An award-winning cinematic artist and painter who illustrated some of the world's most recognizable movie posters. Alvin created movie posters, which are also known as key art, for over 135 films over the course of his career, beginning with the poster for Mel Brooks' Blazing Saddles in 1974. His style of art for his posters became known as Alvinesque by friends and colleagues in the entertainment industry.
Blade Runner is my favourite for two reasons. One I love the film itself so I'm slightly biased and two I love the dark colour scheme which portrays the mood of the feature perfectly. The depictions of the characters are also spot on, from their poses through to the way they blend into their surroundings.
Richard Amsell
While a student at the Philadelphia College of Art, his proposed poster art for the Barbra Streisand musical Hello, Dolly! was selected by 20th Century Fox for the film’s campaign after a nationwide artists’ talent search. He quickly found enormous popularity within New York's art scene and more movie posters materialized.
I like Murder on the Orient Express because of the ingenius way he has grouped together this extensive cast of characters. I also like the style of his illustrations, it's reminiscent of the Art Nouveau movement and is similar to Alphonse Mucha's style of drawing. I also like how he has slotted the type perfectly either side of the daggers handle.
I like Murder on the Orient Express because of the ingenius way he has grouped together this extensive cast of characters. I also like the style of his illustrations, it's reminiscent of the Art Nouveau movement and is similar to Alphonse Mucha's style of drawing. I also like how he has slotted the type perfectly either side of the daggers handle.
A prolific American realist artist who drew large amounts of Hollywood film posters. Brown taught at the Art Center College of Design where he met Misha Kallis, then an art director at Universal Pictures. Through Kallis, Brown began his film poster work starting with The World in His Arms. He then did the art work for many high profile film posters including the Alamo.
This is my favourite because of just how iconic it has become. It's one of those posters that people seek out, the type of poster that students put up without knowing exactly what it's about. I personally think you don't need to have seen the film to appreciate it fully. It works so well as a piece of individual art. I also love the red type on a yellow background, I think it stands out brilliantly.
Astrid Chevallier
She started to work as a graphic designer and assistant photographer in advertising agencies. Astrid relocated to Los Angeles in 2002 and brought her European influences and her conceptual vision to the table, she has been creating movie posters for major Hollywood Studios, award-winning independent film productions, and many award-winning short films.
To be honest I couldn't find much on this artist but I did like the example to the left. The first reason was because it reminded me of the original promotional image used for the sixties broadway show Hair, a personal favourite. But besides that I like how the names are placed in the smoke and the whole psychadelic vibe, on a subtle level and not too brash.
Bill Gold
An American graphic designer best known for thousands of movie poster designs. During his 60-year career he worked with some of Hollywood's greatest filmmakers, including Clint Eastwood, Alfred Hitchcock, Stanley Kubrick, Elia Kazan, Ridley Scott, and many more. Furthermore, Bill Gold designed (and often photographed) posters for 35 consecutive Clint Eastwood films, from Dirty Harry (1971) to Mystic River (2004).
I think the Clockwork Orange poster needs little to none explanation. It's just become one of the most memorable images in movie poster history, even for someone like me who's never even seen the film. The use of triangles to encapsulate some of the imagery is clever, and I think has been inspiration for many things, including The White Stripes 'Seven Nation Army'.
Mitchell Hooks
The Brothers Hildebrandt
Twin brothers who collaboratively worked as fantasy and science fiction artists. They are best known for their popular The Lord of the Rings illustrations, painting the first Star Wars film poster, illustrating comics and cards, and their Magic: The Gathering illustrations.
Even though the image to the left is one that I personally don't know, mainly because it has been over-rided by many other Star Wars posters since, it is obvious to see this is the whole thing got it started. The colour scheme is just mesmerising and the placement of Darth Vader's head place right behind the hero; Luke Skywalker's, light saber is visually stunning. Also the way in which they have managed to include so many different aspects without appearing cramped but instead flowing around the page is a testament to their dedication to get it right.
Robert McGinnis
An American artist and illustrator. McGinnis is known for his illustrations of over 1200 paperback book covers, and over 40 movie posters, including Breakfast at Tiffanys (his first film poster assignment), Barbarella, and several James Bond and Matt Helm films.
Besides from being one of the most successful films of all time, Breakfast at Tiffany's has many an iconic image spanning from the film adaptation of the Truman Capote Novella. The use of negative space is superb, and instead of overwhelming the viewer McGinnis has simply portrayed the glamourous side of the Holly GoLightly character in the foreground and given us a slight glimpse into the more vulnerable side of her persona.
