A Look into the Design of Movie Posters by School of Art, George Mason University

THRILLS, CHILLS, KILLS! A Look into the Design of Movie Posters by Kerrigan Patterson

Thrills, Chills, Kills

Copyright © 2022 by Kerrigan Patterson All rights reserved. No part of this book may be used or reproduced in any manner without written permission from the publisher except in the case of brief quotations embodied in critical articles and reviews. Book design and photography by Kerrigan Patterson

A Thanks To... My dad for forcing me to watch movies and then getting all smug when I actually end up liking them. My mom for being the worst movie watcher ever because she always asks about the plot while we watch the movie. I’m not going to tell you who dies mom. Margaret for being my wonderful editor. I hope you enjoyed the read and my dumb way of writing! Dalia for dealing with me at 3 am. One day we’ll get enough sleep.

Table of Contents Dedications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 A “Brief” History on Movie Posters . . . . . . . . . . . . . . . . . 7 Lights, Camera, “Action!” . . . . . . . . . . . . . . . . . . . . . . . 11 Oh the “Drama” of it All . . . . . . . . . . . . . . . . . . . . . . . . 20 Into the House of “Horror”s . . . . . . . . . . . . . . . . . . . . . 29 Cool Info... Now What? . . . . . . . . . . . . . . . . . . . . . . . . 40 Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Early Design Process . . . . . . . . . . . . . . . . . . . . . . . . . 43 The Hunger Games . . . . . . . . . . . . . . . . . . . . . . . . . . 48 The King’s Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 A Quiet Place . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Crooked Jewels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Works Cited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Images Cited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

(Opposite: Projections Artistiques, 1890)

Introduction In all honesty, posters are my favorite form of advertisement. They don’t interrupt my YouTube videos like trailers do, and they don’t fill up my mailbox with paper that I’m going to throw out and then feel bad about because man, that’s a lot of wasted paper. They simply come across my Twitter feed or catch my eye as I’m walking through the mall and then, quietly, they’re gone, replaced by the next ad. Surprisingly, that really encapsulates the life of a movie poster: there one moment and then gone the next as it’s replaced by something else. But a movie poster that has been well designed can stay with us forever and inspire us to do the thing it was made to do: see the actual movie. But looking at movie posters, I started to notice a trend that led to me asking the question “Why was it designed like this?”. That trend being the need to include every actors’ face in the poster when there was so much else to work with. Oftentimes, we know who’s in the movie, with the digital age upon us it’s hard to ignore the posts of confirmed actors or even look away from the high budget trailers that advertise the movie, so why have a need for this sort of layout? This led me down a rabbit-hole of questions and research regarding movie posters. Posters made to advertise certain films have a lengthy and interesting history, but even more interesting are the designs behind them. The designs themselves have to be just right to make any person think to themselves “Oh wait, yeah, I wanna go see this movie”, but, as technology improves, movie plots and genres evolve, and socio-political climates change over time, so too has poster design. As such, one can’t help but wonder: with all these different genres, designs,

and styles, is there any overlap in design? Are there any design elements that commonly appear in the posters under one genre? Or are posters truly unique in design every time one is made? Finding answers to these questions will be my overall main focus. While taking a look at how action, drama, and horror posters have evolved throughout the years, I will be looking at what exactly goes into the design of each decade. I will then look specifically at current trends and see if they do, in fact, share similar elements of design, making the viewer subconsciously link the poster back to a certain genre. Finally, I will be taking this knowledge and applying it to three movies and their posters, redesigning them in the process, and creating brand new posters, one for each of the aforementioned genres. So, let’s get on with the show! But first, some history!

A “Brief” History on Movie Posters Posters have been around for approximately 200 years as of me writing this book. However, in comparison to now, they were extremely time consuming to make and weren’t really worth the money it took to make them (“A Brief History,” “Poster”). This all changed when, in the late 19th century, Jules Cheret, a famous painter and lithographer who was known for his posters and is regarded as the father of the modern poster, was able to improve the methodology used to print posters with a new, streamlined process called lithography (“Jules Cheret,” “A Brief History”). He not only made posters a worthwhile investment through a simplified method using just three stones and a single ink on each, he also proved that these posters could be engaging with this technique, displaying vibrant colors and even textures (“A Brief History,” “Poster”). Companies quickly picked up on this improved form of printing and began using it as a form of advertisement,

starting the era of the poster in the 1890s, in which these posters were in high demand. Companies hired artists to create lustrous and eye-catching designs for their products, eventually garnering enough interest that people wanted these beautiful illustrations for themselves to the point of actually taking the posters down and bringing them home with them to store for later. It was around this time that cinema really came into being, so it’s only natural that as posters grew in popularity, they were also used to advertise new films. While Cheret made a poster in 1890 for a short film in which the design features a young woman informing the viewer the show times (see page 4), it is not actually considered the first ‘movie poster’, and is closer to an ‘infographic’. Instead, Marcellin Auzolle illustrated a poster for the silent short film “L’Arroseur Arrosé” five years later; the design was fully illustrated, showing the audience (L’Arroseur Arrosé, 1890)

in the foreground and the movie that was being advertised in the background. This was the first poster to visually depict the film being advertised as, up until this point, posters had only boasted about the visual quality of the films and the technology used to make them, never actually showing what the film was about in their designs (“History of Movie Posters“). From here cinema began to bloom all around the world, from the United States to the United Kingdom, from France to Germany, from Poland to even the Soviet Union, and with these films came the posters to advertise them. It became the standard to depict something from the movie, be it the actors, a scene or two, or even the mood or themes that feature throughout the runtime. Along with this, movie posters featured the title, the director, and, after 1910, the actors that star within the movies (Dacre 10, “How Has the Evolution of Film”). Depending on the decade, there are also some overarching design choices that arise with each era of cinema. For example, there was a major shift from the 1950s to the 1960s in poster design that will be addressed at a later time in depth. From here, however, the similarities end. Depending on the genre of the

movie and the location in which the movie is released, the design can change quite drastically, from type to color schemes to overall layout. In the following pages I will be focusing on genre specific posters. Before I get into that, however, I feel I should give a quick rundown of the general design of posters found in each decade. So, strap in ‘cause we’re about to go through over 100 years of design history:

1910s

The overall design of the 1910s was fairly simple: illustrated scenes from the movie featuring a few of the actors paired with handset type. The only major thing to note for this decade is that people began demanding that the actors be featured on the poster so that they knew who they were going to go see. Actors weren’t mentioned on the posters beforehand because film companies didn’t want their employees to demand a higher pay raise, which unfortunately still sounds very similar today (“History of Movie Posters “).

1920s

Ah, the Roaring Twenties. Here, the silent film reigned and a booming economy led to better architecture in movie theaters, which in turn drove the incentive

to watch movies up. Naturally, poster design had to keep up and, in doing so, leaned into being more of an art form. Improved printing led to greater details and overall design hand drawn illustrations over stills from the movie itself (“History of Movie Posters “).

1930s

There’s something about the design of Art Deco that really intrigues me and itches my design brain. Posters in this decade were in the Art Deco style: the iconic sharp lines, geometric shapes, and bold colors associated with the style were heavily featured and therefore appeared in many designs at this time. Typography was bolder and stood out more while negative space, often just blank white spaces, began to be used as backgrounds as opposed to the heavily illustrated backgrounds stylized in the ‘20s. The illustrations that were included often showed the characters featured within the film, specifically their faces, over scenes within the movie. In this era, movies became a center point for society as more and more people visited the movies, despite the ongoing economic depression. Films thus began to be used as forms of escapism in the ‘30s, allowing people a brief reprieve from the raging

economic hardships of the time (“History of Movie Posters “).

1940s

As the 1940s rolled around, there were some major developments that changed advertising for movies, which is unsurprising considering the state of the world at the time. With World War II going on, many different film studios aimed, particularly in America, to create a feeling of patriotism among its viewers to encourage enlistment and more support in the home front. This led to an excessive amount of war movies. While the film industry didn’t lose as much business as others, budgets were still cut and fewer movies were made due to the advent of television. As for design, illustrations of characters came to the forefront as the most noticeable feature while the usual full-scene depictions from earlier posters disappeared (“History of Movie Posters “).

1950s

As soldiers returned from the battlefield, it only made sense that they wouldn’t want to be reminded of their time in the war. Because of this, sci-fi, fantasy, and comedy became the most popular genres in the theaters. To try and bring back viewers they lost due to TV, film studios had to become even

more innovative, introducing inventions like wider screens and the creation of 3D, the latter of which was a veritable failure in this era. Posters took to a more conceptual concept around this time as well, trying to convey content and themes of the movie without characters and with a further emphasis on typography (“History of Movie Posters “).

1960s

The ‘60s were a busy time on many fronts, especially within the United States, and film is no exception. Here we see the rise of the teen idol and the beach movie genre became more and more popular alongside the action genre, with the original James Bond movies leading this rise. Surprisingly, especially in comparison to modern-day values, censorship guidelines were still lacking and so adult-oriented films were frequently produced in the open as well. Illustration in posters was still used, but we see a further emphasis on type and a more conscious push to make the designs fit the content of the movie better (“History of Movie Posters “).

1970s

Here it is, the moment you’ve all been waiting for: it was in the ‘70s that Star Wars and Star Trek

took the movie world by storm. Along with other movies like the Godfather, Rocky, and Alien, we begin to see the classics we all know and love (except me, because I could never get into Star Wars, my bad). Photography began to be introduced at this time but illustration was still majorly preferred. Those that did use photography featured a layout where the photo took up the frame while typography became an afterthought. Trends also began to move really quickly from here on out (Fun fact: people began to collect posters around this time as well!) (“History of Movie Posters “).

1980s

Nothing can stop the march of time and nothing can stop technology from developing. New special effects came onto the scene and therefore changed how designers approached poster design, specifically what images they chose to display. Not only this, but new posters with alternative layouts had to be made as the video rental market grew and needed an in-store display for their movie selections. It’s in the ‘80s that we see a layout that starts to resemble what we see today: large photographic backgrounds and more balance between that image and type (“History of Movie Posters “).

1990s

Similar to the ‘80s, as technology advanced, poster design changed to reflect it. With computerized effects, posters began to feature more fantastical creatures and lands. There isn’t much to say specifically in terms of actual design for this era, however; the overall layout tended to be a photographic background with slogans at the top and actor names above the film title, which was put at the bottom of the frame. (“History of Movie Posters “)

2000-2010s

Design didn’t shift too much between these two decades aside from the introduction of better effects and photography. Layouts are similar to that of the ‘80s and ‘90s, with image and typography improvements. Minimalism began to become popular at the end of the 2000s and into the 2010s however, and layouts tended to be more imbalanced. (“History of Movie Posters “) Yay, you made it through that terrible list! Now just one more and we’ll jump into looking at all the pretty posters. Most posters have a few elements that appear across all genres in many easilyidentifiable aspects. Most, if not

(The Fatal Ring, Episode 16, The Double Disguise, 1917)

all posters include one or more of the following elements: titles, actor(s), director(s), the release date, slogans, reviewer quotes or critiques, eye-catching colors,

large and dynamic typography, and visually interesting graphics. Okay, no more lists for the time being– onto the posters!

Lights, Camera, “Action!” Action, as defined in terms of movies, is defined as “a genre in which the protagonist is thrust into a series of events that usually involve violence and physical feats” (“Action Film.”). Pretty open-ended, right? Considering there are so many types of action movies, from superhero movies to war films, just about any adventure-related movie can be categorized as ‘action’. Overall, though, an action film tends to feature a hero facing incredible odds, including life-threatening scenarios, a dangerous villain, or a pursuit in which the hero claims a victory (“Action Film.”). Action films really began to develop and gain popularity in the 1970s as stunts and special effects began to be used more theatrically in film; think Bruce Lee, for example (“Action Film.”). Design-wise, I’ve found that whether from the decades of illustration or from the recent domination of photography, posters attempt to elicit a feeling of adrenaline when viewed (Fussell), though the ‘20s were slacking a little in this department in my own opinion. There is either some sort of action going on or some design element that inspires the idea of action when viewed. Even in the 1910s, as seen here in this poster of The Fatal Ring (1917, see page 10), you have a scene in which a conflict is taking place, with three men seemingly attacking a woman who has just fired her gun. At the time this may have elicited a need to save the woman in the poster, wanting to jump in to help her out, inspiring the audience to take some sort of action. Even 20 years later posters manage to continue to create a rush of feeling as seen in the poster for Stagecoach from 1939. Movement is created as an illustration of a stagecoach crossing the frame at seemingly high speeds down a hill. Speed can get anyone’s blood pumping, and this perceived movement– added with the riders facing the opposite direction of the horses with guns drawn– leaves the viewer with the impression that a high-speed chase is taking place. In recent years, I believe the aim for adrenaline is pushed back with the movement towards a more minimalist approach. There will always be posters that will keep action within frame in order to keep the viewer interested and excited for the movie though, such as in the poster for Baby Driver from 2017. Here you have all the action at the bottom of the poster in the form of a high-speed car chase, giving the (Baby Driver, 2017)

viewer a glance into the crazy high stakes chases that happen in the movie. This feeling is further emphasized by the action lines surrounding the center red car, giving the impression that the car is racing forward and out of the frame just near the viewer while simultaneously tricking us into thinking that the car may reverse and swerve its way around the police behind it just at the last minute. But that is where the action stays, the rest of the desired rush of feeling perhaps stemming from the worry of seeing guns in the upper right-hand corner. The posters that don’t rely on this evident action today, however, lean more on the tension that usually forms just before action is taken, or even the feelings that linger after an event has already taken place. Both versions of the 2013 poster for Pacific Rim play on these aspects. The first shows two of the main actors in front of a behemoth of a robot, giving the audience the sense that they’re about to board the machine (see opposite). This, paired with the light near the robot’s chest, hints at it powering up, while the sight of construction work going on behind everything brings a feeling of tension to the viewer just moments before an intense battle despite the fairly simple poster design. The second poster, meanwhile, shows the aftermath of a battle, and while there is some action in both the falling metal parts and rain, you get the tension that comes with knowing the battle isn’t over and there is more to come (see below).

