Classic artwork
As long as there are physical sets, there’s going to be a need for graphic design in film. “Charlie Wilson’s War” is a perfect example. How could you have Tom Hanks standing on the Capitol lobby floor without the tile floor and wall graphics this website? His and the director’s reaction to the set was priceless and most rewarding.
“Landing your next job is quite exhilarating! If it’s a new production designer, before I interview or when I get the call, the very first thing I do is research him or her and the director. That sets the time for the approach of the project. Once the deal is made, it’s time to dig in after the NDA is signed. I would read the script to get an overall scope of the movie, but immediately go back to take carefully detailed notes. Every word and scenario has to be interpreted and cross-checked with the production designer because he would already have an idea of the graphics. My hope is that we would be on the same path or at least close. When there are specific scripted terms or descriptions that need further clarification, we then go to the director and writers.
Our mission is to create tactical, actionable articles that teach valuable skills. We want to highlight the amazing work that’s being done every day in our industry, but instead of conducting armchair interviews, we dive into the messy details and show you how it actually works.
So, I took to the streets and yelled ‘I AM A GRAPHICS LADY’ on the assumption that a sense of drama would have The Film People flocking to me — and by this I mean I tried e-mailing people and found out it’s not super easy to get into the film industry, even with the ever-desirable archaeology and anthropology degree.
Empire of the Sun artwork
Conflict, Time, Photography brings together photographers who have looked back at moments of conflict, from the seconds after a bomb is detonated to 100 years after a war has ended. Staged to coincide with the centenary of the First World War, this major group exhibition offers an alternative to familiar notions of war reportage and photojournalism, instead focusing on the passing of time and the unique ways that artists have used the camera to reflect on past events.
“From the seconds after a bomb is detonated to a former scene of battle years after a war has ended, this moving exhibition focuses on the passing of time, tracing a diverse and poignant journey through over 150 years of conflict around the world, since the invention of photography.
This is an original, rolled, one-sheet movie poster from 1987 for Empire of the Sun starring Christian Bale, John Malkovich, Miranda Richardson and Joe Pantoliano. Steven Spielberg directed the film based on the novel by J.G. Ballard. John Alvin is the artist for the poster.
Conflict, Time, Photography brings together photographers who have looked back at moments of conflict, from the seconds after a bomb is detonated to 100 years after a war has ended. Staged to coincide with the centenary of the First World War, this major group exhibition offers an alternative to familiar notions of war reportage and photojournalism, instead focusing on the passing of time and the unique ways that artists have used the camera to reflect on past events.
“From the seconds after a bomb is detonated to a former scene of battle years after a war has ended, this moving exhibition focuses on the passing of time, tracing a diverse and poignant journey through over 150 years of conflict around the world, since the invention of photography.
This is an original, rolled, one-sheet movie poster from 1987 for Empire of the Sun starring Christian Bale, John Malkovich, Miranda Richardson and Joe Pantoliano. Steven Spielberg directed the film based on the novel by J.G. Ballard. John Alvin is the artist for the poster.
Cinematic artwork
The first scenes of Pierrot le fou begin with Jean-Paul Belmondo in the bath, reading from his copy of Elie Faure’s Histoire de l’Art. An essential reference within art criticism, this book reappears across the film in the form of different passages. A few moments later, in Marianne’s apartment, art meets film once more. With posters and postcards, we recognize the works of Henri Matisse and Pablo Picasso spread across her bare walls. Although it may not be glamorous, Godard’s choice of decor for Marianne’s apartment more closely resembles how many of us appreciate masterpieces: from a distance. Who hasn’t displayed their adoration for an artist in a gift shop?
Finally, Wes Craven’s ‘Scream’ finds its iconic mask in Edvard Munch’s ‘The Scream’. The movie’s memorable mask is a direct descendant of Munch’s agonized figure, turning a painting into a pop culture phenomenon.
Quentin Tarantino’s latest movie is a cinematographic love letter to the Hollywood of the 60s. In this self-reflexive tale, we’re met with reality-inspired characters such as Sharon Tate, along with other, more fictional ones, like Rick Dalton or Cliff Booth. Throughout the film, Tarantino makes an art of weaving the new and the old, the real and the fictional.
Original art
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A redirection has been made from YourArt to ArtMajeur, as the two platforms have merged. All content, artworks, and artist spaces are now available here. You can continue browsing on ArtMajeur, the largest online art platform in the world.
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