“Designing a good poster is a dark art” – highlights from this year’s INTL poster competition

It’s Nice That: You’ve been doing the poster competition a long time now… how has the medium changed in that time in your opinion? What is the purpose of the poster these days?

James Gilchrist: We launched the International Poster Competition in 2014 as fresh-faced students on a mission to highlight the artistic and cultural value of posters. There is something timeless, powerful yet humble about the format.

The medium has changed as a result of the context surrounding posters, however the fundamental purpose of posters has not changed for hundreds of years, which I think contributes to the case for their value. A poster’s challenge was and remains to publicise, promote, persuade, provoke, perform – and sometimes protest.

A poster can serve such a broad spectrum of purposes, to an infinite range of individuals, and that’s what makes them interesting. A poster could be a large-format advertisement for a global brand, a signpost to an intimate local event, it could offer a framework for a manifesto, it could become a functional chart or calendar, a poster could be educational (think of those animal posters at school), it could be a talisman or tribal flag providing a sense of identity or belonging, it could be a formal instruction in a public space, it could be an interactive invitation for a community group, it could be made by hand, by machine, large, small, on paper, on fabric, on screen, in the sky. No matter the format or audience, a poster’s challenge remains to influence thought and/or catalyse behaviour through the power of visual form.

In terms of change, with the support of web links within the artwork, QR codes or captions online, there is less pressure on posters to communicate directly or ‘efficiently’. As a result designers can take on a more free and artistic approach, knowing that key information will be attached outwith the boundaries of their work.

The relentless attention economy and the increasing amount of visual information we have to process daily also means that standing out is more challenging than ever. As a result, originality and designers’ ability to create unique and memorable work is more crucial than ever before.

There is a lot of fear and scepticism around graphic design at the moment, however perhaps the homogenisation of graphic design through accessible tools and AI might actually work in favour of those who are pushing the envelope and pursuing thoughtful and captivating work which feels human and has soul.

INT: What are the key visual trends you can see across the group?

JG: There are many but I will highlight three.

The poster as ‘surface’ is becoming more common. In some cases it involves the intense layering of visual material, to the point that the image becomes a surface texture. Like a textile in the case of Nao Lee (South Korea); or layering effects over type and illustrations to the point where the poster feels like an entire collage of living screens inside of the belly of a huge creature in the case of Kid Rose (Japan); or in a calmer sense like the floating depths of the sea or sky in Youyou Luo’s (China) poster Perhaps we have never seen the same blue. Or in a more layered sense in Manon Bruet’s Festival Parallèle 16, 2026 (France). This convention of the poster becoming a textural artwork is now fully established. These textures are often visceral and organic – perhaps as a response to our deepening connection with the gloss black screen of our phones and computers.

Another theme we are seeing is collaged typography that brings together multiple different fonts, at various scales, colours and angles, combined with flat, soft, muted graphics and simplistic brutalist composition – reminiscent of the visual worlds of 90s editorials, music media or video games. With the recent surge in nostalgia and fascination with CDs, Walkmans, early games consoles, clothing and hairstyles from the 90s, it’s no surprise that this extends to graphic design. For the younger generation who did not grow up during the 90s, engaging with these unfamiliar technologies might offer a connection to a simpler time which they were not able to be a part of. For the generations who did live through the 90s (like myself), perhaps there’s a warmth and familiarity to enjoying it again. Either way, 90s-core is alive and kicking. Or maybe the kids would say we’re ‘90s maxxing’.

The third (which we’ll speak about more in an upcoming article) is work which is consciously created to look and feel ‘unprofessional’. Threads of vernacular design run through a new contemporary naivety. This work lacks visual consistency, structure or refinement and appears to abandon established commercial graphic design ‘rules’. This has been done many times, if we look back at David Carson, Neville Brody, TDR and the waves of imitators that came with them – rebellion is not new but I think this rebellion has a new flavour and perspective. This is more playful, softer, childish, naive and distinctly ‘unprofessional’. Think sticker packs, teenage collage, analogue techniques, tactility, cuteness – there’s an intimacy which the previous design rebellions lacked. A defining characteristic is a lack of seriousness. Has seriousness become cringe?

INT: Lastly, what should people come to the INTL Poster exhibition for, and what else can they enjoy while there?

JG: The International Poster Exhibition is a review of contemporary poster design, featuring 190 posters designed by more than 200 designers and creatives. The exhibition offers a visual tsunami of inspiration. You can discover hundreds of posters from your favourite designers and your new favourite designers.

It’s the perfect platform to consider the artistic, cultural and societal value of posters. Small DIY formats through to huge multi-layered industrial bus-stop formats. Enjoy the tactility, colour, texture and smells which you can only experience in-person. Meet the designers featured, enjoy connecting with kindred spirits and be in a room full of fellow geeky designers.

The International Poster Exhibition is just one small piece of a much larger festival programme, International Assembly. International Assembly offers a space for learning, evolving and connection through a carefully curated festival: Inspiring conferences, innovative workshops, a panel discussion, live projects connecting students with industry, an all-new Secret Stage featuring undisclosed speakers, the International Creative Awards ceremony hosted in a medieval castle and the official opening of the International Poster Exhibition.

International Assembly runs 12-22 November in Glasgow at Glasgow Royal Concert Hall and The Pyramid at Anderston.