from those on television or the radio?

• How do messages get us to feel angry? Sad? Sympathetic?

Frightened?

•Do these messages make us take an action or make changes in our lives?

Divide into groups. Choose 3 Public Service Announcements and use the worksheet "PSA Worksheet" for student response.

PSA Worksheet Link.

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L U C|TGraphic U S Communications Persuasive Poster Design

Independent Practice: Choose 3 Public Service Announcements of your choice. Use the Viewing Media “SAMS” Handout for student response.

Use this writing prompt when viewing the posters.

When viewing media, using shared language helps to understand and critique the work.

This "SAMS" (Story, Audience, Message, Style) sheet discusses key points about the media.

VIEWING MEDIA (SAMS) Worksheet Link.

ASSESSMENT Written response: Rubric Link.

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PSA WORKSHEET VIEW 3 PUBLIC SERVICE ANNOUNCEMENTS AND RESPOND IN THE AREA PROVIDE PSA #1 Target audience

Message

Visual imagery used

What action do you feel you need to take after viewing this PSA?

PSA #2 Target audience

Message

Visual imagery used

What action do you feel you need to take after viewing this PSA?

PSA #3 Target audience

Message

Visual imagery used

What action do you feel you need to take after viewing this PSA?

VIEWING MEDIA - SAMS When viewing media, it helps to have a shared language that you can use to understand and critique the work.

This “SAMS” (Story, Audience, Message, Style) sheet can help you discuss key points about the media with each other.

•Story

What is the story?

•Audience

Who is the audience for this piece?

What in the piece tells you that it was created for this audience?

•Message

What is the message of this piece? Is there more than one message? If so what are the additional messages?

•Style

Comment on the style of this piece. How would you describe this piece?

What are the techniques the artists used to convey their message?

How is the quality of the visuals? Are they clear? Are there objects or text that are distracting?

How do the visuals contribute to the message and the story?

Persuasive Poster Design | Graphic Communications

Design Process Graphic designers carefully plan and research their subject before they produce their designs. In this second lesson, students will research information for a theme and content of their design and plan the layout and design of their PSA poster.

Create a concept plan for a PSA Poster by researching ideas for a PSA on the internet, listing of possible ideas for the poster and brainstorming ideas to make the poster compelling to the viewer inviting them to take action!

L U C|TGraphic U S Communications Persuasive Poster Design

The Client TO BEGIN THE DESIGN PROCESS PHASE, WE MUST UNDERSTAND THE CHALLENGE: You are going to create a poster using the format of a Public Service Announcement. Your PSA poster will be for the “be nice.” organization. The project is produced using Adobe Illustrator at 24” x 36” and will be press ready.

In this lesson we will: • Determine the criteria for an effective poster by researching ideas.

• Explore the ways that purpose and audience influence the message.

• Design posters that share ideas and research.

• Apply critical thinking process to the specific design challenge.

• Investigate different solutions to the problem.

• Review the informational components.

The Design Brief: A Design Brief is a document for a design project outlining the deliverables and scope of the project including any products or works, timing and budget. This is often prepared in a formal document after research and benchmarking by the designer and a meeting between design team and client has occurred. This document ensures both designer (or team) and client agree on the terms and direction of the project.

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Research THE PURPOSE OF RESEARCH IS EMPATHY AND UNDERSTANDING From their website: “be nice.� is a mental health program that directly educates students, staff, and parents with the tools to recognize a mental health illness. be nice. is an Action Plan to help others notice, invite, challenge and empower themselves and their peers. Your words and actions can have an effect on the way someone thinks, acts, and feels.

Divide into groups and discuss the following questions: What is the clients message?

What emotions does the client want to convey?

How can we help the client be more effective in communicating their message?

How do the colors and text reinforce the message?

What is the clients target audience?

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L U C|TGraphic U S Communications Persuasive Poster Design

Design Process BEGINNING THE POSTER DESIGN

Designers need to know how typefaces, color, imagery and styles can affect designs and how to clearly communicate their ideas visually. .

