Rolf Goetze

From a stylistic point of view, Goetze's posters are characterized by a great compositional structure; the German designer was capable of blending incredibly realistic, close-up portraits, with elaborate scenes in the background. An undisputed master of portraiture, Goetze created numerous posters using monochrome, black and white, or sepia palettes. His posters look like realistic, vivid charcoal drawings. They are able to represent faces and expressions of their protagonists, as mirrors faithful to reality.

Osvaldo Mario Venturi 

Venturi’s movie posters are characterized by a vivid chromatic palette and structured through the overlapping of veils: they seem bright watercolors. The representation of the protagonists' faces makes them unique. Venturi depicts their heads almost floating in a space rich of details, like in an intricate dream. His portraits are loud caricatures; they load emotions, gestures, attitudes, and almost exaggerated expressions. Influenced by the popular Argentinian genre of melodrama and its strong emotional power, a poster from Venturi is never cold or detached.

Raymond Elseviers

The brush strokes of Ray’s posters are inspired by the oil painting tradition, and they create sketchy touches of color, like in an Impressionist painting. Ray outlines the figures of the films' protagonists in the foreground, while landscapes and background scenes are achieved through imprecise dashes of color, in some cases even creating abstract compositions. Even the color palette used by the artist is extremely identifiable: different shades of pink and purple, yellows, reds, and greens characterize his artworks. Looking at Ray's posters is a bit like watching a movie when technicolor was invented: an explosion of color after years of black and white.

Kurt Wenzel

Kurt Wenzel’s posters all share an eye-catching graphic style: defined lines and shapes, refined typographical characters of the titles, high and accentuated contrast of lights and shadows. The outlines of his figures are always drawn with sharp lines, almost as if they were traditional etchings. In fact, like through ancient printmaking techniques, Wenzel obtains shapes with bold lines, fascinating for their simplicity and crispness. Wenzel’s artworks are characterized by an intense black component and a color palette in shades of gray and smoky colors. He also focuses on creative typography, frequently placing film titles at the top, like covers of an adventurous book.

Constantin Belinsky

Belinsky’s style is particularly bright and attention-grabbing, thanks to a color palette with major yellow elements. Much attention is also paid to the typographic characters, creating particularly expressive titles and varying with other textual elements, such as names of actors, directors, film production companies. The result is a diverse miscellany of images and words. Unlike other movie posters, Belinsky's portraits are not particularly realistic, they do not want to faithfully represent the faces of the protagonists as if they were true. The designer is more focused in producing powerfull figures often depicted full length, accentuating poses, movements, and dynamism.

Boris Grinsson

Grinsson’s painting style for posters is characterized by his peculiar treatment of colors. If compared with the style of Italian designers, for example, his portraits appear rather schematic. Rather than using strong contrasts between light and shadow, Grinsson modulated his figures with bold flat planes of colors and cool and defined outlines. His posters thereby often look like works of modern art, rather than traditional sketches. Even the color palette is rather restricted, preferring different shades of yellows, greens, blues. The chromatic and formal restriction of Grinsson’s style is not to be seen as a limitation, but as a legacy of the lithography technique that dominated German design until the early 1960s. A historical and peculiar element that distinguishes its very different and endless production.

Clément Hurel

    The style of Clément Hurel in his movie posters is unbelievably recognizable. Heavily influenced by his career in the advertising industry, Hurel creates posters with few but very striking characters in the foreground. He often plays with the playful sensuality of female figures typically inspired by the 1950s pin-up genre. The style is never realistic but rather caricatured, lighthearted, and humorous. From the point of view of colors, Hurel plays a lot on light tones, often juxtaposing black and white with cleverly colored elements. His figures even seem to be sketched as if they were pencil drawings or watercolors. Light and impalpable.

George Kerfyser

  What   immediately   strikes   the   eye   of   the   viewer   when   looking   at   George   Kerfyser 's   posters   is   the   use   of   colors.   The   backgrounds   are   not crowded   with   scenes   and   characters   but   simple   and   essential.   They   are   characterized   by   plain,   campite,   and   uniformly   spread   colors. Blues,   azures,   greens,   occasionally   grays,   and   reds   compose   a   mosaic   of   colors   in   wonderfully   cool   tones.   The   characters   created   by Kerfyser   stand   out   against   these   colored   backgrounds.   They   are   often   contrasting   figures   with   marked   outlines,   black   and   evocative   in their   sometimes   realistic,   sometimes   caricatured   style.   The   modernity   of   Kerfyser's   posters   is   palpable:   they   seem   like   amazing   covers   of contemporary graphic novels.