As mentioned earlier with the poster for Stagecoach, movement is a large part of action posters (Fussell). Oftentimes your eye has to follow the flow of battle when watching a movie, and the best way to experience this is for the eye to smoothly follow the action and not have to jump around the screen. Posters try to replicate this, both by having something that appears to be moving in the image and by allowing the eye to smoothly move across the frame. On the 2007 poster for Transformers, all of the characters are facing towards the right side of the poster, informing us that there is action happening off the frame, but paired with the embers caught in mid-flight, you are left with the impression that they may actually be rushing off into the fray just out of sight on the right side. The poster is also very centered, dragging the eye down the middle from one character to another straight to the title. But movement has been used throughout poster history. In 1949, Sands of Iwo Jima featured movement by having the eye start in the upper right-hand corner and slowly move down the frame by linking one image to another. First, the flag raising, then the soldier running towards the title, then the two battle images, and finally to the couple in the lower left-hand corner. Meanwhile, a lot is happening in the main frame of the scene to keep the eye engaged: a soldier rushing at you from the battlefield, said battlefield being depicted (Pacific Rim, 2013)

(Pacific Rim, 2013)

in a snapshot of a scene, the iconic flag raising on Mount Suribachi, and a reunited couple. This creates a fast-paced energy and gives the impression that the images are going to start moving in place and even jump out at the viewer. The 1926 poster for The General continues this idea of something “jumping out of the frame” and creating movement. We see an illustration of the main actor being shot out of a cannon almost toward the viewer. In the lower right-hand corner, you can see a lot of commotion with soldiers rushing back and forth to get to the man on the cannonball. You also have a nice flow to the poster, where the man is unintentionally looking at the title, turning your attention to it. But the smoke and action lines attached to the cannon ball lead you to the rest of the poster. By this point, you may have noticed a slight pattern in the design choices with some of these posters, specifically, that of the color choices: it’s the color red. Often seen as a color full of energy and passion, it’s no surprise that red is often used when designing action posters (Fussell). It tends to jump forward at the viewer, especially when paired with other colors. When placed next to or in front

(Exploits of Elaine, 13th Episode 2 Parts The Devil Worshippers, 1914)

of another color, especially cooler ones like blues or green, red tends to stand out more and attract attention better. Though often used in type, red can

appear anywhere throughout the design to make the overall layout pop, and this is a design choice that has been happening since the 1910s as seen here.

(Planet of the Apes, 1968)

(Flying Tigers, 1942)

(The Dark Knight, 2008)

The last three posters prove to be great examples of red coming forward when compared with cooler colors. You will also see a lot of yellows and blues primarily in older action posters, interestingly enough. My best guess is that it was cheaper to print with primary colors than to try and mix them.

(Inception, 2010)

In terms of typography, as in the fonts and typefaces that are chosen for the poster, things get a bit more creative. While varying somewhat from poster to poster, the overall trend you tend to see are very large, bold fonts. In recent years we’ve seen thick sans serifs, both condensed like in the recent Batman poster and with wider kerning like in Avatar where the spacing between the letters is wider and very spaced out (the typeface in Avatar is Papyrus or at least a variant of it in case you were wondering why it looks familiar). 18

(Godzilla Vs. Kong, 2021)

Bold sans serifs aren’t always the case, though; strong serifs will always show up in posters, but you will also tend to see textured typefaces to reflect the grit that comes with dynamic action (see the Godzilla Vs. Kong posters on the earlier pages where a slight texture is visible). In older posters you will see more dynamic and decorative typefaces, such as the original Mad Max poster or the iconic Jurassic Park poster. In today’s market, however, simple yet bold sans serifs or various types of serifs is usually what you’ll see in action posters so as to not draw attention from the dynamic images used in the background. And, of course, all the text at the bottom that we know as the credits will be in an ultra-condensed font that I’m not even sure many people read, and many posters in the 2020s don’t use anymore. Here’s a quick design fun fact: the original Iron Man poster– you know, the movie that started it all for the powerhouse that is the MCU? – has a very similar layout to the poster for the movie The Rocketeer! The suit/man flying in the right corner, the main character taking up the most space, the love interest dressed to the nines and the villain half shadowed... Coincidence? Probably, but I think it’s fun! (The Rocketeer, 1991)

(Iron Man, 2008)

Oh The “Drama” Of It All Another broad category, especially in terms of visual media, is the genre of ‘drama’, which is defined as “a category of narrative fiction that’s more serious in tone and has a plethora of subgenres that indicate a certain setting, subject matter, or the overall mood that film may contain” (“Drama (Film and Television)”). In general, you can find crime films, movies that focus on racial relations, and historical dramas amongst this genre (“Drama Films”). Full disclosure: I love historical dramas; I cannot get enough of them. Be it stories from World War II, from the 18th century (1700s for those of you who, like me, always struggle with what times fall under centuries), or even before that, I will watch almost anything if it’s somewhat historically correct and has drama. That aside, the only real main feature that helps define dramas is if it “involves a conflict of some kind (emotional, social, or otherwise) and sees to its resolution in the course of the film” (“Drama (Film and Television)”). Basically, you will see humans at their worst, at their best, and usually in an emotionally charged setting (“Drama Films”). Drama films have been around since the beginning of cinema and the genre has spanned across the globe. Due to the lack of films in the 1910s, however, I have included posters from different countries that still exemplify the major elements found in drama posters. As previously mentioned, drama movies display the nature of human beings, so it’s very common for these movies to revolve around select characters. Due to this, the poster will showcase the character(s) in question to give the audience an idea of who the story is about (Fussell). While this is a straightforward design, it has been used for decades and has a major impact in conveying the emotional moods of the film. For example, the

poster for the 1917 rendition of Great Expectations, conveys a lot of emotion just by the three characters in frame. The atmosphere is tense and an emotional scene is clearly happening by the saddened look on the elderly man’s face and the way the woman looks forlornly at him. Adding to the effect is how she gently touches his arm and how the younger gentleman in the background watches the scene unfold with a worried look. With this poster you can tell that the story focuses on these characters and they are pivotal to the plot, along with the “Are You My Daddy?” at the bottom giving us a hint at the conflict. The design for the 1939 poster of Gone with the Wind shows this same emphasis on the characters to get the mood across (see page 21). Here you have the main male lead gently holding the main female lead with an intense look on his face. This, paired with the fire in the background, gives you the idea that these two have a fiery passion between them while also most likely conveying some sort of strife going on around them. Right away you know this story deals with romance, perhaps a forbidden one, between the major figures in the layout during a time of conflict, possibly during the Civil War, as the images below the couple reveal. A more recent example of this trend is the classic 1997 Titanic movie poster. Right away we see a couple embracing at the top of the poster. Their forms are faded, as the main focus is on the bow of the ship whose name went down in history, but they are still defined and tell a piece of the story by their actions and expressions alone. You can tell that this will be a love story– perhaps a tragic one based on the general knowledge most people have about the actual Titanic– between two people

of different social classes. The man is wearing a simple shirt, while the woman is wearing an elaborate looking dress and is clearly wearing diamond earrings that are highlighted by a sparkle. While the man is fully involved in the embrace, resting his chin on her shoulder and his eyes closed, the woman’s eyes are open, looking down almost sadly. Through these elements alone, you get the sense that this movie will feature a passionate romance that the woman knows isn’t meant to last, while also hinting at a tragic aspect with the knowledge that they are aboard the Titanic. The ship itself almost splits the two apart visually, evoking the feeling that it is moving forward and upward off the page, trying to separate the two lovers. While using characters to convey the mood of the poster is a very common element in drama posters, it’s not always the case. Another way to convey not only the mood but the atmosphere that surrounds drama films is through “immersive and dramatic” photography (Fussell). Drama movies are known for beautiful, if not deeply impactful cinematography and camera work with scenes that tend to linger even if you don’t always remember the dialogue. This relates best to more recent (Gone with the Wind, 1939)

(Catch Me if you Can, 2002)

years as cameras and filming equipment has gotten better, hence why the following posters are mainly after the 2000s. The 2002 poster for Catch Me if You Can will always make me giggle a little as there’s something inherently funny about pictures featuring blurry people running. Here, as

mentioned, we have the two actors sprinting across the frame as Hanks, on the right, tries desperately to catch up to DiCaprio on the left. Despite the blurriness of the image, you can still make out that DiCaprio is wearing an airline captain’s uniform, while Hanks is dressed in a regular suit, probably a

detective of some sort given the title of the film. And this is all you need to get a sense of what the film is about: you have a chase going on between a possible con artist and a cop that is both fast paced and humorous, while giving off the sense of being childish with the title being what you hear kids use when being chased around the playground. 2019 shows us how well photography has progressed since the early 2000s, as seen in the poster for 1917. Here you see a beautiful gradient in the sky as the colors fade from a somber blue to a bright orangeyellow at the bottom. These contrast with the olive green of the actor’s military uniform allowing them to stand out and not get lost despite being confined in the numbers 1917 themselves. The colors, while vivid, seem more like a sunset than a sunrise and thus leave the viewer with a sense of sadness, as you get the hint that they are running towards their deaths, as sunsets are often associated with something coming to a close or to an end. This is only furthered by the hint of barbed wire at the bottom of the image, the men clearly running towards the battlefield, and many are aware of just how deadly the Great War was. With today’s technology, this beautiful and

cinematic image was able to be placed within the numbers of the year 1917, creating a tense atmosphere and giving off the sense of being trapped. This tells the audience that, despite the awe-inspiring colors, this isn’t a feel-good war movie, but is one that reveals the helplessness of war and how it traps us all. Finally, you have the poster for the 2021 release of Spencer. With just one woman and the use of negative space, you get the intense feeling of loneliness, something that was noted by Princess Diana when she was a part of the royal family. Here, her white luxurious gown is placed against a black background, void of any information pertaining to the movie, creating a tense contrast that gives the impression of something weighing down on the princess’s back. Meanwhile, current technology allows for the white of the skirt of her dress to be extended to the bottom of the frame, where limited information about the film is found. The emptiness to this shot is overbearing and oppressive, telling the viewer that the movie is going to delve into Diana’s struggles as a royal and the hardships she faced when she married into the royal family. Overall, a tragically dramatic shot that speaks volumes.

(1917, 2019)

(Och Hans Mustru/The Outlaw and His Wife, 1918)

Due to the wide range of films that fall under the umbrella term of “drama”, designs can vary pretty drastically, but, if you couldn’t tell, they aim to be emotionally charged and deeply atmospheric. You’ll see a much wider array of colors used here compared to the action posters, from incredibly vibrant blues to serious monochrome palettes. Humans often associate colors with emotions, so for movies that rely on showing us what it means to be human with the most dramatic flair possible, it only makes sense that poster design has relied on color, or the lack thereof, to make their posters work. Here are some examples that display this:

(The Red Shoes, 1948)

(Empire of the Sun, 1987)

(Anatomy of a Murder, 1959)

(Titanic, 1997)

(Hacksaw Ridge, 2016)

Things get very creative in terms of typography as designers are able to work with more creative typefaces compared to action posters. While you’ll still find simple, yet bold and textured sans serif typefaces (see Hacksaw Ridge on the previous page), you’ll also be exposed to typefaces with high contrasts which as the one used in La La Land, with the drastic sizing within the letters themselves. You’ll also find more decorative types, however. For example, The Breakfast Club relies on a typeface that looks similar to a typewriter, with its wide kerning and letters that alternate between different weights, or thicknesses. Drastically altered typefaces will also usually be featured in drama posters. These tend to stand out and catch the eye of potential movie goers and can create visually interesting layouts as seen in The Godfather. Finally, you’ll often come across typefaces that look like handwritten script. This is pretty common, as it helps the viewer connect to the poster more, as it looks like someone sat down to write the title of the story. Casablanca is a great example of this with a typeface that looks like hand written script, or cursive (most likely because it was at the time, but even today (La La Land, 2016)

you can find similar typefaces) with paint strokes still visible. As a fun little comparison, here’s the original A Star is Born compared to the 2018 remake! I always find it interesting to compare older posters with their originals to see how far design has come and it’s interesting seeing the huge jump from the 1930s to the late 2010s! They feel similar but are clearly different!

(A Star is Born, 1937)

(A Star is Born, 2018)

Into the House of “Horror”s And here is where I fully admit that I am a total wimp. I don’t like horror and I will tend to avoid it when I can. So, naturally, I decided to do a project where it feels only natural to focus on one of the powerhouses of genres. Having existed in cinema for more than a century at this point, horror is a type of film that aims to elicit fear and/or disgust in the audience, usually for entertainment purposes (“Horror Film”). In a time of relative peace, people tend to seek out experiences that get the blood pumping and turn the senses up to the max, and this is exactly what horror aims to do. These films want to explore darker subject matter, potentially dealing with transgressive topics or themes (“Horror Film”). Horror is an art that aims to outrage or violate basic morals and sensibilities (“Horror Film”). While there are many subcategories to horror, you will often see film techniques that try to evoke a psychological response in the viewer (“Horror Film”). I think a good example of this is the found footage style of filming used in movies like Paranormal Activity and The Blair Witch Project, in which the home camera style really got to people‘s minds as it felt so realistic at the time. Some quick fun facts about the genre include the fact that horror only became a codified genre after the release of Dracula in 1931 (though instances of it were seen before that time) and the fact that it is a very prominent genre in Japan, Italy, Thailand, and several other countries!

balance to not give too much away from the film while still making the poster just enticing enough to bring viewers in to see the film, a common trial throughout the decades. The 1918 film Alraune has a very interesting poster design that most definitely leaves the viewer feeling uncomfortable but wanting to learn more. Here we have only the head of a beautiful young woman and not a hint of a body, as that’s all there is to her because from the neck down she sprouts roots that cling to the heads of several, presumably dead– considering they are colored green– men. The woman wears a haunting smile on her face leaving the viewer to wonder about her narrative and motives. The only hint of a plot we get is either a supernatural woman who hunts these men or possibly a criminal of a woman who targets the opposite gender. Either way, the poster creates a sense of unease and is mysterious in a way that gives very little about the plot to the viewer, playing to a lack of knowledge.