Step 1: UNDERSTAND Define the challenge - Know the specific requirements for the design.

Step 2: OBSERVE Research-generate ideas on the topic.

Step 3: IDEATE Brainstorm - come up with as many words and associations with the project as possible- nouns, verbs, adjectives, phrases, images, thoughts, impressions anything you associate with the topic.

Step 4: PROTOTYPE Sketching on paper will help define your ideas and make them visible.

Thumbnail sketches are small sketches that are made quickly to explore your ideas visually. Do not be concerned about detail or complete a refined drawing at this time. Focus on the general layout and arraignment of the main elements of image and text.

Step 5: TEST Design Comprehensives are tight sketches that suggest actual dimensions and placement of the image and text. These drawings will give a clear visual of the final appearance of the poster design.

Students will draw 6 thumbnail sketches of possible layouts in their sketchbook, and will design three color comprehensives for their poster design in Adobe Illustrator.

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L U C|TGraphic U S Communications Persuasive Poster Design

Elements & Principles of Design The elements and principles of good design are the tools used by an artist or designer to create an effective composition or design. The difference between a weak design and a strong one is completely dependent upon the artist's knowledge of the design elements and principles.

Group Work: Identify some of the elements and principles of design in some of the PSAs we have viewed or discussed.

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L U C|TGraphic U S Communications Persuasive Poster Design

Color Theory Color theory is a set of principles used for working with colors that involves mixing colors, considering the visual effects of color, and creating pleasing color combinations. Group Work: Discuss color theories within PSAs shown.

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How to Concept • Begin with thumbnail sketches.

• Choose your top designs and draw more detailed comprehensive drawings (comps).

• From the final comprehensive drawings, choose the strongest one for your final layout and design of the “be nice.” poster.

• Create a color scheme • Think about what information is most important.

• EXPERIMENT with new ideas, do not be afraid to improve your design.

• Take this final layout design and produce your poster in Illustrator

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L U C|TGraphic U S Communications Persuasive Poster Design

Brainstorm USING A CREATIVE BRIEF AND GRAPHIC ORGANIZER, STUDENTS BRAINSTORM IDEAS FOR TEXT AND IMAGE Now you will define your audience and message.

Answering the questions on the Creative (or Design) Brief will provide a framework for your PSA.

Choose a partner in class to work with For the next ten to fifteen minutes define your purpose, audience and message use the Graphic Organizer to brainstorm your main idea.

Creative Brief Link.

Graphic Organizer Link.

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Independent Practice THUMBNAILS AND COMPREHENSIVE LAYOUTS In Class: Thumbnails are a small crude sketch of a proposed page layout, usually generated in bunches during the brainstorming phase of design. They are used primarily to seek approval as to which design warrants further development. Use class time to develop at least six (6) thumbnail sketches to share with a partner, group or instructor using the Thumbnail sketch layout provided.

Thumbnail Sketch Layout Link.

Think about how to best present the information as • Facts • Illustrations • Statistics The Comprehensive Layout or “comp” is a stage in the page layout and design process consisting of a detailed dummy or layout of the page to be reproduced, showing the exact placement of page elements (text, illustrations, etc.) in a form comparable to that of the final print. Use the comprehensive layout worksheet to complete your “comps” .

Comprehensive Sketch Layout Link.

Graphic Design Process Rubric Link.

Design Cheatsheet Link.

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The Creative Brief Answering the questions will provide a framework for your PSA

Project Summary: State general project information for your poster design.

What is the purpose of the PSA What are the goals of the PSA

Audience Profile: Who is your target audience.

Provide enough detail to understand who the audience is.

Targeted Message State a single-minded word or phrase that will appropriately describe the message

Thumbnail Sketches In the spaces below, sketch six possible layout designs for your PSA Poster.

Comprehensive Layout

Commonly referred to as a “comp� is a stage in the page layout and design process consisting of a detailed dummy or layout of the page to be reproduced, showing the exact placement of page elements (text, illustrations, etc.) in a form comparable to that of the final print.