Rene Peron

Rene   Peron    created   posters   that   hardly   go   unnoticed,   both   in   terms   of   color   palette   and   composition.   Incredibly   balanced   scenes,   these works   of   art   amaze   for   their   bright   colors,   sharp   contrasts,   and   bold   titles.   Peron’fs   color   selection   explores   the   nuances   of   red,   orange, pink,   often   creating   contrasts   between   complementary   colors.   Blue   stands   out   next   to   orange,   yellow   lights   up,   enhancing   the   overall picture.   Even   the   style   of   the   titles   is   made   to   attract   attention:   the   designer   works   on   typefaces,   often   dynamic,   other   times   geometric,   or powerfully   contoured.   Peron's   posters   are   a   mixture   of   realistic   faces,   more   abstract   elements,   and   flashy   texts.   A   majestic   balance   of reality and poetry.

Roger Soubie

  Roger   Soubie    has   an   enormous   production   of   movie   posters,   some   of   which   are   highly   celebrated.   In   this   vast   variety   of   genres,   scenes, and   characters,   his   style   is   always   characterized   by   lively   brushstrokes,   attentive   to   tones,   shadows,   and   transparencies.   The   skin   of   his actresses,   their   swathing   dresses,   look   like   shining   silk   designed   by   a   Renaissance   painter.   The   lines   are   realistic   and   traditional:   the   movie stars   are   depicted   with   their   distinctive   features,   almost   lifelike,   but   it   is   the   composition   that   makes   his   design   truly   original.   Soubie’fs protagonists   are   centered   in   the   middle   of   the   scene,   sometimes   they   are   inserted   in   frames   or   articulated   between   numerous   words   and titles with different fonts. Soubie’fs movie posters are dynamic. Like an engaging movie, always in motion.

Klaus Dill

  Klaus   Dill 's   posters   are   powerful,   bold,   and   energetic.   Influenced   by   his   career   as   a   western   comics   illustrator,   his   posters   also   absorbed this   predominant   strong   and   adventurous   spirit.   Dill's   painting   style   is   realistic   in   the   depiction   of   faces,   delineated   with   great   attention   to shading,   lighting,   and   contrasts   between   dark   and   bright   tones.   However,   it   is   the   depiction   of   bodies   that   makes   his   work   incredibly powerful:    Dill    paints    plastic,    three-dimensional    volumes.    He    molds    his    characters    as    if    they    were    sculptures.    Under    his    shaping brushstrokes, actors and actresses take on physical substance.

Josef Fenneker

  The   posters   of   graphic   artist,   painter   and   set   designer   Josef   Fenneker    impress   with   their   dark,   mysterious   and   fascinating   atmospheres. Stylistically,   they   embody   the   unusual   and   elegant   forms   of   Art   Nouveau   but   also   the   intense   emotional   energy   of   Expressionist   painting. His   characters,   often   haunting   and   spectral   female   figures,   stand   out   against   dark   black   orblue   backgrounds.   They   are   characterized   by livid   and   gloomy   tones.   The   restlessness   of   1920s   Berlin   and   the   Weimer   Republic   shine   through   Fenneker’fs   artworks.   The   artist masterfully   used   the   technique   of   color   lithography   thus   preferring   the   medium   of   printmaking.   Lithography   was   a   tradition   in   German culture and it allowed great expressive possibilities, enhancing contrasts and in the sharpness of outlines.

Ercole Brini

  Ercole   Brini    is   a   Roman   poster   artist   active   in   the   post-war   period   with   an   extremely   personal   taste.   His   movie   posters   are   characterized by   strong   chromatic   contrast,   blacks   and   whites   are   opposed   to   each   other,   and   particularly   bright   colors   are   juxtaposed   with   softer shades.   Even   the   brushstrokes   make   his   artworks   particularly   recognizable:   the   figures   are   often   outlined   through   colors   and   not   through rigid   black   outlines.   The   small   touches   of   color   are   decisive,   dense,   and   placed   with   each   other.   They   create   backgrounds,   which   make them look like impressionistic oil paintings.

