Ellen Roe’s Little 500 Influence Poster

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In researching the artwork by Jamie Reid, my influence, I found a lot of diversity throughout his pieces. Reid is known for being a part of the Situationalists – avant-garde revolutionary artists – and founding punk rock design, which is found throughout his artwork. He created very controversial posters in distorting the queen and representing the Sex Pistols. I enjoyed browsing through his work, however, I found it a tad bit difficult to figure out how to create something similar for a Little 500 poster. Having a clear message while also incorporating some of his designs was challenging, but ultimately I was pleased with the end result.

I chose Jamie Reid because his work had not been used as an influence before and I thought I would give myself a challenge to somehow translate his work into my own. I immediately knew I wanted to incorporate a checkered flag into my design as it is an aspect/symbol of the race that can be easily forgotten when coming up with a design. I chose to use a checkered flag as the background because I found an image online that I loved and it worked well when I started placing text over it. I of course also wanted to incorporate an aspect of the bike as well so my go to was a bike wheel. I played around with bike wheels for awhile as I didn’t want to take away from my typography but in looking at Jamie Reid’s designs, he used a lot of overlapping shapes or patterns. Ultimately, I used two wheels as I didn’t like the look of more than the two and I felt it kept my design more balanced.

In selecting my typography I found the perfect font on dafont.com that was completely inspired by Jamie Reid. I used this for ‘The Little 500’, however, I didn’t like the look of it all over the poster for the details of the race. I also knew I wanted to incorporate a little more black into my design since Reid’s designs have a lot of black-out aspects. So, I found this sort of typewriter looking typeface on something a label maker would print out and I thought it was perfect to incorporate more black along with something more unique in addition to the different-sized and style of letters for the other typeface. I am a very minimalistic designer so having to pull inspiration from a kind of ‘messy’ designer was difficult and I believe I blended the two well. Again, having the typography mainly on the left side and the wheels on the right the design still looks well balanced and clear.

As far as an evaluation of my own work and process in designing my poster I was very pleased. Looking back at the images I used as inspiration I see my poster tying in similar elements very well. The typography really gives it all away because it is so distinct, but in using more distressed design it all reflects Jamie Reid’s work. I do wish I had more time as I was a little crunched having to work on it during midterms but once I thought of my main ideas and threw together some sketches, it pieced together quite easily. A big question that I kept asking myself was how to incorporate color, but it never looked the way I wanted it too when I started adding it to the poster. I felt it took away from the more vintage look and even the checkered flag. Being on the Indiana University Student Foundation Steering Committee, I’ve seen a lot of bike posters and have pulled a lot of inspiration in my design work from the race but I was pleased with my poster as I feel it is extremely unique and a different take on the Little 500.

Influence Poster – Davie

A.Davie Influence Poster

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For my influence project, I chose Saul Bass as my designer. Whenever I first saw his work, something about it captivated me. Since then, I’ve been inspired by his work. Prior to this assignment, I had done research on his work and his background. I found a website that housed his archive of work and used this as a pointer for what to design for my poster. I was originally inspired by “The Man with the Golden Arm”, as it was an interesting and different take on a poster. The geometric arm and the shapes that surround it catch the eye and draw in attention.

It was the color on the “Anatomy of a Murder” poster that inspired me to choose a colored background. Since the poster was about Little 500, I chose to make the background the official Indiana University crimson color based off of our branding information. From there, I used the inspiration of the black and white found in “The Man…” poster. My original idea consisted of just a biker’s head in the black and white with random geometric shapes around it that seemed inspired off of his work. When I went to rework my design, I decided to go a different route and use a bicycle instead. I eventually decided that I wanted the geometric shapes to form a checkered flag almost and with a little room for the bicycle I designed up, this idea worked out.

Saul Bass.Man With Golden ArmFor the font, a classmate recommended a font off of dafont.com called Flowers Kingdom that seemed like a font that could closely resemble the typography of Bass’s work. I agreed after looking at the font and used this for the design. I wish I could have found a more “readable” font for the lower information that would have fit the aesthetic of the poster, but unfortunately nothing fit the design.

