Articles on this Page
- 02/01/18--05:00: _Subtle, gaudy, and ...
- 02/08/18--13:50: _Critique: Sudden stop
- 02/22/18--05:00: _Link roundup for Fe...
- 02/22/18--15:18: _Lab posters are not...
- 03/01/18--05:37: _Nine is fine!
- 03/01/18--10:16: _Critique: RNA capping
- 03/08/18--05:00: _#RSCposter 2018
- 03/15/18--05:00: _Critique: Solid sta...
- 03/22/18--05:00: _Critique: The Capri...
- 03/29/18--05:00: _Link roundup for Ma...
- 04/05/18--14:32: _Critique: Calcretes
- 04/15/18--09:29: _Giving credit to de...
- 04/26/18--05:00: _Link roundup for Ap...
- 05/03/18--05:00: _Critique: Generic p...
- 05/10/18--05:00: _Critique: Not follo...
- 05/17/18--05:00: _Fighting the fade
- 05/24/18--05:00: _Link roundup for Ma...
- 05/31/18--05:00: _Coming round the co...
- 06/08/18--07:05: _Critique: Hansard
- 06/14/18--05:00: _Critique: Future work
- 02/01/18--05:00: Subtle, gaudy, and bold
- 02/08/18--13:50: Critique: Sudden stop
- She interspersed the text with lots of small graphics throughout the poster, so the impression of “big intimidating text blocks” is reduced.
- She changes the colours and size of the text, particularly in the spider poster. For example, the title has two colours and three font sizes. In the second column, “Explaining the” is smaller than “Motion of the Spider.” The words become a graphic element instead of a purely textual element.
- 02/22/18--05:00: Link roundup for February 2018
- 02/22/18--15:18: Lab posters are not conference posters
- 03/01/18--05:37: Nine is fine!
- 03/01/18--10:16: Critique: RNA capping
- 03/08/18--05:00: #RSCposter 2018
- 03/15/18--05:00: Critique: Solid state hydrogen
- The “Summary” heading is almost touching the edge of the blue box its in.
- The pin by “Introduction” is almost touching the graph above.
- All the logos down in the corner are almost touching each other.
- The “Applications” heading pokes up higher than the text in the section above it (“>86 kg/m3”), messing with the clear division of sections.
- 03/22/18--05:00: Critique: The Capricorn Experiment, plus: Font families
- The bylines chew up space that this poster needs to reclaim.
- The size indicates those names are more important than what the poster is about. With respect to the team, who I have no reason to think are anything other than fab human beings and scientists, the person reading the poster is probably more interested in the text of the poster than who wrote it.
- 03/29/18--05:00: Link roundup for March 2018
- 04/05/18--14:32: Critique: Calcretes
- 04/15/18--09:29: Giving credit to designers
- 04/26/18--05:00: Link roundup for April, 2018
- 05/03/18--05:00: Critique: Generic python
- 05/10/18--05:00: Critique: Not following protocol
- 05/17/18--05:00: Fighting the fade
- 05/24/18--05:00: Link roundup for May, 2018
- The effects are small – at best.
- The study was done with a monospaced font, which you rarely see any more. It may not apply to most typefaces you will see.
- 05/31/18--05:00: Coming round the corner
- 06/08/18--07:05: Critique: Hansard
- I made a list of comic cells based on the key points I wanted to make, and wrote the text content for each cell.
- I sketched out rough storyboard.
- I laid out titles and story cells in Illustrator.
- I drew images in Illustrator, mainly using the shape, line, pen and fill tools. The only exception is the second cell image, which is a photo altered in Adobe Photoshop using the color halftone filter.
- I created speech bubbles and narration boxes, and added text using fonts I found on Google Fonts.
- 06/14/18--05:00: Critique: Future work
I noticed that the posters that did well in real life were made with strong, almost gaudy colours. In particular, the ones with very large blocks of strong colour were quickly noticed compared to the understated ones like mine. How can one walk the line between elegant design and the reality of grabbing a person's attention in a room that's already visually and aurally noisy?
Let’s look as Desi’s poster again, just for context. Click to enlarge!
Desi calls this poster “understated,” which is an apt description. As I wrote last week, I like this power a lot, but I think Desi’s description is apt. You might also call it subtle. What are the characteristics that give it that look? (Click to enlarge.)
A lot has to do with the colour scheme. There are a lot of earthy tones, particularly up in the title. Even when using primary colours in the graphs, they are not saturated, intense colours.
The typography is a straighforward sans serif. It’s very readable, but there is nothing distinctive about it. Indeed, that is the point of many book typefaces: they are supposed to fade away so that you can focus on reading.
Now let’s consider what looks gaudy. Something like one of those unsolicited flyers you get in your mailbox would count:
The choice of colours contributes to the feeling of cheap. These are bright, primary colours that are hard to ignore.
