Category Archives: Influence

Influence Poster: Paula Scher

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For my influence poster project, I chose to be influenced by American graphic designer Paula Scher. Scher is known for her branding designs and her unique use of typography. Some of her most known designs are her posters for The Public Theater. I chose to be influenced by her work because I like the way she creatively uses typography as the main elements of many of her designs. I also enjoy her use of bold colors and angled elements. 

Paula Scher began her design career as an art director in the 1970s. She has been a partner at design firm Pentagram since 1991. She has a BFA from the Tyler School of Art and honorary doctorates from the Corcoran College of Art and Design, the Maryland Institute College of Art, Moore College of Art and Design, and Columbus College of Art and Design. She also taught for over 20 years at the School of Visual Arts. Scher has won numerous honors and awards. Her work has been shown around the world and is permanently exhibited at the Museum of Modern Art and the Cooper-Hewitt National Design Museum in New York. She is well recognized for her work on brand identities, promotional materials, and more for clients such as Citibank, Microsoft, Adobe, Coca-Cola, and more. As an advertising student, I find her work uniquely inspiring, which also led to my choice in using her for my poster’s influence. 

I specifically chose to be influenced by her poster work for The Public Theater, which won the Beacon Award for integrated corporate design strategy. Scher served as the in-house designer for The Public Theater for many years. These posters feature large street style typography. The unconventional typographic style began to pop up everywhere, having a significant impact on theater advertising going forwards. These posters feature bold typography, playfulness, vibrant colors, and collage-like compositions that blend large type, angled text, photographic elements, and some illustration. I really enjoy the slightly chaotic playfulness that the angled collages of typography adds to these posters and wanted to recreate this in my own poster.

I began my process for creating this poster by arranging the type in different sizes and angles to reflect the style of Scher’s typography in The Public Theater posters. I chose a simple, clean looking sans serif font, as this is what Scher used in all of these designs. I then separated the different sections of type with lines as Scher often does. My choice to make these lines dotted was in order to add more of the playfulness that The Public Theater posters have. I added the grayscale cutout of the cyclist, as this is also a common element in Scher’s designs. I ultimately decided to add extra outlining around this cutout as I enjoyed this playful element in some of The Public Theater posters. I chose the vibrant red as the background as it reflected both Indiana University and Scher’s inclusion of bright colors. Lastly, I changed some of the typographic elements to be black, as Scher often includes different colors in her typography. 

Overall, I would say I am happy with my final design for this Little 500 poster. Finding a balance between using the influence of another designer and still developing an original design was both challenging and fun. I feel as though my inclusion of large, clean, and angled typography reflects that of Paula Scher’s work for The Public Theater. Looking back on my process of developing the typography, I would have maybe tried to add extra text about the Little 500 bike race because Scher’s designs typically include a bit more text than this. However, I think the typography is still recognizably the main element in my design. Additionally, I am happy with the photographic element I included as well as my choice in the vibrant red. 

Olden Influence Poster

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little 500 poster in the style of Georg Olden, black handle bars that says Women's race and Men's race date time and location
Click to view pdf of flyer

For my influence I chose Georg Olden. Georg Olden was the first African American to design a postage stamp and also to hold an executive position at a network. I picked him because his life was interesting to learn about. I also liked his art style. I enjoyed the bold lettering and unique ways of adding the text into the illustrations. When doing research I saw that he also did a graphic for CBS about Big 10 basketball. This made me decide to go with Little 500 because it’s a little closer to sports.

My process for this was to find as many pieces of his work and study them for a little bit. Once I did that I closed the tab and wrote things I remembered from each one almost as if I was explaining to someone else his art style. From that list I brainstormed what to use for my poster to ensure I didn’t fall into mimicry.

I had a couple different ideas of how I wanted to display my text, having the bike spokes say men and women, but it didn’t read well. Then I tried a regular tire and it’s spokes as lines for each part of the information. Lastly, I tried handlebars and this is the one I ultimately went with. The handlebars are recognizable for bikes and putting men and women into it makes it feel like an Olden design. I decided to do this horizontal because it read better and added a grain texture on top to emulate the tv grain from that time period.

