- I'm going to be frank here.
In a perfect world at the beginning of a poster project,
most clients would say,
"Here's my content, the idea, and a few lines of copy."
However the reality is usually more complicated.
I get more content than I can fit on a 24x36in poster.
At this point it's my job to edit.
I don't tell the client that there is too much content
and this is a poster not a brochure.
I find a better solution.
Usually this is a redistribution of content.
The posters job is to grab attention
and communicate a simple message.
I design the poster with that goal.
All the excess information will probably work better
on the clients website.
Few people want to sit with a poster
and read multiple paragraphs.
Even after editing and separating the content
I may still have more then an image and headline.
I use the posters grid to create hierarchy.
Or move some of the information
to the backside of the poster.
The image on a poster is not just a rectangle.
The imagery itself should relate to the grid.
The Swiss took this so seriously
that they often drew a golden rectangle on the camera lens
and aligned people to fit exactly.
You probably don't need to go to those extremes.
But understand how the content of the image
is integrating with the grid.
You can use an element of the image
as a guide to place the typography.
A distinct element such as a prominent shape
can indicate a column size and hang-lines.
Or the entire form of the subject
can create the axis of the grid.
You can also use the grid itself as an element,
highlighting the proportion.
This is a good solution when the imagery
is not the highest quality and needs a little help.
If you feel that you are trapped
and unable to create a dynamic layout
within the grid structure, lose it.
Design the poster intuitively.
When you're satisfied with the layout
put the grid back in place.
You might need to shift some of the elements a bit
But when you do, it will all lock into place
and create a harmonious layout.