But it’s not just bright colours. It’s the business of it all. There are so many things on the page! There are a lot of fonts, in a lot of sizes and colours.
This is one of the major factors that make so many academic posters look gaudy: too much stuff, too small, too crammed.
There’s the sense that everything on the page is screaming, “Look at me!”
But the lesson from the above is not, “No bright colours.” Lots of great movie posters and magazine covers mastered the art of being bold without being gaudy, with no loss of their ability to command attention.
A bold design has focus. It tries to do a few things, not everything.
Bold designs don’t necessarily use a gold font. There may not be a lot of words in such a design, but they can be set in typefaces that are exaggerated in some way. It could be narrow font, a cursive font, a wide font, an italic font, or an engraved font.
Bold designs use lots of space. There is no compulsion to fill every inch of the page with something.
Some designs mix elements styles. Here’s a movie I can’t wait to see:
And here is an alternate design:
The posters for The Shape of Water are both very subtle in their use of colour: the palette is limited, and the contrast is low. But it is also bold in how it focuses on a single, striking image.
Your poster should be bold, not gaudy. This means that you need to edit. You need to find, as much as possible, a strong image that can represent the major point you want to make. You need to give that image space around it to breathe.
Critique: Bugs and beans
The hand drawn journey of the ‘Shape of Water’ poster
Gaudy vs. Glam: Guide to Wearing costume Jewelry without looking tacky
Last week, I talked about the difference between gaudy and bold. Stacy Shield provides two examples of going bold in poster design. Click to enlarge!
Red, black, and white. Talk about a striking choice of colours. The limited colour palette gives this poster an almost “duotone” look:
It wouldn’t look out of place at a White Stripes concert:
Another poster from Stacy again showcases her strong sense of colour.
Stacy’s posters are not based on the same template, but are recognizably by the same person. It shows that you can develop a distinctive personal style in creating posters.
The colours are so strong and vibrant that they leap out at you. But they are selected carefully. There are not many colours; just three carefully chosen ones. They don’t look like an“all over the place” clash that can make a poster look gaudy.
I would like to see that same discipline that is brought to the colour choices also brought to the content. These posters feature a lot of text and small graphics. The posters would be even stronger if they had fewer words and bigger images.
Stacy has two tricks that almost hide the amount of text, though.
The posters are well structured to make it clear what order they are read in. The first poster has strong bands of colour, with white diving lines, that make it clear to read across in rows. The second poster is not as clear cut, because it switches from reading across (“Background”) to reading down (“Methodology & Testing”).
You would be hard pressed to walk by either of these in a conference hall and not notice these posters. They command that you take a second look, which is critical in a conference setting. I’m still not entirely convinced I that would read the whole thing if the presenter wasn’t there, though.
If the presenter is there, you’re in luck. Having met Stacy at the last Society for Integrative and Comparative Biology meeting, I will say that she is definitely worth talking to!
Neuroskeptic asks whether conferences are hostile environments.
I have never been the target of a harsh question at a conference but one of my colleagues was, a couple of years ago.
When I wander through department hallways and professor offices, I often see posters like this, from Rottner and colleagues (2017; tweeted by journal here). Click to enlarge!
These sort of posters often feature cellular processes or biochemical pathways. They are often professionally done, attractive, and valuable teaching tools. But they are not good examples that conference poster makers should be trying to imitate.
A poster like this is meant for experts, so presumes a high level of knowledge. It is intended to be something you can look at for days, weeks, months, sometimes even years. They can show lots of fiddly little details that you can discover over that long period of time.
In a conference poster session, you have a few minutes for someone to absorb the work, not months. You can’t stuff in the same level of detail in conference poster that you can in a lab poster.
Hat tip to Prachee Avasthi.
Happy blogiversary to me!
It is a little bit crazy for me to think that this blog has been running for nine years straight. And still going (reasonably) strong!
It is mostly thanks to my readers and contributors – which is to say, you. I appreciate your attention, and hope this resource continues to help you.
Thank you for stopping by.
Picture from here.
Today’s contribution comes from Melvin Noé González. It was presented at an RNA meeting at Cold Spring Harbor Laboratories. Click to enlarge!
Through the years I experimented with various templates for poster presentation, and I’m proud to say I’m really happy with how this one turned out. As you will find, I used a piece of advice you mentioned in one of your posts regarding a short summary section — and people loved it! I was approached by several people just because they thought the layout was cool, even though I wasn’t related to their research.
I’m always glad to have feedback that advice works!
The title bar works well, by presenting everything cleanly. The logo is sensibly over to one side, and blends into the background. The authors names are prominent, with institution and contact information legible, but low key.
This poster is well organized, which helps walk you though what is maybe a little too much material. The numbers by each heading ensure you don’t get lost.
Some of the layout would benefit from a little more tweaking. The spacing between the boxes is inconsistent. The margin above the “Graphical summary” are wider than the margins between the “Background” boxes and the data boxes on the right.
