Another possible direction is to screen print the posters, making a link to the printing processes in the 60's, I could screen print on the a variety of paper stocks, however i found another quote within the book (which actually leads on from the quote the project is inspired by) "i still recall those bodies in all their postures, like a human alphabet, presented week by week on cheap newsprint on the street corners of my home town'.
This passage directly speaks about the paper stock these posters were printed upon, which seems like a link that i should carry through to my production. Whilst talking to peers about the various ways i could print the typographic poster, one suggested that i combine the past and the present within the production of the poster, meaning that i use the cheap newsprint as the paper stock but use modern digital printing to print upon it. This provides both a link to the era of inspiration, and also a message that this is still happening in today's modern times
In terms of the size of the poster, the typography can be printed at any size, however for accuracy and legibility, i believe it would be best to print the design on A3 as this us a standard size for posters, and wouldn't take up too much room on street corners, however if when printed the type is not as legible as i intended it to be, then some changes may be needed.
colour of paper more vibrant in person |
In the above experiments i believe that the most effective variants are the two images on the right, both using black. The first test uses a thin black line and a red tone within the letter-forms, although the type is visible, due to the fact the red is printed on top of neon, it dulls the tone and makes it appear to be more of a brown shade, i also don't believe it has a strong enough contrast in comparison to other variations.
The next experiment uses the thin black line only, although this was previously my preferred design on screen, once printed it's no where near visible enough, with the thin black line disappearing against the vibrant neon pink of the newsprint.
The next two variants are similar, with the black tone being inverted. Overall these variants are the most appropriate due to the bold contrast of the black against the neon pink, which ensures both the neon pink is visible, and the letter-forms and their silhouettes are easily seen.
During a peer-led crit i asked people which out of the two final prints on the right, they thought were the most bold and legible, the majority of the people i asked said that the poster on the left was the most bold and legible due to the negative space being used for the letter forms which allows the whole quote to be read more clearly as the letter forms don't appear as if they're touching as much as in the other variation.
In terms of the sizing of the poster, A3 works in terms of ensuring the quote can be read.
I then decided to experiment with printing one of the previous designs which used the thin black line and two tones of pink, printed on to gloss paper. I chose gloss as i believe it communicates the tacky way in which women are presented in the pages of glossy adult magazines such as Hustler which was previously looked at. As can be seen below, the quality and gloss of this print is much more effective than the newsprint in terms of being eye catching, although the previous newsprint prints perhaps have a stronger link to the book the project was inspired by, the overall look of the gloss poster is more appropriate for the brief, due to the vibrancy of tones and a quality which almost resembles latex, a commonly used fabric within the sex industry.
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