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Post by andthelight on Jun 12, 2024 17:00:50 GMT
Following on from a discussion about the Old Vic's posters in the thread for The Constituent, two big questions: 1. What are some of your favourite posters for plays? 2. Which theatre do you think has the best branding/visual identity? For me, I really liked when the NT moved to big photographs and specific fonts/logos for their shows. The original poster for the Lehman Trilogy really stands out from that. Other favourites are the posters that come out of the Bridge and Almeida. |
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Post by prefab on Jun 12, 2024 18:23:11 GMT
On a purely visual level, I think the NT does a great job of coming up with memorable posters for their shows. The only problem, from a branding standpoint, is that so often the images promise a bold theatrical experience that the plays themselves don't deliver. And sometimes the cool images are at odds with the naff descriptive text. So I can't say that the NT's posters have really built my trust in the NT brand. Although at least they're better than the NT's YouTube ads, which have sometimes actively repelled me from seeing plays I was otherwise considering.
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Post by patiently_waiting on Jun 12, 2024 19:18:28 GMT
This is a really interesting topic. I was wondering how often does seeing a poster make you want to see a production? Is it a prompt or reminder to book or does it make you want to look into a production?
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Post by BurlyBeaR on Jun 12, 2024 19:54:52 GMT
I love the artwork. It’s a big part of the appeal for me when I see a show being promoted. If you want to show a favourite artwork in this thread below are the (rather complicated) instructions for uploading an image. full post here theatreboard.co.uk/post/426311/threadThis is more tricky on mobile than the desktop version. Don’t let this stop you telling us what your favourite is, if I can find an image I’ll upload it for you. |
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Post by andthelight on Jun 12, 2024 20:30:59 GMT
The only problem, from a branding standpoint, is that so often the images promise a bold theatrical experience that the plays themselves don't deliver. what’s been your biggest disappointment from a cool poster? |
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Post by BurlyBeaR on Jun 12, 2024 20:36:31 GMT
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Post by prefab on Jun 12, 2024 20:40:12 GMT
prefab what’s been your biggest disappointment from a cool poster? Great question! Probably House of Bernarda Alba, which had that cool poster emphasizing Harriet Walter's imposing-looking face. And then when I saw the play (from my admittedly cheap seats) I could barely keep track of Walter among the huge cast scurrying like hamsters through the dollhouse set, and I certainly didn't get that level of menace or power from her performance.  |
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Post by theatrenerd on Jun 12, 2024 20:59:22 GMT
I really enjoy the branding and the artwork of the Bridge Theatre. Great graphics and photography on its production posters, especially for Guys and Dolls from last year's cast (although I'm not too crazy about the current billboard-style artwork)  |
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Post by d'James on Jun 12, 2024 21:12:53 GMT
 I’ve always said that if I got a tattoo, I’d get two; one of the original logo of Starlight Express (although I’m not sure how they’d do it) and the original London logo of Sister Act (which I know many people weren’t a fan of, but I love it). I loved the Jesus Christ Superstar logo at The Open Air Theatre and the others that year. |
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Post by Jon on Jun 13, 2024 10:54:26 GMT
I always think a consistent look works for theatres who have seasons of shows as well as auteurs like Jamie Lloyd who have posters marketing their shows which suits their style. In terms of commercial productions, I've always loved the 1991 Joseph logo, the 1993 Grease logo and the 1994 Oliver! logo  |
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Post by ceebee on Jun 13, 2024 11:43:23 GMT
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Post by Stephen on Jun 13, 2024 20:11:18 GMT
I really like the Cursed Child marketing and posters now (since it turned purple) Think it changed in London around the time I saw the new one part version on Broadway. It's extra cool on the screens on the tube where the time turner actually spins with sparks coming off. Also the stranger things posters with the kid pointing - striking. AKA do the marketing for both shows. They seem to produce really high quality stuff!