Influence Poster: Nia Gould

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Indiana University Dance Marathon poster featuring three dancing cats dressed in IU clothing.
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When designing my poster for the Indiana University Dance Marathon (IUDM), I chose designer Nia Gould as my influence. Nia is a designer and illustrator known for her whimsical, art history-inspired work featuring cats and bold, graphic styles. I was drawn to her playful yet sophisticated aesthetic, her use of vibrant colors and textures, and her ability to create designs that tell stories in an engaging and lighthearted way. Her combination of digital illustration and experimentation with textures resonated with me as an ideal approach to capturing the energetic and heartfelt spirit of IUDM.

Looking at her background, Nia Gould is a British designer and illustrator who lives in the quiet seaside town of Budleigh Salterton, Devon. After graduating with a First-Class Degree in Graphic Design from Falmouth University, she spent ten years working in the arts industry before deciding to focus on her own creative passions. Her work is known for its playful blend of art history and animals, particularly cats, which she often uses as the main characters in her designs. In 2015, she launched her brand, Niaski, where she combines her love of art and animals to create unique illustrations, prints, and products like pins and stationery. Nia’s work is both fun and educational, and her characters bring a lighthearted twist to classic art. Today, she runs Niaski out of her studio in Devon, where her business continues to grow.

The IUDM is a 36-hour event dedicated to raising funds and awareness for pediatric care at Riley Hospital for Children. It holds a special place in the Indiana University community, as it was founded in memory of Ryan White, a student who passed away from AIDS. Since it’s a celebration of life and resilience, I wanted my poster to feel approachable, fun, and full of movement—qualities that resonate with Nia Gould’s art.

In my design, I incorporated several elements directly inspired by Gould’s style. Gould often uses a one-color, bold background color in her designs, so I used bright yellow as the background color to convey energy and optimism. I also added multiple textures to the background, without overpowering the poster, to reflect Gould’s use of texture in her designs. For my font choice, I chose the font “Shantell Sans” which I think reflects Gould’s use of fonts that look handwritten, have thin lines, and are playful all on their own without directly using the same fonts she uses in her works. 

The three dancing cats in my poster embody Nia’s signature style, each with a unique personality and pose. Nia almost exclusively uses animals in her works, the majority being cats. She designs the animals in her designs in not completely symmetrical, fun, textured ways, which is also what I aimed to do. One of the cats in my poster is dressed in the iconic Indiana University striped overalls, another in a “Hoo Hoo Hoosiers” shirt, and a third is lying down, waving an IU sign—a subtle nod to the university spirit. Gould also often uses hand-drawn shapes that repeat in the background around the subject of her designs, such as stars around a cat, so I recreated this element of her design using musical notes. The hand-drawn floating musical notes around the cats in my poster add movement and vibrancy, representing the lively dance marathon atmosphere and indicating that the cats too are part of the event.

I feel my poster is successful in capturing Gould’s influence. My use of hand-drawn cats, a huge part of Gould’s designs, has a playful yet endearing look that reflects her style, and the overall composition is simple but attention-grabbing. However, I think I could enhance the layering of textures, which Gould often excels at. I added a few textures to the background of my poster and used textured brush strokes for my drawings, however, I think I could have added more texture to the cats themselves. Additionally, subtle shading could make the cats feel more grounded and bring more depth to the design. 

Overall, designing this poster taught me how to adapt an illustrator’s style in a way that respects their unique approach while still making it my own. By infusing Nia Gould’s whimsical spirit into my poster, I think I created an engaging design that aligns with both the joyful energy of IUDM and her artistic influence.

Influencer Project

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IUDM Poster
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I chose Jan Młodożeniec as my influence for my IUDM poster because I’m drawn to his bright color choices and the whimsical quality of his art style. His work evokes curiosity, and I find myself captivated by the characters, places, and stories he brings to life. Born in 1929 in Warsaw, Poland, to father Stanisław Młodożeniec, who was a futurist poet, and mother Wanda, who was an artist, Młodożeniec was immersed in an artistic environment from an early age. After serving in the army, Młodożeniec went to art school at Wyższa Szkoła Sztuk Plastycznych. Here, Młodożeniec developed his signature painterly style – characterized by bold colors and lines that have a childlike simplicity and energy. With such a strong sense of painting, Młodożeniec painted most of the letters seen on his posters, contributing to the distinctive handmade feel. Once graduating from school, Młodożeniec focused on movie poster design, where he thrived. Among many posters he made, he designed one for “The Great Gatsby.” 

