Today, I have decided to look at truly some of the most original and elegant movie poster designs, personal favourites which comply to all of the above standards, as well as expanding on the theme and ideas of the film’s they depict.

Each unique in their own way, (by and large – also simplistic in execution) they appear in no particular order.

#1 American Beauty (1999)

Blending delicacy with simplicity, this one of the most iconic movie posters of the past decade.

Pulse Advertising created a great piece of work, marrying the symbolism and significance of the rose (and the virgin, of course) whilst making it aesthetically identifiable with the motion picture itself. The tagline – “Look Closer” – is pretty nifty, too.

#2 Jaws (1975)

Probably the most famous poster in this list, and a fine example of how traditional art can be used to full effect. There is a tense, gravitational pull to this drawing, and ‘Jaws’ (as a character) appears just a villainous and frightening (if not more so) than in the actual film itself.

Perhaps a throwback to the artwork of the old ‘B-Movie’ designs of the mid-late 50′s, but ultimately this poster represents so much more.

#3 Barry Lyndon (1975)

A perfect example where simple design philosophy reigns supreme. The basic, black fill of the leading character and the red rose with the Victorian/Art Nouveau-era lettering (Ed Benguiat inspired?) was both forward-thinking and beautiful. The credits are given enough room to breathe also, which adds further depth to the poster.

Not too dissimilar to modern vector art, this is one of my personal favourites.

#4 Vertigo (1958)

A motion picture famous for it’s title credit sequence, the movie poster for Vertigo successfully recreates the lead’s (James Stewart) spinning, dizzying sensation he feels when suffering from vertigo at great heights.

Working in tangent with the credits, the poster depicts the spiralling vortex into (and of) the woman’s eye, signalling the workings of the inner mind and the lead’s search for female identity.

This was a poster design with a clear, unified and intelligent vision.

#5 Taxi Driver (1976)

Isolation, loneliness and despair – three words I’d use to describe the photo shot of De Niro for the Taxi Driver poster. The image captures perfectly Travis Bickle’s daily life of crushing boredom and emptiness, witnessed (unlike the film, for a change) from an outsider’s view – perhaps a stranger.

Beautifully composed and framed this could have been one of many the dark location shots of a (now largely gone) dark, seedy and grubby 1970′s New York City. The yellow grimy backdrop complements the red title and formatted Georgian credits perfectly.

#6 Stalker (French Release) (1979)

Here we have the most visually poetic movie poster in the list, where the artist has taken certain liberties to provide an alternative vision from the director’s – in this case, Andrei Tarkovsky. Here we are are shown what is never seen – from a bird’s-eye-view the main protoganist, the Writer and Professor stood silently facing ‘The Room’.

I personally love the hand-drawn font for the French movie release, along with the Art Nouveau – inspired artwork (particularly that of Théophile Alexandre Steinlen).

#7 The Gold Rush (1925)

Gorgeously rendered, this image of Chaplin is instantly recognizable. The shivering Tramp of 1925′s The Gold Rush immediately entered the pantheon of iconic images.

As with many of Chaplin’s posters, it relied more on Chaplin’s bowler hat, mustache and facial expression to grab audiences than a suggestion of the film’s comic elements.

#8 Pulp Fiction (1994)

Another tremendously iconic movie poster, Pulp Fiction’s part trashy B-Movie / well-worn adult ‘novella design’ is thrill inducing. It perfectly sets the tone of the movie, and shows off Uma Thurman quite well. Plus, the font of the title reminds one of the French New Wave, a style which Quentin Tarantino naturally pays homage to.

In typical (and lovingly) B-Movie fashion, I find the placement of the credits above the main title a nice touch.

#9 Chinatown (1974)

Another modern Art Nouveau interpretation, the hand-drawn portrayal of an ethereal Faye Dunaway curling out of Nicholson’s cigarette smoke is genius. Both sexy and provocative, this poster is perfectly recreates the atmosphere of a modern ’30s noir film whilst also providing a wonderful metaphor for the mysteriousness of Evelyn Mulwray’s character.

#10 Anatomy of a Murder (1959)

Mark Rothko meets the chalk outline. Artist Saul Bass (also an acclaimed title designer and visual consultant) brought poster design out of the golden age with a bold mix of the abstract and the figurative, of which this poster for the controversial 1959 Otto Preminger thriller is a prime example.

This poster was Premiere Magazine’s choice as the #1 poster of all time.

F Champenois Imprimeur - Editeur 1897

When you think of modern advertising, the global aim of executives and designers is that of subliminal coercion – to get you thinking that you absolutely must own the next must-have gadget or clothes range, without beating you over the head with the idea. Sometimes advertisers are successful in achieving this, but other campaigns may leave a bad taste in our mouths, swearing us off their products indefinitely. Often it is a fine balancing act of honesty, artistic flair and discretion, but ultimately it is the public who will cast the final vote.

Whatever the measure of advertising – there is always a heavy dose of psychology and in-house discussions before the final product is presented for the public’s general viewing pleasure. Looking back in retrospect, we’ve all become far too cynical to often take modern advertising at face value, although I myself, would love to see a resurgence of the naval-gazing approach to product marketing, rather than the exclusivity it has within printed fashion styling and perfume television ads. Even then, this style often feels gimmicky (sometimes obtrusive) and more often than not – from the brain than the heart.

