Movie Magazines

Something I noticed every month when buying either 'Total Film' or 'Empire' was that there would always be a movie poster on the back. Obviously given the context there would have to be, but I find it interesting as to which film would be given the back page. A pattern I have found is that it's never usually a film that is expected to do well, but instead one that may underperform. It's as if being given the back page is an extra marketing boost.

Olly Moss

As an avid reader of Empire magazine I couldn't help but notice a regular feature. It involves young graphic designer Olly Moss, re-imagining a movie poster for the latest release. Every week I have liked his interpretation and look forward to the next issue just to see how he has took on the next challenge. Below are a few examples of his work.

Art of the Modern Movie Poster

Below is the introduction from one of my most treasured books; 'The Art of the Modern Movie Poster'. It discusses the development of the Movie Poster post World War II in several parts of the world. It's a fascinating read and details several key moments of the process.

The world changed in 1945, and so did the film industry. In Hollywood the golden years were over. Americans would never again attend the movies in such high percentages or with such passionate regularity. The wartime need for escape had come to an end: there were families to be reunited, and lives to be reformed. Also, a new medium - television - was about to do to movies what the internet would do to television fifty years later. Studios cut back on the budgets for their films, as well as the promotional campaigns that accompanied them. After the Hollywood Anti-Trust case of 1948 which separated the studios from theater chains they owned, the film business broke wide open, allowing a new wave of independent producers and distributors to enter the market. With little motivation to continue to produce the expensive advertising material they had issued in the 20's and 30's, the studios eventually all closed their in-house poster distribution operations, turning that job over to an independent company, the National Screen Service, which would handle posters for the majors and most if the minors until it went out of business in 2000. During the war, most of the studios had also abandoned the expensive stone lithograph process that produced the sharp, deeply saturated colours of the 20's and 30's movie posters, turning instead to the far less costly process of offset printing. Taken together, all of these changes meant a new kind of movie for a new kind of audience.

In Europe and Asia, of course, the situation was far more dire. Filmmaking had simply ceased  in some countries, and when it picked up again, the going was slow and investors were hard to come by. The first post war posters were from Europe were often cheap two or three colour affairs printed on flimsy paper - poor substitutes for the huge, colourful posters that had once covered walls in Paris, Rome and Berlin. These countries, too, would see new, independent producers enter the industry, and eventually the movie poster returned, enjoying a particular renaissance (appropriately) in Italy. In Communist Eastern Europe, film production and distribution became largely the business of the state. This worked to the advantage of poster artists, particularly in Poland, where the next generation of designers learned to work brilliantly within the new limitations, helping to give birth to a modernist movement in poster design that would prove to be hugely influential. Free of commercial constraints, these designers considered themselves artists, and the government ministers, happy to have "people's art" they could point to with pride, supported them in their endeavours, holding exhibitions, founding schools, and establishing prizes. These posters caught the eyes of collectors and dealers, and an old profession acquired a new prestige.

In devastated Japan, it was the U.S. government that put the movie business back on its feet. Operating at first under the strict control of American censors, the old studios reorganized, and a fresh generation of talent emerged - led most famously by Akira Kurosawa, whose Rashomon (1950) introduced Japanese cinema to much of the Western World when it won the top prize at the Venice Film Festival in 1951. Also, old masters like Yasujiro Ozu, Kenji Mizogucki, and Mikio Naruse entered their most profound periods. But most beneficial for the movie poster, Japan witnessed an explosion of popular genres, as new legions of sword wielding samurai, city stomping monsters and tattooed gangsters took over the screen. These busy, lurid, energetic films required a busy, lurid, energetic style of poster making, and the Japanese found it in the art of photomontage, which the studio artists elevated to new heights of baroque insanity.