Like the other two genres listed above, horror posters try to get themes and plot references across through their basic designs, but here is where the differences really shine. Due to the nature of horror films, the overall design can be more fanciful, mysterious, and frightening than other genres. Designers need to find the right

(Alraune, 1918)

Arguably one of the most famous posters to ever be displayed, here is the classic yet effective poster for the 1975 film Jaws. Fear of the ocean runs deep among many of us, with its expansive depths and dangerous creatures, not to mention the fact that we can’t always see what brushes up against our legs as we swim, so it’s no surprise that someone would eventually focus a horror movie around a sea creature known for being one of the seas’ top predators. The poster for Jaws emphasizes this fear of sharks, showing a larger than life Great White with its multiple sharp rows of teeth and pitchblack eyes. Getting attacked in the water poses a great threat many of us are all too aware of as well, so we feel a sense of fear for this unsuspecting woman at the top of the poster. Relying less on mystery and more on fright, this poster piles on several fears we feel as humans: being alone in a

body of water with potential predators surrounding us who are out for blood, drowning alone with no one to help, and so on. Here we get a better sense of the plot, as the shark appears to be swimming towards the woman with a gaping mouth and we can assume the shark is not one to be satisfied with a single meal. The real mystery comes from how the shark will be dealt with by the end of the movie. One recent poster that plays very well on the idea of the mysterious and frightening is the 2020 poster for The Invisible Man. Similar to the poster for Spencer mentioned earlier, here we have extensive use of negative space. The fear of the unknown is a powerful thing, so to have a frightened young woman peering back at a deep emptiness leaves the viewer feeling anxious. What does she hear or see that we don’t? What does she know? The poster, despite the title revealing the fact that she may be looking at an invisible man, leaves just enough questions to really play up the mysterious factor while also toying with common fears people, especially women, may have. While it isn’t just women who face the threat of being jumped or attacked at night, it is a common enough occurrence that most if not all of us are inherently aware of, a fear that is touched upon here as the woman is definitely being followed. Not knowing who’s behind her is one thing, but the fact that posters are encased in glass that often shows our reflection, means that those who view the poster can easily become the person who the woman is looking back on. The person following her could be anyone, even you, and is a great design choice. One major design aspect worthy of note that you will see in horror film posters is an emphasis on either the human face or the human form in general. The human brain is an interesting thing; it loves to recognize and identify patterns, and is built to recognize the human face, body, and the

(Jaws, 1975)

(Opposite: The Invisible Man, 2020)

(Nosferatu, 1922)

emotions conveyed through these parts. So, when it sees something off or unnatural about something that should be human, our brains immediately recognize that something is wrong – gotta love the uncanny valley. A real life example of this is the unease many people feel when seeing humanlike androids or robots. Playing on this feeling can be seen as far back as the 1920s in with the movie

poster for Nosferatu. Here we see the silhouette of a man, immediately playing up the mysterious factor, but something is clearly wrong. The man is hunched over with a face that doesn’t quite seem right. His proportions are off and, most notably, his fingers appear more as claws than human fingers, begin sharp and mangled. Silhouettes are common in horror movie posters, but seeing one so distorted

and strange once again plays on a fear of the unknown and unrecognizable that must have been very effective at the time. The early 2000s rendition of American Psycho plays on this feeling of something not quite right almost perfectly. Here we see an objectively handsome man who almost looks to be modeling. But his face legitimately seems too perfect; there is no flaw in sight, not even a hint of sweat or dirty pores and borders on looking fake. This is a little unnerving and the fact that half of his face, especially his eyes which humans naturally connect with, are hidden in shadows only adds to this effect. And then, of course, you have the knife he’s holding. It’s bewildering why he is holding such a dangerous weapon when his face is so calm, and to add to the unease of this entire layout is the way he is slightly distorted in the reflection of the knife. Overall, a poster that perfectly creates unease and tension through fear that is accentuated through the dark colors used. One of the most unnerving posters as of late, in my opinion, is the 2019 poster for Midsommar. With comfortable looking clothes, a bright blue background, and a flower crown along her brow, you would

expect the woman to look happy or at least at peace. Her tears and look of fear, however, break any good feelings the viewer may have felt upon looking at this poster. Seeing such warm colors contrasting with such a horrified expression unsettles us, as nothing about this poster lines up in our heads. We can see that something wrong is clearly going on in both the image and the layout, but the colors want us to relax and feel at peace, feelings quite common in the indoctrination of cults. In terms of color, we see something very interesting happen over time. Depending on the decade, posters would either rely more on black and white or an otherwise very dark color scheme, or on an oddly bright mixture of colors. The 1910s and ‘20s see the use of darker colors with heavy use of black, greens, and reds. Things brighten up in the 1930s, however, and continue on throughout the ‘40s and ‘50s. The 1950s even share a color scheme similar to that of action posters, most likely because there was an influx of monster movies, such as Godzilla and Tarantula, that featured many brutal and dramatic battle scenes that blur the line between movies that are pure action and pure horror.

(Midsommar, 2019)

You begin to see a shift in the 1960s, however, as colors begin to fade out and color schemes become much more limited, like in the greens and blacks seen in Rosemary’s Baby on page 35. This continues through to the 1990s, where many posters featured black and white color schemes with one or two pop colors, usually red, to keep visual interest but otherwise unnerve the viewer. Today, we see a good mixture of color schemes, some playing with bright colors in frightening scenarios, while others rely on a limited color palette, and others still play with extremely desaturated colors to give off the feeling of hopelessness to whoever is viewing the poster at hand.

(Dracula, 1931) (Dr. Jekyll and Mr. Hyde, 1913)

(Invasion of the Body Snatchers, 1956)

(Rosemary’s Baby, 1968)

In terms of type, things have certainly settled down since the earlier decades of horror movie posters. Early on, there was heavy usage of bold, decorative, and strange typefaces. You have the oddly wiggly type seen in the 1930’s version of Frankenstein and the bold yet scratched-in sans serifs of the 1950’s The Blob. Meanwhile, the 1960’s saw an upward trend of the use of more simple sans serifs, but you got the occasional distracting yet dynamic type face like in Carrie from the 1970s. In the most recent decades, however, designers have been favoring sharp serif typefaces as seen in 2013’s The Conjuring and in 2021’s Antlers, possibly due to the unsettling nature they can create when edited or warped in some way. The sharp nature of the letters can also come across as threatening as they remind us of weapons or feel like something that can hurt us. Nowadays we are very used to serif fonts and know how they should look due to the fact that many books and essays use them. So, to see something different about a certain serif typeface, we can feel a bit uncomfortable with looking at it for too long. Overall, however, horror is a genre where odd typefaces really come out to play, be it for a campy style (Carrie, 1976)

(Opposite: Crimson Peak, 2015)

horror movie or to experiment with new typeface to make a layout that much more unnerving for the viewer. One final fun comparison: Here, I wanted to show a bit of a genre shift in the iconic monster we all know and love: Godzilla. Originally, Godzilla was marketed as a horror movie, but in recent years we associate him more with action and epic battles, which are reflected in the posters from 1954 and 2014. The poster from 1954 reflects the dynamic and experimental type seen at the time, as well as taking on an almost action like layout, as seen in posters like Invasion of Body Snatchers and The Blob. 2014, however, leans on a gritty layout with a darker color scheme and simple type. The images are at a distance, making the viewer feel like they are watching a tragedy, or national disaster unfold before them. Both, however, embody the fear and destruction Godzilla is known to bring with him.

(Godzilla, 1954)

(Godzilla, 2014)

Cool Info... Now What? Each genre of movie poster has its own visual language, as I’ve pointed out through the research listed above. But can the general audience see this visual language by themselves? I often have to remind myself that I am looking at everything through not only a graphic designer’s eye, but an artist’s eye as well, so I tend to pick up on certain things that others may not. So, I want to see if people can subconsciously recognize the elements of a certain genre on a movie poster that isn’t in its originally intended genre. For example, I have taken

the 2012 hit The Hunger Game and redesigned its original poster into two different genres based on the aspects I’ve gleaned through studying the design of drama and horror posters. Upon the completion of the redesigns, I’ll move forward and design my own poster and have a general audience take a look and see if they can identify the correct genre for the posters. Overall, I am trying to figure out if the general public can read poster design to the point that they understand the genre based on the visible design elements alone!

Getting Started Right away I knew I would have to do action and horror for my chosen genres. They are easily two of the most popular movie genres and often times there are scenes that give a completely different feeling from action or horror, as movies can be completely horrific or action packed! Choosing the third one was a little tricky, as I have a love for animation and a distaste for their posters, but animation isn’t a genre, but an art-form. Romance and comedy came to mind, but I’m actually not the biggest fan of pure romance movies, and I have to be in a specific mood for comedy. So, naturally, I went with the genre I always lean towards: drama.

was surprised by the poster design. It’s not that it’s bad, but that I found myself not entirely enjoying it, so I thought this would be a fun challenge to take a movie I hadn’t seen until now and try to capture its best frights in its poster.

With my three genres finally narrowed down and research done, I had to choose my movies. I ended up choosing movies I was either familiar with or was open to doing a lot of research for. For action, I chose The Hunger Games from 2012. I’ve seen that movie too many times to count and I still enjoy it to this day, but its poster certainly speaks for the time of its release. I thought it would be incredibly fun to redesign the poster because of this! As for drama, I chose The King’s Speech. This is a movie my dad really enjoys and one he and I are able to connect to it to a certain degree. He has a form of stutter and I inherited it to a much lesser degree but it’s still there and, as someone with stage fright despite having a profession that requires me to talk in front of people to explain my work, the movie really touches us both in certain ways. That said, most of the posters for this movie–save one that I personally really enjoy–aren’t the best for the film, and they fail to capture the emotional heart that can be found in The King’s Speech. Finally, I decided to go with A Quiet Place for my horror movie poster redesign. I hadn’t seen the movie yet but I’ve heard nothing but good things about it, so I

(The Hunger Games, 2012)

(A Quiet Place, 2018)

With those movies lined up, it was time to start designing. I had to start by collecting screenshots from the movies in order to use them in my posters, but was immediately hit with everyone’s favorite barrier: copyright. I couldn’t actually take screenshots from streaming websites as they have measures in place to prevent this, which I understand but still, come on. At first, I found websites like movie-screencaps.com and ShotDeck (I would actually recommend this one, it’s pretty interesting!), but finding high resolution images was still proving difficult. Finally, I found a Google Chrome extension called FireShort Capture that overrides the measures put in place by streaming sites and I was back in business!

(The King’s Speech, 2011)

Early Design Process My first bout of screenshots were less than desirable to say the least. They came from a mix of screenshot websites, YouTube clips, and even me looking at GIFs frame by frame. Below are some examples of what I was trying to work with; many of the images are either low resolution, feature motion blur, or are simply too small work with comfortably. The first two belong to The Hunger Games, the next two to The King’s Speech, and the final on page 45 is from A Quiet Place. And trust me, while these may look okay at this scale, they did not size up well in the end. This is due to two factors, the first being many of these screenshots are in the widescreen proportions seen on actual movie screens. Their width is very long while the height doesn’t match up, forcing me to scale more than I would’ve liked to on my computer screen. The second is the scale I originally wanted to work at, being half the size of a regular movie poster, so 13.5x20”.

Now, movie posters are huge. Like 27x40 inches kinda huge. So, at first I decided to work at half that scale because I was not going to print posters that big, my wallet was crying just thinking about it (hey imagine back in ye olde times when they did it by hand!). But 13.5x20 is still fairly big and sizing up

images to fit this frame was still challenging. This, along with the fact that I was printing out about 12 posters in total for my final project, I decided to work at a 9x12” scale, which ended up working out in the long run even though scaling up my pictures was my biggest obstacle by far.

While I found myself liking some of the graininess that came with sizing up the images, as it gave a sort of vintage feeling like it was going to be a poster from the ‘80s or ‘90s, it was too grainy to look intentional. I was able to find a screenshot program, as mentioned earlier, and I was able to take my own images of the specific scenes I was looking for. It was an interesting challenge to sit down and slowly go through these movies and find scenes where a plot could be told, but in a different manner from what was originally intended. The Hunger Games and A Quiet Place were actually easier to find images for, as the movie cannot be all action or all horror; there have to be moments of light-heartedness, reprieve, or just simple human to human interaction. The King’s Speech was the hardest to find images for due to the thematic differences in comparison to the other two films. While there were great shots that could be used to create a new dramabased poster, there was not a lot of physical action, and only a few shots in which the mood turned mysterious or borderline frightening. Luckily, as public speaking while having a speech impediment is something that can cause genuine fear, there were some scenes that feel like they embodied this.

The overall goal with finding these screenshots was to be able to tell the viewer a story with one image alone, ideally with a main character or with a vital element to the story. Because The King’s Speech and The Hunger Games were filmed some time ago, their cinematography was lacking in some aspects, with multiple factors detracting from today’s crisp images: blurriness, shaky camera, under or overexposure, etc. The Hunger Games was a special case, as the director intentionally made the camera shaky, trying to make it as though you were following Katniss herself through the story, but that visually made things intelligible at times despite its intent. A Quiet Place was a bit of a sight for sore eyes for me. It’s a more recent movie, so better technology was implemented, but it had to rely much more on visuals than any other sense due to the nature of the film: it’s incredibly quiet, going completely silent at times. This means better and more interesting visuals, as a story had to be told through these alone. To get rid of the grain that came with many of these screenshots, mostly due to the fact that I had to size the images up, I found another program that sized JPEGs up while improving the image quality. With this,

I could begin to design my redesign posters. I first started in Photoshop, as many of the screenshots I had needed to be color corrected, cleaned up, cropped, or needed some extra effects to either change or enhance the desired feeling of each poster. The images from The Hunger Games and The King’s Speech needed the most work compared to A Quiet Place. The ages of these movies are beginning to show, and both were colored very dark and almost monotone, featuring desaturated color schemes that felt very gray and blue at times. To portray a different feeling and to fit the other genres, I had to correct them to something more natural and then work from there, making the images cooler or warmer as I went. A Quiet Place did not really have this problem, as the movie has a bright and more natural looking color scheme, so less editing was required here. While all of this was going on, I was conceptualizing names for a fake movie title that would be the basis of my original posters. I knew I wanted an ambiguous name that could come across as a believable action, drama, or horror movie. I eventually decided on the name Crooked Jewels. I then started collecting props for my original posters.

