O plakacie i o procesie projektowania.
Każdy projekt zaczynam od szkiców, i najczęściej są to słowa, słowne skojarzenia. Słowa napędzają obraz, i staram się dość szybko przejść od słów do pierwszego obrazu. Szybka weryfikacja koncept vs obraz pozwala sprawdzić, czy taki sposób pokazania idei ma sens, czy siedzi. Czasami nie siada tak od razu, więc jest wiele kroków w przód i wstecz. W tym przypadku ograniczony czas zmusił do podejmowania szybkich decyzji.
To, co było wyjątkowe w procesie projektowania plakatu w maratonie to możliwość konsultacji pomysłu z drugą osobą. Coś, co rzadko zdarza się w mojej codziennej pracy, gdzie koncepcja często jest narzucana przez klienta, a moja praca jest bardzo indywidualna. Szybka weryfikacja od razu sprawdza, czy pomysł działa. Wyjątkowe było też pewne ograniczenie – wylosowany motyw graficzny – zastosowanie trójkątów. To ograniczenie, które na początku wydawało się niemożliwe do realizacji, szybko podsunęło wizualny koncept – dwa trójkąty, czyli schematyczne przedstawienie klepsydry. Dalszym zagadnieniem było, jak przedstawić wcześniej rozpracowany pomysł – zmiany, uciekający i niemożliwy do odzyskania czas.
Sama atmosfera też przyczynia się do efektu końcowego, że w jednym miejscu gromadzi się kilkadziesiąt (!) osób, by zrobić coś ciekawego – wiadomo, każdy w swoim procesie, swoim tempie – niezwykle stymulujące.
Ciekawe i nieco nowe było dla mnie podejście do formy plakatu jako skondensowanej ilustracji – przede wszystkim treść, którą widz jest w stanie złapać bardzo szybko. Szybko złapać, ale nie tak szybko zapomnieć, dobrze, jak plakat zostaje chwilę dłużej w pamięci i daje pole na własne interpretacje.
About the poster and the design process.
I start every project with sketches, and most often they take the form of words – verbal associations. Words drive the image, and I try to move quite quickly from words to the first visual idea. This quick verification, concept vs. image, helps me understand whether the idea makes sense and whether it works. Sometimes it doesn’t click immediately, so there are many steps forward and back. In this case, the limited time forced me to make decisions quickly.
What was unique about designing a poster during a marathon was the possibility of consulting the idea with another person. This is something that rarely happens in my everyday work, where the concept is often defined by the client and my work tends to be quite individual. Immediate feedback allows you to quickly test whether an idea works. Another distinctive element was a certain constraint, the randomly assigned graphic motif: the use of triangles. At first, this limitation seemed almost impossible to work with, but it quickly suggested a visual concept – two triangles forming a schematic hourglass. The next challenge was how to express the idea I had been developing earlier: change, time slipping away, and the impossibility of recovering it.
The atmosphere itself also contributed to the final result – dozens of people gathered in one place to create something meaningful. Everyone worked in their own way and at their own pace, which was incredibly stimulating.
It was also interesting and somewhat new for me to approach the poster as a condensed illustration, focused primarily on content that the viewer can grasp very quickly. Quick to grasp, but not so quick to forget. Ideally, the poster stays in the viewer’s mind a bit longer and leaves space for personal interpretation.
I start every project with sketches, and most often they take the form of words – verbal associations. Words drive the image, and I try to move quite quickly from words to the first visual idea. This quick verification, concept vs. image, helps me understand whether the idea makes sense and whether it works. Sometimes it doesn’t click immediately, so there are many steps forward and back. In this case, the limited time forced me to make decisions quickly.
What was unique about designing a poster during a marathon was the possibility of consulting the idea with another person. This is something that rarely happens in my everyday work, where the concept is often defined by the client and my work tends to be quite individual. Immediate feedback allows you to quickly test whether an idea works. Another distinctive element was a certain constraint, the randomly assigned graphic motif: the use of triangles. At first, this limitation seemed almost impossible to work with, but it quickly suggested a visual concept – two triangles forming a schematic hourglass. The next challenge was how to express the idea I had been developing earlier: change, time slipping away, and the impossibility of recovering it.
The atmosphere itself also contributed to the final result – dozens of people gathered in one place to create something meaningful. Everyone worked in their own way and at their own pace, which was incredibly stimulating.
It was also interesting and somewhat new for me to approach the poster as a condensed illustration, focused primarily on content that the viewer can grasp very quickly. Quick to grasp, but not so quick to forget. Ideally, the poster stays in the viewer’s mind a bit longer and leaves space for personal interpretation.
plakaton
Photo credits: Patryk Olczyk, Albin Talik