Overall, I enjoyed this influence project immensely. I found it to be a rewarding and yet challenging project. My first try with this design did not work out and it may have been for the best because I feel incredibly happy with the way this second try turned out. It feels inspired, but also feels original in some sense. I also enjoyed being able to work with a real event that is coming up soon. If I could change anything, it would have been the font on the bottom, as mentioned before, but otherwise, I feel pretty proud of the way this design worked out.


Tadanori Yokoo Influence Project

My take on Tadanori Yokoo's early design style

My take on Tadanori Yokoo’s early (1960s) design style. Click to see full size.

Tadanori Yokoo's "The Dream Merchant Fairies" (1965)

“The Dream Merchant Fairies” (1965)

Tadanori Yokoo's "Koshimaki-Osen" (1966)

“Koshimaki-Osen” (1966)










My initial kneejerk choice for this project was Milton Glaser, but when I saw that previous classes had chosen him, and that other people in the class were also looking his direction, I decided to choose a different route. I knew that I still wanted some kind of psychedelic designer though, so that is how I began my search. I went through a few before stumbling across Tadanori Yokoo’s beautifully bizarre imagery, and felt almost immediately that this is what I was meant to do for the assignment. I checked a few more designers to be safe, but none struck me the way he did.

Tadanori Yokoo was born in Nishiwaki, Hyogo, Japan in 1936, and adopted by the owners of a kimono fabric making company. After high school he started work at printing company, then at the Kobe Shimbun newspaper, and at an advertising agency before entering the world of visual artistry at an avant garde theater in Tokyo as a stage designer. He moved into graphic design after entering some pieces in contests and gaining a reputation that way. After traveling through India, he was influenced by mysticism and psychedelia, which would impact much of his design throughout the 1960s. Other influences include Milton Glaser (which seems a fitting transition from my perspective in this project) and filmmaker Akira Kurosawa, who was known for employing lesser used techniques like axial cuts and wipes. Yokoo’s work was in direct contrast to the prevailing modernist movement of the time, with its emphasis on simplicity and function. His designs were also deeply autobiographical, with his text reflecting the kimono labels he remembered from his childhood, and many graphics being reminiscent of pre WWII card games. In 1981, he decided to switch from graphic design work to painting, although not totally abandoning design work.
In order to identify what form his influence would take, I looked over about 20 of his posters and noted which characteristics seemed to unify his work. Things I found and decided to incorporate into my own design were:

• Rising sun, flags, mouth, and repeated silhouette motifs
• Recolored photographs worked into the illustrations like a collage
• Many colors- mostly flat, occasional gradients, thin black outline around all drawn objects
• Aspects of Japanese woodcut/texture
• Decorative borders
• 3-D comic book like headline text
• Randomly placed text and text boxes, Japanese language
• General asymmetry and psychedelic oddity

My border was meant to instill a sense of motion, as if the lines were chasing each other around the edge, similar to a race track. Aside from the need to be colorful, I don’t have a good reason as to why each specific element is the color that it is (other than the skin tone, which I sampled from one of his posters to make sure it matched). I generally just went with what felt right, in the spirit of psychedelic “letting go,” starting with the blues and yellows in the eyes and silhouettes, and then worked from there, deciding that green made sense for the bike and background, being the combination of these colors, and to symbolize the outdoor nature of the race.

I would say that, all said, I was able to channel my influence pretty well. It helped that he had a number of elements that often surface through his designs, so I could identify what features were most reflective of his style. I impressed myself with the main face, because I’ve never really considered myself to be great at illustrating, but I was able to mimic the way he would draw the features, especially the nose and mouth, pretty closely. I also enjoyed the way the biker silhouette turned out. I really think that it is the texture that pulls it all together however, and so I’m glad I found a way to represent it effectively.