Jan Młodożeniec Poster
Jan Młodożeniec Poster

In my poster, I aimed to incorporate several elements inspired by Młodożeniec’s style. His use of dark strokes and vibrant, varying colors influenced my choice of a whimsical, colorful aesthetic. I even created a dancing character to reflect his signature inclusion of unique, lively figures, adding a dynamic element to the design that also honors the act of dancing, central to the IU Dance Marathon. While I did not integrate a hand-painted font, I experimented with Serif fonts to evoke a similar feel, as Młodożeniec often uses Serif type in his art. I would still consider adding a hand-painted font to enhance the handmade feeling that Młodożeniec’s pieces often convey.

Jan Młodożeniec Poster

For the color palette, I chose oranges, purples, and blues, as I think they create an interesting combination that challenges traditional color pairings—much like Młodożeniec’s approach to defying color expectations. The colors also evoke a sense of joy, which complements the main point of the poster—to promote an event centered around dancing! These joyful colors create an inviting atmosphere that encourages people to join in and dance for a good cause.

When it comes to the shapes and lines on my poster, I feel they add a distinct Młodożeniec touch, as many of his works feature varying shapes that appear in different areas, creating a visually dynamic composition.

I think, in terms of difficulty, I struggled the most with the placement of text and deciding what details to include particularly the dates. I feel like my poster could benefit from including the times and weekdays, which would help fill some of the empty space in the poster and balance the layout. I would also like to add texture to the poster to give it a rough, papery feel, which would enhance the handmade quality and make the design feel more tactile and organic. Moving forward, I’d love to improve my time management for projects as that’s often what ends up being my biggest challenge.

Looking at my achievements, I think I succeeded in exploring the process of character creation, especially since I’m new to digital illustration. I’m proud of how I was able to craft a character that captures Młodożeniec’s style.

I really enjoyed the process of creating this piece because it allowed me to explore the work of a new designer. Although Młodożeniec has sadly passed, his legacy lives on, and I’m grateful to have discovered his art through this project. His work is incredibly inspiring to me, as his undeniable self-expression is admirable and encourages others to experiment and have fun when creating.

Influence of Aries Moross

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For my Little 500 poster, I took the influence of popular contemporary designer, art director, and illustrator Aries Moross. Beginning in 2007, Moross launched their career in London, designing posters for the underground music scene, a year later launching a vinyl-only record label, “Isomorph Records.” Throughout the years as Moross grew as a designer and built a following, they continued to grow within the music industry and expanded into other sectors of art direction and design, eventually opening their own creative studio in 2012, “Studio Moross.”

As a Creative Director, Moross has expanded into a variety of different areas of design, however, they’ve still managed to remain strong in their musical roots, creative directing for a variety of different musical clients in a variety of ways spanning album designs to show direction. Clients include the likes of H.E.R., Spice Girls, and London Grammar.

Moross’s style usually centers around a huge emphasis on typography rather than illustrations. As you can see from their work, they love to fill the page with type and design the words and letters with a variety of fonts, colors, and art styles, seamlessly mixing a ton of different styles for one striking, vibrant, and fun design.

These two designs served as the base inspiration for my design. I loved how Moross blended so many different type faces, colors, and design ideas without the design feeling to overwhelming or cluttered. I of course took some of my own liberties with regards to the idea of designing typography instead of relying on illustrations. I chose Moross as my influence, primarily to push myself into more typographic design, as that’s not something that I’m usually good at or interested in.

Overall I am happy with my design. For one of my first true dives into typographic design, although while still very rough, I think I did a good job, and better than I expected to be honest. When ensuring that I added my own style/ideas to the design while still adhering to Moross’ influence, I wish I could’ve blended the ideas better to create something that was overall more cohesive, however I am glad that I pushed myself, and happy with the result.

Influence: Herbert Matter & the Swiss Style

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Herbert Matter was born in Engelberg, Switzerland in 1907. Throughout his life he studied painting in Geneva and Paris before returning to Zurich to work for Swiss National Tourist Office. This is where his most well known work was created. His travel posters went on to earn him many awards and bring him many opportunities to showcase his talent in the design world.

