Discuss Classic Film Posters Essay

IntroductionMovie bankers bills instantly be conside cherry collectibles and rare iodins fetch high prices. Great photo bright film nibs are hard to find. Historically, most posters are cut and spreadhead jobs that do not wander the characterization precise well while a keen 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 will practice the viewer go inside the theatre to watch.According to Kinross (1991), vivid anatomy is the activity that evolved turn up of what has been known as commercial artistry near linked to advertising, drawn or painted illustration. The brilliant former is in general acknowledged among themselves as professional tendencyers who are able to work crossways a range of fields with different media including companies and corporate bodies, day record or magazine publishing, exhibition design, signing a nd architectural graphics, television graphics, posters, among other(a)s.Hollis acknowledged that up to the Second World War, artists who are either painters or sculptors some(prenominal)(prenominal) as Kurt Schwitters, Willi Baumeister, and Friedrich Vordemberge-Gildewart. He withal added that on that point 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 roughthing to do with graphic and typographic freedom and with making new images, presenting information as a decorative bearing emerged from the new technology of the computer, Hollis said (Kinross, 1991, p 75). Hollis also believed then that the graphic designer does not control the content of what he or she is designing.He also observed that in postmodernism, thither is a large element of eclecticism that borrow past styles and apply them much(prenominal) as what B runo Mongunzzi, a unpolluted modern typographer and an intelligent designer who is not highly 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 inescapably become aesthetic.Hollis and Kinross agree that graphic design is modernism in the graphic field the join of image and school school text (p 76) of which Hollis emphasized the importance of the race 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 machine-made. picture taking was considered as the central generator of graphic design of the modern causa citing the Volkswagen advertisement in particular (Kin ross, 1991). jut as also nigh linked, if not overlapped with advertising starting the 1960s. Hollis proposed that it was difficult to separate graphics from merchandise which is, a distinctly bourgeois 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 discuss the organization, design, using up of colour, spatial layout, and lettering in the movie posters The Bridge on the River Kwai, The Guns of Navarone, The majestic Seven, and The Great Escape with the above premise.DiscussionThe Bridge on the River Kwai.DesignThis poster uses peak book-type design with an obvious elongated showing. The type spatial arrangement or sensationing is not controlled and seem to take up much space to provide cramped texts that followed, including the movie title. It also uses illustrations in shape format from the smallest image below, a king-sizedger image above it, and the biggest one showing up close in action the lead character.In fact, the rectangle below the introductory four-line texts seem to be a book recompense superimposed on the lower small image with the matching text so that the poster seem to have used a book cover itself. food colorThe use of color is impressive as the classic eye- vexing combination of yellow and red are used. A subaltern of blue text complemented the boilers suit mix of alter.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 exposit just below the book cover image. The concept, although longer than the usual movie poster, is impressive.letterType shells were already used in this print only if the title The Bridge on the River Kwai is definitely hand-executed in bold, queer manner 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 presented 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 labyrinthine sense 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 story plot. Or that each could help sell the other. A witty approach towards commercialism.Spatial Lay-outThe use of space and overall design of the poster is pleasing and symmetrical. It is also-well-balanced and does not stray the attention forwar d from it.The Magnificent Seven.DesignThe Magnificent Seven uses the publication image as its main design structure showcasing the face of the lead characters. It has a convince approach to the use of graphics and confining images in a germane(predicate) manner so as to emphasize the number.ColorOnce again, the colorize red and yellow are very intelligible in this poster although the gray, black and white images of the faces and heads confined within the number add a balance that mutes the overwhelming yellow. The use of the neutrals or muted hues is very reasonable as use of human flesh colors could drown the impression 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 printing graphics at that time. Use of machine is alrea dy evident at this poster and the font sizes and the wasted spaces provide a glimpse of experiment 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 left and the title and image on the center-right.ColorThe use of basic red and blue is very effective 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 provide and the moderate use of space made it more obvious.ConclusionThe period when photographs are hardly used, comic and book art illustrations were used in movie posters. These posters achieved classic popularity and acceptance due 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 acq uired. So does design and movie posters.ReferenceKinross, Robin (1992). Conversation with Richard Hollis on Graphic Design History. Journal of Design History 5 (3) 73-93.Hershenson, Bruce (1998). A History of Movie Posters. Reel Classics.