hmm....
three days and nobody droped a line.
Did i do something wrong?...no, i really
mean it! I prefer to know the (hard) truth,
than stay in this guilty silence...

Roughs? They look great to me!

Difficult to get the subtleties since I'm not familiar with the play; but the color is fantastic, I like the crown carried through the series and the playful treatment of the dark themes.

For some reason the bucket of poop disturbs me, whereas the tub of blood does not. I wonder what that might mean.

Not much of a criticism, but I'm used to looking at sub-par work all day, including my own, so I rather enjoyed your posters.

Cheers!

Christos, good stuff. ;)

The first one is the one I like more. It's subtler and
more "graphical" than the other options. The stencil
typeface, I like it a lot (what typeface is it?).
The second one has a good idea, but it seems you
couldn't develop it further.
I kinda dislike Clarendon used in the third one. And
btw, I feel the same way, Paul. The poop bucket
disturbs me a little, but I quite like the bloody tub.
Not sure why too.
The fourth one is good, but I think the typeface
(Confidential?) looks a little dated.

Anyway, I enjoyed this posters. Can you tell us
which one is the final poster for the play?

OK, now I've been spurred to critique, which is not to say that I don't love these posters anymore.

I found I didn't like the first as much as the others, though I agree with Eduardo that is is more subtle, and feels more dynamic in layout (and I like the marching lemming soldiers). I think it just stands out as so different from the others. And since the others were pretty clear, and I don't like to think, I felt more comfortable with them.

The one thing now that stands out is the vector details (bubbles, blood drop) in the blood tub poster. I'm inclined to like the contrast with the rough illustrations, but since it doesn't happen anywhere else (I think), it seems a little out of place.

I do like the Clarendon (I'm assuming it's Clarendon from Eduardo's post, since I'm not a top-notch typeface id-er. I've never seen Clarendon with Greek characters, but I might be showing my ignorance) in #3. It gives the type a nice structure for the more chaotic illustration to play off of (Unlike #2 & 4, where the type kind of blends in). Plus, I've been falling in love with Clarendon again these days.

But I still think these posters are swell! Wouldn't mind a set for my wall. Sorry for the selayed crit. I told you, I don't like to think.

the only thing that really stands out as problematic to
me is the *bubbles* on the bloody bath version. every
other element (in the others as well) is very rough and
expressive; the bubbles, however, are very light,
precise, and almost whimsical in a teenage girl sort of
way. the digital precision of the blood also seems to
conflict a bit, but not so much as the lightness in the
former.

on the whole, you've done a fine job of capturing the
intriguing, lively quality of mid-20th cent modernism. it
has a very Saul Bass mood without sacrificing your own
voice.

simultaneous, like-minded critiques from two fellows
guilted into a statement... fantastic!

Ha ha ha. Not sure you want a mind like this one, though. It hurts!

...you are a fantastic optical audiemce.
You give me what is so precious for a designer;
additional dimensions to the personal view.

I could see all the aspects you mentioned
except the disturbing presence of the poop
bucket (i didn't know its name in english
untill now). Maybe i didn't give you the right
feeling of the play

Is there a link for those KP typefaces, Christos?
I'm curious about this "Brasil" typeface... Strange name indeed.

And tell us, what's this mysterious stage element you are talking about? ;-)

what's this mysterious stage element you are talking about...

Ah, my poor syntaxis made its miracle again...
Eduardo i din't mean what you understood.
I meant that the colors of the theater stage
in the play, was an important element to judge
which poster was the most suitable. I am sorry
for the confusion.

As for the Kp Brasil, "Kosmopolis" the company
which released them does not exist any more,
but i think you can find the font in
www.fonts.gr (cannibal fonts).

You are from Brazil, aren't you. I don't know why
they called the font Brasil. Maybe it was the
last font they released before they shut down
the company and flew to Brazil celebrating the
money they owed...who knows...they could be
your neighboors!

Funny, Christos. :->

Anyway, I found it following your link, but
Cannibal changed its name to Stencil CF.

I think #2 is nearly perfect! Because it's sort of a comedy (although dark). The only thing I would change is make the tub more lux, like put gold lion's feet on it.

hhp

>put gold lion's feet on it.

Ha, it would be nice. :-)
I think the bloody tub is a great idea.
But, considering the lack of the additional informations in the poster (dates, place, all the names), and the incoherency between bubbles (geometric) and tub (rough), I think Christos' client probably refused it.

"I feel the same way, Paul. The poop bucket
disturbs me a little, but I quite like the bloody tub.
Not sure why too."

"••••!" is Ubu's first word (and may as well be his last). This is the strength of Jarry's puerile masterpiece: identifying •••• as the ultimate abiding insult to bourgeois aspiration. In this regard the situation at the start of the 21st century is pretty much equivalent to the end of the 19th. Recent representations of man-in-league-with-•••• hardly compare. Mr. Hanky (or Kricfalusi's urHanky, "Knutty the friendly dump") is a commodified leakage from Ubu's chamber pot.

Anyway, love the posters (I like 1 and 3 most). Good work!

BTW, I made an "Ubu centennial" series of sketchbooks in 1996 playing with the spiral, belly, hood and hat forms of Jarry's original drawings; must do something with those at some point...

I appear to have been censored, perhaps not unfairly