On the downside, the rise of photo-based posters meant the decline of hand-painted posters. Photomontage posters were inexpensive to create, well-suited to the modern offset printing methods, and pleased actors and agents with their emphasis on star presence. Though it would take another twenty or thirty years, photomontage eventually became the accepted standard in most of the world, gaining a final advantage in the 1990's as computer applications such as Photoshop entered the picture.

Today, the poster is no longer the centre of film promotion. Television advertising has taken over that role, and the one-sheet poster, once ubiquitous in America, is now produced mainly for lightbox display in theatre lobbies, carrying the same "key art" designed to be used in platforms from bus panels to Internet banners. The hand-painted poster has become rare, a prestige item that only a few privileged filmmakers are allowed to commission. There are, of course, many examples of dazzling photographic posters, but most poster aficionados will agree that something went out of the art form when Photoshop came in. The emphasis now is not on execution, but on concept and communication. A person flipping through a magazine, surfing the Internet, or driving past a billboard may not have the time or training to appreciate Peter Strausfeld's woodcuts or Zdenek Ziegler's selection of typefaces. The message must be fast and hard: who's in it, and what it's about.

Still, it would be foolish to declare that the movie poster is dead. As a form of street art, film posters retain an appeal and mystique that no advertisement for fruit-flavoured vodka or cell phone services will ever be able to capture. For the stroller through Tokyo, Paris, New York and other great cities that support a street-level public, movie posters continue to jump out from the indiscriminate jumble of advertsing messages. The promises they make are almost invariably broken by the films they promote, but as you pass them you cannot help but feel a certain frisson, a leap of the mind toward new people and places, toward stories other than our own. More than just marketing, these posters are invitations to the imagination, forever beckoning us to join new worlds.

By Dave Kehr

Timeline Analysis

After collecting a selection of popular posters from each decade from the twenties to the noughties I have come up with a few conclusions. Firstly it is obvious to see the clear development through the years, and after breaking it up further it becomes clear that the biggest leap in design differences is from the 1970's to the 1980's. Before then things seemed to be usually hand rendered, with a collage of different characters meshed into one single frame, but after things began to change. The seventies introduced the used of photo imagery and separating the text from the image itself. Often boxes where used for this effect, as is evident in the Godfather example on the previous post. However the eighties took it one step further and started to use simple snap shots combined with what seemed like a popular dark colour scheme. More blues and blacks and metallics were used, maybe it was because of the increased sci-fi releases.

Anyway, starting at the beginning it is clear to see that neutral colours were popular. Mostly browns and beiges bordered designs that did feature beautiful typography, which when explored closely becomes obvious it is hand rendered. This method was pretty prominent right through to the 40's. Not much changed, however with the introduction of more film genres concepts became more abstract and illustrations more vivid. I would say that the first sign of change came in the 50's with the burgeoning 'epic' genre which called for higher profile posters and an all round better standard. The sixties still ran along the same lines but with artists like Saul Bass making a name for themselves, posters became more diverse and underground. More variations also became available, usually your standard theatrical release and a redesigned, more arty version by people who where beginning to appreciate poster design as an art form.

Then came the seventies and the eighties where things really took off, leading to to the nineties. It was almost as if people became lazy and just did the simplest thing. Usually meaning your bog standard nineties film poster contained a photo of the principal cast members or a key piece of scenery taking up the majority of the page, and the title placed at the bottom in the middle. It seemed as though so much effort was going into creating the film itself, there was no expense spared to advertise the feature. Fortunately things seemed to change in the noughties and variation was once again popular.

In conclusion there has been a long period of development in regards to film posters, but I think we are currently in a place where experimentation is applauded and many artists spend their time perfecting their own interpretations. Hopefully this will continue and the industry will flourish, with big time movie producers unafraid of taking a gamble on an artists vision.

A Timeline of Progression

1920's

The transition to sound-on-film technology occurred mid-decade with the talkies developed in 1926-1927, following experimental techniques begun in the late 1910s. With sound, the concept of the musical appeared immediately, as in The Jazz Singer of 1927, because silent films had been accompanied by music for years when projected in theaters.