Drew Struzan
An American artist who has painted album covers, advertising, collectibles, and book covers, but he is best known for his extensive movie poster work. Popularly known by his signature first name on his work, Struzan is one of the industry's most recognized talents, having provided artwork for over 150 movie posters, including many of the best-known films of all time.
The illustration itself may be taken straight from the feature but it must have taken a lot of effort to capture it precisely. From the fire on the ground which symbolises speed to the way in which Marty McFly is looking at his watch symbolising time, you can gather from the single frame that the film is packed full of suspense, adventure and of course time travel.
Tom Chantrell
He left Manchester Art College and went into advertising, eventually starting in 1933 at Allardyce Palmer who had accounts with Warner Brothers and 20th Century Fox. In 1938 he designed his first film poster The Amazing Dr. Clitterhouse. Chantrell designed many posters for the Carry On films. The latter brought him some trouble when the poster for Carry On Spying had to be changed to avoid looking too much like From Russia with Love.
This is my favourite example because of the contrast between the objects that are seen on land at the top of the composition and the underwater items at the bottom. I also like the 'stacked' approach to the title and am instantly reminded of the iconic Ben-Hur poster created by fellow artist Reynold Brown.
This is my favourite example because of the contrast between the objects that are seen on land at the top of the composition and the underwater items at the bottom. I also like the 'stacked' approach to the title and am instantly reminded of the iconic Ben-Hur poster created by fellow artist Reynold Brown.
She started to work as a graphic designer and assistant photographer in advertising agencies. Astrid relocated to Los Angeles in 2002 and brought her European influences and her conceptual vision to the table, she has been creating movie posters for major Hollywood Studios, award-winning independent film productions, and many award-winning short films.
To be honest I couldn't find much on this artist but I did like the example to the left. The first reason was because it reminded me of the original promotional image used for the sixties broadway show Hair, a personal favourite. But besides that I like how the names are placed in the smoke and the whole psychadelic vibe, on a subtle level and not too brash.
Jack Davis
An American cartoonist and illustrator mainly known for his 'Tales from the Crypt' covers, but also created many film posters. Davis produced the artwork for the poster for the 1963 comedy chase film It's a Mad, Mad, Mad, Mad World. Davis' artwork for the comedy Western Viva Max! formed the centerpiece of that film's promotional campaign, and he did the same for the film Kelly's Heroes in 1970.
I like the cartoon approach and the composition of hundreds of people carfully balanced on top of the world, but yet still scrambling for what seems like a briefcase full of money which is falling away. I think it's a very clever way of communicating the message of the film in a humourous snap shot.
I like the cartoon approach and the composition of hundreds of people carfully balanced on top of the world, but yet still scrambling for what seems like a briefcase full of money which is falling away. I think it's a very clever way of communicating the message of the film in a humourous snap shot.
An American graphic designer best known for thousands of movie poster designs. During his 60-year career he worked with some of Hollywood's greatest filmmakers, including Clint Eastwood, Alfred Hitchcock, Stanley Kubrick, Elia Kazan, Ridley Scott, and many more. Furthermore, Bill Gold designed (and often photographed) posters for 35 consecutive Clint Eastwood films, from Dirty Harry (1971) to Mystic River (2004).
I think the Clockwork Orange poster needs little to none explanation. It's just become one of the most memorable images in movie poster history, even for someone like me who's never even seen the film. The use of triangles to encapsulate some of the imagery is clever, and I think has been inspiration for many things, including The White Stripes 'Seven Nation Army'.
An American artist and illustrator renown for artwork in magazines such as Redbook. Hooks also illustrated the U.S. Marine Corps book How to Respect and Display Our Flag and designed the original film posters for Dr. No, The Face of Fu Manchu and others. In 1999, he was inducted into the Society of Illustrators Hall of Fame.
The image to the right is perfect because it just encapsulates the entire James Bond franchise. It was started in the sixties as everybody knows and the use of pastels combined with the juxtaposition of several scantilly clad women and Bond himself, holding a gun, just works. The sign of a good poster is when no words are needed, just like here.
The image to the right is perfect because it just encapsulates the entire James Bond franchise. It was started in the sixties as everybody knows and the use of pastels combined with the juxtaposition of several scantilly clad women and Bond himself, holding a gun, just works. The sign of a good poster is when no words are needed, just like here.
Twin brothers who collaboratively worked as fantasy and science fiction artists. They are best known for their popular The Lord of the Rings illustrations, painting the first Star Wars film poster, illustrating comics and cards, and their Magic: The Gathering illustrations.