Alfredo Capitani

The   peculiar   signature   of   Alfredo   Capitani    in   movie   posters   is   among   the   most   famous   in   the   world   of   Italian   design.   The   important experience   with   theaters,   stages,   and   spotlights   was   essential   to   highlight   his   flashy   but   synthetic   style.   Extremely   concise   in   delineating figures,   Capitani   is   formally   innovative.   His   lines   are   immediate   and   well-defined,   like   outlining   concrete   theatrical   spaces.   Even   the   impact of colors is intense and full of contrasts. Capitani’fs posters are a suggestive synthesis between forms and refined graphic lettering.

Averardo Ciriello 

The   faces   portrayed   by   Averardo   Ciriello    look   like   powerful   photographs.   The   realism   of   the   expressions,   the   wrinkles   and   the   crumples of   the   skin,   the   eloquent   glances...   everything   in   the   posters   of   this   artist   appears   alive   and   real.   Ciriello   realistically   represents   the   moods and   personalities   of   the   protagonists   of   great   films,   often   creating   portraits   of   three-quarter   faces.   His   primary   skill   lies   in   the   ability   to render   lighter   and   darker   areas,   highlights,   and   shadows,   while   spontaneously   modulating   colors   and   tones.   Ciriello   is   a   master   of chiaroscuro,   capable   of   observing   and,   at   the   same   time,   letting   people   observe   the   peculiarities   of   the   stars'   faces,   making   them   appear first of all as human beings.

Rinaldo Geleng

There   is   something   subtly   somber   and   dreamlike   in   Rinaldo   Geleng's    posters,   as   if   they   were   perturbing   dreams.   The   impression   is   given by   the   use   of   colors:   often   dark,   cold   tones,   he   prefers   black   backgrounds   and   dull,   livid   greens.   But   that's   not   all,   even   the   way   Geleng depicts   faces   and   expressions   is   often   mysterious.      The   artist   specializes   in   portraiture   that   appears   to   be   painted   in   tempera.   However, the   realistic   features   are   accompanied   by   the   influence   of   expressionist   painting.   The   colors   in   some   posters   become   exaggerated   and unnatural, strongly expressive. The reality is overcome by a more emotional world, made of more hidden feelings and undertones.

Jean-Claude Ghirardi

  The style of Jean-Claude Ghirardi's movie posters is characterized by an original and distinctive dissonance. For colors, the cold tones of purple and bluish are juxtaposed with warm colors such as red, yellow, and orange. It creates a particular effect of contrapositions. The same contrast in style: Ghirardi realizes compositions where incredibly realistic portraits coexist with more sketchy and abstract backgrounds and scenes, almost splashes of color. Moreover, the use in some cases of sepia tones makes the artist's portraits look almost like traditional sketches or charcoals inserted into colorful and innovative contexts. 

Joseph Koutachy

It is impossible not to be fascinated by Joseph Koutachy's compositions: dynamic, essential while maintaining their harmony. The painted faces are geometric and angular, while the chiaroscuro of shadow and light on the skin create almost solid forms. Even the setting of the composition is schematic: the space is divided by squares, sheets, curved lines that split and animate the scenes. When looking at a Koutachy poster, it seems like looking at a Futurist painting. He shares with the Avant-Garde art of Futurism the ability to render velocity and movement, even with geometric forms. While the power of strong energy is achieved with static forms. 

Hans Braun

  The sensuality of the female figures portrayed by the designer Hans Braun is extremely physical. The charm of these movie stars passes through the artist’fs talent, able to make their bodies defined and almost sculptural. The tones and colors are strong: intense reds, blacks, and purples. Even the rendering of faces and expressions makes them idealized but at the same time beauties in flesh and blood. Braun delineates the figures with marked black outlines, embossing them on neutral and chromatic backgrounds as if they were sculptures. In this way, the protagonists stand out on the scene, impossible to look away from them. 

Heinz Schulz-Neudamm

  Heinz Schulz-Neudamm's style is unmistakable and popular, due to the fame of some of his movie posters, first and foremost the avant- garde Fritz Lang's Metropolis. His portraits are realistic and, at the same time graphic novel-like, thanks to the unnatural but intense use of colors. He does not use a methodical modulation of tones or chiaroscuro: the colors are plain, defined, without smudging. The effect is precise, the balance between flashy titles and elegant scenes is impeccable. Even the famous poster of Metropolis, a veritable tribute to New York, is a lithograph that expresses a look towards the future. The great buildings of the city shine with a luminous and electric tension, reminiscent of the energetic cities represented by the Futurists and of the exasperated forms of German Expressionism.