Luckily, I had a few visions of what I wanted to do for my photography, so getting the props was fairly easy as all I needed was a crown, some fake blood, and items usually seen in a casino, like playing cards, dice, and poker chips. The only issue I came across was that I originally wanted to use a poker or pool table for one of my concepts, however I didn’t actually have either one at my disposal. So, I bought green felt to create a similar texture to that of the felt on these tables, along with a white fabric for certain concepts as you will see. Once, my images were taken, however, they went through the same Photoshop process to color correct and change certain details to get a desired effect. No resizing was required for these images, thankfully, as the camera I used was fairly high quality.

Before

The process from here varies greatly, especially when you consider the fact that I am reworking the original posters for three movies both in their original genres and two different ones. I created InDesign files in the respective sizes for my posters— 9x12” for the redesigns and 18x24” for my originals— and worked on each movie one at a time. The following chapters will show their design process. After

The Hunger Games One may think that starting with the original genre before moving onto the alternative ones may be the best course of action, after all, all the elements you need are right there! I did not do this. I started off with drama as I already had a few ideas for designs. After typing up and formatting the credits, something I wanted to get out of the way so I could go ahead and slap them onto all my layouts, I set about experimenting with my type and the tagline. Each image gave off a different impression, some feeling like movies about civil unrest while others seemed like a story about singers, but all tried to come across as emotional. Because of this, the images featured bright and or eye-catching colors and dynamic type, ranging from display type to simple yet striking sans serifs. One image, however, struck me as that could be seen in a poster for a drama movie, one with two hands passing the Mocking Jay pin off to each other. It felt emotionally charged and highlighted a major relationship that actually happens during the movie. With that being the case, I really leaned into the design for that image, choosing a high contrast type and coloring it with a bronze gradient, something similar to the pin seen in the image. I decided to keep the tagline from the original movie poster, as I felt it fit well with the overall concept, though I had to use a drop shadow to make it easier to see. This design became my final drama poster for The Hunger Games. This entire process involved creating many different versions of one poster, as I had multiple different typefaces that could convey one idea, or I would switch it up and try to convey a different idea with a different type and completely opposite color scheme. The following images show a few different examples of this testing process and end with my final design.

Meet the Girl On Fire

The

HUNGER GAMES PRODUCTION DESIGNER

LIONSGATE PRESENTS A COLOR FORCE/LIONSGATE PRODUCTION A GARY ROSS FILM “THE HUNGER GAMES” JENNIFER LAWRENCE JOSH HUTCHERSON LIAM HEMSWORTH WOODY HARRELSON ELIZABETH BANKS LENNYKRAVITZ CASTING COSTUME EXECUTIVE MUSIC EDITED WITH STANLEY TUCCI AND DONALD SUTHERLAND BY DEBRA ZANE, C.S.A. MUSIC PRODUCER T BONE BURNETT BY JAMES NEWTON HOWARD DESIGNER JUDIANNA MAKOVSKY BY STEPHEN MIRRIONE, A.C.E. JULIETTE WELFLING DIRECTOR OF EXECUTIVE PHILIP MESSINA PHOTOGRAPHY TOM STERN, AFC, ASC PRODUCERS ROBIN BISSELL SUZANNE COLLINS LOUISE ROSNER-MEYER PRODUCEDBY NINA JACOBSON JON KILIK BASEDNOVELON THEBY SUZANNE COLLINS SCREENPLAYBY GARY ROSS AND SUZANNE COLLINS AND BILLY RAY DIRECTED THEHUNGERGAMESMOVIE.COM LIONSGATE SOUNDTRACK BY GARY ROSS AVAILABLE ON UNIVERSAL REPUBLIC

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A Simple Spark Can Light a Fire

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Hunger Games LIONSGATE PRESENTS A COLOR FORCE/LIONSGATE PRODUCTION A GARY ROSS FILM “THE HUNGER GAMES” JENNIFER LAWRENCE JOSH HUTCHERSON LIAM HEMSWORTH WOODY HARRELSON ELIZABETH BANKS LENNYKRAVITZ CASTING COSTUME EXECUTIVE MUSIC EDITED WITH STANLEY TUCCI AND DONALD SUTHERLAND BY DEBRA ZANE, C.S.A. MUSIC PRODUCER T BONE BURNETT BY JAMES NEWTON HOWARD DESIGNER JUDIANNA MAKOVSKY BY STEPHEN MIRRIONE, A.C.E. JULIETTE WELFLING DIRECTOR OF EXECUTIVE PHILIP MESSINA PHOTOGRAPHY TOM STERN, AFC, ASC PRODUCERS ROBIN BISSELL SUZANNE COLLINS LOUISE ROSNER-MEYER PRODUCEDBY NINA JACOBSON JON KILIK BASEDNOVELON THEBY SUZANNE COLLINS SCREENPLAYBY GARY ROSS AND SUZANNE COLLINS AND BILLY RAY

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LIONSGATE PRESENTS A COLOR FORCE/LIONSGATE PRODUCTION A GARY ROSS FILM “THE HUNGER GAMES” JENNIFER LAWRENCE JOSH HUTCHERSON LIAM HEMSWORTH WOODY HARRELSON ELIZABETH BANKS LENNYKRAVITZ CASTING COSTUME EXECUTIVE MUSIC EDITED WITH STANLEY TUCCI AND DONALD SUTHERLAND BY DEBRA ZANE, C.S.A. MUSIC PRODUCER T BONE BURNETT BY JAMES NEWTON HOWARD DESIGNER JUDIANNA MAKOVSKY BY STEPHEN MIRRIONE, A.C.E. JULIETTE WELFLING PRODUCED BASED ON THE SCREENPLAY PRODUCTION DIRECTOR OF EXECUTIVE BY NINA JACOBSON JON KILIK NOVEL BY SUZANNE COLLINS BY GARY ROSS AND SUZANNE COLLINS AND BILLY RAY DESIGNER PHILIP MESSINA PHOTOGRAPHY TOM STERN, AFC, ASC PRODUCERS ROBIN BISSELL SUZANNE COLLINS LOUISE ROSNER-MEYER DIRECTED SOUNDTRACK BY GARY ROSS AVAILABLE ON UNIVERSAL REPUBLIC March 23THEHUNGERGAMESMOVIE.COM LIONSGATE

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Hunger Games LIONSGATE PRESENTS A COLOR FORCE/LIONSGATE PRODUCTION A GARY ROSS FILM “THE HUNGER GAMES” JENNIFER LAWRENCE JOSH HUTCHERSON LIAM HEMSWORTH WOODY HARRELSON ELIZABETH BANKS LENNYKRAVITZ CASTING COSTUME EXECUTIVE MUSIC EDITED WITH STANLEY TUCCI AND DONALD SUTHERLAND BY DEBRA ZANE, C.S.A. MUSIC PRODUCER T BONE BURNETT BY JAMES NEWTON HOWARD DESIGNER JUDIANNA MAKOVSKY BY STEPHEN MIRRIONE, A.C.E. JULIETTE WELFLING PRODUCED BASED ON THE SCREENPLAY PRODUCTION DIRECTOR OF EXECUTIVE BY NINA JACOBSON JON KILIK NOVEL BY SUZANNE COLLINS BY GARY ROSS AND SUZANNE COLLINS AND BILLY RAY DESIGNER PHILIP MESSINA PHOTOGRAPHY TOM STERN, AFC, ASC PRODUCERS ROBIN BISSELL SUZANNE COLLINS LOUISE ROSNER-MEYER DIRECTED THEHUNGERGAMESMOVIE.COM LIONSGATE SOUNDTRACK BY GARY ROSS AVAILABLE ON UNIVERSAL REPUBLIC

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Final Drama

I next began designing for the horror posters as, once again, I had a better idea of how I wanted to execute these posters compared to action. All of these designs feature a cool and dark color scheme, almost being monochrome in some cases, along with extreme close up shots to make the viewer feel uncomfortable. Type is where things began to change. I had to get the cheesy looking text out of the way first because I was dying to use the ones I had in my repertoire. By cheesy I mean the type seen in the ’50s and ‘60s, the giant and highly decorative type that overtook the poster. Once I got that out of my system, however, I turned my attention to type that was highly textured and felt either hand written or weathered. My main focus was serifs, despite my abhorrence towards most serifs. Type with higher contrasts work the best in horror posters as they have the ability to feel unbalanced and unsettling. Finally, I also tried out a sans serif that came across as loud but had sharp qualities, to it, something similar to the recent Scream movie poster. All designs were paired with some sort of sans serifs for the original tagline, however. I ended up merging two of my posters for my final, choosing one of the handwritten yet weathered fonts

and pairing it with a red color that stands out against the cool image behind it. The image itself was of one of the characters in motion, but still a discernible look of fear on her face, resulting in a strong poster.

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LIONSGATE PRESENTS A COLOR FORCE/LIONSGATE PRODUCTION A GARY ROSS FILM “THE HUNGER GAMES” JENNIFER LAWRENCE JOSH HUTCHERSON LIAM HEMSWORTH WOODY HARRELSON ELIZABETH BANKS LENNYKRAVITZ CASTING COSTUME EXECUTIVE MUSIC EDITED WITH STANLEY TUCCI AND DONALD SUTHERLAND BY DEBRA ZANE, C.S.A. MUSIC PRODUCER T BONE BURNETT BY JAMES NEWTON HOWARD DESIGNER JUDIANNA MAKOVSKY BY STEPHEN MIRRIONE, A.C.E. JULIETTE WELFLING DIRECTOR OF EXECUTIVE PHILIP MESSINA PHOTOGRAPHY TOM STERN, AFC, ASC PRODUCERS ROBIN BISSELL SUZANNE COLLINS LOUISE ROSNER-MEYER PRODUCEDBY NINA JACOBSON JON KILIK BASEDNOVELON THEBY SUZANNE COLLINS SCREENPLAYBY GARY ROSS AND SUZANNE COLLINS AND BILLY RAY Draft 1 DIRECTED THEHUNGERGAMESMOVIE.COM LIONSGATE SOUNDTRACK BY GARY ROSS AVAILABLE ON UNIVERSAL REPUBLIC March 23 PRODUCTION DESIGNER

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Hunger Games LIONSGATE PRESENTS A COLOR FORCE/LIONSGATE PRODUCTION A GARY ROSS FILM “THE HUNGER GAMES” JENNIFER LAWRENCE JOSH HUTCHERSON LIAM HEMSWORTH WOODY HARRELSON ELIZABETH BANKS LENNYKRAVITZ CASTING COSTUME EXECUTIVE MUSIC EDITED WITH STANLEY TUCCI AND DONALD SUTHERLAND BY DEBRA ZANE, C.S.A. MUSIC PRODUCER T BONE BURNETT BY JAMES NEWTON HOWARD DESIGNER JUDIANNA MAKOVSKY BY STEPHEN MIRRIONE, A.C.E. JULIETTE WELFLING PRODUCED BASED ON THE SCREENPLAY PRODUCTION DIRECTOR OF EXECUTIVE BY NINA JACOBSON JON KILIK NOVEL BY SUZANNE COLLINS BY GARY ROSS AND SUZANNE COLLINS AND BILLY RAY DESIGNER PHILIP MESSINA PHOTOGRAPHY TOM STERN, AFC, ASC PRODUCERS ROBIN BISSELL SUZANNE COLLINS LOUISE ROSNER-MEYER DIRECTED THEHUNGERGAMESMOVIE.COM LIONSGATE SOUNDTRACK BY GARY ROSS AVAILABLE ON UNIVERSAL REPUBLIC March 23 ®

CREDITS NOT CONTRACTUAL

Final Horror

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The Hunger Games

The Hunger Games PRODUCTION DESIGNER

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Finally, I moved onto the design for the action movie poster. This proved to be a challenge, as even though I was able to scale up all of my images, the proportions were still similar to that of a cinema screen, meaning they were much wider than they were tall. The action that took place during The Hunger Games was very close up and intimate as well, no shots that were zoomed too far out to get a wider view of what was happening. Because of this, it was hard to get screenshots of the action that were both clear and zoomed back enough to get the idea of what was going on. I was able to pull a few but not too many, much to my surprise. For one of these posters, I focused on warm colors, specifically oranges and reds, like a fire, while the others had a cooler color scheme. I added sparks

and embers to many of the designs to give the feeling of ongoing action that has sparked some fires. One design featured a design similar to that of a thriller movie, with a highly blue-tinged image and bright red text. As for type, I focused on bold sans serifs that stood out against the background. At one point, I tried to add a 3D effect to one of the poster’s titles and add a glow effect to mimic the action posters with type that popped, but I don’t think I accomplished this very well. The other designs feature red as the main color for the text. My final design was another combination of two designs, taking the type from one and the image from another. I added a quick drop shadow to make the title a little more legible and with that I was finished with my posters for The Hunger Games. 58

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The

HUNGER GAMES

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Win the Game to Survive

The

HUNGER GAMES

Final Action

LIONSGATE PRESENTS A COLOR FORCE/LIONSGATE PRODUCTION A GARY ROSS FILM “THE HUNGER GAMES” JENNIFER LAWRENCE JOSH HUTCHERSON LIAM HEMSWORTH WOODY HARRELSON ELIZABETH BANKS LENNYKRAVITZ CASTING COSTUME EXECUTIVE MUSIC EDITED WITH STANLEY TUCCI AND DONALD SUTHERLAND BY DEBRA ZANE, C.S.A. MUSIC PRODUCER T BONE BURNETT BY JAMES NEWTON HOWARD DESIGNER JUDIANNA MAKOVSKY BY STEPHEN MIRRIONE, A.C.E. JULIETTE WELFLING PRODUCED BASED ON THE SCREENPLAY PRODUCTION DIRECTOR OF EXECUTIVE BY NINA JACOBSON JON KILIK NOVEL BY SUZANNE COLLINS BY GARY ROSS AND SUZANNE COLLINS AND BILLY RAY DESIGNER PHILIP MESSINA PHOTOGRAPHY TOM STERN, AFC, ASC PRODUCERS ROBIN BISSELL SUZANNE COLLINS LOUISE ROSNER-MEYER DIRECTED THEHUNGERGAMESMOVIE.COM LIONSGATE SOUNDTRACK BY GARY ROSS AVAILABLE ON UNIVERSAL REPUBLIC March6023 ®

CREDITS NOT CONTRACTUAL

The King’s Speech As mentioned before, it was hard to get images for action and horror while watching The King’s Speech due the nature and content of the film. I had an abundance of drama-based images, luckily, but I decided to start with action. My first few images focused on the biplane that appears for a few minutes in the movie, trying to give the impression of a movie that was telling a story that took place during the second world war while the other images focused on extreme close ups of the main character’s face. There were a few times he featured a very serious disposition, so I decided to emphasize this aspect as movies that focus on war often feature the characters with the same kind of serious faces as well. From there, I focused on my type, this time focusing more on ones that seemed violently painted on, regal looking serifs, or tall but heavy sans serifs. I once again utilized reds for a few of the posters, especially those featuring the plane as it paired well with the yellow paint there. I also tried yellow and gold type for a bit more variation, but the former felt more dramatic while the latter simply became hard to see. For the most part, however, I used white as the main color as it stood out the best among the posters. The sans serifs looked the best for this, and two designs quickly stood out to me and many of my classmates, one in which I spread the text throughout the entirety of the poster while still being able to see the actor’s intense eyes and serious face, while the other one features an angular sans serif that almost felt militaristic with the plane and pilot behind it. In the end, I went with the former design as it was a little more experimental and visually interesting, adding a quote from the movie itself referring to the war they were about to enter into.

