GD1 Project 3: Imagined Realities Poster

I've used different versions of this project over the years, adapting it based on what I wanted to teach at the time. The earliest version involved a historical event poster—students selected from a curated list, created two posters each, and worked through two hundred thumbnails. Their research was thorough, but their arguments often were not. They focused on depicting what happened rather than explaining its significance.
Initially, when I taught at Pacific, I prioritized the poster because I believed photography was the easiest way for students new to design to start. However, this approach turned out differently. Students relied heavily on it as a safety net, primarily focusing on documenting images instead of developing a conceptual argument about their work. Liberal arts students, lacking existing design habits, were more open to trying new methods. In contrast, design students tended to be more resistant to experimentation.

Moving the poster to third position altered what students contributed to it. They came equipped with compositional vocabulary such as hierarchy, tension, and visual weight, which they developed through the Black Square and Symbol System projects. They could analyze these elements before using Photoshop. Themes replaced the list of historical events for both pedagogical and ethical reasons. These themes are more immediate and personal compared to historical events. The ethical aspect is not an extra component but an integral part of the design challenge.

The thread of design history woven through this project has become vital for me. Teaching photomontage involves exploring the work of Hannah Höch and Kurt Schwitters, which in turn introduces students to Dada. Properly understanding Dada requires contextualizing it within its historical backdrop—the Weimar Republic, the devastation of World War I, and the societal upheaval that led artists to cut and fragment rather than paint whole surfaces. Most students lack prior knowledge of this history, so the project acts as an entry point. They often realize that art is a response to real-world events. For example, Höch's scissors aren't just experimental; they're political. Fragmentation and juxtaposition reflect a shattered world. This thread naturally links to discussions of World War Two and its visual culture. When students grasp this history, their approach to creating images shifts. The themes are purposeful, encouraging students to craft images that engage with current realities.

Most students still find the typography requirement challenging. Image selection and compositing are processes they handle more easily. Grasping how type interacts with an image—rather than simply floating above it—demands a different level of focus. The strongest posters are typically the ones that treat the type-image relationship as a unified compositional challenge, rather than as separate layers. This is the goal of the analog collage phase: students who have practiced composition manually before using Photoshop come to the software with a clear understanding of their message.