From the thumbnail sketches investigated earlier

select 3 designs for your detailed comprehensive layout

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The purpose of good design in a publication is to c ommunicate your message in the best possible manner. Therefore, content determines your layout and design choices.

Essential elements of good design include: • • • • • • •

Hierarchy Eye Flow Simplicity Consistency Appropriateness Proximity Contrast

• • • • • • •

Focal Point White Space Balance Unity Alignment Repetition Typography

HIERARCHY • • • •

Be understandable—it’s okay to be obvious!

The tool you use to prioritize your content.

Helps to enhance the meaning of your message.

Guides your reader to the messages you are sending in a organized fashion.

FOCAL POINT Every design needs a focal point. Make sure the element you use not only has strong visual interest but is appropriate for your material. Photos or graphics are visually appealing, but the use of dynamic fonts and letters can work equally well. A focal point: • • • • • • .

Should attract and draw your reader in.

Is the element with the strongest visual interest.

Is the element that you build your layout around.

Appears on a page only once.

Can be a photo, logo, graphic, or letter(s).

Is emphasized by size, color, contrast, placement, isolation, and/or movement.

EYE FLOW This is how you visually guide the reader through the hierarchy of your document. Start with the focal point and then direct them where to go and what to read, using size and placement of elements.

• The focal point attracts viewers—eye flow leads them.

• Use eye flow to guide viewers through your content.

• Use direction and placement to encourage eye flow.

• Graphics, bullets, and rules help lead the eye.

What elements encourage eyeflow?

A strong focal point, simplicity, graphic elements that move your eye along, size relationships, and visually interesting white space.

What design elements impair eyeflow?

Clutter (lack of white space), too many focal points, too much text/too many graphics the same size, and similar spacing between all elements.

WHITE SPACE White (or negative) space is a design element too! To see white space as an element, try squinting at your document. You’ll see shapes, not details. Use white space to accent your focal point, add to the logical grouping of the written content, and add to the overall artistic effect. Too little white space makes for a crowded, unappealing page. Too much white space overwhelms the intended focal point and breaks apart the relationships between design elements.

Examples for creating good white space: • Left aligned type: the right ragged edge invites white space into the page.

• Space between paragraphs (instead of indents in some cases).

• “Breathing room” between design elements.

• Flow: white space that flows into/around the design rather than being trapped.

SIMPLICITY Want a clean professional look? Then remember the importance of a KISS (Keep It Simple Silly!) So seemingly easy—yet so difficult to achieve! Keeping your design simple and uncluttered let’s your content come shining through. If an element does not help the content or the reader, remove it.

BALANCE How do you feel when you see a crooked picture on the wall? Remember, a lack of balance can irritate and impair communication.

Page 2 How do you achieve balance? Here are two ways: • Create two forces of equal strength that pull in opposite directions.

• Use multiple forces pulling in different directions so their strengths offset one another.

GOAL The goal is not to achieve a state of rest, but a state of equal tension.

There are two different ways of handling balance: symmetry and asymmetry. Symmetry is achieved by repeating shapes, conveying a quiet sense of order, stability and tradition. To avoid static, boring symmetrical designs introduce contrast through value, texture, and shape. Asymmetry gives you a greater sense of movement and change. Stay on the verge of imbalance for a thrilling, visually exciting design.

CONSISTENCY The key to a unified and understandable design is consistency. Apply consistency to your layout, text, paragraph formatting, icons, lines, rules, etc.

Each page should look like it belongs to the entire document.

What elements create inconsistency?

Too many colors, too many graphics, inconsistent placement of important elements, inconsistent text styles, colors, and spacing.

elements. Patiently examine the design—sometimes only small improvements are necessary to bring it all together.

APPROPRIATENESS Your design should be appropriate for your: Audience: Who’s reading this stuff anyway? Consider age, income, education, culture, etc.

Topic: What are you talking about—what are you trying to say?

Purpose: What is the design intended to do: sell a product, convey information, entertain?

Format: Paper size and type, budget, printing process, amount of copy, graphics, etc.