When looking through the design books in class, I was immediately drawn to the Swiss style. The deep contrasts, simplicity, and pops of color stood out to me as truly effective posters. Most importantly, the use of photomontage solidified Swiss style as my choice. I’ve cycled through lots of different arts and crafts in my life, but scrapbooking or creating digital collages has always been my favorite. Once I saw Matter’s work, I knew he would be my choice.

As seen above, Matter typically finds a way to highlight the blue sky or traces of blue in his work. In creating my poster, I looked for a way to incorporate this, but ultimately it didn’t feel natural to my design. Instead I looked towards his usage of color pops, black and white photography, and bold diagonal type.

The most difficult part of this process was trying to recreate his style of photography. There is a almost a film-strip like grain over the pictures, sometimes making it confusing as to whether they are illustrations or highly edited images. I played around with many different combinations of filters and image adjustments before I felt like I had achieved close to his balance between image and illustration.

The most enjoyable part of this process was the creating the composition. Once I had my imagery and everything was filtered, I got to play around with his use of diagonal lines and recoloring parts of the images to create his signature pops of color. I knew I wanted to include some of the red-orange I had seen in his work, but I otherwise tried to keep the color palette stay true to the event. Although his work might seem a bit surreal, his colors are still natural to the images, just a bit more saturated at times.

Overall, I truly enjoyed my time working in the Swiss style. Although the posters may seem simple, there is a lot of work that happens on each individual image before they can be arranged. The effortless quality of Herbert Matter’s work comes from his deep knowledge of structure, color, and composition, as well as a love for his home country that is steeped into every poster.

Influence Poster (Influence of Henri De Toulouse-Lautrec)

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My poster influenced by the style of Henri De Toulouse-Lautrec
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For this project, I chose Henri De Toulouse-Lautrec as an inspirations for my poster because I was always a great fan of all his work. From his paintings to his posters, Toulouse-Lautrec’s style is distinguishable from afar, and captures a feeling of everyday life that is hard to put into words. The way he paints the elegant culture of the late 1800s and the social sensibilities of the time period always stuck with me when observing his work. Thus, I thought this would both translate well to the idea of IU Dance Marathon- a weekend long dance party event to raise money- as well as humorously contrast that notion of high society and elegance in Toulouse-Lautrec’s work with the casual, modest style of the Dance Marathon in which students wear rainbow clothing, capes, flower necklaces and whatever else they can get their hands on that will accurately reflect their team’s colors. From a design standpoint, Toulouse-Lautrec’s notions of color felt perfect for capturing the IU Dance Marathon because of this heavy emphasis at the event of bold colors to make a statement.

Henri De Toulouse-Lautrec’s “Moulin Rouge: La Goulue”

In trying to convey a scene of dance and a party atmosphere, the first of Toulouse-Latrec’s work I turned to was his iconic poster of Moulin Rouge, in which he expressed a watercolor-filled world of performance. A well-dressed gentleman stands in the foreground, as behind him a woman in a large dress dances for a mysterious silhouetted audience. I utilized his dominating usage of specified foreground, middle ground and background elements into my party scene, creating my own two figures to demonstrate the differing aspects of participation during the marathon, as well as a silhouetted group in the background that conveys the instantly-recognizable “total reveal” at the end of the marathon when the final amount is displayed on large cards.

This poster was also a great influence on my typography, which like Toulouse-Latrec, I hand-drew myself. I utilized a soft typeface I found online, then typed my text out and sketched over it all to have that hand-drawn look while still utilizing the professional appearance of an actual typeface. I then stretched out certain letters to create that longer text feel that Toulouse-Latrec utilized in this poster, and took influence from his usage of bright colors in the majority of the typography.

Henri De Toulouse-Lautrec’s “The Force of Mlle Eglantine”

For the actual design itself, I took inspiration from “”The Force of Mlle Eglantine,” a poster that features several women in a line, dancing. I was drawn to the strong usage of yellow coloring for the space, and the outlines of the women, which change in strength and size often. Thus, in my own work I employed much yellow in my background as Toulouse-Lautrec often did, and utilized an oval brush shape for drawing my figures that would allow for my lines to reflect the direction and weight in which I drew them- similar to a real pen or paintbrush. This gave my people a bit more of a “sketched” look, and I even erased certain parts of my figure’s outlines to emphasize this further; if you look closely at the feathers in the top of the women’s hats, you can see a similar absence of line in certain places.