Bruno Rehak

Bruno Rehak's style in his movie posters is variegated and eclectic, capable of combining different influences and attitudes. During his career, Rehak created posters with a hyper-realistic style, extremely detailed portraits, and others more similar to vignettes and caricatures. He pays enormous attention to the representation of emotions and feelings in the faces of the protagonists, making his work particularly expressive. Rehak also created titles with appealing graphics. They were capable of restoring, with typography, the mood of the cinematographic masterpiece they advertised. 

Georg Schubert

In a unique glance, Georg Schubert captures perhaps the most fascinating aspect of cinema: magic. Like those captured by the movie camera, the worlds he creates in his movie posters are sparkling and dreamy. The cold and pastel chromatic tones give the entire atmosphere a romantic and delicate allure. The use of a particular shade of blue tending to indigo makes his background almost crystal clear. Created with touches of color particularly focused on the bright use of white, his characters shine as if under the spotlight. 

Hans Otto Wendt

  Like charcoal sketches from another era, Wendt's movie posters attract viewers with their traditional beauty. The narrow color palette used by the artist is never a limitation. Tones of brown, gray, and terracotta lend a vintage charm to his compositions. However, the most remarkable strength is the extraordinary portraiture. Wendt is a true expert in portraits and human faces. Incredibly realistic, his sepia portraits almost look like photographs from the past, carrying a tinge of true nostalgia from that golden age of cinema. 

Manfredo Acerbo

  Manfredo Acerbo told what he absorbed while living in the city of Rome for a long time: his movie posters are often imbued with decadent love and romance. His compositions are characterized by going beyond the simple portrait. The characters are placed in complex settings and perform staged actions. Acerbo is a creative and conscious interpreter of reality; he tells different human types and their emotions and acts. The style is expressionistic for the use of violent, accentuated, sometimes unnatural colors. In those years, moreover, Acerbo also experienced the influence of the Italian Neo-Cubism current, introjecting the essentiality of the line and the synthetic and narrative quality. 

Dante Manno

  What is striking about Manno’fs posters is the imposing presence of reality. He portrays the movie stars paying incredible attention to their volumes, to the tonal research of colors to create relief, to the areas of light and shadow. The result is extremely three-dimensional, modeled, plastic designs. Manno works on light and on the thickening of the contour line, giving depth to his figures skillfully placed in space. As a result, he creates bodies that seem real and dynamic.  

Jose Montalban

  Jose Montalban navigates through different styles, creating a kaleidoscope of settings and characters with mixed moods. The result is a varied corpus of works that communicates the richness and dynamism of the whole world of cinema. Some posters have truthful traits, while others are sketched and impressionistic. He creates animated-like scenes while others include expressionistic and disturbing atmospheres from their geometric essence. Montalban's talent is in masterfully adapting his style, which fits like a glove with the selected motion picture.  

Jacques Bonneaud

Jacques   Bonneaud's   posters   are   striking   for   their   colors   and   compositional   structure.   The   subjects   are   often   placed   on   unexpected   and surprising   lines:   they   are   arranged   on   diagonals,   asymmetrical   lines,   dynamic   directions.   Some   faces   stand   out   in   the   foreground,   other characters   move   with   dynamic   actions   in   the   background.   The   portraits   are   realistic   but   at   the   same   time   essential,   graphically   uniform, with   defined   lines.   They   are   very   recognizable   actors   and   actresses,   but   never   painted   in   a   veristic   way.   Bonneaud's   artworks   highlight   the protagonists also through the use of colors: bright, unnatural, while watching them, it seems to be in front of a Fauvist painting.

Bernard Lancy

  Bernard   Lancy   turns   poster   movies   into   advertising   masterpieces.   His   works   are   completely   different   from   the   realism   and   truthfulness   of many   colleagues;   they   incorporate   caricature,   geometries,   patterns,   and   colorful   drawing.   The   originality   of   this   designer's   style   lies   in   his ability   to   integrate   various   languages,   creating   mixed   compositions,   sometimes   loud   in   their   integration   of   characters,   texts,   frames,   and colors. Lancy keeps himself in joyful balance, moving between different elements.

Jean-Adrien Mercier

Jean-Adrien   Mercier's   style   is   recognizable   like   a   few   others   for   its   originality   and   formal   purity.   His   images   are   almost   always   created   with geometric   shapes,   stylized   as   if   they   were   outlines,   cut-outs   of   a   more   complex   picture.   Because   of   their   regular   geometry,   they   almost look   like   images   from   the   design   of   Russian   Constructivism   or   schematic   but   flashy   artworks   of   Second   Futurism.   The   French   artist   uses primary   colors   -yellow,   blue,   red,   but   also   white   and   black   fields-   on   neutral   backgrounds.   There   is   order,   cleanliness,   essentiality.   Mercier communicates in the most effective way possible: through disarming simplicity.