Evaluate your design for appropriateness on a frequent basis—don’t leave it for the end.

ALIGNMENT Proper alignment refers to defining invisible visual lines and aligning design elements along them (horizontally and vertically). You don’t want to scatter elements arbitrarily all over the page or you lose the visual connection of your elements.

Choose one alignment (left, right or center) and use that throughout. Left or right creates a strong edge and more interesting white (negative) space. Justified text is most preferred for columns of text. Novices tend to use center alignments (which can be boring).

What elements create consistency?

Page layout, navigation scheme and location, color, heading and text size, fonts, paragraph space, and repetition of design elements (lines, rules, dingbats).

Follow these general rules for good alignment: • Line up items along a strong edge on the page.

• Choose one alignment and use it on the entire document (don’t mix).

• Remember vertical alignment too.

VISUAL UNITY / GESTALT

PROXIMITY

Without unity, your design is distracting and chaotic.

With unity, your design will look and feel complete.

Ask yourself: “Does my design come together as a whole?”

Proximity is necessary to establish logical relationships between design elements and communicating those relationships visually. Group related items and create visual separation between unrelated items.

Unity rides on the coattails of consistency. Check your text formatting and spacing between elements.

Ask yourself if you can strengthen or add repetitive

Proximity is essential for organizing information and reducing clutter. The organization and content of your page should be instantly obvious to the reader.

Design Principles

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By repeating certain visual elements of the design throughout your piece you create consistency, improve organization, and strengthen the unity. Repeat type styles, color, shape, texture, spatial relationships, line thickness, sizes, etc. But don’t overdo it! Too much of anything becomes obnoxious.

What elements enhance repetition?

Color, graphics, icons, background, typefaces, type size, placement, and image treatment.

CONTRAST Contrast is the key to a dynamic design. It creates visual interest and enhances the organization and hierarchy of your content. Contrast involves making two or more elements very different (e.g. heading and text). Maximize the contrast—don’t be a wimp!

At the same time, use contrast selectively—to enhance the meaning of the content, not just to be “cool.”

TYPOGRAPHY What is typography? The science and art of communicating through type. Science because there are rules about how to format and handle type to enhance readability. Art because type is a powerful communicator of mood and meaning. Every font has it’s own unique personality!

Some general typographical rules to follow: • Use proper punctuation (one space after periods, the right dashes, smart quotes, etc.).

• Avoid widows (words with less than seven characters in the last line of a paragraph) and orphans (a sentence or line by itself at the bottom or top of a column).

• When mixing type, never use more than three fonts on one document (two is better).

• For good contrast use a different font for headlines and body type, but don’t use similar typefaces— best to use a sans serif font for your headline and a serif font for the body copy.

• Use proper spacing—watch your leading (space

Design Principles

between lines) and tracking (space between letters).

• Use effective contrast through size, weight, form, structure, color, texture, and/or direction.

• Make sure your type is legible (easy to distinguish individual letters).

• Make sure your type has good readability (easy for the reader to scan over paragraphs of type).

Guidelines for good readability: -

Avoid all caps (never use all caps with script).

Use a reasonable point size.

Don’t use a line length too short or too long.

Create even word spacing.

Create even letter spacing.

Think about your background (including type of paper).

Provide ample leading (line spacing).

Select the most readable type alignment (justified and flush left).

Choose typefaces carefully.

LASTLY, proofread, proofread, proofread, and proofread again! Get someone else to proofread! Sleep on it and proofread again in the morning!

FINALLY, afer you get all the rules down, remember the most important graphic design rule of all: Sometimes, it’s okay to …

a r Be k

R

the

REPETITION

ules

Basic Ideas for Successful Advertisement Design Good design is communicative design. What’s the point if the ad’s message doesn’t come across succinctly? Good advertising not only provokes a favorable response—it makes it easy for the consumer to respond. Often a good ad is memorable long afterwards.

What should a good advertisement do?

• Deliver the main message simply and directly (deliver and emphasize).

• Make it easy to respond (display company name, address and logo clearly).

