Crush the industry bass tab movie#
"It feels like overall, decent movie posters are actually becoming more common, even if they’re being done in parallel to the main campaigns,” Gibley says.It’s been a BIG, long, weird year- full of ups and downs and uncertain times.
Moonlight, The Lobster and Green Room are all examples of studios producing interesting, timeless pieces, giving hope that there are still decent mainstream movie posters out there. With an increase in alternative movie poster design (see the likes of Olly Moss and Mondo), studios have clocked on to the fact that this type of aesthetic can give their movie an edge (and allow them to sell a bunch of prints). Gibley argues that it’s not all bad though. "With access to so much imagery and visual stimuli now (more than ever), how have we become so visually illiterate that only a roughly assembled photograph of the cast reassures us we are going to be entertained? Perhaps the cult of celebrity and the selfie have crushed the soul out of mainstream cinema posters. His amazing work on mainstream releases shows us that a cloud of disengaged headshots isn't the only way a poster can communicate the core of a film. A quick look at the work of Saul Bass will tell us that this wasn't always so. “Mainstream posters, by and large, are marketing tools intended to appeal to a wide base that it is assumed has no interest in lasting design or creative integrity. Perhaps the cult of celebrity and the selfie have crushed the soul out of mainstream cinema posters Graham Humphreys Most designers and illustrators will attest to this endless mortal combat." "Endless changes that will please executives, accountants and marketing needs, but changes made in ignorance of the visual cohesion that might have made a good poster. “One thing that I can recognise is client intervention,” explains Humphreys.
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Initial designs feature Spider-Man hanging out in NYCīLT is also responsible for some of the best poster designs and campaigns in recent months – its fantastic Baby Driver campaign (opens in new tab) and the brilliant rom-com Deadpool ad (opens in new tab) for example. However, this particular design is jarringly different to the posters the agency initially released (opens in new tab), which saw Spider-Man hanging out in various NYC spots. Sadly, BLT (opens in new tab) – the agency that produced this poster – was unable to discuss any specifics of the poster due to the client relationship. Unless boredom is the intended threat.” Marketing casualty in fact none of the theatrical tropes that are recognisable human traits and cinematic emblems. There is no narrative of threat, romance, fear, good, evil. “The angle from which the heads are viewed are also numerous and without order. “Here, the participants gaze in all directions without having any idea there might be someone else in the same poster! In addition, they are all closed-mouthed, neutral gazes – with the bizarre exception of a curiously happy young lady in the bottom right,” he continues. This is usually achieved through eyelines, emotional expressions and reactions, which can add a layer of interest and insight into the film’s storyline and characters. He adds that when the poster composition needs to be of the floaty-head variety, there still needs to be a form of narrative. The participants gaze in all directions without having any idea there might be someone else in the same poster Graham Humphreys This recent Transformers poster is another casualty of the scrapbook-style approach It looks more like a page in a scrapbook – a concept in itself perhaps, but not one clearly intended (or relevant) here.”
In this poster, it would appear that no such consideration has been applied. “Even though we are used to seeing unrealistic scale and smaller elements alongside larger ones, effects of colour and light should allow the suspension of physics and scale. “My first impression is an issue with colour balance and the obvious cut-outs – the images don't appear to exist in the same context,” he says. It seems that colour palette and composition is where this Spider-Man poster begins to go wrong, as illustrator Graham Humphreys (opens in new tab) explains. The ‘problem’ is that you don’t need to be an artist to give it a try, or to understand how good compositions and colour palettes really work.” Out of context Of course now the fantastic thing is that as an artist you can use Photoshop to aid the process. A skilled artist can take all those disparate elements and weave them together into a beautiful composition, whilst capturing the aspirational ‘feel’ of a movie at the same time. “If you’re simply moving photos around though, you’re not going to get that cohesiveness that an illustration can bring you.
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