Heinz Bonne

Heinz   Bonne   creates   posters   that   blend   precision   and   sketch,   reality   and   imagination.   His   characters   look   like   realistic   portrait   drafts, carefully   drawn   against   backgrounds   of   pure   color.   Quick,   impressionistic   watercolor   touches,   as   if   trying   to   find   the   perfect   color   on   the palette.   In   reality,   the   colors   chosen   by   the   artist   are   extremely   coordinated   with   the   figures   in   the   foreground:   reds,   browns,   greens,   are repeated   in   the   backgrounds   and   in   the   sometimes-monochromatic   choice   of   the   protagonists.   Bonne   creates   careful   posters,   even   in   the use of light and tonality. However, he makes them appear light and spontaneous as if they were created effortlessly.

Boris Streimann

It's   hard   to   remain   indifferent   to   the   haunting   charm   of   Boris   Streinmann's   movie   posters.   Accomplice   to   a   color   palette   of   dark   tones, characterized    by    deep    reds,    greens,    and    grayish    blues,    his    posters    appear    mysterious    and    intriguing.    The    portraits    are    extremely expressive   close-ups   that   almost   look   like   cinematic   flashbacks   of   the   main   scene.   The   compositions,   made   with   fine   brushwork   and hand-brushed   lettering,   are   always   arranged   on   two   temporal   planes.   Streinmann's   achievement   is   an   atmosphere   of   gloomy   but   never confusing hues.

Rodolfo Gasparri

Rodolfo   Gasparri's   artworks   are   perfect   in   their   balanced   traditionalism.   The   Italian   designer   and   actor   is   authentically   a   figurative   painter, who   put   his   pictorial   talent   at   the   service   of   the   cinema   world.   His   movie   posters   are   indebted   to   his   career   as   an   illustrator   of   crime   book covers   -just   observe   his   yellow,   glaring,   titles!   -   and   photocomics:   they   look   like   animated   and   narrative   photographs.   His   portraits   focus on   facial   details,   wrinkles,   and   the   folds   of   the   face   of   the   protagonists.   Gasparri   thus   gives   the   viewer   a   vast   repertoire   of   expressions   and looks, all different and distinctive.

Giuliano Nistri

  Giuliano   Nistri   shows   in   his   designs   how   it   is   possible   to   coordinate   order   and   dynamism   in   the   same   artwork.   His   compositions   are extremely   schematic,   often   scenes   and   characters   are   placed   in   structured   rectangular   bands,   with   the   vertical   or   horizontal   orientation that   materially   divides   the   space.   This   expedient   gives   effectiveness   and   clarity   of   reading   but   does   not   miss   the   movement.   The   static nature   of   Nistri’fs   art   is   only   apparent.   His   figures   are   dynamic   thanks   to   changes   in   posture   and   facial   expressions.   The   sometimes- monochrome   portraits   highlight   different   expressions,   halfway   between   caricature   and   illustration.   Some   of   his   movie   posters   look   almost like   the   covers   of   detective   books   because   of   the   composition,   even   though   they   do   not   deal   with   genre   films.   Giuliano   Nistri’fs   paintings are like curtains, opening onto a theatrical scene.

Sandro Symeoni

Sandro   Symeoni's   imagination   is   fervid   and   his   production   immense.   The   designer   creates   samples,   sketches,   different   versions   of   the same    movie    poster,    offering    various    alternatives    to    clients    and    a    kaleidoscope    of    different    styles.    Symeoni    passes    with    extreme naturalness   from   the   realistic   style   of   the   Fifties   to   the   caricatural   and   almost   abstract   style   of   the   Seventies,   he   moves   from   the   accurate stroke   to   the   more   impressionistic   and   sketchier   one.   He   applies   the   same   imaginative   eclecticism   in   the   lettering   of   the   titles,   which   adapt to   the   style   of   the   film:   sometimes   playful,   in   other   cases   geometric   and   constructivist,   or   with   typefaces   reminiscent   of   the   colorful   Beat Generation.   Symeoni's   posters   are   experimental   and   bold,   with   figures   often   realized   only   with   the   use   of.   He   combines   great   pictorial talent, graphic synthesis, and photograms of scenes he imagined as if they were expansions of the movie.

