Every graphic is limited to it’s printed surface. Only in combination with a timeline does this allow for an almost endless enlargement of space with a lot of potential for more content, emotions, attention and skillful steering of the eye across the design.

This exhibition consists of a large-scale introductory animation, the core exhibition of 9m x 2.5m in size, consisting of 16 parallel projection surfaces with audio, 3 additional smaller floor projections on a total of 15 surfaces, and a large overview projection at the end of the exhibition as a summary. The exhibition showcases and categorizes all possible forms of motion graphic design, including illustrations, icons, emojis, infographics, identities, campaigns, posters, text animations, and pattern animations. In the core projection at the beginning, a 6-minute animation with a voiceover runs, guiding the viewer through all these graphic disciplines and highlighting where different forms of motion occur, attempting to provide a classification of the various directions. The core projection concludes with the conclusion that all motion design can be divided into two groups: those that utilize motion to create more space for content and those that play with the elements of design and enhance them through the use of animation, directing the eye on the surface. The exhibition consists of over 200 different animations created by 74 designers from around the world.

A documentation of the diversity and an investigation of different intensities of movement of posters. The exhibition is intended as an inspiration about the different possibilities of the medium and is an attempt to categorize it in terms of movement intensities.

The exhibition is a visually orchestrated, moving presentation that is projected onto poster surfaces with a total duration of 5 minutes and 17 seconds. It is accompanied by an explanatory voiceover. At the beginning of the exhibition, the definition of the moving poster and its placement between static posters and films is discussed. Subsequently, three categories of posters with different forms of motion are presented and analyzed sequentially: nearly static posters, dynamically animated posters, and posters that create a cinematic effect. Within these three categories, subgroups and cross-references are made visible. Specific explanations of similarities and differences within the categories, as well as frequently recurring elements and peculiarities, are highlighted using spotlights.

You can find a recording of the exhibition here, as well as on The Moving Poster Online Archive which was created based on the exhibition and has been continuously updated since then. Additionally, you can find numerous exhibition pieces on the Instagram channel @themovingposers.

A comparison of static and moving posters. When exploring the realm of the moving poster, one notices that the majority of it is an adaptation of the printed original, taking it a step further to support the message of the static poster. “Still and Moving” showcases the contrasting transformation from static to moving medium, allowing all visitors to experience it firsthand.

The exhibition consists of 63 printed posters categorized within a system divided by various forms of motion. By utilizing the Augmented Reality app Aurasma, the associated moving poster corresponding to each static poster is recognized and played, enabling every visitor to make a direct comparison between the two mediums.

An important question arises when it comes to creating the animated version: should it strive to stay as faithful as possible to the static original, or should it fully exploit the vast possibilities offered by the digital medium? Through various examples, the exhibition attempts to provide answers to this question.

The first two “The moving poster” exhibitions in the series – a survey of the diversity of the medium and a translation of static posters into moving visuals – are now followed by a look ahead into the future.

For the third edition of the exhibition series, graphic designer Josh Schaub has exchanged ideas with other designers about the future of moving posters and presents the results of the discussions.

The panels centred around the questions of whether moving posters are needed at all, which approaches work best and what the future of the medium could look like. Who benefits most from the new possibilities and seemingly boundless gimmicks – the designer, the client or the user? Is the moving poster only a short-term trend or the obvious further development of the static poster? Has the potential been fully exploited – what about interactive moving posters? What distinct features are lost when translating static posters into moving ones and how far can designers go without diluting the strengths of the poster and its impact? And at what point is a poster no longer a poster? The exhibition “The moving poster Nr. 3” presents answers and food for thought to these and many more questions.

INTERVIEW-GUESTS: Bettina Richter, Curator Poster Collection of the Museum für Gestaltung Zürich; Jiri Oplatek, Claudiabasel, Basel; Felix Pfäffli, Studio Feixen, Lucerne; Götz Gramlich, gggrafik design, Heidelberg; Mario Siano, Co-owner of the company Advertima with focus on interactive communication, St.Gallen; Dirk Koy, Professor in Time Based Media at the HGK Basel 2018Weltformat Graphic design festivalLucerneSwitzerlandin german

The Kiel Week is not only Europe’s largest sailing regatta but also a massive city festival that draws people from all over Germany. Over the years, this annual event has evolved into a prestigious design competition. Since 1959, five selected designers or design agencies are invited each year to participate in a pitch to create the poster for the upcoming event

During this process, they not only receive a written briefing but are also invited to Kiel Week for a weekend to experience everything on-site and firsthand.

The theme of the poster remains unchanged over the years, and thus, the designs from the past sixty years offer a unique insight into the evolution of European graphic design. The list of winners and participants reads like a Who’s Who of graphic design. Well-known names such as Anton Stankowski, Ruedi Baur, Wim Crouwel, Cyan, Alan Fletcher, Josef Müller-Brockmann, and Rosmarie Tissi can be found among them.

In this exhibition, for the first time, Josh will not only showcase all the winning designs but also display a wide selection of designs from the participating teams.

Weltformat is taking the opportunity of the celebration of the 150 years of diplomatic ties between Switzerland and Japan to work on an intercultural project bridging designers from both nations.

Especially in the fundamental differences between the two countries which we suspect is the reason for the mutual fascination and possibility to get new perspectives through this exchange. For this reason, we have invited twelve designers and studios from Japan and Switzerland to make a poster, exclusively for this exhibition. All selected designers have attracted international attention through unconventional poster design in recent years and shape the poster culture in their environment. We asked them to deal with the topic of ‘Exchange’ for the poster. The content requirement is deliberately broad in order to leave room for interpretation and experimentation. The aim of the project is to stimulate the debate on current poster design, as well as to investigate how the attitudes and interests of the current designers of both nations are shown and differ. The result is an enthralling visual dialogue between two nations.

The exhibition was curated and realized by Stephanie Cuérel and Josh Schaub. With posters by: Bonbon (Zurich), Claudiabasel (Basel), Demian Conrad (Lausanne), Felix Pfäffli (Lucerne), Johnson/Kingston (Lucerne, Berne), Kazunari Hattori (Tokyo), Kenjiro Sano (Tokyo), Masayuki Terashima (Sapporo), Prill Vieceli Cremers (Zurich), Rikako Nagashima (Tokyo), Ryosuke Uehara von Kigi (Tokyo), Yuma Harada (Osaka)