History of
FILM POSTERS
Between 1953 and 1974 I designed about 130 posters, mostly for distribution NEW FILM ART. During this time, the approach to design, the appearance and the reproduction and printing technology have developed and changed, and I have had ample opportunity to contribute my different tastes, preferences and interests in this work.
I was given access to different poster types, such as Portrait font-scene photo-posters have the posters and painted, drawn, photographed it, installed and used the media mix.
This diversity is bound to have different working methods developed on the subject of the film, for the medium of film and media poster. This is interesting only in retrospect, to identify such groups and types in the posters and divide, but it gives the designer the opportunity to see for the very diverse movies appropriate solutions or to experiment with a poster order with several methods.
An ancient, obvious and there is still a fruitful approach is to proceed much like a newspaper, which reviewed a film and to print a typical image from the film, which must be available as part of the whole, the movie. Since I was originally from the illustration that I did has always been fascinated, has, I initially limited to this possibility, to directly illustrate ". The process has the disadvantage that some topics are not so tangible, also it is difficult, it was with such scenic views, to reach the posters required effect. The use of photography also initially excluded, because the financial possibilities of the loan at that time only the printing press was available. I cut the motifs in linoleum, usually the title bar, then, the smaller font just made in apposition and closed the whole thing in a form and printed. By the above difficulties, I dug, the more fragmentary planar view, in which I was heavily influenced by the first hard deducted black and white photos, the then . for us an exciting novelty, but these style could be better realized by screen printing, the us in 1958 - after moving to Frankfurt -. are available was the key for me posters from this group, STORM OVER ASIA (1961), CRIME ET châtiment (1962) and Battleship Potemkin (1967).
A direct illustration of the opposite form of the "symbolic" solution in which the theme of the film is expressed by a graphic symbol, which itself occurs in the film or not is not relevant is. The poster OF CUSTODIAN for example, shows a great eye and a . just such a key - with the eye through looking through the handle of the key first, only an enigmatic figuration that derives its meaning only in relation to the title, the poster also an appropriate example of the interdependence of image and word: if, during the work on the poster for the title of the film would have changed - what happened and sometimes well - so I had this draft is not maintained can while staying in the fifties determinative in other countries strongly illustrative solutions -. as in the good practice of Polish colleagues, especially by Palka and early Lencia posters - it is later entered a wide range of topics analog symbols, assembly and surreal graphics and photographs in the foreground and accepted in a restricted audience of cinema and theater friends have one can safely say that for. the sight of the poster SETTLEMENT IN SHANGHAI (1973) no one comes to the idea that the snake, which is where the eye and eyebrow of the profile view of a woman's head, also see as the film is.
How strong these approaches have become a trend, I was struck by a jury at work, in which the results of the not very attractive theme, youth dental care "should be evaluated. All solutions showed, translated" configurations such as a rather strained graph in which was in the grip of the toothbrush, a node curved; here probably quite obvious illustration of a mouth with healthy teeth would be a few decades ago, also following the prevailing trend has occurred in some variants, where she was among the Submissions not represented.
The previously mentioned ways are just a selection of the designer of many now common practices that appear not only in many varieties, but are also connected. My poster for Arsenic and Old Lace (1970) would be a hand lane probably still under the heading Portrait posters, on the other hand, certainly an illustrative example, but with the skull-representation, which as a label of the poison vial posed to a grid over the entiresurface spreading, leaves the said form of representation.
A line that I have followed for some time engaged, the connection between drawing and photography in a poster. (IN PACT WITH THE DEVIL (1964), TO BE OR NOT BE (1964), in the criminal LIFE OF ARCHI BALDO DE LA CRUZ (1960), and illustrations in this film).
In the latter project is the starting point of the material carrier of the poster, the paper on which there is a women's profile. The paper is penetrated from behind by the fingers of one hand the - includes neck - - subscribed a murder on the paper. In PACT WITH THE DEVIL I understood very enlarged points of the grid as a combustible objects - does not burn the head, only the representation of him.
The development of these concepts, I consider it in all phases of design, including the implementation, useful to monitor as many approaches. I reminded of one of the few series that I designed for the new cinema, the films of Glauber Rocha. That should be three South African films to be the common element area simplified portrait of Antonio das Mortes. I'm sure this facial representation repeatedly applied to transparent film and now color photos, objects could etc. including back and replace her and move and thus a large number of different designs project compare in my mind, select and fix, using a method that in the art of animated film (cartoon) by using (the posters Antonio das Mortes, LAND IN TRANCE and GOD AND DEVIL IN THE LAND OF THE SUN are created).