Dolly Rudeman

 

 

Dolly   Rudeman   is   the   queen   of   movie   poster   design   of   the   1920s,   the   only   woman   in   a   male-dominated   world.   The   Dutch   artist   offered the   public   infinite   shades   of   femininity,   through   the   faces   and   glances   of   great   actresses.   In   her   artworks,   there   is   no   longer   merely   the sensual   beauty   highlighted   by   her   other   illustrious   colleagues,   but   also   the   strength,   the   icy   and   melancholic   gaze,   the   rebellious   and determined   attitude   of   the   women   of   her   era.   Her   style   is   bold,   austere,   almost   futuristic.   She   uses   geometric   shapes   and   a   black   and decisive   stroke.   The   color   palette   is   limited   to   red   backgrounds,   white,   with   female   faces   in   the   foreground.   Looking   at   her   movie   posters   it seems   to   be   in   front   of   the   Art   Deco   work   of   the   painter   Tamara   de   Lempicka,   for   the   same   clear   use   of   lines   and   bright   colors.   In   the   art of   Dolly   Rudeman   there   is   the   reflection   of   all   the   modernity   of   the   20s,   the   unconventionality   of   female   emancipation   at   the   dawn   of time.

Eric Rohman

  The   crisp   and   essential   style   of   Eric   Rohman   is   striking   in   his   movie   posters.   His   traits   are   well   outlined   and   sharp   and   give   life   to   the characters;   he   uses   few   colors   and   is   never   too   loud,   he   has   a   great   originality   in   managing   the   composition   and   the   construction   of   space. The   Swedish   artist   creates   movie   posters   that   are   caricatured   and   powerful   in   the   representation,   with   high   graphic   settings.   He   depicts essential   backgrounds   of   cities,   apartment   interiors,   airplanes,   bars,   or   simple   backgrounds   with   geometric   patterns.   Rohman's   posters attract the audience's attention creating curious scenes, geometric and coherent in the narrative but never static. That never gets boring.

Guy Gérard Noël 

  There   is   in   Guy   Gérard   Noël 's   movie   posters   a   special   emphasis   on   shapes   and   contours.   His   scenes   unravel   in   mixed   ways:   sometimes they   are   neatly   placed   in   borders   and   frames,   in   other   cases,   they   move   along   curved   lines,   obtained   through   the   arrangement   of   titles, banners,   and   other   graphic   devices.   Noël   outlines   the   characters   by   combining   his   realistic   portraits   with   precise,   sharp   contour   lines.   The French   designer's   posters   are   also   characterized   by   the   frequent   use   of   black   silhouettes:   character   profiles,   trees,   and   cliffs   come   to   life through   their   mere   shape   and   shadows.   Noel   posters   manage   to   communicate   the   mystery   and   desire   to   discover   the   unknown,   in   the darkness of the movie theater.

Roger Jacquier

    The   energy   of   Roger   Jacquier,   better   known   by   the   pseudonym   Rojac,   is   palpable   in   his   movie   posters.   The   French   illustrator   creates   a mixture   of   styles,   drawing   both   from   reality   and   from   more   rarefied   atmospheres,   from   sur-reality.   Rojac   is   a   purist   in   the   veristic representation   of   faces   and   characters,   but   his   compositions   unhinge   the   sense   of   reality   in   a   dynamic   way.   Strong   outlines,   bold   colors, juxtapositions   of   cold   and   warm   hues,   and   complementary   colors   such   as   orange   and   blue,   create   animated   and   fast-paced   scenarios.   His compositions   are   characterized   by   scenes   within   scenes,   intersecting   elements,   making   Rojac's   approach   to   design   and   filmmaking complex magic.

Vanni Tealdi

Vanni   Tealdi    approaches   the   world   of   movie   posters   and   film   paintings   by   rediscovering   traditional   styles.   As   it   happens   in   the   European art   of   the   Eighties,   the   revival   of   tradition,   quotations,   of   literal   representation   becomes   more   and   more   frequent   and   ambitious.   Tealdi's portraits   are   characterized   by   great   realism   and   scrupulous   attention   to   detail.   The   designer   uses   color   to   accurately   render   the   range   of nuances   and   works   with   light   and   shadow   to   create   realistic   chiaroscuro   and   effects;   he   modulates   the   volumes   of   characters   and settings. A poster by Tealdi truly recreates the atmosphere of the golden age of cinema.

