Film illustration
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Cover image
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Film graphic
As long as there are physical sets, there’s going to be a need for graphic design in film. “Charlie Wilson’s War” is a perfect example. How could you have Tom Hanks standing on the Capitol lobby floor without the tile floor and wall graphics? His and the director’s reaction to the set was priceless and most rewarding.
While you’re reading a character’s facial expression, the time on a clock, or noticing a possible threat looming in the background, there can be dozens if not hundreds of other objects in the frame that are meant to complement, not detract from the main subject—tangible, presumably non-sentient objects that add dimension and a lived-in quality to human environments on screen.
“The first thing to know is that every project is different and will have different needs. Features and episodic are also very different animals, in terms of prep time and managing the workflow during filming. Typically the graphic designer is one of the final members to come onto the art department. The Production Designer, Art Directors and Set Designers have already been very busy getting construction going, and it’s up to us to come in and work on the specific art unique to this new world. Getting familiar with the script and the needs of the project are the main focus early on, and meetings with the director/writers is not common during prep. Those meetings happen with the department heads, while the rest of the crew is busy doing what they do best, trying to make those words on a page into something an audience will enjoy.”
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.