Discuss Classic Film Posters Essay

Introduction picture show posters today be considered collectibles and rare sensations fetch high prices. Great flick posters are hard to find. Historically, most posters are ablation and paste jobs that do not sell the movie genuinely well while a appearstanding poster could intrigue, shock, inspire as well as excite. To create sensation and convince viewers, it should be aesthetically beautiful or original as well memorable that a single glance allow for make the viewer go inside the theatre to watch.According to Kinross (1991), intense jut is the activity that evolved out of what has been known as commercial art virtually linked to advertising, drawn or painted illustration. The pictural designinger is generally acknowledged among themselves as professional designers who are able to work across a range of fields with different media including companies and corporate bodies, book or magazine publishing, exhibition design, signing and architectural intenses, televisio n graphics, posters, among others.Hollis acknowledged that up to the Second World War, artists who are either painters or sculptors such as Kurt Schwitters, Willi Baumeister, and Friedrich Vordemberge-Gildewart. He alike added that there had been a crisis in design as computerized designers go off in one direction led by Basel-Wolfgang Weingart and commercially developed by April Greiman and the New Wave of Americans (Kinross, 1991). It was something to do with graphic and typographic freedom and with making new run acrosss, presenting info as a decorative mode emerged from the new technology of the computer, Hollis said (Kinross, 1991, p 75). Hollis also believed then that the graphic designer does not insure the content of what he or she is designing.He also observed that in post ripeism, there is a boastful element of eclecticism that borrow past styles and apply them such as what Bruno Mongunzzi, a undefiled modern typographer and an intelligent designer who is not highl y original with the notion of I dont want to be interesting, I want to be good, (p 75). Hollis delineated art as pre aesthetic information while graphics is information which could inevitably become aesthetic.Hollis and Kinross agree that graphic design is modernism in the graphic field the conjunction of image and school text (p 76) of which Hollis empha sized the importance of the relationship between image and text. Lithography (from 1800) was credited to allow joining of image and text laboriously by hand. Likewise, aside from text and image, there was also the conjunction of image and image where photography provided raw material for montage such as John Heartfields, and by making surrealism possible images which appeared to be simple machine-made.Photography was considered as the central generator of graphic design of the modern movement citing the Volkswagen advertisement in particular (Kinross, 1991). see as also closely linked, if not overlapped with advertising starti ng the 1960s. Hollis proposed that it was difficult to separate graphics from marketing which is, a distinctly businessperson activity, which has occasionally, probably through pop music, had connections with some sort of mass culture, (Kinross, 1991, p 79-80).This paper shall try to reason the organization, design, use of colour, spatial layout, and lettering in the movie posters The Bridge on the River Kwai, The Guns of Navarone, The Magnificent Seven, and The Great trajectory with the above premise.DiscussionThe Bridge on the River Kwai. introductionThis poster uses flowing book-type design with an obvious lengthen monstrance. The type spacing or selecting is not controlled and seem to take up much infinite to provide cramped texts that followed, including the movie title. It also uses illustrations in layered format from the smallest image under, a large image above it, and the biggest one showing up close in action the lead character.In fact, the rectangle below the i ntroductory four-line texts seem to be a book sweep superimposed on the put down small image with the matching text so that the poster seem to have used a book sell itself.ColorThe use of color is impressive as the classic eye- leting conspiracy of yellow and red are used. A little of blue text complemented the overall mix of colors.spatial Lay-outAs mentioned earlier, there seem to be a followed desire to use a book cover format with introductory catch lines above and supporting details just below the book cover image. The concept, although longer than the usual movie poster, is impressive.LetteringType fonts were already used in this print further the title The Bridge on the River Kwai is definitely hand-executed in bold, uneven behavior which is very prominent.The Guns of Navarone.DesignThis one uses comics-type illustration and classic poster size to present strong images of the lead characters and the sea. Already, the use of the classic movie poster lay-out is laid and p resented making this one in hand-lettering and cut and paste rendition one for the books.ColorThe use of the yellow/brown and red combination is another notable characteristic of this movie poster. It is catchy with a huge single image in symmetrical fit with the lead credits. However, its catch line superimposed on the image is not very noticeable or striking.LetteringThe Guns of Navarone is also hand-executed with uneven yet type-cast style showing ethnic influence in the design and lettering. The bigger presentation of the lead character names overshadow the movie title, showing that the characters are more saleable than the trading floor plot. Or that each could help sell the other. A witty approach towards commercialism. spacial Lay-outThe use of outer space and overall design of the poster is pleasing and symmetrical. It is also-well-balanced and does not stray the attention away from it.The Magnificent Seven.DesignThe Magnificent Seven uses the number image as its main desi gn structure showcasing the face of the lead characters. It has a convincing approach to the use of graphics and confining images in a relevant manner so as to emphasize the number.ColorOnce again, the colors red and yellow are very evident in this poster although the gray, black and white images of the faces and heads confined at bottom the number add a balance that mutes the overwhelming yellow. The use of the neutrals or muted hues is very rational as use of gay flesh colors could drown the effect red and yellow provide. However, additional color on the images below the number 7 could have provided more impact, intrigue and variety.Spatial Lay outThe lay-out is quite crampy within the confines of the number 7, with much waste on the sides of each space. The limitation could have been the effect of picture graphics at that duration. Use of machine is already evident at this poster and the font sizes and the in straitened circumstances(p) spaces provide a glimpse of experiment ation being used.LetteringA combination of hand-executed lettering and machine type, this one shows the limitation of graphic design during the period.The Great Escape.DesignConsidered the quad poster, this one uses horizontal design to present the entire poster. The balance is achieved through the placement of small catch line on the odd and the title and image on the center-right.ColorThe use of canonic red and blue is very telling as black balances the off-white color of the reversed title in big fat fonts.Spatial lay outThere is also the experimentation of text size in this poster. While balance is being achieved, there is also the wastage of some space where the catch line could have gained advantage. However, since commercial design was in its adolescent stage, this is forgivable.LetteringMachine seems to be the evident executor at this poster. Every letter size and type are uniformed and the limited use of space made it more obvious.ConclusionThe period when photographs ar e hardly used, comic and book art illustrations were used in movie posters. These posters achieved classic hotity and acceptation imputable to use of what are typically accepted design concepts at that time use of basic colors red, yellow and blue which appear striking against one another at the same time catchy in the commercial sense, attainment of balance and symmetry by not tilting the meter of text and photos to only a single side, or plain use of centering. The lay-out and ettering are evidently limited due to time and resources restrictions. However, in a period when posters were used as announcements and not exactly collectible graphic arts, these are acceptable norms for movie posters.Current trends, however, may provide new design concepts that may or may not be considered acceptable in any other given period. Design mutates, and popular taste is conditioned, influenced, as well as acquired. So does design and movie posters.ReferenceKinross, Robin (1992). talk with Rich ard Hollis on Graphic Design History. Journal of Design History 5 (3) 73-93.Hershenson, Bruce (1998). A History of Movie Posters. Reel Classics.