“Posters were the only colorful elements on the grey fences. There were still whole blocks of wooden-fenced ruins. They were the first poster galleries.” Andrzej Wajda (speaking of post-war Poland, in the documentary Druga Strona Plakatu, directed by Marcin Latałło)

“It’s always the metaphor and the twist of using the image not as a depiction of a pretty portrait, but just twisting it, and revealing something meaningful that on the surface is not there.” Luba Lukova (Interview, directed by Hillman Curtis)

“The poster is information and agitation. A poster that doesn’t irritate the human eye, is not a poster.” Roman Cieślewicz (interview in Druga Strona Plakatu)

“I have always worked across a variety of design venues. However, as my career has progressed I have gravitated toward poster design probably because of the large format and creative freedom that it provides. The advantage of the poster over other media is that a poster is more visceral. Because of its size it is immediate and confrontational—communicating on an emotional as well as intellectual level. This is especially true when the audience is on foot.”Lanny Sommese (interview with Tom Wilder for IDSGN)

“It has to sell. It has to be bold. It has to tell the story...It has to intrigue you. It has to catch your imagination. You have to ask yourself, ‘what’s that, what’s next, what’s happening?' And this will bring you to the theatre. If I can achieve that, my job is done.” Tomasz Opasiński (talk at the 11th Kinoteka Polish Film Festival)

“I’m supposed to say things like ‘easy to read,’ ‘direct,’ or ‘immediate,’ backed up by ‘visual simplicity.’ The truth is, I don’t know anymore.” Jonathan Ellery (from Poster Art: Innovation in Poster Design, by Charlotte Rivers)

“A poster must communicate a message instantly and memorably in a strikingly legible combination of word and image. More than just communicative function, it must indelibly mark the mind and the eye with emotional resonance. The poster is judged by how clearly, elegantly, and originally the designer communicates an idea and how skillfully he or she demonstrates that intention.” Christian Larsen (interview in Graphis Poster Annual 08-09)

“A poster is a poster and not a pipe. A poster has a message. Sometimes. A poster is a sheet of paper without a backside. A poster is a stamp. You can put it on the wall or on the window, on the ceiling or on the ground, upside down or wrong side up. There are young posters that look very old and old posters that never die. A good poster attacks you. A bad poster loves you. And there are l’art pour l’art posters that love themselves and want to be beautiful. These type of posters confuse the viewer, muddle up his eyes, and force him to look for something in the poster that is not inside. If you like, you can smoke it in your pipe.” Uwe Loesch (from New Masters of Poster Design)

“The task is to build up non-verbal communication, to transfer the emotions non-verbally, and so you pick up the emotions by digging into what the subjects of the poster are into and what their characters are like.” Anna Naumova(Ostengruppe, Designers of the Lab)

“The poster is a highly analogue, old school medium and yet it convenes very neatly to the norms of the digital 'thumbnail' visual culture we now live in. It's a very direct communicative piece of design and everything about a poster is there on the surface in one viewing—this makes it unique and very challenging for me as a designer and probably stilll the ultimate form of graphic design that I love to make.” Martin Pyper (interview with J.Geerligs for PostersInAmsterdam)

“Our work is visual thinking.” Kari Piippo (lecture, Graphic Week TOP)

“I have said that the poster is a telegram, a fist punch. But, actually, the poster—speaking ecoistically—has always been my passion. They have been in tune with my nature; I have always been attracted to public pictures, which is what posters really are. ...I create a picture for people to see it. I want to impose my picture on others.” Alain le Quernec (Jan Lenica Award filmed interview, National Museum in Poznań)

“Posters have evolved, because of TV, internet, new media, billboards everywhere. But they can still find a place.”Lech Majewsk(interview in Druga Strona Plakatu)

“When I design a poster, I enjoy focusing my ideas on one single image. It is like writing a condensed text, avoiding the unnecessary. It’s difficult to design something simple that works well; I like this intellectual manner of approaching the design.” Philippe Apeloig (from Poster Art: Innovation in Poster Design, by Charlotte Rivers)

“Posters are ‘time-capsules,’ a social artifact documenting a specific place and event.” Robynne Raye (from Poster Art: Innovation in Poster Design, by Charlotte Rivers)

“The poster, in the future, can keep up with technological progress. It might appear in the form of animation, interaction and multi-layer—and why not?” Majid Abbasi (Poster as a Vehicle for Social Commentary, an interview with Kristina Graham)

“A good poster is an aggressive image that must bite the eyes of the viewer and open his thinking.” Philippe Apeloig(from Poster Art: Innovation in Poster Design, by Charlotte Rivers)

