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Charlotte Payne , I love you! Well, not in that way. I love you for tweeting about posters in haiku. I think my favourite is this one , on de-extinction: resurrect the lost? can we really right our wrongs with a tweaked dodo? • • • Here’s how Meredith Rawls made an award-winning poster . Here are a couple of points in her description that I like: Re-read the abstract you submitted to the conference weeks ago. Is it overly ambitious? Totally off-base? No matter. Your poster is an opportunity to communicate what you’ve done as of TODAY. Do you know what I did with all the words I wanted to put on my poster but didn’t? I used them in conversations, and they appear or will appear in papers. And here’s said poster: Very nice! • • • A lot of people on Twitter were impressed by this poster : This is a great example of how a poster can be, at one time, very simple and focused conceptually (there’s really only one figure, and no text elaborating introductions and methods and so on), and yet s

It’s nice when people spread the news of good work: Emily Jones, grad student at University of Dayton, presented a poster on her field work plan for exotic species interactions in a Texas coastal prairie. This got sent my way on the twittersphere (hat tip to Meghan Duffy ) because it is a very nice looking poster. Her stunning poster was co-designed with an undergrad graphic artist as part of a class. How cool! But several people (including Andrea Kirkwood and Hannah Brazeau ) mentioned that if the design is noteworthy enough to mention, maybe throw in the names of the students doing that design, too? The designers’ names are on the poster, up at the top under the title, which is great to see. I know from some people working with illustrators that the people making those graphics often significantly help bring clarity on the conceptual side, too. Good designers are often colleagues, and should be given that level of credit, not just down in the “Acknowledgements” fine print. Graphi

Today’s poster is from kindly contributor Jessica von der Meden. Click to enlarge! One of the most distinctive features of this poster is that there’s a title, or perhaps a subtitle, running down the right hand side. I’ve often toyed with the idea of placing a title on the side of a poster rather than the top, but have always chickened out. I imagined that on a wider than tall landscape style poster, not a portrait style poster, which gets turned sideways to fit. I like the sideways title for its style, but it’s impractical to read. The main body of the poster has six boxes, with white lines around each one. The white lines are, luckily, thin, so they are not as obtrusive as I’ve sometimes seen. But the boxes would benefit from having more space, and more consistent space, around them. The horizontal margins between left and right boxes are wider than the horizontal margins between up and down boxes, for instance. For a second, I thought I would try cutting those six boxes down to t