Paul Rand is a little gap on my bookshelf. Princeton Architectural Press’ recent reprint of his 1985 monograph A Designer's Art (complete with obligatory afterword by Steven Heller) pretty much lives on my desk these days.Read More
Good crikey, just look at this poster for Alien: Covenant. I've actually been working on a little Alien-related personal project of my own recently, and just when I think I'm halfway happy with it … this appears. How am I supposed to compete with this? It's as if Rodin took the afternoon off and asked HR Giger to finish off The Gates of Hell in his absence. Stunning/infuriating.
Tula Lotay's poster for Olivier Assayas’ Personal Shopper is rather lovely, isn't it? Love that lettering. As if being a bit good with a pen wasn't enough, it turns out that Lotay is also the brains behind Thought Bubble (Leeds' excellent annual comic art festival) and creative director of splendid comic shop Travelling Man. Lord only knows when she finds time to sleep. Check out her shop for more of this sort of thing.
The black and white – sorry, black and chrome – version of Mad Max: Fury Road is finally coming to the big screen this April (a good excuse to appreciate Changethethought's wonderful heavy-type poster). It may seem like a trivial adjustment, but going black and white can change a film in unexpected ways. For example, Frank Darabont's superior cut of The Mist feels more like a particularly excellent episode of The Outer Limits. And if you watch Saving Private Ryan or Raiders of the Lost Ark with the colour turned right down, it somehow seems more realistic, closer to the imagery of the era that we're most familiar with. Anyway, this is apparently George Miller's preferred version of the film, so it'll be interesting to see how it differs. It looks wonderfully, appropriately oily.
As commercial art produced to sell another form of commercial art, film posters can often be crass, repetitive, disposable. They’re just adverts to convince you to sit in a dark room for a couple of hours, right? They’re all about big floating heads, questionable quotes from reviewers, mugging comedians accompanied by bold red text on white backgrounds, right?Read More
When it comes to contemporary film-related design, Neil Kellerhouse is head and shoulders above pretty much everyone else at the moment. I just love this poster for Side Effects. It immediately brings to mind Farrow's iconic pharmaceutical packaging for Spiritualized's Ladies and Gentlemen We Are Floating In Space, and yet doesn't come across as a conceptual rip-off. Maybe it's the red – I'm a sucker for red.
As for the film itself, I really enjoyed it. I went into it knowing little more than what's on the poster (I've been trailer-abstinent for almost two years now), and found it thoroughly entertaining and thought-provoking in equal measures. Yet another great turn from Steven Soderbergh. Hopefully not – as he has suggested – his last.
So yes, poster and film: highly recommended. Just try not to get too distracted by Rooney Mara's post-Dragon Tattoo awksfringe.
The lady wife and I usually head to Somerset House around this time of year for one of their fantastic open-air film screenings – highlights from the last few years include Goldfinger, Alien and Tremors. Giving it a miss this year though (apparently sticking a nine month-old on cold stone in pouring rain for a few hours is a big no-no), but I'd still like to get my hands on one of these limited edition prints that HelloVon has produced to accompany the screening of The Loved Ones.
I know next to nothing about the film, but that is just great picture; like a really, really good Little White Lies cover. Who says you need to like a film to appreciate the artwork, anyway? I despised Funny Games, but the poster is one of the best bits of printy niceness that I own.
Never Let Me Go is definitely one of my films of 2011 (yes, it's that time of year again – out come the best of lists …), so when Paul Willoughby tweeted up a picture of Carey Mulligan from a recent Little White Lies photo shoot, I thought it'd make for a nice poster. So here it is.
And yes, I realise she doesn't actually have that hairstyle in the film, but lets just ignore that for now, shall we? I can't be expected to keep up to date with every single actor's hair-do. Just trying to stay abreast of Nicholas Cage's barnet alone would be a full-time job.