Taylor’s Influence Poster

Influence Poster

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For this project I decided to do a well-known designer in our class, Saul Bass. I was very interested in Bass’ design from the beginning because of his similar tactics to one of my favorite movies, Monster’s Inc. Although there is no correlation, the Man With the Golden Arm poster design grabbed reminded me of the movie and I was immediately hooked. I began noticing many similarities from Bass throughout his work. His use of color was minimal with most of them having a solid red background with a grunge look. Also, his use of minimal design is consistent through his pieces. Saul Bass doesn’t use straight edges, he’s consistent with his grunge texture in how he uses type and the way his lines are never straight. I used many of these elements in my own poster.

Starting with the overall look and feel of my poster, I think you can tell quickly that Saul Bass inspired it. I used the similar red background with a grunge look overlay to emulate his design. The squares at the top represent the colors of the race flag but also are not completely squares; they are jagged. The squares also look to be fading out of the poster, which is a concept I pulled from his Saint Joan poster. Continually, the type is a bold ad rugged type similar to what you would see from Bass. The lettering is off centered with the most important part of the text representing the biggest visual point besides the picture design. The bike is the center picture because it represents the biggest part of the event. Only part of the bike is showing because Bass is known to have distorted and chunked up designs like his Spartacus and Anatomy of a Murder poster. Finally, the crocked hands at the bottom of the poster represent the number of racers competing through Bass’ iconic arm design. Originally I wanted the hands to hold the wheel of the bike but putting them under the bike gives more disconnect like Saul Bass’ designs had. It’s also good to notice that most of the main visuals in his design don’t have the grunge look to it. They are clean graphics even when the background and type does. For the bike itself, I tried to stick with Bass’ theme of shapes that don’t fit together perfectly but are still meant to be together.

Overall, this project was challenging because I struggled finding the direction Saul Bass would take with designing this poster. After sketching some potential designs, I think I came up with a good idea as to what he might design and I am happy with the piece I put together. I think I did a good job of representing different elements that Bass creates on his posters, however, there might be too many for his liking. With the jagged edges, the grunge look and the block type, there might be one too many elements.

Little 500_Yulin Yu

I use Milton Glaser’s design for influence. Through analysis, I found his work tend to be flat, sample color, involve with lots of black in the main characters, and combining different object in one shape/characteristic to suggest a deeper meaning.

At the beginning of the design process, I am researching Glaser’s style and try to find his design process. I looked at his work produced in last 50 years, from United Nations to Mad Men, to Columbia Records to Jet Blue and I love NY. I found Glaser enjoy to use color to express. The way he use color is very interesting. In the main character, such as the figure in Columbia Record. He uses black to present the shape but use color to present the shape and feeling of the hair. In the madmen, we can also see similar tend. The main figure, the man in the suit’s back is in black. And the screen the man looked at is depicted by color. The idea of presenting in combination shows in United Nations. The hand is a hand and also pigeon which has two layers of meaning, human hands and peace. Glaser enjoying combining things with different characters together to suggest meaning with multiple layers.

Thus, When I design the poster. I meaning focus on the black/white space, color, and multi meaning presenting. The texture of the 5 is the texture of tracks. The color suggests different team and the flying bike wheels suggest the competition of different team, the cultural communication of little 500, and the youngness.

I have trouble for deciding what background to use at the beginning. At first, I want to put grass as background to present more element in the competition. However, with the existed texture of the font and the wheel, the background make the poster a bit messy. Also, Since Glaser enjoy playing with the negative space, I decide to use white.

I still want to keep improving the composition of negative space and do more creative things in it. Otherwise, I think the overall idea present what Glaser wanna do with Little 500.



Guillermo Bolin Influence Poster

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I have always been interested in the styles of the 20’s; from the fashion, to the architecture, to the design, especially Art Deco, I love it all. I chose Guillermo Bolin as my influence for our Little 500 poster project because he too was influenced by the Art Deco movement, but also incorporated some of his own style into his work. He designed Vogue magazine covers throughout the 1920’s.