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The King’s Speech IN THEATERS THIS CHRISTMAS THE WEINSTEIN COMPANY AND UK FILM COUNCIL PRESENT IN ASSOCIATION WITH MOMENTUM PICTURES, AEGIS FILM FUND, MOLINARE, LONDON FILMNATION ENTERTAINMENT A SEE SAW FILMS/BEDLAM PRODUCTION A FILM BY TOM CASTING MUSIC HOOPER COLIN FIRTH GEOFFREY RUSH “THE KING’S SPEECH HELENA BONHAM CARTER GUY PEARCE TIMOTHY SPALL DEREK JACOBI JENNIFER EHLE AND MICHAEL GAMBON DIRECTOR NINA GOLD SUPERVISOR MAGGIE RODFORD COSTUME EXECUTIVE MAKE-UP&HAIR PRODUCTION FILM DIRECTOR OF DESIGNER FRANCES HANNON DESIGNER JENNY BEAVAN DESIGNER EVE STEWART EDITOR TARIQ ANWAR COMPOSER ALEXANDRE DESPLAT PHOTOGRAPHY DANNY COHEN BSC CO -PRODUCERS PETER HESLOP SIMON EGAN PRODUCERS GEOFFRY RUSH TIM SMITH PAUL BRETT MARK FOLIGNO HARVEY WEINSTEIN BOB WEINSTEIN SCREENPLAYBY DAVID SEIDLER PRODUCEDBY IAIN CANNING EMILE SHERMAN GARETH UNWIN DIRECTEDBY TOM HOOPER bedlam

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IN THEATERS THIS CHRISTMAS THE WEINSTEIN COMPANY AND UK FILM COUNCIL PRESENT IN ASSOCIATION WITH MOMENTUM PICTURES, AEGIS FILM FUND, MOLINARE, LONDON FILMNATION ENTERTAINMENT, A SEE SAW FILMS/BEDLAM PRODUCTION A FILM BY TOM CASTING MUSIC HOOPER COLIN FIRTH GEOFFREY RUSH “THE KING’S SPEECH HELENA BONHAM CARTER GUY PEARCE TIMOTHY SPALL DEREK JACOBI JENNIFER EHLE AND MICHAEL GAMBON DIRECTOR NINA GOLD SUPERVISOR MAGGIE RODFORD COSTUME EXECUTIVE MAKE-UP&HAIR PRODUCTION FILM DIRECTOR OF DESIGNER FRANCES HANNON DESIGNER JENNY BEAVAN DESIGNER EVE STEWART EDITOR TARIQ ANWAR COMPOSER ALEXANDRE DESPLAT PHOTOGRAPHY DANNY COHEN BSC CO -PRODUCERS PETER HESLOP SIMON EGAN PRODUCERS GEOFFRY RUSH TIM SMITH PAUL BRETT MARK FOLIGNO HARVEY WEINSTEIN BOB WEINSTEIN SCREENPLAYBY DAVID SEIDLER PRODUCEDBY IAIN CANNING EMILE SHERMAN GARETH UNWIN DIRECTEDBY TOM HOOPER bedlam

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THE WEINSTEIN COMPANY AND UK FILM COUNCIL PRESENT IN ASSOCIATION WITH MOMENTUM PICTURES, AEGIS FILM FUND, MOLINARE, LONDON FILMNATION ENTERTAINMENT, A SEE SAW FILMS/BEDLAM PRODUCTION A FILM BY TOM CASTING MUSIC HOOPER COLIN FIRTH GEOFFREY RUSH “THE KING’S SPEECH HELENA BONHAM CARTER GUY PEARCE TIMOTHY SPALL DEREK JACOBI JENNIFER EHLE AND MICHAEL GAMBON DIRECTOR NINA GOLD SUPERVISOR MAGGIE RODFORD COSTUME EXECUTIVE MAKE-UP&HAIR PRODUCTION FILM DIRECTOR OF DESIGNER FRANCES HANNON DESIGNER JENNY BEAVAN DESIGNER EVE STEWART EDITOR TARIQ ANWAR COMPOSER ALEXANDRE DESPLAT PHOTOGRAPHY DANNY COHEN BSC CO -PRODUCERS PETER HESLOP SIMON EGAN PRODUCERS GEOFFRY RUSH TIM SMITH SCREENPLAY PRODUCED DIRECTED PAUL BRETT MARK FOLIGNO HARVEY WEINSTEIN BOB WEINSTEIN BY DAVID SEIDLER BY IAIN CANNING EMILE SHERMAN GARETH UNWIN BY TOM HOOPER bedlam

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Words

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THE WEINSTEIN COMPANY AND UK FILM COUNCIL PRESENT IN ASSOCIATION WITH MOMENTUM PICTURES, AEGIS FILM FUND, MOLINARE, LONDON FILMNATION ENTERTAINMENT, A SEE SAW FILMS/BEDLAM PRODUCTION A FILM BY TOM CASTING MUSIC HOOPER COLIN FIRTH GEOFFREY RUSH “THE KING’S SPEECH HELENA BONHAM CARTER GUY PEARCE TIMOTHY SPALL DEREK JACOBI JENNIFER EHLE AND MICHAEL GAMBON DIRECTOR NINA GOLD SUPERVISOR MAGGIE RODFORD COSTUME EXECUTIVE MAKE-UP&HAIR PRODUCTION FILM DIRECTOR OF DESIGNER FRANCES HANNON DESIGNER JENNY BEAVAN DESIGNER EVE STEWART EDITOR TARIQ ANWAR COMPOSER ALEXANDRE DESPLAT PHOTOGRAPHY DANNY COHEN BSC CO -PRODUCERS PETER HESLOP SIMON EGAN PRODUCERS GEOFFRY RUSH TIM SMITH PAUL BRETT MARK FOLIGNO HARVEY WEINSTEIN BOB WEINSTEIN SCREENPLAYBY DAVID SEIDLER PRODUCEDBY IAIN CANNING EMILE SHERMAN GARETH UNWIN DIRECTEDBY TOM HOOPER bedlam

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KING’S SPEECH THE WEINSTEIN COMPANY AND UK FILM COUNCIL PRESENT IN ASSOCIATION WITH MOMENTUM PICTURES, AEGIS FILM FUND, MOLINARE, LONDON FILMNATION ENTERTAINMENT, A SEE SAW FILMS/BEDLAM PRODUCTION A FILM BY TOM CASTING MUSIC HOOPER COLIN FIRTH GEOFFREY RUSH “THE KING’S SPEECH HELENA BONHAM CARTER GUY PEARCE TIMOTHY SPALL DEREK JACOBI JENNIFER EHLE AND MICHAEL GAMBON DIRECTOR MAGGIE RODFORD NINA GOLD SUPERVISOR DIRECTOR OF MAKE-UP&HAIR COSTUME EXECUTIVE PRODUCTION FILM DESIGNER FRANCES HANNON DESIGNER JENNY BEAVAN DESIGNER EVE STEWART EDITOR TARIQ ANWAR COMPOSER ALEXANDRE DESPLAT PHOTOGRAPHY DANNY COHEN BSC CO -PRODUCERS PETER HESLOP SIMON EGAN PRODUCERS GEOFFRY RUSH TIM SMITH PAUL BRETT MARK FOLIGNO HARVEY WEINSTEIN BOB WEINSTEIN SCREENPLAYBY DAVID SEIDLER PRODUCEDBY IAIN CANNING EMILE SHERMAN GARETH UNWIN DIRECTEDBY TOM HOOPER bedlam

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“ F o r

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T H E KING’S S P EE C H

THE WEINSTEIN COMPANY AND UK FILM COUNCIL PRESENT IN ASSOCIATION WITH MOMENTUM PICTURES, AEGIS FILM FUND, MOLINARE, LONDON FILMNATION ENTERTAINMENT, A SEE SAW FILMS/BEDLAM PRODUCTION A FILM BY TOM CASTING MUSIC HOOPER COLIN FIRTH GEOFFREY RUSH “THE KING’S SPEECH HELENA BONHAM CARTER GUY PEARCE TIMOTHY SPALL DEREK JACOBI JENNIFER EHLE AND MICHAEL GAMBON DIRECTOR NINA GOLD SUPERVISOR MAGGIE RODFORD COSTUME EXECUTIVE MAKE-UP&HAIR PRODUCTION FILM DIRECTOR OF DESIGNER FRANCES HANNON DESIGNER JENNY BEAVAN DESIGNER EVE STEWART EDITOR TARIQ ANWAR COMPOSER ALEXANDRE DESPLAT PHOTOGRAPHY DANNY COHEN BSC CO -PRODUCERS PETER HESLOP SIMON EGAN PRODUCERS GEOFFRY RUSH TIM SMITH PAUL BRETT MARK FOLIGNO HARVEY WEINSTEIN BOB WEINSTEIN SCREENPLAYBY DAVID SEIDLER PRODUCEDBY IAIN CANNING EMILE SHERMAN GARETH UNWIN DIRECTEDBY TOM HOOPER bedlam

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Final Action

I then moved onto horror, another one of the genres where I didn’t have too much to work with. I only had about four images to work with so I really had to rely on variations in this case. Two images were from the same shot but different angles, and I mainly used serifs that had a lot of texture. The first typeface felt weathered or worn and I played more worth layouts and colors, including blues, grays, and reds. The second type was more like a script, as though it was written with a quill pen, featuring a sharp quality to the ends of the letters. The next poster featured a more dynamic image in which another one of the main characters is featured, but seen mostly through a wet car window. The image is very atmospheric, feeling relatively unsettling, but the actual face is difficult to see, especially if you don’t know what you’re looking at. I still went with this design and paired it with another script-like font; this one is more rounded than the last and almost ghost-like while also evoking a vintage feel. The last few designs feature the same image of an almost green tinted, foggy street. One can only really see half a row of buildings, a car, and a man dressed in a trench coat and hat. I did a few different pairings with this: a script, a serif, and a bold sans serif, but all were

combined with a red gradient. My final selection ended up being this last image with the script-like font paired with a sharp serif for the tagline of “Based on a true story.”