There’s one place where this poster goes off the rails. Fortunately, it’s down in the fine print section, in the acknowledgements and references. While I appreciate how beautiful that three-dimensional molecular structure is, and how much it adds visually to the poster, it does terrible things to the text around it.
It’s tearing that text apart.
When we read, we expect related text to be close together. When I look at the “Acknowledgements,” I see two blocks of text that I want to read separately.
But how you are supposed to read the acknowledgements is far more complicated. What I thought was the first sentence of the first text block is the third fragment of the entire acknowledgements section.
Just when I think I have gotten used to the lines broken into two pieces, the second to last line gets split into three pieces.
The same thing happens in the references, with a DOI number danging far from the “doi:” text identifying it.
Wrapping text around an object can look graceful and elegant. But you cannot just “set and forget” a setting in your layout software. You have to be willing to go in and adjust things by hand to avoid these kinds of problems.
The hashtag #RSCposter is short for, “Royal Society of Chemistry poster,” and it blew up on science Twitter this week. This was a seriously organized event, with rules as comprehensive as I’ve seen for some in person conferences.
Organizer Edward Randviir explains (lightly edited):
The goal of this is to provide a new innovative conferencing format that takes advantage of modern social media... We also wanted to gives presenters a free platform to present and discuss their work, and encourage particularly young researchers to participate in academic discourse to build their confidence. Twitter was the most appropriate social media platform. Many professionals across a range of sectors use Twitter for professional purposes, unlike Facebook or other social media outlets. Twitter limits the discussion to 280 characters, which challenges participants to be concise while communicating key messages from their work.
This was the fourth time the Society had done this, but it was the first time I’d noticed. Edward explained that the first two years (2015, 2016) had about 80 people contributing (using the hashtag #RSCAnalyticalPoster). It expanded in 2017 to none areas of chemistry, and participation jumped to about 220 posters. “Following on from that success,” Edward continued, “we brought in chemical engineering this year. With help from several Royal Society of Chemistry journals, we have seen participation increase again by around 12%. We hope to grow the event further in the future.”
Tweeting posters presents its own particular problems. Twitter is a mobile phone app at heart (as much as Twitter tries to make it the “everything machine”), and mobile phones are small screens, not big poster boards. I was viewing posters on big desktop computer. Even with a fairly high resolution computer screen, I worried about whether people would dump posters meant to be printed 2 meters across into a tweet and that it would be too small to see.
Lucie Nurdin noticed one workaround:
Opening the poster into a new tab allows to zoom on it and have a high resolution image. Glad I figured that out!
To my surprise, most posters were readable. But alas, not all were. This poster by Jinchuan Yang, fell into the trap of not making the text big enough for a Tweet. Click to enlarge (or any subsequent poster).
Progyata Chakma mostly did okay on the right and middle columns, but some of the left hand text is too small to read.
This, from GKalqurashi, is another example of a poster that wasn’t readable on my desktop.
Most posters were readable on my desktop, although some were often barely so.
Another problem with tweeting a poster is that when you post an image on Twitter, it creates a preview image that is resized and cropped down. It used to be 440 × 220 pixels (a 2:1 aspect ratio) in landscape format (wider than tall). I’m not sure that’s still true, because I saw a lot of square preview images. And many people use clients other than Twitter.
Regardless, most posters I saw were not optimized for preview images. I saw lots of posters in portrait format (taller than wide), which no app I know uses for Twitter previews.
Because of the cropped previews, the poster’s title – the most important part of a poster – were often hidden. This problem was mitigated a little, because the tweet itself could serving the job the title usually does: to entice the passerby. (Or scrollerby, in this case).
Luke Wilkinson’s poster caught my eye by placing a cute robot right in the middle, where it will be seen despite how Twitter crops rectangular images. Placing it in a circle also helps break up the rectangle monotony that you get when faces with scrolling through lots of posters.
Yuanning Feng took advantage of the format to make an animated poster. This does not look as good here on the blog as the original tweet, because of the hoops I have to jump through to convert a *.gif posted to Twitter – which Twitter converts to a movie – back into a *.gif.
Feng’s animation seems to be getting him about three times as many “likes” as most posters.
But as of now, it seems one of the most popular posters was by Jo-Han Ng. (And once you visit that, check Errant Science’s riff on Ng’s poster!)
As I scrolled through #RSCposter, my overall impression was, “Oh, there are all the problems that I usually see on academic posters. Too much to read. Too many boxes, not enough white space. Photo backgrounds that make the main stuff hard to read. Colour overlead.”
“New bottles for old wine,” as the saying goes.
Take part in a truly global scientific conference
RSC Twitter Poster Conference 2018
Today’s poster comes to us courtesy of Mi Tian. Click to enlarge!
