Empire of the Sun artwork
Empire of the Sun artwork
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Film graphic
Robert Bernard, Martin T. Charles, and Annie Atkins have each spoken about the importance of their work for the actors. They deliver their most compelling and believable performances when they have real props to look at, hold, and interact with. Graphic designers for film and television may not be the most lauded names in the credits, but they’re among the most important.
It’s no exaggeration to say these guys are legends within the graphic design film world, but they haven’t let it go their heads. Instead, they remain extremely grounded, and have an undeniable warmth and passion, not only for the art of design itself, but for helping others become part of this highly creative world.
In recent years, the role of graphic design in film has become more established, with more and more directors recognising the importance visual artists play in bringing their visions to life. That said, graphic design in film still remains, for some reason, an underrated and unpopular career path. But why is that? Is it too competitive? Too reliant on connections? Impossible to find a way in?
Robert Bernard, Martin T. Charles, and Annie Atkins have each spoken about the importance of their work for the actors. They deliver their most compelling and believable performances when they have real props to look at, hold, and interact with. Graphic designers for film and television may not be the most lauded names in the credits, but they’re among the most important.
It’s no exaggeration to say these guys are legends within the graphic design film world, but they haven’t let it go their heads. Instead, they remain extremely grounded, and have an undeniable warmth and passion, not only for the art of design itself, but for helping others become part of this highly creative world.
Cinematic artwork
A woman is gliding around a grand piano reaching out a hand to tap on the keys and play some small melody that she might know. If we listen carefully we can hear the tapping of the keys and their reverberation. The woman wears an elegantly beautiful backless red dress. The balcony view is a sublime cityscape of the New York skyline. Skyscrapers light up the sky just like they might do in a movie scene. We wonder if the woman is also singing to herself as she plays on the piano. Is she at a dinner party wandering through the building, or visiting a handsome suitor, or is this her own abode? These questions are all left unanswered.
A Sunday Afternoon on the Island of La Grande Jatte also stands as one of the earliest representations of leisure, especially within public spaces. This remains, after all, the essence of Ferris Bueller and his unforgettable day off…
Across the years, we’ve seen multiple James Bonds and even more backdrops for his perilous adventures. Yet, as Daniel Craig’s character fears, the old is always up against the new. Perhaps this is why 007’s first meeting with Q takes place at the National Gallery in London. Seated in front of J.M.W. Turner’s The Fighting Temeraire (1839), the two discuss the limitations of youth and the strengths of experience.
The first scenes of Pierrot le fou begin with Jean-Paul Belmondo in the bath, reading from his copy of Elie Faure’s Histoire de l’Art. An essential reference within art criticism, this book reappears across the film in the form of different passages. A few moments later, in Marianne’s apartment, art meets film once more. With posters and postcards, we recognize the works of Henri Matisse and Pablo Picasso spread across her bare walls. Although it may not be glamorous, Godard’s choice of decor for Marianne’s apartment more closely resembles how many of us appreciate masterpieces: from a distance. Who hasn’t displayed their adoration for an artist in a gift shop?