Unlike its "hard werken" socially initiated peers, Wild Plakken definately has a definite social and political agenda. The Issues often covered include racism, women's rights, gay right's etc. Clients include trade unions, left wing political parties, women's rights organizations, museums and performing arts groups.
This posters active APPEAL modes_ ETHOS- the design group chooses the clients solely on this credibility and representation.
PATHOS- its perspectives it presents are nothing short of emotional response and intent.
and LOGOS- the juxtapositions and comparisons of the different parties involved are the only true definitions of the subject. A deductive reasoning and rhetorical logic brings people to the intended conclusion.
Poster#2_the cranbrook poster definitely has an ETHOS and LOGOS modes of APPEAL. Cranbrook (being a very famous school) is nothing short of a CREDIBLE art school. In being a credible art school, it is subject to stereotypes of the "art school scene", including left wing political parties and special interest groups (liberals want to speak for the oppressed other). This particular Poster designed by Katherine Macoy is a collage of student work interlaced with polemic oppositions and a communications-theory diagram. This gives the poster an aesthetic of transparency and purity of the student mind body.
its appeal groups include anyone associated and beneficiary to a school or clan of thought such as that of Cranbrook. This would indirectly be appealing to both parents and grandparents of college students around the world and directly appeal to the students and teachers, creating a new discourse.
POSTER#3_ Designed and produced by TOKENOBU IGURASHI. His content is the infinite, His appeal is the individual and the whole, and his modes of appeal include credibility (god, artists, various creative beings of and for the universe), emotion (feeling small feeling big), and logic (comparing the ellipses and other forms of scale manipulation to create illusions).
Like the previous poster, when choosing the modes of production Igurashi had to consider his audience which happened to be minds associated with the thought of young age. This opens up many windows of appeal since the audience is so open to debate and rhetoric. The creative scene truly believes the only beauty is struggle as MANERETTI put it once or twice.