The individual blocks (like “Background” and “Research goals”) are good. I like the colour choices and the “pins” by the headings as graphic elements.
The arrangement of the blocks on the page is not as good. The reading order is confusing. The little lines to the pins, plus the height on the page (i.e., closest to title), suggest I’m supposed to start with “Research goals”. But normal reading order would suggest I start with “Background.” I’d try flipping “Summary” and “Acknowledgements”, which would place those two blocks in positions that are more typical of where those are usually placed.
The poster feels very crowded. Tons of elements are almost touching each other.
Everything below the title bar would benefit from being shrunk a bit -- maybe 95-90%, at a guess -- to make more space between the elements.
In the “Applications” section, it’s not clear why “Polymer” and “Composite” are capitalized, when nothing else is at that text level. Similarly, if “goals” (in “Research goals”) is not capitalized, “Solid” in “Investigation of Solid H2” shouldn’t be, either.
The red and blue in the title image might be worth tweaking. Red touching blue can cause chromostereopsis, which a lot of people find distracting. It’s not bad, because the blue is dark, but still.
Today’s poster is about the Capricorn Experiment, not to be confused with the 1970s conspiracy movie, Capricorn One:
The only conspiracy in the new poster, from Vidhi Bharti at Monash University in Melbourne, is the justification for “Capricorn”. It’s supposed to be an abbreviation for, “Clouds, Aerosols, Precipitation, Radiation, and Atmospheric Composition Over the Southern Ocean.” The experiment should really be “Capracoso.” I mean, you just don’t get to make abbreviations out of any letter somewhere in the word! It would be like abbreviating the University of Texas Rio Grande Valley as “EXONE”.
But I digress. Let’s look at the poster, which you can click to enlarge!
I work on boundary layer meteorology, which basically deals with a lot of mathematical equations and unattractive diagrams. Therefore, presenting it all in an attractive package is a big challenge.
Vidhi does a good job of rising to that challenge with this poster.
I like the way this poster tackled the two column layout. While I normally would prefer the two columns to be even in width, when there are only two, having the two columns differ in width is perhaps not so annoying as when there are three or more columns.
Everything could use more space around it. I would try shrinking a lot of elements, maybe 85-90%, to give each bit a little more breathing room. The main text of the poster is so readable that it can afford to be a little bit smaller, so that the overall appearance isn’t so crowded.
The poster could also use a stronger sense of visual hierarchy. In particular, the author and institution names are bigger than the text below them. This causes two problems.
The bottom of the “Analysis” box is driving me a bit crazy, because the bottom margin is obviously thinner that the top or left. The text on the right of that box occasionally strays a little close to the edge.
I like the fonts, but I noticed there were two of them: one in the main text, and another in the lower left box. I asked Vidhi if there was any particular reason to switch to a different font in the “Capricorn Experiment” box. She replied:
I derived the layout inspiration from magazine articles where they usually divide the sections into different columns and keep one highlighted box. For my poster, I wanted “Capricorn experiment” to be that highlighted box.
I’ve used callout boxes myself (see the 2012 Neuroethology poster here), and I applaud the idea. The execution might be improved with some different font choices. The two fonts are, to my eye, too different from each other, and they clash a little bit. What Vidhi needed was a font family: a set of complementary fonts deliberately meant to work together. Usually, they are all designed by the same person or foundry.
Here’s an example of a font family in action on an infographic I made for CBC’s Quirks and Quarks radio show (the version below was tweaked slightly after I submitted to the show):
There are at four or five different typefaces on that image. But they are all part of the same font family, Adorn. Adorn is an excellent example of a font family. In the case of Adorn, none of the edges are perfectly smooth. Every typeface, whether slab or Roman or script, has a hand-drawn feel, like it was created with ink and paper.
For Windows computers, Arial is a font family that many would recognize. It comes in a narrow, black, and rounded fonts.Not as different from each other as Adorn, but the idea is the same.
MyFonts, Fontshop, and other online font stores usually have bundles, families, or similar things for sale. Sometimes the fonts are simply different weights or styles of the same font (bold, italic, book weight, thin, etc.; see FF Tisa for an example). Sometimes, particularly with display fonts, the mixes of styles is more dramatic and ambitious, like Adorn or Phonema.
While I do think imposing limitations on yourself can be useful, the system fonts are that come on most computers are sometimes too restrictive. Times New Roman was a default font for a long time, and many people still use it for much text. Yet it still seems limited on many computers to a single font. There aren’t light or heavier weights.
While there is an initial cost outlay to buying a font family, just a couple of font families in your toolkit opens a lot of possibilities in design.
Additional: Peter Newbury shared an example of fonts not working together:
It’s like somebody was trying to win at Font Bingo.
Animate Science has a “done in one” blog post about how to design a poster. Readers of the blog will find a lot of advise there familiar, but it’s very well done. It’s a much better “single serve” post than this blog is. (It’s not fair to expect newbies to read through nine years of posts.)