A new and particularly exciting setting for the movie poster object found in a poster by Henryk Tomaszewski, Warsaw, for a film with Anna Magnani Bellissima (1954). The poster shows an excerpt from a film strip of two mutually stationary images that show both the same, and Magnani with a child. Both pictures are up or down as much touched, that only when one has seen both the presentation is complemented and completed. not only the theme of the film in question is visualized, but the medium of film itself made the subject of the representation. When Wolfgang Schmidt's M - A CITY SEEKS AN ASSASSIN (1966) and in another of his posters KILLING (1965), the Successive projected film images is visualized.
Isolde Baumgart translated in their poster for The Stranger (1974), the film techniques of camera movement in an appropriate manipulation of photographic darkroom technique.In MISFITS (1975 German Title: The Misfits), it draws on the proceedings of the film, in which a dialogue or action - situation in succession from the point of view is shown conflicting. . Jean-Luc Godard's LE GAI SAVOIR (Gay Science) suggested to me a poster of nothing, there, ready-made "parts of the typography of the title follows a Godardian incident that occurs in the film: we see the word" ANGEL (ENGEL), which fills the screen. Then the camera moves back, and you see that they had collected before the only part of a longer word that contains the first,:,, DANGER (Caution! - a road sign) As I have in. Film Title words found in words and typographically highlighted that have to do with the subject of the film.'s have words discover, I played after a while with tram rides, this was my best catch the word restaurant, are included in the five other German words. The photos along with their unusual hand-written notes are also made of the film come from or Godard. to be done was the color and arrangement of parts to the layout. But I have the principle of division of DIN-formats and over again divided in the middle; in this case up to DIN A 7, half the size of a postcard. The work on the very idea and the realization of the design to reproduction and printing runs out very differently. If ideas have spontaneously stopped, I usually produce a few more, . so that the competition is the selection and decision easier I like long been working on this first phase, using several different Find method, which I have described in detail in a text as case histories of the emergence of two posters on the work of film posters, in:. A poster is an area that catches the eye (Hillman / Rambow, eds), Hamburg 1979th
sometimes was to discussions, in which, the typical "movie poster was fought, expressed views which tend to explain the diversity designing imperious access only one or the other suitable I personally vote for an open position. the task of to shine through in the smaller poster format something of a message, the atmosphere or only from the type of such a complex thing as a feature film and in addition to complying with the conditions of the striking, is too difficult, you can not possibly afford to to abandon the diversity of offering solutions.
Between 1953 and 1974 I designed about 130 posters, mostly for distribution NEW FILM ART. During this time, the approach to design, the appearance and the reproduction and printing technology have developed and changed, and I have had ample opportunity to contribute my different tastes, preferences and interests in this work.
I was given access to different poster types, such as Portrait font-scene photo-posters have the posters and painted, drawn, photographed it, installed and used the media mix.
This diversity is bound to have different working methods developed on the subject of the film, for the medium of film and media poster. This is interesting only in retrospect, to identify such groups and types in the posters and divide, but it gives the designer the opportunity to see for the very diverse movies appropriate solutions or to experiment with a poster order with several methods.
An ancient, obvious and there is still a fruitful approach is to proceed much like a newspaper, which reviewed a film and to print a typical image from the film, which must be available as part of the whole, the movie. Since I was originally from the illustration that I did has always been fascinated, has, I initially limited to this possibility, to directly illustrate ". The process has the disadvantage that some topics are not so tangible, also it is difficult, it was with such scenic views, to reach the posters required effect. The use of photography also initially excluded, because the financial possibilities of the loan at that time only the printing press was available. I cut the motifs in linoleum, usually the title bar, then, the smaller font just made in apposition and closed the whole thing in a form and printed. By the above difficulties, I dug, the more fragmentary planar view, in which I was heavily influenced by the first hard deducted black and white photos, the then . for us an exciting novelty, but these style could be better realized by screen printing, the us in 1958 - after moving to Frankfurt -. are available was the key for me posters from this group, STORM OVER ASIA (1961), CRIME ET châtiment (1962) and Battleship Potemkin (1967).
A direct illustration of the opposite form of the "symbolic" solution in which the theme of the film is expressed by a graphic symbol, which itself occurs in the film or not is not relevant is. The poster OF CUSTODIAN for example, shows a great eye and a . just such a key - with the eye through looking through the handle of the key first, only an enigmatic figuration that derives its meaning only in relation to the title, the poster also an appropriate example of the interdependence of image and word: if, during the work on the poster for the title of the film would have changed - what happened and sometimes well - so I had this draft is not maintained can while staying in the fifties determinative in other countries strongly illustrative solutions -. as in the good practice of Polish colleagues, especially by Palka and early Lencia posters - it is later entered a wide range of topics analog symbols, assembly and surreal graphics and photographs in the foreground and accepted in a restricted audience of cinema and theater friends have one can safely say that for. the sight of the poster SETTLEMENT IN SHANGHAI (1973) no one comes to the idea that the snake, which is where the eye and eyebrow of the profile view of a woman's head, also see as the film is.