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Post by theatrenerd on Jun 13, 2024 20:39:33 GMT
I was actually thinking about the RSC's branding earlier as I thought with the new season announcement that the absence of the top-left corner red box logo was going to take a bit of used to, but already from seeing the posters online and out locally, it works quite well - even if it does rely on people already knowing what the RSC stands for! But thank you for sharing what is an interesting read. Seeing the posters from 2002 onwards always remind me of my GCSE and A-Level English classes where they used to be up on the wall. |
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Post by Deleted on Jun 13, 2024 20:47:35 GMT
I have this hanging on the wall in my home office, while technically not an official show poster, it was promoted by the show and cast while in Manchester.  |
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Post by craigbowker on Jun 17, 2024 9:07:00 GMT
AKA does great work.
I actually don't love theatres that use consistent styles across seasons. I know WHY they do it (it's easier and cheaper), but it makes each production feel less special. Also there are less merch options that way. I wonder if savings on design costs are greater or less than potential merch sales if they had unique illustrations/artwork for each.
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Post by Jon on Jun 17, 2024 11:52:09 GMT
AKA does great work. I actually don't love theatres that use consistent styles across seasons. I know WHY they do it (it's easier and cheaper), but it makes each production feel less special. Also there are less merch options that way. I wonder if savings on design costs are greater or less than potential merch sales if they had unique illustrations/artwork for each. Merch sales aren't really a thing for subsidised theatres aside from programmes, there are exceptions like the National which have their gift shop but to able to mass produce merch for a single show especially something that is only a limited run is pointless. |
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Post by willjam39 on Jun 17, 2024 14:53:04 GMT
Operation Mincemeat has struck me as one of the cleverest in recent years. Although some of my favs have been by some of our local amateur groups.  |
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Post by claireyfairy1 on Jun 25, 2024 12:05:25 GMT
My favourites have always been the Globe's posters and artwork. I remember really vividly liking the 2016 posters. I can't find any exact examples atm, but here's some of their online graphics from that era:  [/a]  And then they had really good design in 2018 that I think won an award:   And when they had an actor they wanted to include they kept it consistent with their other artwork:  And then their current work has also been really striking:   Just love how they don't have the luxury of relying on a-list names, so it has made them super creative and they work with really excellent designers. |
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Post by partytentdown on Jun 27, 2024 10:21:21 GMT
My favourites have always been the Globe's posters and artwork. I remember really vividly liking the 2016 posters. I can't find any exact examples atm, but here's some of their online graphics from that era: Those 2016 illustrations are by an artist called Dan Hillier who unfortunately passed away this year. His art was also used on lots of album covers and other posters. He made some lovely work and it's worth taking a look at his website if you like it: danhillier.com/ |
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Post by theatreliker on Jun 27, 2024 10:50:11 GMT
Two posters I loved: The Red Barn (NT) and The Inheritance (West End run)   |
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Post by Samwise on Jun 27, 2024 13:21:01 GMT
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Post by BurlyBeaR on Jun 27, 2024 13:45:32 GMT
As a publicity designer myself, this thread is right up my alley. Some recent favourites: (not designed by me of course!) Could you tell us a bit about the process? Are different concepts pitched or does someone from the production come along with the concept and you design around it? Who are the decision makers in the final choice? How is the success of the final artwork measured? |
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Post by Samwise on Jun 27, 2024 13:57:17 GMT
As a publicity designer myself, this thread is right up my alley. Some recent favourites: (not designed by me of course!) Could you tell us a bit about the process? Are different concepts pitched or does someone from the production come along with the concept and you design around it? Who are the decision makers in the final choice? How is the success of the final artwork measured? I'm freelance, so I get a brief, produce an initial concept and then go backwards and forwards a few times (depending on how much they pay me) with revisions. Sometimes I get given photos from a shoot with the cast, and all I'm asked to do is a title treatment and slap text on it, which is dull but easier! Decision making depends on the size and structure of the production company really. A fringe production will often just be between me and a single producer and maybe the director. Sometimes there are more people to please, like an entire marketing dept. Sometimes a theatre has a particular style they want me to stick to. Sometimes I have more freedom. It's all very breif-dependent. |
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