Since Bolin was working for a fashion magazine, all of his designs showcased tall, slender women right in the center of the design. They were always just standing rather nonchalantly, posing with an item or with another person. Like other Art Deco pieces, Bolin incorporated a lot of line work. His line work created strong directional force, but was sometimes a little less geometric than other Art Deco designs. Since his work was hand drawn, he used a lot of shading in some of his pieces to make his work more three-dimensional. He also sometimes used strong directional light to create a large shadow on the model. In terms of color, he used a mix of white, jewel tones, pinks, and dark colors such as brown and black. This time period was a rather showy time, with lots of bright colors and gold used everywhere; Bolin did use a lot of color, but some of his color was a little softer, or more underplayed than other artists of the time. Here are a few of his magazine covers that I used for inspiration:

In my design, I knew I needed to focus on a slender model in the center in order to capture the most basic part of Bolin’s aesthetic. I used a 1920’s style helmet on the woman’s head, and gave her a basic biker uniform. It was difficult to mimic his drawing style for my model, so I looked to a few of his magazine covers for help, and then modified her pose to make it original. I really focused on giving her long, skinny fingers and legs. I downplayed her facial features, because Bolin never made them very detailed either, using a very fine pencil to sketch them out, rather than a hard line to give it more of a “sketched” feeling. I drew a 1920’s style racing bike to use as her singular prop with which she could casually pose. I placed it behind her to make sure she was the central figure that draws viewers eyes.

I chose my color scheme based on colors that Bolin used in his covers, specifically the top two examples above. I decided to keep it simple with only a five colors (pink, brown, black, skin tone, and grey) so that the emphasis was not taken away from the model. Bolin’s models wore solid color clothing, so I kept her biker uniform simple, but identifiable. Many of Bolin’s models either did not have any hair, or had very little, so I too decided not give her hair, which especially emphasizes her helmet. I will admit that it is a lot more difficult to achieve shading on Illustrator than it would be by hand, so I did not incorporate as much as Bolin. however, I made sure to give my model a shadow because that is something Bolin did in many of his drawings. This means that I also incorporated a directional light to create the shadow.

For my background, I wanted to do on large grey diagonal stripe, kind of like Bolin did in the top right design above, because it represents the track that the model/biker will race on. Then, I created a few other lines to give it the strong directional feel of both Bolin’s work and the work of other Art Deco artists. I chose to use a checkered pattern for one of the stripes to represent the checkered flag at the race. However, I made the squares less than perfect geometric shapes because Bolin’s patterns in his work (see the bottom right piece above) were not always geometric. Even his stripes were uneven sizes, which is why I made mine uneven as well.

Finally, I chose my typefaces based on Bolin’s work, as well as Art Deco styles of the time. The typeface at the bottom, Parisish, is similar to the typefaces that he used at the bottom of his magazine covers. I also drew a line between the words at the bottom and the model to give it a bit of a magazine feel like Bolin’s covers. The typeface at the top, Kilsonburg-regular, is a mix between the minimalist typeface that Vogue used and the Art Deco style of the time where one side of each letter is thicker than the rest of the shape. I almost used a more dramatic version of an Art Deco typeface, but decided that I risked taking attention away from the model, who is supposed to be my main focus, in order to capture a similar look to Bolin.

Overall, I think that my design captures Bolin’s style pretty well. I wish that I could have created a little bit more dimension with shading, but I do not have quite enough knowledge of Illustrator to accomplish that in a reasonable time frame. I think that my model looks like his and that her pose with one hand casually draped on the bike handles is right for that time period of Vogue, and I think that is the most important part of this poster. I think that the line work in the background also matches well, especially with the directional light coming in from the bottom. I do want to note, though, that the colors of the full-size image are correct and match those that Bolin used. However the thumbnail appears too vibrant.