I might do a few things in their sample a little differently, though. Why put that big, eye-popping octopus picture down in the corner? And those dark colours might not be very readable if the lighting is poor.
I’ve discussed accessibility issues with poster presentations before. But Sara Schley, writing for Inside Higher Education, argues that posters can, in some cases, be superior formats for students with accessibility issues:
Consider a poster session. Many faculty members assign individual or team presentations as a culminating activity at the end of the term. The learning goals of such activities often include student synthesis of information, oral presentation and writing. But the experience of listening to student presentations can be frustrating and suboptimal for students in general as well as students who rely on language access services in particular. When nervous, many read aloud quickly (or quietly, or while mumbling), rather than pacing information well and narrating skillfully.
In contrast, the structure of poster presentations requires students to have short, clear summaries of their material ready to discuss with attendees. Students synthesize their work on the poster, prepare shorter chunks of summary information to share with multiple people and gain practice in responding to specific questions about their work
That changes the learning experience from one focused on summarizing what they have learned (and presenting it once) to a shorter summary alongside more in-depth question-and-answer periods. It allows for a better learning experience over all for many students in the course, as well as students with disabilities who have an extra load in trying to process and access information.
Hat tip to Anne Hilborn.
Speaking of accessibility, Kira McCabe has a lot to say about how to make posters (and oral talks) more accessible:
Poster sessions can be a nightmare for me. Sometimes I just want to skim the titles of posters, but I have a hard time doing this most of the time due to low contrast or small font of titles. ... I love posters, but I always have a hard time with them, too.
The post has seven awesome reminders: use larger font than you think is necessary, use less text, upload your poster, and more.
Hat tip to UTRGV Engaged Learning.
Cool use of augmented reality on a poster by Darren Ellwein.
Hat tip to Al Dove.
Illustrator Shiz Aoki curated timeline the BioTweeps Twitter account from the week of March 12! And she had tons of good illustration advice.
Check out figure makeovers!
Quote of the month, from Katie Mack:
Cool images of science things don’t just materialize out of the ether. They represent a real person/group’s work and they can help us better understand the world and the cosmos, in addition to being beautiful.
If you’ve made one chart, follow the conventions you set there for all the rest! Dr. Drang describes this blog post as:
It’s me being a grammar Nazi but with charts.
This is a good critique of an Olympics stats article in the Washington Post that randomly switches from bars graphs to stacked bar graphs to dougnut graphs. And that’s only the start of the problems. Hat tip to B. Haas.
Found this very nice cheat sheet of RGB and CYMK values that work well for making figures visible to colour blind individuals:
From here. Another useful resource page is here.
I had never heard the name Herb Lubalin before, but I should have. There is a celebration going on for his 100th birthday (had he lived). Excerpt from a bio:
Lubalin’s four decades-long career revolutionized American advertising and editorial design and his ideas were instrumental in changing designers’ attitudes and approaches towards typography. Lubalin characterized this approach as Graphic Expressionism: “the use of typography, or letterforms, not just as a mechanical means for setting words on a page, but rather as another creative way of expressing an idea...to elicit an emotional response from the viewer”. According to Lubalin “nobody was bothering to fool around with the way you form the letters themselves”. That is exactly what he did. Letters became objects, and objects were transformed into letters.
Hat tip to Melissa Vaught.
Another name I didn’t recognize, but who was an innovator who pushed for the respectability of posters, is Aubrey Beardsley. Maria Popova at BrainPickings has this to say:
(H)e championed the poster and large-scale print work as a modern medium of graphic art. Born under the tyranny of oil painting as the only acceptable form of “picture,” he rebelled against the notion that a picture is “something told in oil or writ in water to be hung on a room’s wall” and tirelessly defied the conceit that the poster artist is somehow a lesser, lighter artist than the painter.
An attitude rather similar to that in this blog, if I might be so bold.
Today’s poster is from kindly contributor Jessica von der Meden. Click to enlarge!
One of the most distinctive features of this poster is that there’s a title, or perhaps a subtitle, running down the right hand side. I’ve often toyed with the idea of placing a title on the side of a poster rather than the top, but have always chickened out. I imagined that on a wider than tall landscape style poster, not a portrait style poster, which gets turned sideways to fit. I like the sideways title for its style, but it’s impractical to read.
The main body of the poster has six boxes, with white lines around each one. The white lines are, luckily, thin, so they are not as obtrusive as I’ve sometimes seen. But the boxes would benefit from having more space, and more consistent space, around them. The horizontal margins between left and right boxes are wider than the horizontal margins between up and down boxes, for instance.
For a second, I thought I would try cutting those six boxes down to two vertical boxes. That, I thought, would emphasize the column structure, and remove some of the unnecessary elements, clearing it up.