1930's

Many full-length films were produced during the decade of the 1930s. A lot were fantastical and adventurous films to keep people's minds away from the Great Depression. The studio system was at its highest with studios having great control over a film's creative decision.

1940's

The decade of the 1940s in film involved many significant films. Hundreds of full-length films were produced during the decade of the 1940s. The great actor Humphrey Bogart made his most memorable films in this decade. Orson Welles's masterpiece Citizen Kane was also released. The film noir genre was at its height.

1950's

Films of the 1950s were of a wide variety. As a result of television, the studios and companies sought to put audiences back in theaters. They used a more techniques in presenting their films through widescreen and big-approach methods, such as Cinemascope, VistaVision, and Cinerama as well as gimmicks like 3-D film. Big production and spectacle films perfect for this gained popularity with the many historic and fantasy epics.

1960's

The decade is known for being prominent in historical drama, psychological horror, and comedy, as well as the sub-genres of spy film, sword and sandal, and spaghetti westerns, all peaking during this decade. Beginning in the middle of the decade due to the start of the cultural revolution and the abolishion of the Hays Code, films became increasingly experimental and daring and were taking shape of what was to define the 1970s.

1970's

In cinema all over the world, the seventies brought about vigor in adventurous, cool and realistic complex narratives with rich cinematography and elaborate scores. The decade opened with Hollywood facing a financial slump, reflecting the monetary woes of the nation as a whole during the first half of the decade. Despite this, the seventies proved to be a benchmark decade in the development of cinema, both as an art form and a business.

1980's

The 1980s saw the continued rise of the blockbuster, an increased amount of nudity in film and the increasing emphasis in the American industry on film franchises, especially in the science fiction, horror, and action genres. Much of the reliance on these effect-driven blockbusters was due in part to the Star Wars films at the advent of this decade and the new cinematic effects it helped to pioneer.

1990's

The 1990s were notable in both the rise of independent cinema - as well as independent studios such as Miramax, Lion's Gate, and New Line - and the advancements in CGI-technology, seen in such films as Terminator 2: Judgment Day and Jurassic Park. The Disney Renaissance begins in 1989 with The Little Mermaid, reaches the peak in popularity with The Lion King in 1994, and ends in 1999 with Tarzan.

2000's

Building on developments in the 1990s, computers are used to create effects that would have previously been more expensive. In addition, film genres not known for their popular appeal in North America became increasingly attractive to filmgoers: films in foreign languages and documentaries for example.

Ernesto Cabral, Mexico

Ernesto Garcia Cabral also known as "Chango', was born in Huatusco, Veracruz Mexico in 1890. Cabral was 17 when he first won an scholarship to the San Carlos Art Academy. By 1910 he was drawing for popular publications and two years later received a grant to study art in Paris.

Cabral returned to Mexico in 1918 where he established himself as a top caricaturist. His work often appeared on the covers of magazines such as the weekly "Revista de Revistas".

As with many artists, his commercial work was rarely signed on any advertising posters. Cabral also painted murals, one of which can be found in Toluca, Mexico. Cabral died in 1968.

I really like his style and authentic Mexican vibe. The expressive faces on his characters are utterly mesmerising and draw you in completely. More often than not his designs feature several figures and an interesting piece of text that is usually positioned in a strategic manner so as not to obscure his illustrations. I would definitely choose Cabral as the artist from Mexico that best defines the country's style. Most probably because of his use of colour, and after all Mexican culture is very colourful to say the least.

Notable Artists

Simply taken from Wikipedia's entry on Movie Posters below is a list of artists who have made a mark in the industry. With each name I have posted one example of their work. There is an incredible range in design genres and it just goes to show how such a small topic can be very varied. In alphabetical order:

John Alvin
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.

Reynold Brown
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.

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.

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.

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.

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

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 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.

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.

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.

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.

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.

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.