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THE WEINSTEIN COMPANY AND UK FILM COUNCIL PRESENT IN ASSOCIATION WITH MOMENTUM PICTURES, AEGIS FILM FUND, MOLINARE, LONDON FILMNATION ENTERTAINMENT, A SEE SAW FILMS/BEDLAM PRODUCTION A FILM BY TOM CASTING MUSIC HOOPER COLIN FIRTH GEOFFREY RUSH “THE KING’S SPEECH HELENA BONHAM CARTER GUY PEARCE TIMOTHY SPALL DEREK JACOBI JENNIFER EHLE AND MICHAEL GAMBON DIRECTOR NINA GOLD SUPERVISOR MAGGIE RODFORD COSTUME EXECUTIVE MAKE-UP&HAIR PRODUCTION FILM DIRECTOR OF DESIGNER FRANCES HANNON DESIGNER JENNY BEAVAN DESIGNER EVE STEWART EDITOR TARIQ ANWAR COMPOSER ALEXANDRE DESPLAT PHOTOGRAPHY DANNY COHEN BSC CO -PRODUCERS PETER HESLOP SIMON EGAN PRODUCERS GEOFFRY RUSH TIM SMITH PAUL BRETT MARK FOLIGNO HARVEY WEINSTEIN BOB WEINSTEIN SCREENPLAYBY DAVID SEIDLER PRODUCEDBY IAIN CANNING EMILE SHERMAN GARETH UNWIN DIRECTEDBY TOM HOOPER

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THE WEINSTEIN COMPANY AND UK FILM COUNCIL PRESENT IN ASSOCIATION WITH MOMENTUM PICTURES, AEGIS FILM FUND, MOLINARE, LONDON FILMNATION ENTERTAINMENT, A SEE SAW FILMS/BEDLAM PRODUCTION A FILM BY TOM CASTING MUSIC HOOPER COLIN FIRTH GEOFFREY RUSH “THE KING’S SPEECH HELENA BONHAM CARTER GUY PEARCE TIMOTHY SPALL DEREK JACOBI JENNIFER EHLE AND MICHAEL GAMBON DIRECTOR MAGGIE RODFORD NINA GOLD SUPERVISOR DIRECTOR OF MAKE-UP&HAIR COSTUME EXECUTIVE PRODUCTION FILM DESIGNER FRANCES HANNON DESIGNER JENNY BEAVAN DESIGNER EVE STEWART EDITOR TARIQ ANWAR COMPOSER ALEXANDRE DESPLAT PHOTOGRAPHY DANNY COHEN BSC CO -PRODUCERS PETER HESLOP SIMON EGAN PRODUCERS GEOFFRY RUSH TIM SMITH SCREENPLAY PRODUCED DIRECTED PAUL BRETT MARK FOLIGNO HARVEY WEINSTEIN BOB WEINSTEIN BY DAVID SEIDLER BY IAIN CANNING EMILE SHERMAN GARETH UNWIN BY TOM HOOPER bedlam

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King’s Speech THE WEINSTEIN COMPANY AND UK FILM COUNCIL PRESENT IN ASSOCIATION WITH MOMENTUM PICTURES, AEGIS FILM FUND, MOLINARE, LONDON FILMNATION ENTERTAINMENT, A SEE SAW FILMS/BEDLAM PRODUCTION A FILM BY TOM CASTING MUSIC HOOPER COLIN FIRTH GEOFFREY RUSH “THE KING’S SPEECH HELENA BONHAM CARTER GUY PEARCE TIMOTHY SPALL DEREK JACOBI JENNIFER EHLE AND MICHAEL GAMBON DIRECTOR NINA GOLD SUPERVISOR MAGGIE RODFORD COSTUME EXECUTIVE MAKE-UP&HAIR PRODUCTION FILM DIRECTOR OF DESIGNER FRANCES HANNON DESIGNER JENNY BEAVAN DESIGNER EVE STEWART EDITOR TARIQ ANWAR COMPOSER ALEXANDRE DESPLAT PHOTOGRAPHY DANNY COHEN BSC CO -PRODUCERS PETER HESLOP SIMON EGAN PRODUCERS GEOFFRY RUSH TIM SMITH PAUL BRETT MARK FOLIGNO HARVEY WEINSTEIN BOB WEINSTEIN SCREENPLAYBY DAVID SEIDLER PRODUCEDBY IAIN CANNING EMILE SHERMAN GARETH UNWIN DIRECTEDBY TOM HOOPER AEGISFILMFUND

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THE WEINSTEIN COMPANY AND UK FILM COUNCIL PRESENT IN ASSOCIATION WITH MOMENTUM PICTURES, AEGIS FILM FUND, MOLINARE, LONDON FILMNATION ENTERTAINMENT, A SEE SAW FILMS/BEDLAM PRODUCTION A FILM BY TOM CASTING MUSIC HOOPER COLIN FIRTH GEOFFREY RUSH “THE KING’S SPEECH HELENA BONHAM CARTER GUY PEARCE TIMOTHY SPALL DEREK JACOBI JENNIFER EHLE AND MICHAEL GAMBON DIRECTOR NINA GOLD SUPERVISOR MAGGIE RODFORD COSTUME EXECUTIVE MAKE-UP&HAIR PRODUCTION FILM DIRECTOR OF DESIGNER FRANCES HANNON DESIGNER JENNY BEAVAN DESIGNER EVE STEWART EDITOR TARIQ ANWAR COMPOSER ALEXANDRE DESPLAT PHOTOGRAPHY DANNY COHEN BSC CO -PRODUCERS PETER HESLOP SIMON EGAN PRODUCERS GEOFFRY RUSH TIM SMITH PAUL BRETT MARK FOLIGNO HARVEY WEINSTEIN BOB WEINSTEIN SCREENPLAYBY DAVID SEIDLER PRODUCEDBY IAIN CANNING EMILE SHERMAN GARETH UNWIN DIRECTEDBY TOM HOOPER bedlam

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Final Horror

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Finally, I moved onto the drama posters. I had many more images to work with and in many I tried to incorporate the microphones that appear throughout the movie. The first features the microphone and a large audience staring in the viewers direction, while in a few others I managed to get partial or full-face shots of the main character looking either through or at a microphone. One even featured the actor’s face’s reflection seen in the shiny metal of the microphone. The final image was of a 1920’s elevator button, featuring a name plaque of another one of the main characters, giving the viewer a better idea of what the movie was about with the text “Speech Defects”. Type-

wise, I was a little more experimental within the layouts. Once again, I leaned towards heavier sans serifs, though I did try out typefaces with a little more character to it, one even being very loopy and reminiscent of the 1920s. Another typeface, featured incredibly sharp serifs and was overall incredibly tall, though this felt like something seen on a novel cover. Finally, I tried out a few different typefaces that were reminiscent of a typewriter. Overall, my final design featured the elevator button with the typewriter font in colors that appear in the image, along with a critic’s review as the original poster had no tagline. 70

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King’s Speech IN THEATERS THIS CHRISTMAS

THE WEINSTEIN COMPANY AND UK FILM COUNCIL PRESENT IN ASSOCIATION WITH MOMENTUM PICTURES, AEGIS FILM FUND, MOLINARE, LONDON FILMNATION ENTERTAINMENT, A SEE SAW FILMS/BEDLAM PRODUCTION A FILM BY TOM CASTING MUSIC HOOPER COLIN FIRTH GEOFFREY RUSH “THE KING’S SPEECH HELENA BONHAM CARTER GUY PEARCE TIMOTHY SPALL DEREK JACOBI JENNIFER EHLE AND MICHAEL GAMBON DIRECTOR MAGGIE RODFORD NINA GOLD SUPERVISOR DIRECTOR OF MAKE-UP&HAIR COSTUME EXECUTIVE PRODUCTION FILM DESIGNER FRANCES HANNON DESIGNER JENNY BEAVAN DESIGNER EVE STEWART EDITOR TARIQ ANWAR COMPOSER ALEXANDRE DESPLAT PHOTOGRAPHY DANNY COHEN BSC CO -PRODUCERS PETER HESLOP SIMON EGAN PRODUCERS GEOFFRY RUSH TIM SMITH SCREENPLAY PRODUCED DIRECTED PAUL BRETT MARK FOLIGNO HARVEY WEINSTEIN BOB WEINSTEIN BY DAVID SEIDLER BY IAIN CANNING EMILE SHERMAN GARETH UNWIN BY TOM HOOPER bedlam

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King’s Speech IN THEATERS THIS CHRISTMAS THE WEINSTEIN COMPANY AND UK FILM COUNCIL PRESENT IN ASSOCIATION WITH MOMENTUM PICTURES, AEGIS FILM FUND, MOLINARE, LONDON FILMNATION ENTERTAINMENT, A SEE SAW FILMS/BEDLAM PRODUCTION A FILM BY TOM CASTING MUSIC HOOPER COLIN FIRTH GEOFFREY RUSH “THE KING’S SPEECH HELENA BONHAM CARTER GUY PEARCE TIMOTHY SPALL DEREK JACOBI JENNIFER EHLE AND MICHAEL GAMBON DIRECTOR NINA GOLD SUPERVISOR MAGGIE RODFORD

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“A FILM THAT MAKES YOUR SPIRIT SOAR.”

- Joe Morgenstern, THE WALLSTREET JOURNAL

The

King’s Speech IN THEATERS THIS CHRISTMAS

THE WEINSTEIN COMPANY AND UK FILM COUNCIL PRESENT IN ASSOCIATION WITH MOMENTUM PICTURES, AEGIS FILM FUND, MOLINARE, LONDON FILMNATION ENTERTAINMENT, A SEE SAW FILMS/BEDLAM PRODUCTION A FILM BY TOM CASTING MUSIC HOOPER COLIN FIRTH GEOFFREY RUSH “THE KING’S SPEECH HELENA BONHAM CARTER GUY PEARCE TIMOTHY SPALL DEREK JACOBI JENNIFER EHLE AND MICHAEL GAMBON DIRECTOR NINA GOLD SUPERVISOR MAGGIE RODFORD COSTUME EXECUTIVE MAKE-UP&HAIR PRODUCTION FILM DIRECTOR OF DESIGNER FRANCES HANNON DESIGNER JENNY BEAVAN DESIGNER EVE STEWART EDITOR TARIQ ANWAR COMPOSER ALEXANDRE DESPLAT PHOTOGRAPHY DANNY COHEN BSC CO -PRODUCERS PETER HESLOP SIMON EGAN PRODUCERS GEOFFRY RUSH TIM SMITH PAUL BRETT MARK FOLIGNO HARVEY WEINSTEIN BOB WEINSTEIN SCREENPLAYBY DAVID SEIDLER PRODUCEDBY IAIN CANNING EMILE SHERMAN GARETH UNWIN DIRECTEDBY TOM HOOPER bedlam

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Final Drama

A Quiet Place For once I began designing in the actual genre the movie was originally in, horror. I was able to get a lot of screenshots for horror, considering the contents of the movie, but I was able to narrow it down to four images that were the clearest and the most horrorinducing. The first image, being that of the wife from the movie in a completely red environment, gives a great sense of depth as her face is in focus and there is movement in the background but it can’t be made out. The second image features the children, in which the son hushes the sister in a dark environment, alluding to the concept of the movie. The last two images, meanwhile, feature the wife from different camera angles from the same scene, one where she is only half in frame and is next to dead flowers which add a dark and creepy atmosphere, whereas the second one is a close up of the fear on her face. For type, I used a tall but heavy weight sans serif and a tall but much smaller and tighter sans serif, a very rounded sans serif that almost had a glitch or a blur effect, something that feels like it could be from the ‘90s, in all honesty, and finally another weathered serif with a very distinctive “Q.” I did a fair amount of mixing and matching, along with trying out different taglines, I went with the poster featuring the half view of the wife and the flowers paired with the weathered type as that felt the scariest to me. Ironically, that type ended up being fairly similar to the original typeface, which many of us found really amusing.

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PARAMOUNT PICTURES PRESENTS A PARAMOUNT PICTURES/PLATINUM DUNES PRODUCTION A JOHN KRASINSKI FILM “A QUIET PLACE” EMILY BLUNT JOHN KRASINSKI MILLICENT SIMMONDS NOAH JUPE CADE WOODWARD WITH COSTUME EXECUTIVE LEON RUSSOM AND RHODA PELL CASTINGBY JODI ANGSTREICH MARIBETH FOX LAURA ROSENTHAL MUSIC PRODUCER KASIA WALICKA-MAIMONE EDITEDBY CHRISTOPHER TELLEFSEN KIM SEINIGER MUSICBY MARCO BELTRAMI DESIGNER SCREENPLAY SET SENIOR PRODUCTION DIRECTOR OF BY BRYAN WOODS AND SCOTT BECK AND JOHN KRASINSKI DIRECTOR HEATHER LOEFFLER DESIGNER JEFFREY BEECROFT PHOTOGRAPHY CHARLOTTE BRUUS CHRISTENSEN ART DIRECTOR SEBASTION SCHROEDER EXECUTIVE PRODUCED DIRECTED BY MICHAEL BAY ANDREW FORM BRAD FULLER BY JOHN KRASINSKI CO-PRODUCER DEB DYER PRODUCERS SCOTT BECK CELIA D. COSTAS AARON JANUS JOHN KRASINSKI ALLYSON SEEGER BRYAN WOODS P L AT I N U M D U N E S

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Final Horror

I only had about four images for my action version of A Quiet Place, so I quickly moved onto those posters to design. Three of the images feature the wife holding a gun at different angles and different facial expressions and slightly different lighting, while the last one features a close up of the husband’s face mid-run. The first design features a geometric sans serif, also having a very distinct “Q,” while the second design has a shorter but thicker typeface. The next design has a tall yet sharp serif and the final features a militaristic typeface, one that looks like it was stenciled onto the image. All the posters feature red in the title to help build up the energy of the layout, but overall these designs mainly focus on the image rather than too much on the type. I ended up going with my third design with the sharp serifs as this was the most adrenaline inducing layout in my opinion.

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Finally, I had a surprising amount of drama-like images to work with and had a lot of fun with trying out different typefaces in addition to different concept ideas. The first few designs came across like either a romance movie or like a Hallmark movie, with the hands being held and the candle lights in the background paired with type that looks handwritten. With the next few, I tried to execute a space concept with a more rounded typeface in one and a font that feels a little like constellations with the different lengths for all the lines that make up the fonts, and both have a lot of spacing between the letters in the tagline. These layouts paired with images from the movie involving 81

a spaceship and a child’s mobile with planets, with my own original graphics added in the later design. The final image featured the daughter crouched in front of the cross memorial of one of the deceased children. I put the image both in color and in black and white for dramatic effect, but paired them with a handwritten script and a 1920’s like font with very high contrast. These felt a little like movies about a spiritual journey of some sorts. I ended up going with one of the space concepts for the final design, as those felt the most dramatic and felt like they both had the most of a story to tell and conveyed the most emotion out of the other layouts.

