Circus Posters of P.T. Barnum and The Ringling Brothers

The font of the text on the front cover, and throughout the book for that matter, is in an untidy scrawl that is both important - in that it is in a bold font and is a demanding colour (either black or white) - and is informal, imperfect, personal and human - in that it is handwritten. These aspects combine to show the picture-book

It is nearly impossible to look at the field that holds the remains of the Circus Maximus and understand what it once held without the aid of a vivid reconstruction. The remains of Circus Maximus lie in the Valley between the Aventine and Palentine hill. Traditionally, the history of the Circus Maximus began with chariot races held in honor of the God Consus in a less permanent structure in the area near Consus’s altar. In later years, this lead to the construction of a circus under the first Etruscan king, Tarquinius Priscus around 600 bc. Previous to Tarquin’s intervention, an underground stream kept the valley swamp like. Tarquin diverted the water and drained the area and began to hold chariot races in the area. The

Finally, we decided to focus on the design and style of the posters, as well as some of the rhetoric appeals used, rather than talking about the topic itself. Thus, we concluded that our main point would be what we considered to be our strongest aspect of the posters, which we determined was the balance between pathos and logos in the posters. By choosing two posters to display data and facts, and two to display emotion-evoking images and messages, we determined that we provided enough variety of information so that an individual that is either interested in the facts of this topic or that is interested in the morality of this topic could be persuaded to pursue more information on this topic, or even heed our call for advocacy. Although we were met with some issues concerning time and a difference in both topic and design choices, we completed the poster series in a manner we were quite satisfied

However, this image is missing the simplicity of the previous poster and the skill in which Chéret prints La Loi fuller’s dress in movement cannot be overlooked, it is what carries the whole poster with ease. As stated by Jane Abdy in ‘The French Poster’ what makes a great Chéret is “the personification of gaiety in his posters …. the laughing, twirling, sparkling girl whom he uses as a model; the Parisians adored her , and called her ‘La Cherette’ (abdy, 1969, p.31)

In the film and novel, Water for Elephants, the author, Sarah Gruen, emphasizes humanity’s imperfect relationships with animals. In the proceeding quote, Sarah expresses her intention of writing the novel: “When I wrote the book, I hoped people would think about the way we treat those who are dependent on us—animals, the elderly, the debilitated, as well as the power of love in all its forms, and it’s going to be amazing to see this message delivered in such an exciting medium” (Gruen). She introduces Jacob Jankowski, a college student in Cornell University, studying Veterinary Science. His education was unexpectedly stopped short after the sudden death of his parents in a car accident in 1931. After this devastation, he ventured off to find

This poster looks the way it does because it seems to glorify war with many hot colors (red, orange and yellow) and being an exceptional warrior. The people in the background seem to be in pain and dying. There also appear to be rather large explosions in the background. It shows a courageous and powerful woman wearing an armor and having two swords on her both hands. This thing is indicating an incredible woman who have many monsters behind her, and she walks through them. It means that she killed the monsters, overcame her challenges, and destroyed the war to protect the world and maintain the piece. The poster also shows that the movie with a supper woman will be coming soon because the poster has ‘COMING SOON’ is bold and and capital with

For instance, the anti-draft poster containing the text “Fuck the Draft” was designed in 1968 by Kiyoshi Kuromiya, a devoted activist whose causes included civil rights, gay rights, HIV and AIDS awareness, and Vietnam War protests (**). As a college studen, Kuromiya belonged to the same demographic group as his target audience, and he held the same manner of anti-war sentiment as they did. The “Fuck the Draft” graphic protest appeared on a mail-order flyer that advertised it as “a little something for Mother’s Day,” with the option to send an additional copy to the wives of prominent political figures (**). In Kuromiya’s poster, black and white only color choice lends the poster very significant contrast, while it also creates a discordant, uncompromising appearance that matches the poster’s almost tenacious, and definitely combative tone. Its minimalist nature allows it to rely purely on the provocative style of its content to convey its crucial

The two typefaces I used on my poster are Brush Script, and Poplar. I originally began with Poplar, because it reminded me a lot of what I envisioned with my original sketch. I wanted something big and bold, but at the same time a little bit vintage looking. I decided to add Brush Script in my poster later on because I thought if everything was in one typeface, especially, Poplar it might appear to be distracting.

Barnum and Baily were founded by a group of men. Phineas Taylor Barnum already famous for his traveling zoo would also juggle and do skits

By making the words seem inconsequential in comparison to the image the artist immediately gave the words more power. Once noticed the revealing words explain the image and allow for the mind to wander to all of the battlefields it has heard of. The natural toned background split down the middle also plays a role by giving clear lines of separation between the gun and the megaphone. Even the color scheme plays a role, on the side with the gun the background is an unappealing yellowy-green, while the side with the megaphone has a nicer calming silver background. These choices allow for the reader to, even without the text, decipher the meaning of the ad.

Movie posters are meant to capture the audience’s interest and reel them into going to the movie they are each individually presenting. Some posters do their job in catching the audience’s attention and some just don’t create any interest. Whether it creates interest from the audience or not mainly depends upon the visual aspects of it. These aspects include alignment, repetition, contrast, balance, direction, color, and font. Other aspects that most posters try to achieve that aren’t necessarily visual are appealing to the audience, showing the purpose, and staying on the right side of ethics. Also most of all movie posters contain the aspects of ethos, pathos, and logos.

The painting is colorful and stands out against a white background. The text has a simple black font that does not deviate attention from the vibrant painting. The cover art symbolizes the author’s style. Flack has a laser-sharp focus on her topic and rarely diverges from her message.

The poster displays the midsection of Sagmeister’s nude body, stretching from the top of his lip all the way down to where his pubic hair begins. The audacity of his brazen body is accompanied by harsh lettering that has literally been carved into his skin by his intern with a razorblade (Heller & Vienne, 10). While the broad reception to this poster can be attributed to its shock-value, Sagmeister’s self-mutilation was a commentary on the absurdity of inking the body with tattoos (Heller & Vienne, 10). The scratches in his body display the details of the lecture as well as Sagmeister’s words pertaining to his philosophy on design, Style=Fart. This philosophy, which he has now put to rest, translates as his conscious effort to not get wrapped up in fashion statements or trends; design that is defined by a temporary style is meaningless (Designboom). Sagmeister explains why he relinquished the philosophy in an interview with Designboom:

The principles used in this design include figure/ground relationship, asymmetrical contrast and repetition. Out of all these principles, contrast and repetition stands out most. In this work, there is contrast and repetition in colors. Color changed as it has moved one triangle to another. In addition, rhythm and repetition played important part in this design because the geometric shapes repeated more than once. Furthermore, there is also contrast in the size of the type and triangles. For instance, the title "The 2010 Shepley Bulfinch Summer Design Fellowship MMX" used bigger in size than other text. In this work, the figure/ground is well-balanced as well as positive and negative space. These triangles in primary colors and secondary colors are considered as figure and the white part in each rectangle considered as ground. The primary focal points are the triangle in red, blue and yellow. Then the secondary focal point is the triangle that colored in purple and light orange. At last, the tertiary focal point is the texts and the white background of the poster.

The traditional circus like Pickle family circus followed strategy of artistry but Cirque Du Soleil which took little time to become more profitable by pursuing goals of artistry and profit.