Game Poster Design

The next important part of this project was producing a promotional poster to advertise our game. As with all other aspects of the design for this project, I wanted a clean, simple design that would clearly show what our game was about.

First of all, I had to get an illustration to form the basis of the poster. The illustrator in my team refused to produce this illustration, despite me asking him to produce it for a period of at least two weeks. Instead,I had to ask our game artist to provide me with an illustration I could use viably for the poster. Luckily, she was more than happy to help right away, and I was finally able to finish making the poster.

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The image above is a cropped version of the image provided by Artemis (our game artist) to be used as the main focus of the poster. It features our anonymous astronaut, the only playable character in the game to date.

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Next, I added a logo to the image to try and make it more poster-like. The orange logo worked better than any of the others, in the opinion of myself and my team members. The landscape version of the poster didn’t work very effectively, in my opinion, so I tried again with a portrait orientation.

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The image above shows the  final detailing for the poster designs. I decided that to give it a bit more realism, adding a company logo (Talentless Games Co., a mock company for our “game development”), a QR Code that when scans leads to a Twitter page I also created for the game, and a PEGI age rating which is present in almost every game available to purchase digitally or physically.

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Here is the final poster design, with all the elements combined. I think the composition and the colours both work incredibly well, and it clearly communicates that we are advertising a new game. Knowing the necessity of producing a high quality poster to showcase our game, I not only took opinions from my team, but also my fellow classmates, and even had a few tell me if I were to produce the posters for sale, they would actually buy them.

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Typography Choices – Body Text

For the body text in the designs I produced for this project, I chose Futura as the typeface. Futura, a geometric sans-serif type, was designed in 1927 by German typeface designer Paul Renner.

Another clean, crisp typeface, I felt that Futura would work well with Avant Garde, much better than a serif-based type would. I did test with Avenir (a typeface designed by Eric Gill, one which is very similar to Futura) but I felt that Futura was more suitable. I wanted to keep a futuristic, simplified feel to all the text elements of the promotional and design work for this project, and both typefaces I’ve selected do that very effectively, in my personal opinion.

Typography Choices – Headers

For the headers and main detailing of the designs for this project, I chose to use ITC Avant Garde Gothic, the typeface designed by Herb Lubalin (see previous post).

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Four different weights of the ITC Avant Garde Gothic Standard family

I chose this typeface because as a group, we wanted a clean, legible typeface that would reflect upon the futuristic yet simplistic nature of our game, a typeface that would be easy to read on screen and in physical form when printed. Avant Garde is a crisp, modern sans serif font developed during the 1970s by the International Typeface Corporation, and is still widely used to this day. It is a font that has stood the test of time, and during my initial experiments I decided it fit into the game perfectly – a clean typeface offset by the rough, unrefined nature of the game.

Artist Research – Herb Lubalin

You can do a good ad without good typography, but you can’t do a great ad without good typography”

Herb Lubalin was an American graphic designer and typographer. He collaborated with Ralph Ginzburg on three magazines: ErosFact, and Avant Garde, and was responsible for the creative visual beauty of the publications. For the last of these, he designed a typeface, one of my personal favourites, ITC Avant Garde – a font which could be described as a nod to the art-deco style of the 1920s. It was used heavily in the 1980s, 90s and the early years of the 21st century, and is even still used in moderation today.

Lubalin’s interest in typography as a communicative implement manifested at an early age, and he was particularly interested in the differences in the interpretation one could impose by changing from one typeface to another. He was very fascinated by the look and sound of words as he expanded their messages with typographic impact. As such, the vast majority of Lubalin’s work was based heavily on typographic experimentation and manipulation. In my personal opinion, his clever use of type allowed him to communicate incredibly efficiently and effectively.

Graphic Designer – My Role In The Team

For this project, I have been assigned the role of Graphic Designer for my team. I’m fairly pleased with this as Graphic Design is the pathway I wish to go down later in the course. As the graphic designer, I have the job of creating the branding and styling for the game, including a logo and promotional material, as well as a style guide – the set of rules I must follow whilst designing aspects of the branding. As well as this, I will also create social media accounts for the game, a very modern and effective way of promoting new content. During the process of producing all of these things, I will maintain constant communication with my teammates, taking their opinions and ideas into consideration before finalising any work.

 

 

Brian Cannon – Style Exploration

First I started by recreating the Definitely Maybe handwritten title that Cannon created for the album of the same name.

I then reproduced the infamous Oasis logo, used by the band from 1994 – 1999. I’m relatively happy with it, although I think the “S” letters need a bit of work.

Here is my attempt at a personal branding using Cannon’s Oasis logo. The typeface used is Helvetica Neue Bold Oblique. I’m very happy with how this turned out and will probably be taking this further to use in my final piece(s)

Here I used a graphics tablet to try and digitally experiment with Brian Cannon’s Definitely Maybe handwriting style. Obviously it’s not great but it’s a start. This could go somewhere…