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PARAMOUNT PICTURES PRESENTS A PARAMOUNT PICTURES/PLATINUM DUNES PRODUCTION A JOHN KRASINSKI FILM “A QUIET PLACE” EMILY BLUNT JOHN KRASINSKI MILLICENT SIMMONDS NOAH JUPE CADE WOODWARD WITH COSTUME EXECUTIVE LEON RUSSOM AND RHODA PELL CASTINGBY JODI ANGSTREICH MARIBETH FOX LAURA ROSENTHAL MUSIC PRODUCER KASIA WALICKA-MAIMONE EDITEDBY CHRISTOPHER TELLEFSEN KIM SEINIGER MUSICBY MARCO BELTRAMI DESIGNER SCREENPLAY SET SENIOR PRODUCTION DIRECTOR OF AND SCOTT BECKnAND JOHNs KRASINSKI WOODS SEBASTIONbSCHROEDER JEFFREY CHARLOTTE BRUUS CHRISTENSEN BY BRYAN ART DIRECTOR DESIGNERT PHOTOGRAPHY hBEECROFT e r e c a n b e e a u t y i i DIRECTOR l HEATHER e nLOEFFLER ce EXECUTIVE PRODUCED DIRECTED BY MICHAEL BAY ANDREW FORM BRAD FULLER BY JOHN KRASINSKI CO-PRODUCER DEB DYER PRODUCERS SCOTT BECK CELIA D. COSTAS AARON JANUS JOHN KRASINSKI ALLYSON SEEGER BRYAN WOODS P L AT I N U M D U N E S

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PARAMOUNT PICTURES PRESENTS A PARAMOUNT PICTURES/PLATINUM DUNES PRODUCTION A JOHN KRASINSKI FILM “A QUIET PLACE” EMILY BLUNT JOHN KRASINSKI MILLICENT SIMMONDS NOAH JUPE CADE WOODWARD WITH COSTUME EXECUTIVE LEON RUSSOM AND RHODA PELL CASTINGBY JODI ANGSTREICH MARIBETH FOX LAURA ROSENTHAL MUSIC PRODUCER KASIA WALICKA-MAIMONE EDITEDBY CHRISTOPHER TELLEFSEN KIM SEINIGER MUSICBY MARCO BELTRAMI DESIGNER SCREENPLAY SET SENIOR PRODUCTION DIRECTOR OF BY BRYAN WOODS AND SCOTT BECK AND JOHN KRASINSKI DIRECTOR HEATHER LOEFFLER DESIGNER JEFFREY BEECROFT PHOTOGRAPHY CHARLOTTE BRUUS CHRISTENSEN ART DIRECTOR SEBASTION SCHROEDER DEB DYER EXECUTIVE SCOTT BECK CELIA D. COSTAS AARON JANUS JOHN KRASINSKI ALLYSON SEEGER BRYAN WOODS PRODUCED MICHAEL BAY ANDREW FORM BRAD FULLER DIRECTED JOHN KRASINSKI

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Crooked Jewels And now for the last bout of posters. These are all original designs and are the culmination of all my research, as I tried to make these posters as authentic as possible and tried to design them in such a way that they could be easily read by the viewer as being one of the three genres I mentioned in my research. Before I get into it, I’d like to clarify that I did not develop this movie beyond the title, as in I didn’t create a plot or any other details; I just thought up the title and created the posters and left those up for interpretation. With these designs, I found myself jumping between the different genres so I’ll start with my horror poster as I finished those first. I played a lot with color correction for the images in these designs, the first few being very bright but leaning towards a bluish shade, while the next few suck most of the color out except for the red of the blood and some of the colors from the crown. The next couple included an artificial blur and a greener tint, on even including a glitch effect. The final image includes a darkening effect around the image and is almost uncomfortably saturated with bright blood where it’s thinner. I used an array of typefaces, including the sharp serifs and weathered handwritten script, but also a typeface with an actual glitch effect and a strong sans serif. A lot of these fonts are fairly decorative but all of them have an unsettling quality about them that really comes about with my images. For my final design, I chose one of these sharp serifs with one of the images where most of the color is gone, leaving strong whites and deeper shadows, pairing well with the deep reds.

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GEORGE MASON PRESENTS A GEORGE MASON/SCHOOL OF ART PRODUCTION A KERRIGAN PATTERSON FILM “CROOKED JEWELS” DALIA GENDI MARY JANE DECARLO EMILY MONSEUR LANIE ROBINSON DREW SKULL MIRANDA COSTUME EXECUTIVE VICTORIA MORTON EDITEDBY MARGARET GRIES PRODUCTION CALEIGH PATTERSON MUSICBY JOSH PATTERSON DESIGNER GALAS WITH SOPHIA RIDER AND JAVEN SOTOMILIE CASTINGBY JESSIE PATTERSON MUSIC PRODUCER DESIGNER SHANNON PATTERSON DIRECTED PRODUCED SCREENPLAY DIRECTOR OF EXECUTIVE BY KERRIGAN PATTERSON DALIA GENDI MARGARET GRIES BY KERRIGAN PATTERSON BY KERRIGAN PATTERSON PHOTOGRAPHY KERRIGAN PATTERSON PRODUCERS JAMES HICKS KERRIGAN PATTERSON PIP PATTERSON

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GALAS WITH SOPHIA RIDER AND JAVEN SOTOMILIE BY JESSIE PATTERSON MUSIC PRODUCER CALEIGH PATTERSON BY JOSH PATTERSON DESIGNER VICTORIA MORTON BY MARGARET GRIES DESIGNERDIRECTEDSHANNON PATTERSON PRODUCED SCREENPLAY DIRECTOR OF EXECUTIVE BY KERRIGAN PATTERSON DALIA GENDI MARGARET GRIES BY KERRIGAN PATTERSON BY KERRIGAN PATTERSON PHOTOGRAPHY KERRIGAN PATTERSON PRODUCERS JAMES HICKS KERRIGAN PATTERSON PIP PATTERSON

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GEORGE MASON PRESENTS A GEORGE MASON/SCHOOL OF ART PRODUCTION A KERRIGAN PATTERSON FILM “CROOKED JEWELS” DALIA GENDI MARY JANE DECARLO EMILY MONSEUR LANIE ROBINSON DREW SKULL MIRANDA COSTUME EXECUTIVE VICTORIA MORTON EDITEDBY MARGARET GRIES PRODUCTION CALEIGH PATTERSON MUSICBY JOSH PATTERSON DESIGNER GALAS WITH SOPHIA RIDER AND JAVEN SOTOMILIE CASTINGBY JESSIE PATTERSON MUSIC PRODUCER DESIGNER SHANNON PATTERSON DIRECTED DIRECTOR OF PRODUCED SCREENPLAY EXECUTIVE PHOTOGRAPHY KERRIGAN PATTERSON PRODUCERS JAMES HICKS KERRIGAN PATTERSON PIP PATTERSON BY KERRIGAN PATTERSON DALIA GENDI MARGARET GRIES BY KERRIGAN PATTERSON BY KERRIGAN PATTERSON

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Final Horror

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I then turned most of my attention to my drama posters. For these layouts, I focused mainly on the crown itself and the green velvet I had, creating a huge difference in atmosphere compared to the white fabric the crown was on in my horror posters, as well as extreme close ups of my face. These images in particular feel more intense as I have a very serious disposition and there is a heavy focus on my eyes and the angle of my head. I did place a further emphasis on color in these layouts, making the green velvet really pop and highlighting the dramatic lighting many of my images have. I experimented a lot more in

terms of type, more so in these layouts than in many of my others. I chose to use a fair number of typefaces that look like they came out of the 1920’ and ‘30s, to give the posters a time period feel, as well as more decorative typefaces like one with the letters cut out of white squares and type where the letters almost feel like ribbons. A final typeface I choose is another sharp sans serif where the “O’s” in “Crooked” link together. For my final, I merged two of the posters, taking that final typeface mentioned and pairing it with one of my images that features only the crown and velvet and not my face (thank goodness). 90

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GEORGE MASON PRESENTS A GEORGE MASON/SCHOOL OF ART PRODUCTION A KERRIGAN PATTERSON FILM “CROOKED JEWELS” DALIA GENDI MARY JANE DECARLO EMILY MONSEUR LANIE ROBINSON DREW SKULL MIRANDA COSTUME EXECUTIVE VICTORIA MORTON EDITEDBY MARGARET GRIES PRODUCTION CALEIGH PATTERSON MUSICBY JOSH PATTERSON DESIGNER GALAS WITH SOPHIA RIDER AND JAVEN SOTOMILIE CASTINGBY JESSIE PATTERSON MUSIC PRODUCER DESIGNER SHANNON PATTERSON DIRECTED DIRECTOR OF PRODUCED SCREENPLAY EXECUTIVE PHOTOGRAPHY KERRIGAN PATTERSON PRODUCERS JAMES HICKS KERRIGAN PATTERSON PIP PATTERSON BY KERRIGAN PATTERSON DALIA GENDI MARGARET GRIES BY KERRIGAN PATTERSON BY KERRIGAN PATTERSON

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GEORGE MASON PRESENTS A GEORGE MASON/SCHOOL OF ART PRODUCTION A KERRIGAN PATTERSON FILM “CROOKED JEWELS” DALIA GENDI MARY JANE DECARLO EMILY MONSEUR LANIE ROBINSON DREW SKULL MIRANDA COSTUME CASTING EXECUTIVE VICTORIA MORTON EDITEDBY MARGARET GRIES PRODUCTION PATTERSON MUSICBY JOSH PATTERSON DESIGNER GALAS WITH SOPHIA DESIGNER SHANNON PATTERSON Draft 4 RIDER ANDEXECUTIVEJAVEN SOTOMILIE BY JESSIE PATTERSON MUSIC PRODUCER CALEIGH DIRECTED PRODUCED SCREENPLAY DIRECTOR OF BY KERRIGAN PATTERSON DALIA GENDI MARGARET GRIES BY KERRIGAN PATTERSON BY KERRIGAN PATTERSON PHOTOGRAPHY KERRIGAN PATTERSON PRODUCERS JAMES HICKS KERRIGAN PATTERSON PIP PATTERSON

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GEORGE MASON PRESENTS A GEORGE MASON/SCHOOL OF ART PRODUCTION A KERRIGAN PATTERSON FILM “CROOKED JEWELS” DALIA GENDI MARY JANE DECARLO EMILY MONSEUR LANIE ROBINSON DREW SKULL MIRANDA COSTUME EXECUTIVE VICTORIA MORTON EDITEDBY MARGARET GRIES PRODUCTION CALEIGH PATTERSON MUSICBY JOSH PATTERSON DESIGNER GALAS WITH SOPHIA RIDER AND JAVEN SOTOMILIE CASTINGBY JESSIE PATTERSON MUSIC PRODUCER DESIGNER SHANNON PATTERSON DIRECTED PRODUCED SCREENPLAY DIRECTOR OF EXECUTIVE PHOTOGRAPHY KERRIGAN PATTERSON PRODUCERS JAMES HICKS KERRIGAN PATTERSON PIP PATTERSON BY KERRIGAN PATTERSON DALIA GENDI MARGARET GRIES BY KERRIGAN PATTERSON BY KERRIGAN PATTERSON

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Crooked Jewels U N E A S Y L I E S T H E H E A D T H A T W E A R S T H E C R O W N GEORGE MASON PRESENTS A GEORGE MASON/SCHOOL OF ART PRODUCTION A KERRIGAN PATTERSON FILM “CROOKED JEWELS” DALIA GENDI MARY JANE DECARLO EMILY MONSEUR LANIE ROBINSON DREW SKULL MIRANDA COSTUME EXECUTIVE VICTORIA MORTON EDITEDBY MARGARET GRIES PRODUCTION CALEIGH PATTERSON MUSICBY JOSH PATTERSON DESIGNER GALAS WITH SOPHIA RIDER AND JAVEN SOTOMILIE CASTINGBY JESSIE PATTERSON MUSIC PRODUCER DESIGNER SHANNON PATTERSON DIRECTED PRODUCED SCREENPLAY DIRECTOR OF EXECUTIVE BY KERRIGAN PATTERSON KERRIGAN PATTERSON DALIA GENDI MARGARET GRIES KERRIGAN PATTERSON KERRIGAN PATTERSON JAMES HICKS KERRIGAN PATTERSON PIP PATTERSON BY BY PHOTOGRAPHY PRODUCERS

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Final Drama

Finally, I turned all my focus to my action posters where I was able to get very dynamic and dramatic layouts and lighting with my photography. I had played around a lot with the lighting and the placements of the cards, dice, poker chips, and jewels to try and get an image that would get the viewer excited and their adrenaline going. Most of the images were left with their original colors (save for some color enhancements of course), while a few were tinted blue and sepia tone to give a wild west feeling. Like the drama posters, I played a little more with the typefaces, using my go-to sharp but bolder sans serifs and the taller and blocker sans serifs in some layouts, but also using a type where some letters came out very condensed and others were very wide while I typed. Other type includes a militaristic stencil like typeface, a western feeling slab serif, and another early 1900s typeface with a very distinctive “W.” In the end, I went with one of my images were the colors where mainly left alone and where the red jewel lights up the face of the queen on the queen of club’s card. I paired this with a wide and bold typeface colored a similar red to the red light that goes across the top of the card, creating a very authentic looking poster.

