The poster of “Reception | Perception of English Literature” transposes the typographic grid and underlines the need for rationality. It imposes a closed hierarchical structure through a static grid (the Cartesian system of organization of the design of the page). The proposed concept focuses on the image of William Blake and adopts a sober, moderate and formal visual language that the academy demands.
The hierarchy is defined by the grid and, within it; the typographic composition creates a visual spot where William Blake’s face is framed, at the level of the reader’s gaze. The portrait centered on the poster and the main typographic elements (title, subtitle, translation, location, date, description…) frame the face of William Blake, thus creating the harmony that the grid demands. The author’s signature, although it may be a risk-taking decision, assumes that the reader is familiar with Thomas Phillips’s portrait of William Blake (© National Portrait Gallery, London).
The hierarchy is defined by the grid and, within it; the typographic composition creates a visual spot where William Blake’s face is framed, at the level of the reader’s gaze. The portrait centered on the poster and the main typographic elements (title, subtitle, translation, location, date, description…) frame the face of William Blake, thus creating the harmony that the grid demands. The author’s signature, although it may be a risk-taking decision, assumes that the reader is familiar with Thomas Phillips’s portrait of William Blake (© National Portrait Gallery, London).