• Emphasize the call to action (stimulate reader to make contact by using a catch phrase and

The Purpose of an Ad • Attract attention • Communicate a message • Persuade an audience (in order to generate a response)

What to consider before starting the design • Audience: Define your target audience. Think

making the phone number easy to read).

• Have a design that is appropriate to its content (vibrant, calm, etc.).

• Be easily distinguishable from all the other ads—particularly the competitors.

What makes a successful ad design?

• Simplicity—makes it easy and quick to identify

what will attract them—bright colors, subdued

message and find pertinent information. Be sure

pastels…types of images, appealing headline,

to remove unnecessary distractions. Everything

appropriate typeface. Should the ad appear

on your ad should be there for a reason.

lively or quiet, startling or natural? An ad designed for teenage clothing will be quite different than an ad designed to attract senior citizens to a retirement home.

• Size and Limitations: What format are you working within? How much space is needed for copy? How much for the logo and company information? How will the final ad be produced?

• Organization: What do you want readers to see first…second…third? How will you get them to read the ad in that order? Consider the size of

• Organization—guides your reader in logical progression through the ad. First, it attracts reader to certain areas (e.g. focal point), next provides information, and lastly, stimulates them to take action. Never forget the original goal.

• Contrast—assists reader in understanding the organization and importance of different elements. It also provides visual interest. The reader will want to continue reading it.

• Lastly—blow away the competition!

the headline, placement of graphics, location of company information, etc.

Ad Design

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Principles Cheatsheet Design Goals • Accurate, interesting content.

• Meeting client’s needs: adhering to the goal and purpose of the design.

• Appealing to the target audience.

• Visual interest and clarity, simplicity.

Design Principles Hierarchy: Present the information in an organized fashion with the most important info first.

Focal Point: Give the design a vibrant, interesting focal point. One focal point is perfect!

Eye Flow: organize the design so that the reader is directed through it. For example: focal point leads to title which leads into text.

White Space/Balance: Don’t overcrowd the page.

Organize the information so that there is space between items, reduce text to the minimum amount of copy where possible.

Typographic Principles Legibility & Readability: Choose a legible typeface, handle it in a manner than enhances its readability: point size, line length, background, etc.

Selecting & Mixing: Select a typeface that feels appropriate to the content and mood of the ad! If you use two typefaces, be sure they contrast well: serif and sans serif, old style and modern, etc. Times and Garamond do not contrast well, nor does Arial and Helvetica. Don’t use two decorative fonts together such as Harrington and Desdemona.

Typographical refinements: kern headlines and subheads, dates and time. Use beautiful punctuation.

Leave no widows or orphans.

Proofread; Proof until your eyeballs burn! Read backwards, check for one type of error at a time, check your copy against the original copy, have someone else proof your work too.

Simplicity: KISS. Simple is elegant, overdone is burnt.

Page Gestalt: Squint at the page to see it for its graphic impact. Is it a pleasing interaction of positive and negative shapes?

Unity: Assess the page to see if it comes together as a whole. Check focal point, proximity, repetition, and alignment.

Fine Art Principles Relationship & Synergy: connecting force(s).

Scale & Proportion: relative sizes and balance.

Closure: invites reader participation.

Direction, Movement: conducts the eye flow.

Design Techniques

Cropping: creates visual interest.

Contrast: Use contrasting fonts, and/or contrast

Figure Ground: the interplay between the foreground

in size, color, weight, form, texture, direction. Use color contrast effectively.

and background..

Repetition: Repeat (existing) elements as a way to unify the page/site.

Perspective: sense of distances and sizes.

Alignment: Stick to one alignment. However, flush left and flush right do complement each other in some layouts.

Proximity: Group information that belongs together and pay attention to the alignment of info that is separate but still related.

Rhythm: movement & flow, interplay of elements.

Value: interplay of dark and light and shades between.

Texture: adds richness, depth, “touchability.”

