BFI Film Classics’ 20th Anniversary: Designer Covers
description
Transcript of BFI Film Classics’ 20th Anniversary: Designer Covers
![Page 1: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/1.jpg)
BFI Film Classics’ 20th Anniversary
Designer covers
![Page 2: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/2.jpg)
Nick Morleywww.nickmorley.co.uk
@linocutboy
‘The colours were important to me – I chose red and green which have are strongly symbolic in the film.
They are also complementary colours (and the colours of old-fashioned 3d specs) so they really vibrate next
to each other, adding to the feeling of vertigo… I hope it is evocative of a sense of drama without giving away
too much of the plot’
Vertigo
![Page 3: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/3.jpg)
![Page 4: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/4.jpg)
Paul Pope@pulph0pe
‘I approached the cover the way classic Ukiyo-E printmakers such as Utamaro and Hiroshige portrayed Kabuki actors in prints celebrating the actors in their greatest roles, yet to do the drawing with a strong
sense of Expressionism. I tried to find the most iconic moment of Rutger Hauer's performance, and
exaggerate the intensity of the emotions using harsh, expressive brushwork and colour.’
Blade Runner
![Page 5: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/5.jpg)
![Page 6: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/6.jpg)
Cristiana Couceirowww.cristianacouceiro.com
Metropolis
![Page 7: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/7.jpg)
![Page 8: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/8.jpg)
Mark Swanwww.kid-ethic.com
‘The film deals with disguise and deceit. I wanted to have one element of the design revealing a darker, secret side. The classic-looking British font has the shadow of a more Germanic-styled font. The film is quite dark and brutal for an Ealing production so I
wanted the cover to look quite sinister.’
Went the Day Well?
![Page 9: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/9.jpg)
![Page 10: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/10.jpg)
Eric Skillmanwww.ericskillman.com
‘Kane spends so much of the film building up the mythology of himself, rendering him as the noble icon he aspires to be seemed appropriate. And hopefully
the handmade, slightly ‘off’ quality of the image hints at the complexity of the man underneath.’
Citizen Kane
![Page 11: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/11.jpg)
![Page 12: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/12.jpg)
Chloe Giordanowww.chloegiordano.com
@ChloeGiordano
‘I couldn't leave out the iconic yellow brick road, so in making it form the text itself I've tried to make it an integral part of the design rather than just a prop…The design itself is sewn onto a piece of hand dyed
calico, with a range of embroidery thread. I hand sew all my work, which I feel gives me the ability to work into minute detail but also to make sure the whole
piece flows together.’
The Wizard of Oz
![Page 13: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/13.jpg)
![Page 14: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/14.jpg)
Benio Urbanowiczwww.iambenio.com
‘I managed to find a beige coat I thought looked similar to the coat from the film in Oxfam, then
crafted a hood out of cartridge paper and added it to the coat. Then I stuffed the coat with newspaper to
make it look as if someone was wearing it. Suspended on string from the ceiling, I poured red gloss over the
jacket and let it drip slowly, whilst adjusting my lighting.’
Don’t Look Now
![Page 15: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/15.jpg)
![Page 16: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/16.jpg)
Marc Atkinswww.marcatkins.com
@Marc_Atkins
‘Having watched Taxi Driver many, many times over the years, there were several elements which struck me as being of major significance to its structure and
symbolism… For the shot used on the cover, I took two of the aspects - the notebook and pencil (I spent
some time practising to approximate Travis’ handwriting, and wrote down the title and author in
the note book), and the twenty dollar bill.’
Taxi Driver
![Page 17: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/17.jpg)
![Page 18: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/18.jpg)
Louise Weirwww.louiseweir.com
‘I wanted to embrace the ‘Hollywood Feel’ of the time when the film was shot, and the positive feel of the film. I wanted to convey the glamour, bright lights,
singing, dancing and ‘feel good’ quality. Also I wanted the title and author's name to become part of
Broadway, so Gene is dancing through lights that spell out the title and author's name.’
Singin’ in the Rain
![Page 19: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/19.jpg)
![Page 20: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/20.jpg)
Andy Bridgewww.andybridge.com
‘After working through several ideas centred on the hunting scene and the farcical chases through the house, I settled for concentrating on the tangled
relationships between the main characters and their hierarchy, with Robert, Marquis de la Cheyniest at the top of the pile, looking down on all the other players.’
La Règle du Jeu
![Page 21: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/21.jpg)
![Page 22: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/22.jpg)
Su Blackwell www.sublackwell.co.uk
Photography: Jochen Braun
‘I used a second-hand book by Andrew Lang, cutting out pages with a scalpel from the original story that
Snow White and the Seven Dwarfs was based on, Snow White and Rose Red. With my templates cut out,
I then painted Snow White, and the apples red, and assembled the final piece with wire.’
Snow White and the Seven Dwarfs
![Page 23: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/23.jpg)
![Page 24: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/24.jpg)
Eda Akaltunwww.edosatwork.com
@edosatwork
‘I really liked the 1930s spaces in the film, especially the grand halls and décor of the Fascist era. Although the film was in colour, there was a subdued look to it
and the light and shadow contrasts were very strong. I wanted to convey this aesthetic in my artwork, as well as focusing on the main character Marcello Clerici in
action.’
Il Conformista (The Conformist)
![Page 25: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/25.jpg)
![Page 26: BFI Film Classics’ 20th Anniversary: Designer Covers](https://reader036.fdocuments.us/reader036/viewer/2022081413/548516a0b47959e70c8b4d6c/html5/thumbnails/26.jpg)
www.palgrave.com/bfi