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GEORGE MASON PRESENTS A GEORGE MASON/SCHOOL OF ART PRODUCTION A KERRIGAN PATTERSON FILM “CROOKED JEWELS” DALIA GENDI MARY JANE DECARLO EMILY MONSEUR LANIE ROBINSON DREW SKULL MIRANDA COSTUME EXECUTIVE VICTORIA MORTON EDITEDBY MARGARET GRIES PRODUCTION CALEIGH PATTERSON MUSICBY JOSH PATTERSON DESIGNER GALAS WITH SOPHIA RIDER AND JAVEN SOTOMILIE CASTINGBY JESSIE PATTERSON MUSIC PRODUCER DESIGNER SHANNON PATTERSON PRODUCED DIRECTOR OF EXECUTIVE KERRIGAN PATTERSON DALIA GENDI MARGARET GRIES SCREENPLAYBY KERRIGAN PATTERSON DIRECTEDBY KERRIGAN PATTERSON KERRIGAN PATTERSON JAMES HICKS KERRIGAN PATTERSON PIP PATTERSON BY PHOTOGRAPHY PRODUCERS

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GEORGE MASON PRESENTS A GEORGE MASON/SCHOOL OF ART PRODUCTION A KERRIGAN PATTERSON FILM “CROOKED JEWELS” DALIA GENDI MARY JANE DECARLO EMILY MONSEUR LANIE ROBINSON DREW SKULL MIRANDA COSTUME EXECUTIVE VICTORIA MORTON EDITEDBY MARGARET GRIES PRODUCTION CALEIGH PATTERSON MUSICBY JOSH PATTERSON DESIGNER GALAS WITH SOPHIA RIDER AND JAVEN SOTOMILIE CASTINGBY JESSIE PATTERSON MUSIC PRODUCER DESIGNER SHANNON PATTERSON DIRECTED DIRECTOR OF PRODUCED SCREENPLAY EXECUTIVE PHOTOGRAPHY KERRIGAN PATTERSON PRODUCERS JAMES HICKS KERRIGAN PATTERSON PIP PATTERSON BY KERRIGAN PATTERSON DALIA GENDI MARGARET GRIES BY KERRIGAN PATTERSON BY KERRIGAN PATTERSON

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IN CINEMAS MAY 14 Draft 4 GEORGE MASON PRESENTS A GEORGE MASON/SCHOOL OF ART PRODUCTION A KERRIGAN PATTERSON FILM “CROOKED JEWELS” DALIA GENDI MARY JANE DECARLO EMILY MONSEUR LANIE ROBINSON DREW SKULL MIRANDA COSTUME CASTING EXECUTIVE VICTORIA MORTON EDITEDBY MARGARET GRIES PRODUCTION CALEIGH PATTERSON MUSICBY JOSH PATTERSON DESIGNER GALAS WITH SOPHIA RIDER AND JAVEN SOTOMILIE BY JESSIE PATTERSON MUSIC PRODUCER DESIGNER SHANNON PATTERSON DIRECTED PRODUCED SCREENPLAY DIRECTOR OF EXECUTIVE BY KERRIGAN PATTERSON DALIA GENDI MARGARET GRIES BY KERRIGAN PATTERSON BY KERRIGAN PATTERSON PHOTOGRAPHY KERRIGAN PATTERSON PRODUCERS JAMES HICKS KERRIGAN PATTERSON PIP PATTERSON

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GEORGE MASON PRESENTS A GEORGE MASON/SCHOOL OF ART PRODUCTION A KERRIGAN PATTERSON FILM “CROOKED JEWELS” DALIA GENDI MARY JANE DECARLO EMILY MONSEUR LANIE ROBINSON DREW SKULL MIRANDA COSTUME EXECUTIVE VICTORIA MORTON EDITEDBY MARGARET GRIES PRODUCTION CALEIGH PATTERSON MUSICBY JOSH PATTERSON DESIGNER GALAS WITH SOPHIA RIDER AND JAVEN SOTOMILIE CASTINGBY JESSIE PATTERSON MUSIC PRODUCER DESIGNER SHANNON PATTERSON DIRECTED DIRECTOR OF PRODUCED SCREENPLAY EXECUTIVE PHOTOGRAPHY KERRIGAN PATTERSON PRODUCERS JAMES HICKS KERRIGAN PATTERSON PIP PATTERSON BY KERRIGAN PATTERSON DALIA GENDI MARGARET GRIES BY KERRIGAN PATTERSON BY KERRIGAN PATTERSON

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Final Action

Conclusion The final part of my project included putting my original posters into action, so to speak. The posters I designed for the movies I chose were a sort of practice, to see what it felt like to actually make movie posters based on pre-existing movies, but my original posters were to test everything I learned from my research and my redesigns. So, to see if I used the correct elements and design choices, I placed my posters into a survey to see who thought what poster belonged to what genre. Those who took the survey were of varying different ages, backgrounds, careers, and design experience. A majority of my survey takers were able to recognize the action and horror posters for their

genres, but it was drama where things became interesting. About 60% read the drama poster for drama, but about 30% read the horror poster for a drama as well. Unfortunately, I didn’t add a function for the survey takers to explain their thinking behind their answers, but I think it’s safe to say that I need to work a little more on any piece of media with a drama aspect from here on out. Overall, this project really gave me a lot of knowledge about movie posters and just how much time and work goes into making them, as well as why poster designers prefer taking photographs over using actual scenes from the actual movie (motion blur will be the death of me).

Works Cited “Action Film.” Wikipedia, Wikimedia Foundation, 20 Mar. 2022, https://en.wikipedia.org/wiki/Action_film. “A BRIEF HISTORY OF THE POSTER.” International Poster Gallery, https://www.internationalposter. com/a-brief-history-of-the-poster/. Dacre, Richard. Movie Posters: The History of Cinema from the Origins to the Present. White Star, 2020. “Drama (Film and Television).” Wikipedia, Wikimedia Foundation, 19 Mar. 2022, https:// en.wikipedia.org/wiki/Drama_(film_and_television). “Drama Films.” Drama Films, https://www.filmsite. org/dramafilms.html.

“Horror Film.” Wikipedia, Wikimedia Foundation, 9 Mar. 2022, https://en.wikipedia.org/wiki/Horror_film. “How Has the Evolution of Film Impacted Movie Poster Design “ The Poster Collector.” The Poster Collector, 26 July 2020, https://postercollector.co.uk/ blog/how-has-the-evolution-of-film-impactedmovie-poster-design. “Jules Cheret.” Jules Cheret - The Complete Works, https://www.jules-cheret.org/. “Poster.” Wikipedia, Wikimedia Foundation, 23 Mar. 2022, https://en.wikipedia.org/wiki/Poster#History.

“Film Poster.” Wikipedia, Wikimedia Foundation, 3 Mar. 2022, https://en.wikipedia.org/wiki/Film_ poster#cite_note-2. Fussell, Grace. “Movie Poster Design 101: The Anatomy of a Movie Poster.” Design & Illustration Envato Tuts+, Envato Tuts, 13 Oct. 2020, https:// design.tutsplus.com/articles/movie-poster-design101-the-anatomy-of-a-movie-poster--cms-35852. “History of Movie Posters “ The Poster Collector.” The Poster Collector, 3 Aug. 2020, https:// postercollector.co.uk/articles/history-of-movieposters/.

Images Cited “Alraune.” Alraune (1918) German Movie Poster, 1 Jan. 1918, https://www.cinematerial.com/movies/ alraune-i8826/p/jfmfmabm. Amazon.com: Godzilla (2014) 24” X 36” Movie Poster (Thick) - Aaron Taylor ... https://www.amazon.com/ Godzilla-Movie-Poster-THICK-Taylor-Johnson/dp/ B00KIT09TA. Amazon.com: Wallspace the King’s Speech - 11x17 Framed ... https://www.amazon.com/Kings-SpeechFramed-Poster-Wallspace/dp/B075QR1JDV. “Baby Driver.” IMDb, IMDb.com, 28 June 2017, https://www.imdb.com/title/tt3890160/. Box Office Buz. “Empire of the Sun(1987).” Box Office Buz, https://boxofficebuz.com/movie/ empire-of-the-sun-5665.

“Download Godzilla vs Kong Movie Hindi || English 2021 (480p & 720p).” Latest Flim, 1 Feb. 2022, https:// latestflim.com/download-godzilla-vs-kong-moviehindi/. Drouotonline.com. Projections Artistiques Peintures & Scuptures De Maîtres Modernes Blanc Et Noir 4 Èexpo 1890 Très Rare & Célèbre / Very Rare & Historic & Famous Cheret Jules Rare Affiche De Projection Juste Avant Les Cinéma En 1895 / Rare Poster of Projection in 1890 Just before the Invention of Cinema Chaix (Ateliers Chéret) Affiche Entoilée/ Vintage Poster on Linnen T.B.E.. A - 60 x 41 Cm Pre - Cinema Vers 1890 / before Cinema around 1890, https://drouot.com/l/15577670--projectionsartistiques-peint.

“Carrie.” IMDb, IMDb.com, 16 Nov. 1976, https://www. imdb.com/title/tt0074285/.

Dunkel, Rachel. “23 Movie Pairings I Recommend Watching as Double Features.” BuzzFeed, BuzzFeed, 27 Mar. 2020, https://www.buzzfeed. com/racheldunkel/movie-pairings-that-makeperfect-double-features.

“Category:the Fatal Ring.” Wikimedia Commons, https://commons.wikimedia.org/wiki/Category:The_ Fatal_Ring.

“The Exploits of Elaine.” IMDb, IMDb.com, https:// www.imdb.com/title/tt0003897/mediaviewer/ rm362995968/.

Crane, Sarah. “October 2021 Film Club Pick.” The Film Rewind, The Film Rewind, 7 Oct. 2021, https:// thefilmrewind.com/film/october-2021-film-clubpick.

Facebook, https://www.facebook.com/ CasaAmarelaCineclube/photos/767155388023891. “Favorite Posters - 2010s.” IMDb, IMDb.com, https://m.imdb.com/list/ls031639831/mediaviewer/ rm3355552768/.

“Crimson Peak.” IMDb, IMDb.com, https://www. imdb.com/title/tt2554274/mediaindex.

File:Dr Jekyll and Mr Hyde Poster edit2.Jpg Wikipedia. https://en.wikipedia.org/wiki/File:Dr_ Jekyll_and_Mr_Hyde_poster_edit2.jpg.

“The Dark Knight.” IMDb, IMDb.com, https:// www.imdb.com/title/tt0468569/mediaviewer/ rm1355844353/.

Flying Tigers (Republic, 1942).... Movie Posters War

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| Lot ... https://movieposters.ha.com/itm/movieposters/war/flying-tigers-republic-1942-/a/60719206.s.

Prints Hedoarchitects.pl.” Hedo Architects, 24 Apr. 2021, http://hedoarchitects.pl/Prints/xeigs-534149/US-One.shtml.

The Forgetful Film Critic. “1917 Movie Review.” The Forgetful Film Critic, The Forgetful Film Critic, 20 Dec. 2019, https://www.forgetfulfilmcritic.com/ home/2019/12/20/1917.

Original Film Art - Vintage Movie Posters. “Catch Me If You Can (2002).” Original Film Art - Vintage Movie Posters, https://www.originalfilmart.com/products/ catch-me-if-you-can-adv.

“Godzilla: King of the Monsters!” IMDb, IMDb.com, 27 Apr. 1956, https://www.imdb.com/title/tt0197521/.

“The Outlaw and His Wife.” IMDb, IMDb.com, https://m.imdb.com/title/tt0008879/mediaviewer/ rm2031386881/.

“Hacksaw Ridge.” IMDb, IMDb.com, 4 Nov. 2016, https://m.imdb.com/title/tt2119532/?ref_=ttgf_gf_tt. “Home.” Indonesia, https://www.ubuy.co.id/en/ product/9KQBK2AE-la-la-land-movie-poster-24-x36-inches-ryan-gosling-emma-stone. Howard, Sidney. “SR Exclusives.” ScreenRant, 17 July 2021, https://screenrant.com/tag/gone-with-thewind/. “Invasion of the Body Snatchers.” Metacritic, 5 Feb. 1956, https://www.metacritic.com/movie/invasion-ofthe-body-snatchers-1956. “Iron Man.” IMDb, IMDb.com, 2 May 2008, https:// www.imdb.com/title/tt0371746/. “Midsommar.” IMDb, IMDb.com, 3 July 2019, https:// www.imdb.com/title/tt8772262/. Nicholls, Samuel. “The Most Memorable Posters for Classic Movies Were All by One Man.” ITTeacherITFreelance.hk, 23 Oct. 2020, https:// itteacheritfreelance.hk/wordpress/index. php/2020/10/23/the-most-memorable-posters-forclassic-movies-were-all-by-one-man/. “One Sheet Poster Titanic 1997 U.S Art & Collectibles

“Pacific Rim.” IMDb, IMDb.com, https://www.imdb. com/title/tt1663662/mediaviewer/rm3573656576/. “A Quiet Place.” Metacritic, https://www.metacritic. com/movie/a-quiet-place/details. “The Red Shoes 1948 (Moira Shearer/Emerick Pressburger) Poster.” Vinyl Pharmacy, https://www. vinylpharmacy.com/product-page/the-red-shoes1948-moira-shearer-emerick-pressburger-poster. “The Rocketeer.” Disney Movies, 21 June 1991, https:// movies.disney.com/the-rocketeer. “Rosemary’s Baby.” BoxdenCom The Urban Webs Front Page RSS, https://boxden.com/showthread. php?t=2983423. Rowe, Brian. “Why ‘Planet of the Apes’ Is One of the Greatest Movies Ever Made.” Medium, Read. Watch. Write. Repeat., 16 Apr. 2019, https://medium. com/read-watch-write-repeat/why-planet-of-theapes-is-one-of-the-greatest-movies-ever-made22ae8c2e786c. Schering, von Sidney. “Inception.” Wessels, 11 Aug. 2020, https://wessels-filmkritik.com/2020/07/23/ inception/.

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“A Star Is Born.” IMDb, IMDb.com, 27 Apr. 1937, https://www.imdb.com/title/tt0029606/?ref_=ev_ nom. “TheInvisibleMan_poster.” The Art of VFX, https://www.artofvfx.com/the-invisible-man/ theinvisibleman_poster/. Tripler, Jessica. “A Look Back at the Hunger Games Movie Posters.” BOOK RIOT, 27 Nov. 2015, https:// bookriot.com/look-back-hunger-games-movieposters/. Uzan, Robin. “‘Nosferatu’ : Le Chef-D’œuvre Expressionniste Fête SES 100 Ans.” Cultea, 7 Mar. 2022, https://cultea.fr/nosferatu-le-chef-doeuvreexpressionniste-fete-ses-100-ans.html. “Vražedné Čelisti: Proč Lidé Šíleli Při Sledování Spielbergova Filmu?” EnigmaPlus.cz, https:// enigmaplus.cz/vrazedne-celisti-proc-lide-sileli-prisledovani-spielbergova-filmu/.

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About the Author Born and raised in Fairfax, Virginia, Kerrigan Patterson was fortunate enough to be introduced to the world of graphic design in high school. Finding a passion for the subject, she pursued it as her degree while at George Mason University. Alongside this, Kerrigan became a part-time graphic design contractor for the IJAA, a non-profit organization. While she loves editorial design, she quickly found herself looking forward to trying out different forms of design. Kerrigan can usually be found at home, blasting music while reading her books and manga, all while keeping an eye on her two corgis.

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A Look into the Design of Movie Posters

Articles inside

Images Cited

Works Cited

Cool Info Now What?

Getting Started

Lights, Camera, “Action!”

Dedications

Early Design Process

Oh the “Drama” of it All

A “Brief” History on Movie Posters

Into the House of “Horror”s