Cinematic artwork
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Movie posters, wall art, and movie artwork were staples in every room during the ’90s. They captured the essence of a film in a single image, showing visitors what you’re about and the type of movies you love. Movie canvas art was always used for this purpose. In our collection of movie paintings, you can find a horror film poster with dark themes or a comedy poster featuring bright colors and humorous imagery to set a light-hearted tone.
Most people can appreciate the experience of going to the movies and being impacted by a work of creativity. Movies give us the opportunity to be captivated by a director’s imagination to tell an engrossing story. From comedy to drama to action to horror and more, movies have shaped the world. Art is a way to display the importance of your favorite movies to your world.
Cinematic artwork
It would take an entire article to list all the visual references Claro crams into this 8-minute sequence, in which the film’s two narrative threads—one concerning the lives of a wealthy, wretched family; the other, the destruction of the entire planet—merge sublimely (and ridiculously). Even so, Melancholia’s allusion to Millais merits special attention. In Millais’s painting—and in the original Shakespearean play—Ophelia is the victim of Hamlet’s cruelty, as well as her own unbalanced psyche. How right for Claro to connect Ophelia and Justine, the doomed heroine of Melancholia, whose inner trembling is somehow both an omen and a cause of apocalypse.
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.
There are a few popular YouTube videos that identify movie shots explicitly inspired by paintings. Cinephiles call this sort of shot a tableau vivant, or “living picture”—a live-action recreation of a still image. One of the most striking tableaux vivants appears in the prologue to Melancholia (2011), shot by Manuel Alberto Claro, and evokes Sir John Everett Millais’s Pre-Raphaelite masterwork Ophelia (1851–52).
It would take an entire article to list all the visual references Claro crams into this 8-minute sequence, in which the film’s two narrative threads—one concerning the lives of a wealthy, wretched family; the other, the destruction of the entire planet—merge sublimely (and ridiculously). Even so, Melancholia’s allusion to Millais merits special attention. In Millais’s painting—and in the original Shakespearean play—Ophelia is the victim of Hamlet’s cruelty, as well as her own unbalanced psyche. How right for Claro to connect Ophelia and Justine, the doomed heroine of Melancholia, whose inner trembling is somehow both an omen and a cause of apocalypse.
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.
There are a few popular YouTube videos that identify movie shots explicitly inspired by paintings. Cinephiles call this sort of shot a tableau vivant, or “living picture”—a live-action recreation of a still image. One of the most striking tableaux vivants appears in the prologue to Melancholia (2011), shot by Manuel Alberto Claro, and evokes Sir John Everett Millais’s Pre-Raphaelite masterwork Ophelia (1851–52).
Promotional image
Joyful excited young latin woman receive reward for good job. Getting promotion. Joyful young latin woman office worker yell look on pc screen receive recognition reward for good job from boss. Female scientist feel excited to find solution of difficult problem
Successful black businessman looking at camera celebrating success got promotion. Successful proud black businessman looking at camera celebrating victory got promotion or reward, happy african employee taking congratulations from colleague on professional achievement in office
Close up of businessman handshake intern greeting with promotion. Close up of businessman shaking hand of colleague at office meeting, congratulating with work achievement, boss handshake happy satisfied intern greeting with job promotion. Concept of rewarding
Film graphic
Graphic design in film is not just about creating posters and other promotional material. Graphic designers work to make movies what they are, and they are a core part of the crew. Just look at the famed graphic designer for film, Annie Atkins. She worked on creating set pieces, props to create the typeset for the hotel sign, and movie title for The Grand Budapest Hotel.
Google “Wes Anderson + graphic designer” and you’ll find the work of Annie Atkins. Actually if you just Google “graphic design for film” you’ll see Atkins’ name and links to interviews, profiles, and features about the work on shows and films including Isle of Dogs, Bridge of Spies, The Boxtrolls, Penny Dreadful, and The Grand Budapest Hotel.
In film and television, graphic design is all about creating an atmosphere that is compelling and helps in moving the plot forward. The expertly designed graphic design components of a movie make the audience feel more immersed and tie all the elements together.
“My first job in the UK was work experience on the second Harry Potter film,” says Lima. “Then one week quickly became two, then three, then four, ending in me working for three months on the second film, then full-time from the third Harry Potter movie.”
Two people with a lot of answers are Miraphora Mina and Eduardo Lima, aka MinaLima, the graphic design duo tasked with bringing the wizarding world of Harry Potter to life. Having worked on all seven films between them, plus the subsequent Fantastic Beasts movies, Mina and Lima have made history with their designs, with the Daily Prophet and Marauder’s Map being just two of many hero props crafted by their very talented hands.