I'm happy to share this new design for THE UMBRELLAS OF CHERBOURG , available as a limited edition screenprint at the Belcourt Theatre starting this Thursday (Thanksgiving evening). 20 copies will be available at the Belcourt and more copies may be available through my shop in the near future so please stay tuned. Jacques Demy's iconic musical plays as part of a retrospective of the director's work continuing now at the Belcourt.
Here's a new cover I designed for Death Waltz Recording Co, for ROOM 237. Available in both a condensed LP (with CD) and standalone CD with pop-up digipak. I wrote some liner notes as well and was very psyched to be involved with this release, a synthy, Italo-influenced score by Jonathan Snipes and William Hudson.
I'm really happy to share this poster I designed for Cinefil Imagica's release of FANTASTIC PLANET on Blu-ray in Japan, as well as the below inlay and booklet designs. The poster will be an exclusive for Japanese customers who purchase the Blu-ray at certain retail stores. Even if you've seen this classic, surreal animated film from René Laloux and Jiri Trnka Studios, you've never seen it like this; Cinefil Imagica has produced a gorgeous restoration more colorful and striking than any I've seen. The region-free Blu-ray is available September 27th. (note for English-speaking customers: it does not contain English subtitles)
Jakub Erol's Polish posters had it all. Surreal illustrated portraits of transformed heads and hands, creative photograph treatments, colorful cartoon drawings, you name it. He's one of the Polish poster artists you can't necessarily pin down to one recognizable style. But when you see an Erol poster, you know it's an Erol poster. Here are some of my favorites, starting with the above poster for WEEKEND AT BERNIE'S, a combination of type and image so interesting that it became one of the first Polish posters I added to my collection. Erol's work is certain to please 80's movie lovers, with his striking designs for THE TERMINATOR, RAIDERS OF THE LOST ARK, and MY STEPMOTHER IS AN ALIEN (another personal favorite), all seen below. See more at Terry Posters.
Exciting announcement! Today at The Dissolve, a new site for all film lovers, you can find the first entry in my new monthly column there called Frames. Each month I'll be presenting a new original movie poster design to readers of The Dissolve, and writing a bit about the film I chose and my various points of reference and inspiration from the world of movie poster design and graphic design in general.
Head to The Dissolve now to see the full poster design and read some thoughts behind the process, and visit my shop to purchase a new silkscreen print for Before Midnight, completing the trilogy that began with my Before Sunrise and Before Sunset screenprints (the new print is available individually for folks who already have the first two prints, or in a set of three with the other two). I'm excited to be part of the Dissolve team and looking forward to exploring wherever this series takes me. Come along...
In 2010, for the 25th anniversary of Claude Lanzmann's landmark holocaust documentary SHOAH, I was asked by IFCFilms to design a new commemorative theatrical poster. The design reappropriated an image from the film of train conductor Henrik Gawkowski, the same image that has long been associated with the film since its original release:
For The Criterion Collection's DVD/Blu-ray release, I went back to some original concepts for the anniversary poster in an effort to help Criterion find a new way to present SHOAH visually. In the poster design process (which I about briefly here) I experimented with many different images from the film, all of which I found beautiful, but only some of which captured the idea of human memory and narrative that guides SHOAH. I had grown really attached to one image in particular, a perspective looking back on a pair of train tracks disappearing into a foggy woods, as well as another image of Chelmno survivor Simon Srebnik in a field. These would both end up being used in my SHOAH package for Criterion, the train track image transforming into a new cover design.
But through the process, Criterion asked to see some other ideas, just to have more options to consider. Art director Sarah Habibi asked me to consider the idea of circular thought-- the way in which Shoah and its human subjects approach their personal histories through a circular, reflective process-- and to try some cover concepts that perhaps didn't even use imagery from the film, but represented the film iconically… A tall order for a film as psychologically and emotionally expansive as SHOAH. Out of this suggestion came a large group of comps (a sample of which are shown below) made by photographing a circular pattern traced into the Earth by a human hand. It was a very abstract concept-- ultimately too abstract-- but it was interesting attempt at representing SHOAH using original imagery.
It was decided that the image of Gawkowski would be presented on interior cover, and the outside of the slipcase would feature the train track image. I mocked up this cover using the same saturated color fields I had applied to my poster concepts, and then more natural versions upon Criterion's request. We also started looking at cleaner, taller typefaces. Both of these changes were part of Criterion's overall effort to remove any aesthetic interference from the imagery-- to present the entire package as naturally as possible out of respect for the film and its beauty.
I applied this philosophy to the rest of the package, its menus and booklet. I'm really proud to have worked on this presentation of SHOAH for Criterion. The DVD and Blu-ray set is available now.
Born in Havana, Antonio Pérez Ñiko began his career drawing for an ad agency in Cuba as one of many artists executing images of propaganda for the state. Upon the Revolution, he devoted himself passionately to his own artwork, creating what eventually amounted to hundreds of posters. Many of these were film posters commissioned by the Cuban Institute of Cinematographic Art and Industry (founded in 1959); Ñiko also designed countless political and cultural posters, and his works are among the most definitive of the Cuban Revolutionary Style.
Living in Mexico since 1988, he has continuously designed posters and is currently a professor of design. Among the revolutionary poster artists still with us today, he couldn't be more beloved; Ñiko has won countless awards and has had many exhibitions, programs and books published of his monumental work, including a new exhibition that appears to be currently active at the University Gallery Ramón Alva de la Canal in Xalapa, Veracruz (entitled 1/4 Century in Mexico, the exhibition features Ñiko's work from the past 25 years as well as a special series of 25 new posters based on Pablo Neruda's The Book of Questions).
Most wonderfully of all, Ñiko prolifically updates his own personal blog, a treasure trove of personal writings on art and design, lectures, interviews, favorite records and books, cat pictures, links to his students' work as well as beautiful catalogs of Niko's work viewable in PDF form. In a recent interview, Niko described his blog "a demonstration of all that sustains me in this world."
When I began designing movie posters in pursuit of a potential career, it was a book of Cuban posters that inspired me more than anything else. Thanks to Ñiko's blog and website, as well as Carol Goodman and Claudio Sotolongo's indespensible book Soy Cuba, I've been able to identify the man behind so many of my favorite designs. I present just a small sampling of them below, all shared respectfully from Ñiko's site (where you can view so many more). I know that I am only one of many, many young artists for whom Ñiko's work-- simply, colorful, humorous and constructed around iconic ideas-- remains a huge inspiration.