"I love and have promoted the use of metaphor in posters for years now. It doesn’t have to be photorealistic or completely true to the imagery used in the movie but it has to tell us something, intrigue us, catch our imagination. I love it. ...It’s hard to come up with the right metaphor, but it pays handsomely at the end. Also, simple images read faster which is very important in our busy lifestyle: one image, one second, one ticket." Tomasz Opasiński (interview with Kevin Holmes, the Creators Project)

“Nowadays hardly anyone makes artistic posters. You can see that on the street. More ambitious works are made for Biennales or other contests. Or for a theatre. Or for a music competition, and usually for little money. There’s no patronage, only advertising. Advertising for cultural events is still part of culture. It can be done well, or not. Usually, it’s bad.” Mieczysław Wasilewski (interview in Druga Strona Plakatu)

“Why is it so difficult? One piece of paper tells everything. It’s a synthesis. A good idea. It must be unique. Cieslewicz said, ‘You must be a bully in the street.’” Władysław Pluta (interview in Druga Strona Plakatu)

“Only a witty and risky manner of dealing with the subject makes the design unique.” Philippe Apeloig (from Poster Art: Innovation in Poster Design, by Charlotte Rivers)

“You can't trust style. It's only a device for encoding material in a certain form, so why develop a sense of allegiance? It's a kind of design fundamentalism. I mean, the old slogan 'Less is more' was bullshit. What does that mean? Sometimes less is more; sometimes less is less. A Persian rug is not less beautiful than a solid-color rug.” Milton Glaser (interview with Martin Pederson for Metropolis Magazine)

“[T] the poster is a synthesis of graphic design competencies: conceptualization, typography, layout, and personal expression. This expression must enrich the information, without damaging it, to amplify its impact. To paraphrase Milton Glaser, I would say that I look not for the less but for the just enough.” François Caspar (from New Masters of Poster Design)

"Many poster designers I know would enjoy doing something for these new animated displays that have recently started appearing in train stations. There’s still a lot that could be done there." Gerwin Schmidt (interview with M. Zehentbauer for the Goethe Institute)

"The function of a poster is to convey messages, tell stories, to inform, to warn, to remind and to arouse, to recommend and sell....Posters are not symettrical; they use metaphors and comparisons no matter if they aim at selling sausages or the conception of peace." Pekka Loiri (Trnava Poster Triennial 2012 catalog)

“I think it would be a waste of paper and ink, and effort for me, if I don’t use the poster, or the medium, to say something meaningful that really hits people in the heart.” Luba Lukova (Interview, directed by Hillman Curtis)

“In regards to poster design, I think it may have passed the peak of its lifespan, at least in westernized countries, because what we regard as public space has changed and because new media have appeared which might be cheaper or more effective. However, if clients and designers concentrate on the advantages it can claim exclusively for its own, I believe it will survive.” Felix Studinka (interview in Graphis Poster Annual 2007)

"The edition poster is akin to the autonomous work of art, a thing unto itself, which can be contrasted with the servile advertising function of the traditional poster. The poster persists not on the basis of its useful value as a device to reach the masses but on its aesthetic and symbolic value. This represents a surplus value of the poster—the contribution it makes to the culture at large as a reflection of an aesthetic impulse of a period or an artist—which exceeds or is in addition to the purely useful form it takes as a device to sell things." Andrew Blauvelt (The Persistence of Posters)

“I love the big scale and immediate impact of posters. They’re my favorite things to design.” Paula Scher (from New Masters of Poster Design)

"Posters for me are:
- a game
- a self-test
- a way to position myself in space — to show who you really are
- a way to integrate myself into the cultural environment - we meet most interesting people while we make posters
- an experiment
- a joy and my favorite occupation"
Eric Belousov (Ostengruppe, Designers of the Lab)

“[The poster] should also have a third level, a level of reflection or commentary. That is the designer’s free leg. Perhaps the image one saw from far away tilts when seen close-up. Or one discovers something mysterious that one doesn’t decipher right away. That is when a viewer takes another look for a second, and the poster burns itself into his or her memory.” Gerwin Schmidt (interview with M. Zehentbauer for the Goethe Institute) 

“Working on a theatre poster is working on the imagination itself. It is telling a story in as short a manner as possible.”François Caspar (from New Masters of Poster Design)

“Today, the client is king. But the poster isn’t made for him. It’s made for the street. The client is a middleman. He’s just the one who pays. But he thinks, ‘I pay—I decide.’ And the results are easy to see.” Waldemar Świerzy(interview in Druga Strona Plakatu)

Q: Is money a corrupting influence in poster design? “Perhaps in one sense: when financial risks are greatest, clients tend to be most conservative. The fear of losing a significant amount of money can have a chilling effect on one’s sense of adventure and imagination.” Milton Glaser (interview in Commercial Art)

“Posters are still extremely important in our culture. Contrary to all predictions, the form has not lost meaning or disappeared in competition with electronic media. It has kept its place and even become more important on a global scale.” Uwe Loesch (from Poster Art: Innovation in Poster Design, by Charlotte Rivers)