Milton Glaser Influence Poster

Milton Glaser

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For the influence poster, I chose to do a design inspired by Milton Glaser. Glaser is one of the most influential graphic designers in American history, and is often referred to as “The Godfather of Modern Design.” Glaser was born in 1929 and studied at the Academy of Fine Arts in Bologna, Italy before establishing Pushpin Studios in 1954, New York Magazine in 1968, Milton Glaser, Inc. in 1974, and finally WBMG in 1983. His style is inventive, individualistic, and mainly focuses on posters and prints. Throughout his lifetime, Glaser has worked on a wide range of projects including everything from corporate logos to complete graphic and decorative programs for different establishments. His significant achievements include having several personal shows at the Museum of Modern Art and the Georges Pompidou Center, being the recipient of the lifetime achievement award from the Cooper Hewitt National Design Museum and the Fulbright Center, as well as receiving the National Medal of the Arts Award. His work is still displayed in major museums across the world and he is still active in the design community to this day, proving true to his famous motto “art is work.”


Mahalia Jackson, 1967.

In addition to being one of the most influential figures in American design history, a major reason I chose to do a design inspired by Milton Glaser is because his design style is so versatile, restless, and constantly changing and growing. I think Glaser’s ability to work in a variety of styles and for a variety of clients validates his talent

Saratoga Festival, 1980.

as a designer. With this being said, I thought that it was important to focus on specific Glaser pieces because his style is so versatile, ranging from the legendary Bob Dylan Poster to the iconic “I <3 NY” logo. I decided to focus on two of my favorite Glaser pieces: the 1967 Mahalia Jackson Easter Sunday Concert poster and the 1980 Saratoga Festival poster. I love both of these pieces for similar reasons, as they both have an element of being unrestricted and flowing, while also being highly structured with a clean design. Furthermore, I think the colors used in both of these designs are beautiful and perfectly contrasted.

I personally think that my design shows the influence of these two Glaser pieces quite well. I drew inspiration from the circle designs in the Saratoga piece as well as the floral designs in the Mahalia Jackson one. However, I altered both of these designs slightly to make them more personal to my poster through using a different number and size of circles as well as number and orientation of flower petals. I also incorporated these two elements with the image of a bike by making the circles reflective of the bike’s wheels and using the shape of a flower to form the wheel’s spokes. I also used a pastel color scheme for my poster that reflects the one used in the Jackson piece, and incorporated a darker color for the text that contrasts this pastel background. I also used a textured overlay to give the poster more depth as is done in the Saratoga piece. Finally, I used Glaser’s iconic “Baby Teeth” font for the poster’s text that is characterized by extremely blocky letters.

I personally think that I was fairly successful in executing a Glaser-influenced poster without merely reproducing one of his past designs. I think I did a good job in making sure my design was free and flowing while also having a high graphic quality and clean overall look. Furthermore, I think I did a good job in incorporating the texture into the background to give the design more dimension. However, if I could go back and change one thing I would definitely make my color palette a little darker. I was trying to replicate the pastel color scheme in the Mahalia Jackson piece but I think I made it too light and therefore more juvenile than I intended or I think Glaser would like it to be.



Olly Moss Influence Poster

Little 500 Olly Moss-inspired Poster

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My Little 500 poster was inspired by the graphic designer, Olly Moss. Moss is a British designer who was born in the UK in 1987. He continues to work in the UK and has designed several famous works, especially his work on the Rocky movie poster. His designs all center around movie posters. Moss’ posters range from stylistically minimalist to complex, detailed designs. Most, if not all of his posters, minimalist or complex, center around one specific item or concept and rarely feature more than one idea. For example, in his Howl’s Moving Castle poster, the entire poster focuses in on only the moving castle, but the actual detail on the castle is so intricate and complex. Conversely, his Dirty Harry poster focuses on the element of the gun but carves a man’s face out of the side of the gun. Using only extremely simple details of eyes, eyebrows, and a mouth he creates small detailed elements on the face. Without those details, the face wouldn’t be as obvious. Otherwise, the gun and the overall poster is not detailed more than that.