How strong these approaches have become a trend, I was struck by a jury at work, in which the results of the not very attractive theme, youth dental care "should be evaluated. All solutions showed, translated" configurations such as a rather strained graph in which was in the grip of the toothbrush, a node curved; here probably quite obvious illustration of a mouth with healthy teeth would be a few decades ago, also following the prevailing trend has occurred in some variants, where she was among the Submissions not represented.
The previously mentioned ways are just a selection of the designer of many now common practices that appear not only in many varieties, but are also connected. My poster for Arsenic and Old Lace (1970) would be a hand lane probably still under the heading Portrait posters, on the other hand, certainly an illustrative example, but with the skull-representation, which as a label of the poison vial posed to a grid over the entiresurface spreading, leaves the said form of representation.
A line that I have followed for some time engaged, the connection between drawing and photography in a poster. (IN PACT WITH THE DEVIL (1964), TO BE OR NOT BE (1964), in the criminal LIFE OF ARCHI BALDO DE LA CRUZ (1960), and illustrations in this film).
In the latter project is the starting point of the material carrier of the poster, the paper on which there is a women's profile. The paper is penetrated from behind by the fingers of one hand the - includes neck - - subscribed a murder on the paper. In PACT WITH THE DEVIL I understood very enlarged points of the grid as a combustible objects - does not burn the head, only the representation of him.
The development of these concepts, I consider it in all phases of design, including the implementation, useful to monitor as many approaches. I reminded of one of the few series that I designed for the new cinema, the films of Glauber Rocha. That should be three South African films to be the common element area simplified portrait of Antonio das Mortes. I'm sure this facial representation repeatedly applied to transparent film and now color photos, objects could etc. including back and replace her and move and thus a large number of different designs project compare in my mind, select and fix, using a method that in the art of animated film (cartoon) by using (the posters Antonio das Mortes, LAND IN TRANCE and GOD AND DEVIL IN THE LAND OF THE SUN are created).
A new and particularly exciting setting for the movie poster object found in a poster by Henryk Tomaszewski, Warsaw, for a film with Anna Magnani Bellissima (1954). The poster shows an excerpt from a film strip of two mutually stationary images that show both the same, and Magnani with a child. Both pictures are up or down as much touched, that only when one has seen both the presentation is complemented and completed. not only the theme of the film in question is visualized, but the medium of film itself made the subject of the representation. When Wolfgang Schmidt's M - A CITY SEEKS AN ASSASSIN (1966) and in another of his posters KILLING (1965), the Successive projected film images is visualized.
Isolde Baumgart translated in their poster for The Stranger (1974), the film techniques of camera movement in an appropriate manipulation of photographic darkroom technique.In MISFITS (1975 German Title: The Misfits), it draws on the proceedings of the film, in which a dialogue or action - situation in succession from the point of view is shown conflicting. . Jean-Luc Godard's LE GAI SAVOIR (Gay Science) suggested to me a poster of nothing, there, ready-made "parts of the typography of the title follows a Godardian incident that occurs in the film: we see the word" ANGEL (ENGEL), which fills the screen. Then the camera moves back, and you see that they had collected before the only part of a longer word that contains the first,:,, DANGER (Caution! - a road sign) As I have in. Film Title words found in words and typographically highlighted that have to do with the subject of the film.'s have words discover, I played after a while with tram rides, this was my best catch the word restaurant, are included in the five other German words. The photos along with their unusual hand-written notes are also made of the film come from or Godard. to be done was the color and arrangement of parts to the layout. But I have the principle of division of DIN-formats and over again divided in the middle; in this case up to DIN A 7, half the size of a postcard. The work on the very idea and the realization of the design to reproduction and printing runs out very differently. If ideas have spontaneously stopped, I usually produce a few more, . so that the competition is the selection and decision easier I like long been working on this first phase, using several different Find method, which I have described in detail in a text as case histories of the emergence of two posters on the work of film posters, in:. A poster is an area that catches the eye (Hillman / Rambow, eds), Hamburg 1979th
sometimes was to discussions, in which, the typical "movie poster was fought, expressed views which tend to explain the diversity designing imperious access only one or the other suitable I personally vote for an open position. the task of to shine through in the smaller poster format something of a message, the atmosphere or only from the type of such a complex thing as a feature film and in addition to complying with the conditions of the striking, is too difficult, you can not possibly afford to to abandon the diversity of offering solutions.