“Nobody stick posters on street walls anymore. Now they hang in galleries. The problem is we lack free space. Once, you could stick a poster in the street. Not anymore. To be on the street, you have to pay.” Pierre Bernard (interview in Druga Strona Plakatu)

“It’s a new censorship. Something is commercial or isn’t (doesn’t exist). You don’t think about it, but it’s everywhere. (45:00) Michał Batory (interview in Druga Strona Plakatu)

“When a poster has a commercial intention it obviously intends to convince an audience to buy goods and services. The artistic role of any poster is more difficult to ascertain. Depending on your definition, posters do not have to be ‘artistic’ to be effective. (i.e. be successful in its ‘roles’). It is far more important for posters to be effective than artistic. The aesthetic part of poster making has more to do with the objectives of its maker than the requirements of form."Milton Glaser (interview in Commercial Art)

“The beauty of posters is in their unpretentious attitude. Being ephemeral, posters are free of the arrogance that makes so many other art forms hard to digest” Pepe Menéndez (interview in Graphis Poster Annual 08-09)

“A poster should stand out on a wall of other posters and demand attention by saying something the others do not.”Wolfy (from Poster Art: Innovation in Poster Design, by Charlotte Rivers)

“By its nature, the poster is the most democratic of art forms. It is meant to grab and hold the passerby on the street, if only for a fleeting moment. At its best, the poster enriches our daily experience and even beautifies its surroundings.”Christian Larsen (interview in Graphis Poster Annual 08-09)

“In the end, if you manage to put meaning into a simple form, that makes the work more impactful.” Luba Lukova(lecture, Columbia College Chicago)

“I try to present simplicity, transparency and minimalism in my designs. I am completely against complicating the work.” Majid Abbasi (Poster as a Vehicle for Social Commentary, an interview with Kristina Graham)

“I enjoy its restraints. In a way, it’s the ultimate design challenge—one clean canvas of any size for you to screw up, or not.” Jonathan Ellery (from Poster Art: Innovation in Poster Design, by Charlotte Rivers)

"A poster is no official speech, liturgy, decoration or wallpaper. It tells its story clearly, cleverly, effectively, with style. It aims at something—knowing, though, that shooting only close to the target may occasionally be actually more efficient." Pekka Loiri (Trnava Poster Triennial 2012 catalog)

"A graphic designer is a visual communicator for the people...In the last 5 years there has been an enormous rise in the creation of the social poster due to humans becoming increasingly concerned with the environment and society in general. We hold the power to what people see so I believe graphic designers need to know and to remember how important they are to a modern visual world." Christopher Scott (interview with Danny W.)

“Because of the poster’s historical relationship to the world of painting, and by virtue of its physical size, the poster seems to offer more opportunities for the designer to do artistic or imaginative work than many of the other areas of in which he may be working. In addition to the significant function of informing and motivating a public, the question of the poster’s social role is a more subtle one. Does society benefit from experiencing works that have ‘artistic’ merit and which are well made? Without beginning to define those evasive terms I would have to say yes, although I would be hard pressed to prove a case.” Milton Glaser (interview in Commercial Art) 

“The nicest compliment I’ve had is when a simple passerby said that seeing my poster in his street has made his everyday life more beautiful for a moment.” François Caspar (from New Masters of Poster Design)

“A poster has to surprise you. It has to stop you from your daily bike-ride through the city to explore what's it about. The colours are most important. They have to be aggresive and contrasting to each other and their surroundings. Colours can have the same impact as music.” Michiel Schuurman (interview with J.Geerligs for PostersInAmsterdam)

“Personally, I like posters more than other printed graphic media, like book design / illustration, brochures, letterhead, etc. At their best, they are concise, powerful, beautifully organized, visually compelling objects. If you compare posters with other collectable objects like painting, sculpture or decorative arts objects, I feel posters are still inexpensive and are just as personally satisfying as more traditional art forms.” Gail Anderson (interview in Graphis Poster Annual 2011)

“The poster isn't dead, but its function has changed. It used to be an announcement vehicle once, now it’s kind of a marker of one’s private territory in this-is-a-message-to-those-who’re-with-us way. And we've walked this path together with the poster design world trends. You can describe any event in your own way. And telling someone's story in your own voice and manner is a work for a director...” Igor Gurovich (Ostengruppe, Designers of the Lab)

“[The] idea is the soul of the poster, and a good concept is the fruit of an educational, analytical, and intuitive process. A creative poster designer has to have wide cultural scope, intellectual depth, and solid general knowledge.” Fang Chen (from New Masters of Poster Design)