Overall, I am quite happy with how my design turned out. I believe I accurately reflected lots of Toulouse-Lautrec’s style elements in my own design while remaining original. I really enjoy how my texture looks on a closer inspection, and all of my background elements- the watercoloring, the usage of abstract shapes, the thin lines- help the piece stand out and be memorable. If I was to redo my project and make changes, I would probably go even further in making the people in my design look hand-sketched. While I did employ several techniques to give them this appearance, in the final render it didn’t look as handmade as I had hoped. In the end I am still proud with my final design and while Toulouse-Lautrec was a bold choice, I am glad I chose his work as inspiration.

Timothy Goodman Little 500 Influence

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CLICK THIS IMAGE TO VIEW FULL WORK

For my influence, I decided I wanted to specifically choose an artist that is new to the game, someone who will most likely have a long illustrious career in the near future. I decided that Timothy Goodman would be a good choice. Goodman was born in Cleveland, Ohio and developed a passion for art early on in his life. Although he didn’t see this as a viable career path, he initially worked in construction. Eventually, he decided to apply to the School of Visual Arts in New York City where he studied graphic design and finally found his artistic voice. 

Working as a designer for a few years, Goodman eventually gained recognition for his illustrations and murals. His distinctive mix of bold hand-drawn letters and illustrations combined  with his socially aware and reflective messaging allowed his career to really take off. His collaborations with high-profile brands such as Apple, Google, Target, and The New York Times quickly allowed him to build a name for himself. 

I ALWAYS THINK IT”S FOREVER BY TIMOTHY GOODMAN

Goodman has since used his art as a medium to explore more complex personal and social ideas. He often talks about topics such as mental health, masculinity, relationships, and self discovery in his works and he uses his platform to address issues on social justice and activism. His extremely distinct style of hand-drawn letters and minimal use of bold color make his work instantly recognizable and visually engaging. The way he chooses to fill space and weave words for visual balance is thought-provoking as well as attractive to the eye. This combined with his unique voice has made him a standout figure in the world of contemporary art, illustration, and design. 

Again, I chose Goodman initially due to the fact that he is still a relatively new designer, but I also resonate heavily with his style being heavily into hand-drawn elements. Looking at my piece is trying to draw on that style while also remaining original in design choices. So things I directly took from Goodman include the line weight being overall the same except for in a few specific cases. Goodman often uses sharpies and paint markers for his work, so the line weight almost always is consistently the same throughout one project. I also initially struggled with how to incorporate color and ended up reverting to a technique that Goodman has employed where the largest, most important words stand alone in color, while the rest of the work remains black and white. As far as the fonts and fillings go for the hand-drawn elements, most of them derive from designs that Goodman consistently employs with my own personal spin on them. 

CELEBRATING THE GREATEST NBA TEAMS BY TIMOTHY GOODMAN

Overall, I think my design most definitely looks as if it was influenced by Goodman. The way that space is managed and filled was a long and laborious task, but I think it resulted in something that has the same visual interest as Goodman’s work. If I was to do this again I would have probably employed more words or phrases into the design, seeing that most of Goodman’s work has copious amounts of words. I do think that the design lives up to the hand-drawn lettering, the emphasis on space, and use of bold colors that Goodman got so famous for in the first place.  

Influence Poster (influence of Gert Sellheim)

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I chose Gert Sellheim as my influence because I was very intrigued by his work and I thought he had a very distinct style. As I was flipping through Professor Layton’s graphic design books in class, the “Australian Surf Club” sparked my interest because of the repetition and bright colors. I thought this would be the perfect designer to choose for this project because I was already thinking of ways I could incorporate the bike track and bikers since this is a Little 500 themed poster. I also liked the use of bright colors because I knew I wanted to include vibrant colors to represent the different teams on the track.

Australia Surf Club, 1936

Gert Sellheim is a German-Australian artist/designer who was born Estonia and moved to Australia when he was 25. The poster above was a piece of work that he created for the Australian National Travel Association, and this was also the poster I used as a a true inspiration for my poster. Sellheim created many other posters for the Travel Association, but the Australian Surf Club one was the most popular. Throughout his years as a designer, he also created the logo for Qantas Airlines, which is a jumping kangaroo and is still the logo that the company uses today. More recently, Gert Sellheim was inducted into the Australian Graphic Design Association Hall of Fame in 2019, 50 years after his death. Below are some of his other works.