Tino Avelli

      Tino   Avelli    treats   movie   posters   as   if   they   were   impressionist   paintings,   with   the   same   eye   for   light,   brilliant   rendering   of   color,   and poetry.   The   touches   of   color   that   outline   the   figures   are   delicate,   harmonious,   and   full   of   light.   The   designer   makes   masterful   use   of   white: brilliant,   he   uses   it   both   in   the   backgrounds   and   to   give   light   to   the   skin   and   faces.   He   defines   and   models   his   characters   through   the   sole use of color; some of the faces he creates look like splendid Renoir portraits. Avelli beautifully captures impressions, not reality.

Silvano "Nano" Campeggi

Silvano Campeggi also nicknamed as 'nano' has a unique style characterized by a sharp simplicity. The line of his drawings is distinct and thick, with few colors and elements. This essentiality is not an obstacle, it led the designer to create endless scenarios and combinations. The style is vaguely reminiscent of Japanese prints and etchings: there is the same pursuit of cleanliness, balance, and graphic directness. Campeggi in some movie posters even reaches the conceptual style, choosing for the representation of the film justiconic objects, a face, an expression, a title. There is truly essential modernity in Campeggi's posters.

Mauro Colizzi

    Mauro   Colizzi    has   a   style   indebted   to   the   great   portrait   tradition,   which   reaches   peaks   of   realism   through   monochrome   and   sepia   tones. His   movie   posters   are   literally   photographic   paintings.   The   artist   focuses   on   lights,   shadows,   and   expressions.   He   works   on   the   titles, characterized   by   red   or   yellow   to   attract   attention   and   clear   and   balanced   typefaces.   The   text   is   uniform,   giving   prominence   to   the   actors', actresses',   and   cast's   names   as   if   he   were   painting   the   film's   end   credits.   Colizzi's   scenes   are   often   outlined   in   orderly   frames.   They   are composed and balanced as if they were inside a cinema screen.

Enrico De Seta

  During   his   career,   Enrico   De   Seta    designed   more   than   a   thousand   movie   posters,   giving   the   public   and   movie   lovers   a   panorama   of   very different   styles   and   moods.   With   a   career   as   a   cartoonist   behind   him,   this   poster   artist   represented   characters   in   a   realistic   style   but   also caricatures   in   a   satirical   vein.   The   caricature   exaggerates   the   features   of   the   protagonists   while   maintaining,   in   substance,   the   distinctive lines   of   the   portrait.   De   Seta   embodies   the   widest   spectrum   of   emotions:   irony   and   hilarity,   lightness,   playful   sensuality,   but   he   also realizes strong artworks which attract attention through the combination of contrasting colors.

Paolo Tarquini

    The   style   of   Paolo   Tarquini ’fs   movie   poster   seems   to   be   that   of   a   post-impressionist   painter:   the   great   freedom   in   the   use   of   color   is evident.   The   choice   of   tones   is   always   original,   the   touches   of   color   vibrant,   almost   as   if   light   and   color   were   something   mobile,   iridescent, transformative.   Even   the   textiles   of   the   clothes   of   the   characters   seem   to   take   shape   and   movement   through   the   iridescent   combinations of    color.    The    backgrounds    of    this    designer    seem    to    be    fluid    and    mutating.    Everything    in    Tarquini's    posters    tells    a    story    about transformation,   fluidity,   and   fantasy.   He   absorbs   the   most   magical   quality   of   cinema   art:   that   of   giving   movement   to   static   images, creating a surreal world of escape from reality.

Gosta Aberg

  The   Swedish   designer   Gosta   Aberg    creates   incredibly   modern   conceptual   graphic   artworks.   The   faces   of   the   movie   stars   are   no   longer   the main   protagonists   of   the   composition,   but   often   objects   or   distinctive   scenes.   The   style   is   linear,   geometric,   essential.   Aberg   creates extremely   symbolic   compositions,   consisting   of   evocative   elements   but   delineated   in   a   precise   manner.   His   works   are   characterized   by simplicity   and   stylization.   The   objects   are   made   uniform   and   simplified,   giving   the   viewer   a   feeling   of   order   and   comprehensibility.   Aberg is a refined interpreter of the world of cinema, which tends to make complex worlds immediate and clear.