“It cannot be seen whether, or for how long, the poster will have a future. Doubts regarding its future chances are justified when we consider the possible way of life of a post-industrial society with new technological resources in an environment planned according to human requirements.” Josef and Shizuko Müller-Brockmann (from History of the Poster)

“While posters are among the most traditional and unchanged forms of graphic design—with their simple use of text, image, and the printing press—they are also one of the most impactful, creative, and memorable media, one that manages to transcend time and technology. And, despite the fact that there are far more technologically advanced methods of communication available today, posters have survived and continue to thrive” Charlotte Rivers (from Poster Art: Innovation in Poster Design, by Charlotte Rivers)

“It’s trial and error, before you get it right. It takes time, before it turns into something I am satisfied with. A poster should always be something new on the town.” Jan Mlodozeniec (interview in Druga Strona Plakatu)

“Academic posters, i.e., those from teachers, recent graduates and students, which populate the international poster competitions and year-books, are moving closer to art and further away from advertising. It has become the rule, rather than the exception, that I do not understand what they are trying to tell or sell me.” Rene Wanner (interview in Graphis Poster Annual 08-09)

“The solution is simplicity: The message has priority over form, creativity of aesthetics, and expression over perfect design. If it succeeds, it is because beauty must follow. If the result appears new and simple, one is left wondering why something so elementary was not realized before. It recalls the invention of the wheel and subsequent amazement that it worked.” Niklaus Troxler (interview in New Masters of Poster Design)

“The digital revolution has opened design to a multiplicity of communicative forms. Arguably, the poster is still the most artistic of these—the graphic designer’s blank canvas—but it no longer has the reach or impact that is now the domain of more dynamic, pervasive and immediate graphic forms. Still, we seek out posters for their excellence in delivering a message with expediency, efficiency, and visual and conceptual brilliance.” Christian Larsen (interview in Graphis Poster Annual 08-09)

“Keep it simple; make it smart and engaging.” Robynne Raye (from Poster Art: Innovation in Poster Design, by Charlotte Rivers)

"Despite the accuracy of [the Müller-Brockmanns’] vision, technology did not render the poster obsolete as a means of communication...Their sobering conclusion that 'retrospectively, the poster will be judged as a temporary solution of questionable information value,' still leaves room for the poster to possess a greater symbolic value." Andrew Blauvelt (The Persistence of Posters)

“I really love it when a poster is visually surprising and has a contrast. This contrast can be purely on the surface, like the use of color or type. But also content wise, for me there has to be a tension somewhere. But then again, there is unfortunately no formula for this...” Jona Rotting (interview with J.Geerligs for PostersInAmsterdam)

“The poster is an artifact of an event that should color and create a memory of the experience, and which should be as good as or better than the actual event.” Wolfy (from Poster Art: Innovation in Poster Design, by Charlotte Rivers)

“I feel a poster must have a personal style and convey an artistic message; personal interpretation is very important.”Niklaus Troxler (interview in New Masters of Poster Design)

“I am always inspired by purity and dedication to the execution of concept through the simplest form.” Mark Gowing(interview with Bim Ricketson, Cyclic Defrost magazine)

“For most of my work I like to use a kind of arbitrary decision-making theory: existing constraints need to be embraced and new ones invented to minimise the number of aesthetic decisions. I like the design process to work like some natural law of inevitability: build in sufficient constraints and it designs itself.” Mark Gowing (interview with Bim Ricketson, Cyclic Defrost magazine)

If you can think in a really random way, a logical-random way, you can be really creative. You can combine things not combined before, and create something beautiful out of it. It may be an image, it may be an idea that triggers an image.” Tomasz Opasiński (talk at the 11th Kinoteka Polish Film Festival)

"The contemporary cultural phenomenon of posting, putting your message out in the blogosphere, whether through online commentary or social media updates, is the opposite of the poster. These individual tweets and posts are personal expressions, often of a trivial nature, which are shared in the public and quasi-public sphere through services such as Twitter and Facebook. The poster is synonymous with public expression and creates an immediate sense of formality and authority. It is isolated, not connected, and its context cannot be reliably predicted; therefore it attempts to stand out by standing apart." Andrew Blauvelt (The Persistence of Posters)

“A passing thought can be coaxed into great work.” Wolfy (from Poster Art: Innovation in Poster Design, by Charlotte Rivers)

“You only come up with good ideas when you deeply care about what you have to do; if you are indifferent, your ideas are mediocre too. So you have to be involved, with all your intellect, your emotions—that’s when you generate good ideas.” Luba Lukova (Interview, directed by Hillman Curtis) 

“...[T]he poster has reemerged, and I would argue that it is better employed than ever before. It is true that Europe and the United States have very different ideas as to its vitality, and I admit the days of poster-lined city streets in international capitals are gone. However, the poster has emerged, phoenixlike, in new places and in new ways.”John Foster (from New Masters of Poster Design)