For this poster, I went more in the direction of the Dirty Harry poster. Visually, I wanted to

Dirty Harry Poster

Click for a larger view.

incorporate a similar three-color scheme. I ended up using similar, but not exact colors and in different amounts. The contrast between the dark, medium, and light colors aids in creating the same minimalist feel as the Olly Moss poster. I chose to focus on the most important element of Little 500: the bicycle. In Dirty Harry, the most important element is the gun in order to kill the bad guy. The way the bicycle looks was actually an accident; I didn’t mean to have the two colors cross at the wheels, but I enjoyed the interesting effect it had, so I kept it. I also made sure to include a slight texture on top of the poster, as Moss included in the Dirty Harry poster.


In terms of typographic elements, I wanted my typeface to have the same feel as the Dirty Harry poster with some changes. While I believe Olly Moss chose a Helvetica-inspired typeface, I went for one called Bebas. It looks as though Moss used the same typeface throughout the entire poster, so I kept to the minimalist feel and did the same. I varied my choices in the presentation of “Little 500” because I wanted to play with a more stylized approach and also incorporate a bit more color into this section in order to be more eye-catching. Moss’ poster features an element of movement with the smoking gun, so I chose to incorporate this element into the arrows in the “Little 500” title. The arrows, while not a significant part of the actual event, incorporate a feeling that the bicycle is perhaps going a certain direction or moving. The alignment of the smaller type plays off the wrapping alignment around the gun in the Dirty Harry poster, and I think it achieves its purpose. Finally, I chose to include a QR code to the website in the poster so that it could be a bit more modern and easier to access the website, and I placed it in the same corner that the Dirty Harry featured some more extra information on the movie.

Overall, this was a very fun and creative poster project and I really enjoyed the level of creative freedom I was able to express in making my poster. I would love to focus on another one of Moss’ posters and try to emulate a more complex style of his going forward.


David Carson Influence Poster


For my influence poster project I decided to use David Carson as my inspiration for my design. David Carson is an American graphic designer but some of his other many talents is he is also an art director and surfer. Carson is best known for his original magazine design and his use of experimental typography. What initially drew me into Carson’s work was the complexity and abstractness of his work, while using seemingly simple techniques. As a designer, I find that I typically use very simple colors and concepts but alter it into a way so it is more complex and attention grabbing. I feel that David Carson does a great job accomplishing this with his work. Some of designs have a lot of aspects to them while others are very simple but he uses his elements decisively to create something visually appealing. Additionally, I love how when I look at his work I find that there is such an attention to detail and there are small elements that are easy to overlook if not closely observed and I find this alluring. This is why I used David Carson for my inspiration – because he is unique, abstract, and eye catching.

I began my design by deciding what I wanted to use as my background. For many of Carson’s work he does not necessarily use the background as the focal point, more as a support to his creative design and typography. That is why I decided to use a picture I previously took of Little 500 riders that was slightly off focused in the background. However just like Carson’s work, I wanted my poster to be dynamic and not look too stagnant and with that I wanted my poster to emulate the motion of the riders itself. So I decided to copy the original picture and paste it on top of the same photo, however I adjusted the opacity and shifted the photo to the right just a few picas to give the photo some motion and dimension. After I finished that, I wanted to adjust the color of the picture as well to imitate Carson’s “duller” shades that he uses in his work. To do this, I put a tone of sepia above the photo and adjusted that opacity so it altered the colors slightly to Carson’s tones.

After I was satisfied with the look of my background I worked on the Little 500 title at the bottom of the poster. I already knew I wanted to use Carson’s motif of using words as a background by placing them on top of each other and writing something on those words. So I made “Little 500” into a symbol and adjusted some of the default settings so I was able to spray Little 500 heavily in a way that could be read but also read on top of. Next I moved onto finding the typeface I wanted on top of this motif. Since Carson is so well known for his typography and the way he uses it, I wanted to make sure I chose something that mimicked his work. I found a font titles DCC Sharp Distress Black on DaFont and thought the distressed sans serif really encompassed something Carson might use in his own graphic design work. I decided to have Little fill up most of the space on top of the words motif but I wanted to do something different with 500. Carson tends to adjust his typography quite a bit by rotating and reflecting different elements in his designs. That is why I flipped the 500 so it was reflecting the Little. I initially had the Little in white however I felt that there was a more stylistic way having that typography. So I created a clipping mask so the Little actually displays the picture that would be underneath Little and the words motif. I felt this elevated the nameplate more in an inventive way that Carson might think to do.