Even though the image to the left is one that I personally don't know, mainly because it has been over-rided by many other Star Wars posters since, it is obvious to see this is the whole thing got it started. The colour scheme is just mesmerising and the placement of Darth Vader's head place right behind the hero; Luke Skywalker's, light saber is visually stunning. Also the way in which they have managed to include so many different aspects without appearing cramped but instead flowing around the page is a testament to their dedication to get it right.
Frank McCarthy
A prolific American artist and realist painter renowned for advertisements, magazine artwork, paperback covers and film posters. Amongst McCarthy's film poster work were The Ten Commandments, The Great Escape, The Train, The Glory Guys, The Dirty Dozen, Dark of the Sun, On Her Majesty's Secret Service and Once Upon a Time in the West.
I like the use of white space in this piece and how the figures look as though they are escaping the page rather than the prison. From the inclusion of barbed wire around the title to the yellow beams of light, it is clear what this film is about from the outset and therefore the audience would know exactly what they are about to witness. I also like the centralised red text at the bottom of the page.
I like the use of white space in this piece and how the figures look as though they are escaping the page rather than the prison. From the inclusion of barbed wire around the title to the yellow beams of light, it is clear what this film is about from the outset and therefore the audience would know exactly what they are about to witness. I also like the centralised red text at the bottom of the page.
An American artist and illustrator. McGinnis is known for his illustrations of over 1200 paperback book covers, and over 40 movie posters, including Breakfast at Tiffanys (his first film poster assignment), Barbarella, and several James Bond and Matt Helm films.
Besides from being one of the most successful films of all time, Breakfast at Tiffany's has many an iconic image spanning from the film adaptation of the Truman Capote Novella. The use of negative space is superb, and instead of overwhelming the viewer McGinnis has simply portrayed the glamourous side of the Holly GoLightly character in the foreground and given us a slight glimpse into the more vulnerable side of her persona.
Bob Peak
An American commercial illustrator best known for innovative design in the development of the modern movie poster. The United Artists movie studio hired Peak in 1961 to help promote West Side Story. Peak later illustrated posters for designer Bill Gold including My Fair Lady and Camelot, the first six Star Trek films, Superman, In Like Flint and Apocalypse Now.
Even though I have never seen the film this has to be one of my favourite posters of all time. I love how the quite frankly, harrowing depiction of Marlon Brando blends with the orange sun whilst helicopters fly past. The one thing that resonates the most is the colour scheme. The bursts of orange are beautiful aesthetically but as soon as you some to realise what they symbolise it takes on a whole other meaning.
Even though I have never seen the film this has to be one of my favourite posters of all time. I love how the quite frankly, harrowing depiction of Marlon Brando blends with the orange sun whilst helicopters fly past. The one thing that resonates the most is the colour scheme. The bursts of orange are beautiful aesthetically but as soon as you some to realise what they symbolise it takes on a whole other meaning.
An American artist who has painted album covers, advertising, collectibles, and book covers, but he is best known for his extensive movie poster work. Popularly known by his signature first name on his work, Struzan is one of the industry's most recognized talents, having provided artwork for over 150 movie posters, including many of the best-known films of all time.
The illustration itself may be taken straight from the feature but it must have taken a lot of effort to capture it precisely. From the fire on the ground which symbolises speed to the way in which Marty McFly is looking at his watch symbolising time, you can gather from the single frame that the film is packed full of suspense, adventure and of course time travel.
Howard Terpning
An American illustrator and realist painter. He is known for many film posters of the 1960s and 1970s, Vietnam war art and Western art. Beginning with The Guns of Navarone in 1961, he became a prolific film poster artist for such films as Cleopatra, Doctor Zhivago, The Sound of Music, The Sand Pebbles and many others.
Again, another retro piece which depicts the film clearly from the outset. It's obvious straight away that there will be a lot of singing and dancing involved, and maybe even a little romance from the way the Baron is looking at the singing nun. It obviously doesn't indicate the presence of Nazi's but at the end of the day this is a great example of learning to omit certain things, and instead leaving more the imagination of the viewers.
Again, another retro piece which depicts the film clearly from the outset. It's obvious straight away that there will be a lot of singing and dancing involved, and maybe even a little romance from the way the Baron is looking at the singing nun. It obviously doesn't indicate the presence of Nazi's but at the end of the day this is a great example of learning to omit certain things, and instead leaving more the imagination of the viewers.
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