Then I looked again, and recognized that there are numbers in the text boxes. This poster is meant to be read in rows, not columns.
There are two problems. First, boxes 1, 3, and 5 have a consistent width. So do 2, 4, and 6. That creates the visual impression that they are grouped together. If you want me to read across, adjacent boxes (i.e., 1 and 2, 3 and 4) need have a consistent height to signal they are in rows.
The poster tries to compensate for the visual gestalt with the numbers by each heading, but that’s also a problem. Guides have to be prominent, and these numbers are not “popping” like they need to. They are more important than the heading, but nothing about them indicates their place in that heirarchy. They are the same weight and same colour, which makes them vanish into “Something at the top of the box.”
Making the numbers bold would help. Making them bigger would help. Putting them in a circle with a contrast colour would help even more. Maybe more like this:
When listing the author credits, why have superscripts behind each author name if all authors are from the same institution?
The photo background behind the title works, because the dark trees fit almost perfectly between the title and the authors. But the image is repeated down in the references, with less good results. Those dark trees cross right through the text, and that’s more distracting.
Finally, I’ve never been a fan of arrowhead bullets. They always look too fussy to me.
It’s nice when people spread the news of good work:
Emily Jones, grad student at University of Dayton, presented a poster on her field work plan for exotic species interactions in a Texas coastal prairie.
This got sent my way on the twittersphere (hat tip to Meghan Duffy) because it is a very nice looking poster.
Her stunning poster was co-designed with an undergrad graphic artist as part of a class. How cool!But several people (including Andrea Kirkwood and Hannah Brazeau) mentioned that if the design is noteworthy enough to mention, maybe throw in the names of the students doing that design, too?
The designers’ names are on the poster, up at the top under the title, which is great to see.
I know from some people working with illustrators that the people making those graphics often significantly help bring clarity on the conceptual side, too. Good designers are often colleagues, and should be given that level of credit, not just down in the “Acknowledgements” fine print.
Graphic design work is hard work.
resurrect the lost?
can we really right our wrongs
with a tweaked dodo?
Here’s how Meredith Rawls made an award-winning poster. Here are a couple of points in her description that I like:
Re-read the abstract you submitted to the conference weeks ago. Is it overly ambitious? Totally off-base? No matter. Your poster is an opportunity to communicate what you’ve done as of TODAY.
Do you know what I did with all the words I wanted to put on my poster but didn’t? I used them in conversations, and they appear or will appear in papers.
And here’s said poster:
A lot of people on Twitter were impressed by this poster:
This is a great example of how a poster can be, at one time, very simple and focused conceptually (there’s really only one figure, and no text elaborating introductions and methods and so on), and yet still show be very rich, showing a lot of data.
Nominee for “Best title of a poster, ever”, from Bryan Ward:
More unsolicited recommendations. Kirsty McLeod reckons Alecia Carter makes “the best posters I’ve ever seen!” Here’s one, and it would certainly stand out at a conference:
Check out more of Alecia’s work here.
Interesting presentation (in blog post) on whether design is too insular. Hat tip to Melissa Vaught.
Adam Calhoun lets us look into his creative process for designing a poster:
They all start like this.
Dyslexie is a font intended to aid dyslexics. Their page shows lots of clever ideas to distinguish letters.
Hat tip to Margeaux and Asia Murphy.
The May 2018 issue of American Scientist has a nice little feature on the design of business cards by Henry Petroski. Excerpt:
It was because of incorporation into mechanical filing systems such as the Rolodex that business cards became standardized in size. A square or outsize card might have stuck out from the bunch, but it also might have made the system jam and become useless. Being different for the sake of being different can defeat the object of any design.
It runs on pages 144-147.
There is a font inspired by Charles Darwin’s handwriting.
Hat tip to Andy Farke.
Today’s poster is from Leonardo Uieda. This was presented at the American Geophysical Union fall meeting last year. Click to enlarge!
It’s about a software project I’m working on and not really about research results. That’s why it has no results figures (though the background of the poster was generated by the first code block on the right, so it serves as a kind of result).
The message I was trying to get across is: “We’re building this thing. This is what we currently have. Come help us!”
It’s always tough to have a poster that is just text. I might have tried to bring some element of the map off the background and somewhere into the foreground. The subtlety of the background enhances the legibility of the text, but at a glance, I can’t see anything that says, “maps.”
I expect that my main talking points during the presentation will be around the code. Each line was put there so that it would represent an idea in our design and why we think it’s a good choice. The online demo and websites have a lot more information for people to read.
Colour coding the text in the code block is another nice touch that adds to the visual interest of the poster. I have no idea if the colour highlight consistent elements of the code, but that would be the principle to look for.
Finally, Leonardo says:
After printing, I realized that I should have made the margins wider, particularly between the two halves of the poster.
