Post 23
In 2001, Paula Scher created a poster for the 100-year anniversary of Henri Marie de Toulouse-Lautrec's death. She arranged the words in the phrase “Nouveau Salon des cent, Hommage a Toulouse-Lautrec” into a figure of a woman reminiscent of Toulouse-Lautrec's Jane Avril lithograph. She drew the lady’s leg and foot in the same position as the lithograph. Then she positioned the type and used different font sizes to create a texture of the woman’s dress. What I think is most captivating is how she placed the type. The words' path is curved, and each letter is tilted, so they fit together but do not overlap. The word "Toulouse" is framed on the side by the “L” in “Lautrec” and below by “autrec.” Paula Scher’s design works because she was careful in how she laid out her type. The type clearly defines the woman’s silhouette, but it still contains its readability.
#Typography
In 2001, Paula Scher created a poster for the 100-year anniversary of Henri Marie de Toulouse-Lautrec's death. She arranged the words in the phrase “Nouveau Salon des cent, Hommage a Toulouse-Lautrec” into a figure of a woman reminiscent of Toulouse-Lautrec's Jane Avril lithograph. She drew the lady’s leg and foot in the same position as the lithograph. Then she positioned the type and used different font sizes to create a texture of the woman’s dress. What I think is most captivating is how she placed the type. The words' path is curved, and each letter is tilted, so they fit together but do not overlap. The word "Toulouse" is framed on the side by the “L” in “Lautrec” and below by “autrec.” Paula Scher’s design works because she was careful in how she laid out her type. The type clearly defines the woman’s silhouette, but it still contains its readability.
#Typography
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