It's the 10th article from the beginning in today's digital paper:
https://www.washingtonpost.com/graphics/2019/entertainment/oscar-nominees-movie-poster-design/
*Movie posters are plastered on dorm rooms, scaffolding under construction
sites and megaplex hallways. Like the films they advertise, they can become
cultural icons — at their best functioning as frameable and collectible
works of art. *
*When it comes to creating them, designers have to balance a lot of needs
and voices with the ultimate goal of getting people to the theater. Give
too much away, and viewers will cry spoilers. Go a safer, more vague route,
and risk too much ambiguity. Certain studio contracts include requirements
on dimensions of the director’s or actors’ names in relation to the title.
Now with competing streaming services, designers have to make sure the
imagery reads well at different scales — and not just as a poster hanging
inside a theater.*
*“Increasingly that’s not the way that most people see posters. You have to
be thinking of [video on demand] and how somebody is going to see this as
they’re swiping through Netflix super-fast,” said Erik Buckham, a Los
Angeles movie-poster designer at Palaceworks who has worked on such posters
as “I Am the Night,” “Colossal” and “Beast of the Southern Wild.”“It’s a
big shift.”*
*For insight on the posters for this year’s best picture nominees, The
Washington Post chatted with Buckham and three other designers in and out
of the entertainment industry: Eddie Opara, a British designer at Pentagram
in New York; Debbie Millman, the host of “Design Matters” podcast and the
author of several graphic design books; and Akiko Stehrenberger, a Los
Angeles movie poster illustrator and designer of posters such as “Funny
Games” and “Deadpool 2.” With nominees including a superhero film, a
romantic reboot and a political drama, the posters run the gamut in visual
styles. *
--
Mel S. Hutson
Charlotte, NC USA
****
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