One personal hero and inspiration to me, was a 19th century graphic designer (and later, artist) by the name of Alphonse Mucha. An important figure associated with the growth of Art Nouveau, Mucha’s (b. Czech Republic 1860-1939) work became an overnight sensation and announced an new ‘French’ artistic style towards the turn of 20th Century.

Lance Parfum Rodo 1896

After being commissioned to create a lithographed poster for the play Gismonda by Victorien Sardou (starring legendary French stage and early film actress, Sarah Bernhardt) in 1894, Alphonse was contracted to produce a flurry of paintings, posters, advertisements, and book illustrations, as well as designs for jewellery, carpets, wallpaper, and theatre sets in what was initially called the Mucha Style, but became later known as Art Nouveau (French for ‘new art’).

Art Nouveau had a fifteen-year peak, and was most strongly felt throughout Europe, but its influence was indefinitely global – a movement that applied itself to the stylings within Architecture and Decorative arts.

Ultimately a victim of his own success, Mucha’s early style was often imitated, but rarely improved upon. When it came to depicting beautiful women with luscious, free-flowing hair and wearing Neoclassical-looking robes (often captured in postures of pure serenity), nobody had Mucha beat.

Although I know this fantastical style wouldn’t wash for most advertising agencies these days (how would’ve Mucha approached a modern Oil of Ulay campaign, for example), the romanticism would still be a refreshing change. The Cadbury’s Chocolate Flake adverts had a fair old crack at the whip in the early-mid Eighties (seductive, sexy but not Nouveau), but then again, television was neither the intended nor perfect medium for Mucha’s style.

Bieres de la Meuse 1899

The problem with this style today, I think, would be our modern expectations of Commercial art – the new, the exciting and the different. Undeniably brilliant as Mucha’s work was, such an innocent, direct approach would be frowned upon. Although smaller teams could be commissioned to create such works (ideally for print showcases, advertisements, or art covers) the pioneering of today’s technology has left us quite far removed from yesteryear’s modest advances in media production and distribution.

Just being pretty isn’t enough anymore, which I think is quite the shame. Being able to witness Mucha’s work on the streets of Paris for the first time, must have been a real sight to behold. Had I been there around the Christmas of 1894, I’m sure the advertising lure of Sardou’s Gismonda would have been impossibly tempting (providing I had the coin, of course).

A preposterous idea then, but maybe perhaps advertisers could start by throwing more caution to the wind – without being overtly calculating or sentimental? If only designers were left a little bit more to their own devices….then perhaps.

man-sized enough?

There are a few benefits to having a (Summer) cold. You don’t have to cook or clean for anyone while you’re sick. After all, you don’t want to spread your germs to the rest of your family and friends. On the other hand, those who are maliciously inclined can purposely transmit their summer affliction to others. And don’t think it doesn’t happen. In these modern times everyone knows a cold is contagious.

We also know that misery loves company. (At least the weather hasn’t been particularly great…)

Compare this with the Japanese government’s way of dealing with the issue, you can’t help but feel a missed opportunity took place.

Here’s a few of my favourite public anti-smoking signs which can be spotted around Tokyo’s crowded stations and other busy areas in the heart of the government and business district.

Japanese smokers who are foolhardy enough not to take notice of the (unintentionally hilarious) warnings, risk paying a 20,000 yen ($164) penalty if they’re caught lighting up in certain busy streets of Tokyo.

And its not because I’m singularly wrapped up in myself, or particularly selfish (although I guess that is debatable) – I’m just kinda rubbish at remembering to do things…outside of matters concerning daily basic personal hygiene, that is. Unless its stapled to my forehead or written half-way up my arm, chances are I’ll forget – even if that particular something is beneficial or important.

Good with faces but bad with names? Can remember the chronological order of a soundtrack from an old movie, but not your little sister’s birthday? Just where am I supposed to be at this very moment in time?

Were you dropped on the head as a baby?!

As individuals, we all need our very own mechanisms to keep our momentum ticking and our days running smoothly. Most can vouch that a daily routine helps us know our place, and in turn, what others expect from us. My main problem is being able to filter out the crap from the important, and setting priorities should be more of a priority itself.

Now, where did I leave those stick-it notes..?

the perfect place for an egg hunt...

It has been fortunate, that Spring has been in the air for a while now. The majority of the UK has seen warm weather and clear skies this past week gone by, and nothing marks the seasonal change better than Easter. For most, it can represent a time for change and new beginnings.

Having nothing better to do yesterday, I spent a few hours ‘de-cluttering’ my living space, by trimming the fat on my shelves and clearing any unnecessary memorabilia from my desk and cupboards.  Some lost items were also re-found, which made the task more of a pleasure than a chore.

Simple, personal tasks such as this can prove to be very rewarding, and exercises the idea that sometimes cutting back is not such a bad idea.  Easter offers us the chance a chance to slow down, re-evaluate and take count of our own worth, and what we mean to others. There’s always room for a little self-indulgence too..!

Happy Easter Sunday Everyone!

llama and i are glad to have you here

I don’t personally think there’s such a thing as ‘easystarts’..the intial fumbling at the keys dont always produce the exact results intended, and it does kinda feel weird making that obligatory first post to myself (well, for the moment at least).

I could ramble on about the grand design plans I had for the blog, and the amount of re-starts I’ve had to endure to finally be happy with it, but all that really matters is making this place cosy enough that I can call my own, and to feel comfortable writing and sharing.

You Aspire to great things? Begin with the little ones

- Saint Augustine

For now, that is enough for me.