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I recommend taking a look at my dailies and personal projects page, which will give you a good starting point for coming up with your own projects (as well as frank insight into my own early design work, which I have had described as “bold” and “not quite Air Bud 6 material, I’m afraid”) nrfi rankings. For further inspiration, I also wrote some tips on finding design inspiration, because I don’t know how to communicate to people outside of tips anymore. 1) thank you for reading. 2) goodbye.
Once you have enough portfolio together to survive the first inevitable wave of rejections and feel confident that they really didn’t have room on their production of Air Bud 6 anyway, start thinking of some films and TV shows that you love or admire, and check out the graphic designers on IMDb. They’re right there listed under ‘Crew’. Do some light Google stalking to find email addresses (a good rule of thumb is that if someone is super hard to find, chances are they don’t want to be contacted, but if it’s all there on their site you’re grand) and introduce yourself briefly with your work.
The collaboration between graphic designers and film professionals blurs the line between disciplines, with designers contributing their expertise in visual communication to create immersive on-screen worlds. Graphic design in film and television is a dynamic art form that continually pushes creative boundaries and engages audiences on a visual level.
Empire of the Sun artwork
The first featured a ruined castle that was blown up intentionally by the Japanese army during the Second World War. The second comprised photographs taken a decade after the atomic bomb exploded in Hiroshima. They showed the stains and flaking ceilings of the Atomic Bomb Dome, the only structure left standing at the heart of the detonation zone. The third part concerned Tokyo during the period of economic recovery: images of advertising, scrap iron, the trampled national flag and emblems of the American Forces such as Lucky Strike and Coca-Cola, all twisted together, their order shuffled again and again. Some appeared as a montage to be presented as a metaphor. I dare not say the meaning of it.
While the images allow increasing passages of time between events and the photographs that reflect on them – “made moments after the events they depict, then those made days after, then months, years and so on” – there settles in the pit of the stomach some unremitting melancholy, some unholy dread as to the brutal facticity and inhumanness of war. The work which “pictures” the memory of the events that took place, like a visual ode of remembrance, are made all the more powerful for their transcendence – of time, of death and the immediate detritus of war.
Another fascinating exhibition. The concept, that of vanishing time, a vanquishing of time – inspired by Kurt Vonnegut’s 1969 novel Slaughterhouse-Five and the Japanese photographer Kikuji Kawada’s 1965 photobook The Map – is simply inspired. Although the images are not war photography per se, they are about the lasting psychological effects of war imaged on a variable time scale.
And today, in 2014, 100 years since the start of the First World War, it seems more important than ever not only to understand the nature and long-term effects of conflict, but also the process of looking back at the past…”
Toshio Fukada (Japanese, 1928-2009) The Mushroom Cloud – Less than twenty minutes after the explosion (4) 1945 Tokyo Metropolitan Museum of Photography © The estate of Toshio Fukada, courtesy Hiroshima Peace Memorial Museum
Cinematic artwork
The relationship between film and painting is a fascinating interplay of visual arts, where each medium has continually borrowed and evolved from the other. Since the advent of cinema in the late 19th century, the dynamic and immersive nature of film has captivated audiences and influenced various forms of artistic expression. Painters, in particular, have been inspired by the narrative and visual techniques developed in cinema, incorporating these elements into their work to create compositions that are rich in storytelling and emotional depth.
Similarly, filmmakers were influenced by painting. Directors like Georges Méliès, known for his fantastical and imaginative films, drew heavily from the traditions of theatrical set design and visual art to create his cinematic worlds. The interplay between these mediums laid the foundation for future explorations and collaborations between filmmakers and painters.
By borrowing these cinematic techniques, painters have expanded the possibilities of their medium, creating works that are not only visually captivating but also rich in narrative and emotional depth. The interplay between film and painting continues to inspire artists, encouraging them to push the boundaries of visual storytelling.
Artists like Gregory Crewdson and Cindy Sherman are well-known for their cinematic approach to photography and painting. Crewdson’s elaborately staged photographs, with their meticulous attention to detail and dramatic lighting, create eerie, film-like scenes that seem to tell incomplete stories. Sherman’s use of self-portraiture and narrative tableaux in her photography similarly reflects a deep engagement with cinematic storytelling techniques.
Caravaggio’s use of chiaroscuro in works like The Calling of Saint Matthew (1600) predates cinema but has similarities to dramatic film lighting. In more contemporary examples, the works of Edward Hopper frequently utilize strong, directional lighting to create a sense of drama and isolation, as seen in New York Movie (1939).
Although it appears to be veritably inscribed in the artistic tradition, the artwork was in fact commissioned by Wes Anderson in 2014. It’s not the work of a Northern Renaissance painter, but rather that of Michael Taylor, a 21st century British artist.