Cheatsheet

H A P|TGraphic E R 3Communications Persuasive PosterCDesign

Taking Design Digital In this final lesson, students will be spending time developing design skills, with the expectation of research and brainstorming a concept for the “be kind.� organization . A 24�x36" poster for print will be designed at 300 ppi, in CMYK color format while using digital tools that include Adobe Illustrator or other standard software. Students will combine artwork and text to create a cohesive image. Basic understanding of Adobe Illustrator is needed to complete this lesson.

L U C|TGraphic U S Communications Persuasive Poster Design

Graphic Design LEARNING HOW TO DESIGN WITH TYPE AND IMAGE IN GRAPHIC DESIGN

Eyeflow How your eye is guided through your design Hierarchy The tools you use to prioritize your content - make the most important information the most noticeable Balance Symmetrical, asymmetrical - visual balance makes a work more comfortable to view Focal Point Every design needs one of these - it will attract your viewer and draw them in. Also referred to as Emphasis, (refer to the design elements and principles infographics and cheat sheet) Vector A graphics format that uses shapes and paths (lines) to form graphic images.

Vector graphics are resolution independent and regardless of how magnified, all edges will remain crisp, clear, and smooth. This ability to stay crisp at any size, means vector graphics are great for logos, line art, and other designs that don’t require complicated coloring or textures.

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What is a Vector?

We will be working in Adobe Illustrator to create the PSA poster. Adobe Illustrator is a Vector based program and present the short animation explaining Vector Graphics.

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Typography TIPS AND BEST PRACTICES FOR STRONG TYPOGRAPHY USE

Great typography can add value to your text. It helps readers to perceive and engage with information from the text.

The correct choice of color, font and text size can prove to be vital for attracting your target audience.

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CMYK vs. RGB Color As a designer, you should understand which color system to use if you want your design to look as intended. Knowing which color system to use will be a lot easier when you know how your design will be used.

There are two major color systems in the digital and print design industries: the RGB color system and the CMYK color system.

In short: • CMYK = Cyan, Magenta, Yellow, and Key. Use for anything printed.

• RGB = Red, Green, Blue. Use for digital designs.

CMYK Color Model

When should you use CMYK? As hinted in the previous section, CMYK is the recommended color system for any material that will be printed. This includes business cards, brochures, letterheads, and any other business collateral. Since this color model is the only one that can produce the greatest accuracy when printing color photography, it should be your primary choice for any print job.

When should you use the RGB color system?

As a general rule of thumb, the RGB color system should be used only in digital designs, most commonly when designing for the web. This includes designing websites and imagery and graphics for use on websites and social media.

View a video on color models here.

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RGB Color Model

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Bleeds A Bleed is a printing term that is used to describe a document which has images or elements that touch the edge of the page, extending beyond the trim edge and leaving no white margin. When a document has bleed, it must be printed on a larger sheet of paper and then trimmed down.

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Preparing for Print Special marks are added to your PDF files to assist the offset printing press in proper alignment, trimming, bleeds and color values. These marks are trimmed off once printing is complete. This information can be added to your press document when converting and exporting as a press ready PDF File.

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L U C|TGraphic U S Communications Persuasive Poster Design

Independent Project Final Materials: Computer with Adobe Illustrator You will design a illustrated PSA poster from your final comprehensive layout drawings developed in the prior lessons in Adobe Illustrator using images and text.

Steps: Scan or send a picture of your design composition final drawing, as a jpeg image.

Open a new file in Adobe Illustrator Choose a “for print” file and set the size to 24” x 36” Place your jpeg into Adobe Illustrator Place the Jpeg on a separate layer Transform your jpeg image to the desired size and placement on your document Lock the scanned jpeg layer and create a new layer above Name your scan layer "scan" Name the new layer "vector" Using your preferred illustrator tools trace your jpeg image Use pen, brush and shape tools, or trace tools to recreate your jpeg as a vector.

When your illustration is complete make a new layer for your text.

Resize, Reset, Reposition image & text if needed Save often EXPORT your file as a high resolution .pdf for print including outlined text and printers marks as needed Students will be asked to present their final designs for critique in class.

Assessment: Poster Design Rubric Link.

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