After the nameplate, I moved on to deciding how I was going to incorporate the rest of the information. I wanted to keep the same typeface for the numbers to give the design to coordination, however I wanted to make sure it was displayed in an interesting way. So I designed it for the type to go vertical and horizontal to provide some variety within the design, much like Carson does in his pieces. I also layered the numbers to provide a look of movement and motion that mimics the motion in the background picture itself. When adding the words I wanted to incorporate overlapping and displacement like Carson does in a lot of his work that is why the lettering is disarrayed and in different sizes. I also reflected all the S’s because reflection is a theme that Carson tends to use throughout his designs. After I was content with my basic layout of my poster I wanted to find a way to imitate Carson’s feel of being rather monochromatic. My first draft had many aspects that I liked and I felt it did a decent job mirroring Carson’s work. However one issue I had with it is that I felt like I incorporated too many colors by leaving the background as is. That is why I edited my colors to gray scale to match Carson’s color schemes. Along with that I also added an aged film texture on top of the photo to give the poster more depth and coarseness.

Overall I enjoyed the challenge of this project. It pushed me to explore my creative realm in finding a way to use inspiration without completely replicating that influence. With that being said, I think my biggest struggle with this project was trying to stay true to Carson’s work while providing something that could still be functional as well. Carson’s abstract designs can be very appealing and provoking, however when it comes to an informational poster it was a challenge trying to find the right balance of abstract and legibility. However working through that challenge allowed me to push myself outside my comfort zone as a designer. That is why I enjoyed this project – I definitely feel like I learned and grew as a designer.

Little 500 Poster

For this project, I decided to use Milton Glaser’s work as my inspiration. Specifically focusing on his iconic Bob Dylan poster (see below). Glaser’s style is aesthetically pleasing to me. I really enjoy retro graphics and wanted to experiment with that. Before I began preliminary sketches, I researched Glaser’s work and took note of reoccurring design elements I could utilize. Some examples I found were striking color, use of white space and/or pattern(s), silhouettes, purposeful proportion, and more. Once I established the overall look I hoped to achieve, I roughly sketched many options with different imagery, crops, etc. Eventually I narrowed my idea down to a biker silhouette riding on a colorful, swirly racetrack with text “Little 500”, the date, and location spread across the bottom.

The next steps in my creative process started with more sketching. I drew the biker silhouette in further detail a couple of times before drawing it with the pen tool in Illustrator. This was probably the hardest part of the assignment. Looking at photos of little 500 bikers online helped me translate a complex action into a graphic icon. I also drew variations of swirly lines on the racetrack before using the pen tool. Some were more linear, some more circular. A good mix of the two is what I went with.

Producing the rest of the poster (typography, border, the black shape under the track, etc.) was fairly simple. I found the typography online by searching “Milton Glaser fonts”. The typeface is called “Baby Teeth” and is almost exactly like the typography in the Bob Dylan poster. (Due to licensing restrictions, this typeface cannot be viewed in the PDF online. I took a screenshot of the PDF, which is what the viewer will see instead.) My favorite part of creating this poster was adding color in the end, especially on the racetrack. As Steve suggested, I incorporated the Little 500 flag colors. Typically, I design everything in black and white first and then add color.

All in all, I had a lot of fun with this project in the short amount of time I had to make everything come into fruition. I would like to continue making posters in Glaser’s style and also explore other graphic designers’ work as inspiration. When I was choosing which designer to do, I made a short list of others I also like.

This is the Bob Dylan inspiration poster I referenced for this project by Milton Glaser.