I agree with Leonardo that a bit more white space between the halves would be a good idea. But luckily, the text on the two sides only approach each other at about two points, so this is not a horrible problem.
There are two QR codes. Leonardo is good enough to give brief descriptions of what they are, which is excellent. I might want a little more detail about what the demo consists of, though. Can I run it on my phone? Is it interactive? Is it a video?
This poster shows a lot of good decisions. I just wonder if there are enough people browsing during the conference who would recognize and care about “Python” or “Generic Mapping Tools” to come and chat.
Poster: A modern Python interface for the Generic Mapping Tools
Today’s poster is courtesy of Catherine Chen. Click to enlarge!
The “Background” section is good, because it explains a lot in very little space. I was confused by the “Key Points” until I read the “Background.” I would take those “Key Points” and replace the “Conclusions” with them.
Eight “Future Directions” seemed like a lot. When I read them in detail, two points stood out as candidates for editing: the ones written in past tense. “A screening questionnaire has been added” is not a direction for the future. It’s done.It’s done and dusted.
This combination of typeface and subject runs into a kerning problem. Look at the word “CIWA” in the title.
There’s a bigger gap between the “W” and “A” than the other letters. This is something typesetters know about and watch for. “A” and “V” is another combination where this is a problem. It’s not as bad in the main text, because the point size is smaller, so the gap is less noticeable. But ideally, they should be closer together.“Tight but not touching” is a common typesetter’s instruction.
Always look at common words in your text when selecting a typeface.
Catherine did her poster in PowerPoint. In PowerPoint, this can be fixed by selecting two letters, going into “Home” tab on the ribbon, then the “Font,” pop-up menu, the “Character Spacing” tab, picking “Condensed” from the drop down menu, and fiddling a bit.
If possible, it would be great if you could get those middle charts all aligned horizontally. In particular, the rightmost “Nursing survey” pie chart, the circle sits noticeably lower than the other three pies. It’s distracting. Same with the two bar graphs underneath. They’re so similar in shape and colour that it draws your attention to one being higher than the other.
I wasn’t able to do much with the middle graphs, which would require going back to the original plots, but I tried tidying up the outer columns and title, and all the kerning issues with “CIWA.”
I get emails! Yesterday, I got email asking, “How can I stop posters from fading over time?” I’ve touched on this in the blog briefly, but did a little more digging.
I remembered from working with people who supervised our departmental plotter printers was that there were different inks available for the printer. Some were billed as more fade resistant than others.
But I quickly found the situation is more complicated than that, based on this page about consumer inkjet printers. The printer manufacturer and the paper and the ink are all important variables in determining fade resistance.
To start, there are various paper types. Microporous paper is more fade resistant that cast coated paper. Matte paper holds colour longer than glossy paper, according to this page.Which, again, is a trade off. Personally, I think glossy finishes looks sharper and better than matte finishes in the short term.
Ink types also come in a few different varieties. This page divided inks into dye- and pigment-based inks (pigment being more fade-resistant, because the colour comes from solid particles). This one further subdivided inks into water- and solvent- based (solvent being more fade-resistant). The trade off is that dye-based inks are brighter and look better in the short term. And there are even more types of inks.
To make matters worse, there is controversy about how to compare the longevity of printed materials. “Archival” is an advertising term that has no particular meaning consumers can rely on.
One independent testing agency, Wilhelm Imaging Research, as been working on these issues since at least 1998. A quick visit to their website is... not a quick visit to their website. There is a lot of material on their website, and it’s not organized in such a way you can quickly dip your toe in and grab some answers. It’s clearly a deep and ongoing issue.
Even knowing all of this, however, may not be information that the average conference goer can leverage for their own use. If you print in your department, the choice of printer, paper, and ink may not be up to you. Someone else probably handles purchasing and isn’t necessarily concerned about whether someone’s poster meets archival standards or not. If you are working with a commercial printer, the options they present to their customers might be limited.
The amount of fading can be reduced if you cover the poster. You might use some sort of lamination. You could frame your poster, but that will probably cost a lot more than the poster is worth.
There is only one partial solution for fading that I know: put up your poster someplace with dim light. That's why museums and art galleries are often dimly lit. If there’s no light, there’s no fading.
I know that’s not very helpful. Curse you, physics.
Inkjet print longevity
Wilhelm Imaging Research
Poster season has started, so we have people tweeting the coolest ones. Here is one by Alison Wardlow:
She starts with a blank page, then draws the poster while explaining her theory. Bold move. And people told me it couldn’t be done when I suggested this years ago! Hat tip to Nancy Chen and Emily Austen. and B. Haas.
The biggest debate in typography rears its ugly head again. One space or two after a period? I’ll save you a click.
Confession: I’ve been interested in conference badges since I read this article about them in American Scientist. I keep scans of my badges from meetings I’ve been to.