I chose Sellheim’s work because I thought they were very original and stood out to me against the other works I had previously looked at. My design for the Little 500 uses Sellheim’s work as influence by using bright colors, repetition, and diagonals/slants within the work. I knew I wanted to create something with the bikers themselves and I thought using a track would make sense because the lines on the track show repetition, plus it is where the Little 500 actually takes place. When illustrating the bikers, I wanted to keep it simplistic. Just like the women in the Surf Club poster, I wanted to make them all look the same and make the illustrations minimalistic. The women in the original poster are completely identical but because the Little 500 has teams, I wanted to show that by the colors that the bikers are wearing in my poster. I chose to make the track at a slant, as well as the text in the top left corner because that is something commonly done in Sellheim’s work.

Additionally, it was a difficult decision to choose a typeface. I ended up choosing an art-deco style one because I thought that matched Sellheim’s work the best. He uses sans-serif, unique typefaces, and the one I chose mirrors that.

I believe that my work does a great job representing a modern take on Sellheim’s work. I incorporated many elements that Sellheim used many decades ago when he worked for the Australian National Travel Association. I think that if someone was given my poster as well as a piece from Sellheim, they would think that they were potentially completed by the same person. My poster uses elements that Sellheim hadn’t used before, such as the checkered pattern, but I wanted to include that to stay on the Little 500 theme. It was difficult to take inspiration from a piece of work, but not completely copy it, but I think my influence poster does a great job showing influence without copying.

Overall, I am incredibly happy with how my poster turned out and I am glad I chose Sellheim as my influence. This poster will look great on my portfolio.

Influence Poster

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Click on the image to view a PDF of the design!

For the influence poster project I wanted to choose an influence that would challenge me. I chose David Carson as my influence, because I was inspired by his grunge yet minimal look. I wanted to experiment with textures as well. 

David Carson started his graphic design career relatively late in his life. Before design he was a teacher and a surfer. In 1989 he was ranked the 9th best surfer in the world. He took brief classes at the University of Arizona and Oregon College of Commercial Art in 1980 when he was 26. He designed for the magazines: Self and Musician, Transworld Skateboarding magazine, and focused on using unconventional type paired with interesting photography. He then worked at Beach Culture, where his designs began to make a name for themselves because of the unique style. Even though the magazine didn’t succeed after 6 issues, Carson earned over 150 design awards. In 1992 he began work at Ray Gun. His designs at Ray Gun were iconic for their chaotic pattern, photos, typography, that is all pulled together to create a cohesive design. After Ray Gun he created a firm of his own: David Carson Design, which has attracted big name clients like Nike, Pepsi, Ray Bans, MTV, and Levi Strauss. 

For the influence project we were given an option of creating a poster for the Little 500 Race, or the IU Dance Marathon. I chose the Little 500, because I went to the race last year. It’s a defining event for IU. I also knew there would be an abundance of photography to use. I looked on the IU archives and found many different pictures to use. I decided to use a picture of a celebration of winning the race.

My design was inspired the most by his Ray-Gun-90s-Defining-Designs. What I like the most about Carson’s designs is that they look cool–they’re inventive. They go beyond a typical magazine layout. That’s why I chose him as my influence, I wanted to create something that goes beyond normal conventions, through typography, texture, and layout. I started using an uppercase sans serif, and I created a threshold effect for the text in Photoshop. I based my design around the text, and went from there. I overlapped the type, and put lines through it to create a grunge effect. For the rest of the elements I started putting different things places until I liked how it looks. From there I began to add texture. I added the paper effect, but it felt like something was missing. I needed color. I found a paint texture, and I changed the color to match the original image in the top. I overlapped these to create a layered effect.

Like Carson I used touches of unconventional typography, paired with a threshold effect of photography, as well as an abundance of texture. All of this gives a grunge look, while also maintaining concepts of minimality. At first the design looks relatively chaotic, however when you take a closer look it’s relatively minimal.

Overall, I’m happy with my design, and I think it does a good job of taking concept’s from Carson’s designs through a Little 500 poster. It was also calming to hear how Carson didn’t start his design career until 26, it made me realize that I have so much time to figure out what my future is in design.