So I was interested in this website, which does for conference badges what this blog tries to do for posters (though it doesn’t seem to be updated). It sprung out of this post on how to make a better conference badge. Hat tip to Michael Hoffman.
Vintage IBM posters from the 1970s.
The posters were a creative outlet for imaginative minds working in a corporate job. Even projects that were clearly made for internal use only – like a Family Day at the local fair grounds – became artistic experimentation.
So much Helvetica. Hat tip to Doctor Becca.
Regular readers will know of my distaste for boxes around things on posters. But that’s doubled for boxes with round corners.
There is a “square peg in a round hole” problem. Blocks of text typically “want” to be rectangular. The corners of the rectangle implied by the text fight with the round corners of the box.
Most graphs want to be rectangular, too. And most photographs.
PowerPoint has some sort of algorithm that rounds the corners more for bigger boxes. So if your boxes are different sizes – which they almost always are on posters – your corners are going to be rounded off by different amounts. Click to enlarge!
You can fix this tweaking the corners by hand. There’s a yellow dot near one corner of the box that you can drag to make the corner more or less rounded. The problem is that to do this, you have to recognize it as a problem!
Asad Sayeed nominated this poster for a design award. You really need to click to enlarge this one to appreciate it:
You can see it in pieces in first author Gavin Abercrombie’s Twitter feed.
“Lessons from comics” is somethingof arecurringtheme on this blog. And I’ve featured posters that used the vocabulary of comics before, but this might be one of the best examples I’ve seen.
The poster makes the “row by row” reading order clear because the panel heights are all identical, so there is a straight horizontal gutter marking out each row. The panel widths vary, so there is no white gutter running down the page that suggests “columns” to your eyes.
The one area where I would try a few things differently is the title. I’d use one typeface for the title instead of two. The two styles are just similar enough that the combination looks like it could be a mistake instead of a choice. I’d also like to see the looser, freehand style used through the rest of the poster reflected in the title, too. The generic Arial-style type used for the “‘Aye’ or ‘No’?” line looks uncomfortable and out of place with everything else on the poster. I think the same font is used for the author credit, but that is less noticeable and bothersome because it is so small.
I reached out to Gavin about the making of the poster. He wrote (lightly edited):
This was the third poster I have made. For the previous two, I had focused on trying to use as few words as possible on the page (bearing in mind that language and text are the object of my research).
This time, I had the idea that comics might be a great medium for scientific posters. Comics comprise image driven communication of ideas with a fairly limited use of text to help tell the story, and they also naturally focus on the narrative – which is generally a good move for science communication.
I used mainly Adobe Illustrator and a little Photoshop. Here’s the process I used:
All in all, it was quite a lot of work, but this is a three-year PhD project, so I anticipate being able to reuse quite a lot of this for future presentations.
Hat tip to Mary Ellen Foster.
Google Fonts FAQ (How to download fonts is not obvious)
Learning from Superman
Scott McCloud’s “Big triangle” and poster design
Critique: Protein biosynthesis
Don’t hold my handCritique and makeover: Captain Canuck
Today’s poster is contributed by Bayo Adeniji. Click to enlarge!
Bayo wrote (lightly edited):
Can you spot the influence of the Better Posters blog in the poster?
I hoped to create a poster that was uncluttered and which had a clear message devoid of management theory jargon. My PhD is multi-disciplinary, and I’m learning to straddle the divide so I don’t alienate either fields. My worry though, is the issue of oversimplification.
I think “oversimplification” is a worry too many people have. It's the kind of thing that makes undergraduates reach for a thesaurus when writing essays, n the mistaken belief longer, rarer words make them sound smarter. They are judged less intelligent by readers when they do that. Simple does not mean stupid.
While Bayo was nice enough to say this blog influenced the poster, I never would have made a poster that looks like this. It’s very much Bayo’s own creation. I’ve talked before about using circles to break up the monotony of rectangles, and using a few intense colours to make a bold aesthetic. There is no obsession filling of every inch of the poster.
I would think about how to change the width of the “Background” text. The first five lines that make up the bulk of the text have an average of 22.8 words in them, which is about double what typesetters usually aim for.
So if it’s twice as wide as what you would normally read, there is one thing to try: chop it into two pieces.
Because you need a margin between the two columns, you will either have to use up a little more vertical space, or make the point size slightly smaller.
And if I had the ability, I would try to make the text in the circles circular to avoid that “bubble pop” feeling.
Bayo got back to me about the response.
The feedback about the poster was also quite interesting. The designers seemed to like it, and a few even took pictures. But the manufacturing engineers, not so much. My second supervisor, who is from an engineering department, said my non-use of pictures, bold colours and technically worded title is the reason (ha!). One good thing though, is that the university’s Deputy-Vice Chancellor of Research was there, and he loved it!
As the saying goes, you can please all of the people some of the time, and please some of the people all of the time, but you can't please all the people all the time!
Coming round the corner