John Mauritz "Moje" Aslund

John   Mauritz   Aslund   also   known   as   Moje,   is   the   king   of   colorful   and   linear   images.   He   outlines   faces   and   characters   as   if   they   were   stencils, simplified   and   decorative   silhouettes.   The   artist   manages   to   convey   emotions   and   expressions   through   geometric   shapes,   flat   colors   and defined   lines,   preferring   primary   colors:   reds,   yellows,   blues,   and   uniform   black   and   white   tones.   Even   the   texts   and   typefaces   become essential   and   original   elements   of   the   composition,   adapting   to   the   painted   scenes.   Aslund   paints   with   simplicity,   creating   artworks characterized by shapes and their relationships.

Enrique Mataix

  Enrique   Mataix 's   movie   posters   are   perfect   arrangements.   Their   design   shows   great   originality   in   the   composition,   creating   connections between   images,   frames,   and   titles.   Characters   often   blend   together   or   adapt   to   the   scene,   taking   on   different   postures,   settings,   and sizes.   They   express   a   very   dynamic   patchwork   effect.   However,   Mataix   never   loses   the   thread   in   this   animated   flow.   Everything   is graphically connected, held together by a masterful coherence.

Mac - Macario Quibus

Macario   Quibus ,   also   known   by   the   nickname   of   Mac,   is   an   artist   with   two   faces.   Some   works   are   strongly   expressive   and   dramatic, others   lighter   and   luminous.   There   are   movies   posters   characterized   by   vigorous   brushstrokes,   chiaroscuro   effects,   dark   palettes,   and almost   Caravaggio-like   lighting;   others   are   extremely   graphic,   linear,   schematic,   characterized   by   the   dazzling   use   of   white   color.   The   art   of Quibus   is   a   painting   style   based   on   lights   and   shadows,   which   goes   beyond   the   conformist   standards   of   design   to   achieve   great   expressive power. ·  

Estudio MCP

The   trio   of   artists   and   graphic   designers   MCP    has   strongly   influenced   the   style   of   movie   posters   and   the   tradition   of   film   imagery   in   Spain. Artists   Ramon   Marti,   Josep   Clave,   and   Hernan   Pico   specialized   in   producing   posters   for   American   and   European   films,   making   their   style unmistakable.    Despite    the    natural    differences    in    their    workmanship,    the    MCP    fine    art    company    maintains    a    certain    uniformity    of intentionality   and   graphics   in   the   panorama.   The   artworks   are   all   characterized   by   a   great   compositional   clearness:   uniform   colors,   thick and   marked   lines,   and   realistic   brushstrokes.   The   space   is   filled   with   harmony,   ensuring   the   balance   between   solids   and   voids.   MCP's posters    are,    moreover,    underlined    by    a    palette    of    recurrent    colors:    light    blues,    greens,    yellows,    and    pastel    shades,    making    them sophisticated and appealing objects. ·

Josep Soligo

·   Imagine   Josep   Soligo 's   posters   spread   across   the   city   walls:   impossible   not   to   notice   them.   Colorful,   expressionistic,   and   free   from dogmatic   schemes,   his   artworks   often   have   anti-naturalistic   colors   that   attract   attention.   The   faces   of   movie   stars   often   have   red,   orange, bright    yellow,    even    green    tones,    creating    a    very    striking    monochrome.    If    in    Soligo's    work    the    chromatic    choices    are    free    and unconventional,   his   representation   and   use   of   line   are   strictly   linked   to   a   realistic   and   almost   photographic   style.   We   can   perceive   in   his posters   a   strong   dissonance   between   the   world   of   color   -   imaginative,   brilliant   -   and   that   of   the   portrait,   anchored   in   reality.   Soligo's painting   is   a   painting   of   chromatic   contrasts,   juxtaposition   of   complementary   colors,   warm   and   cold   tones   that   echo   each   other,   but always remain faithful to the real world.

Jano (Francisco Fernandez Zarza) 

  The large number of artworks created by Francisco Fernando Zarza, known as Jano, makes it complex to define the unitary aspects of his style. Lively, dynamic, and with intricate compositions, Jano is one of the favorite designers in the panorama of Spanish cinema. He created movie posters that are realistic and photographic and others more caricatured; he realized sensual female portraits but also conceptual images, characterized by few elements and characters. What strikes you when you look at one of his works is the feeling of movement, dynamism, the vitality of his compositions. Scenes, settings, and protagonists fit together following different directives and vanishing points. The chaos of elements and colors makes Jano's posters a loud set of faces. But in this chaos, there is life, true action.

Sergio Gargiulo

Sergio Gargiulo's art has an extremely personal and recognizable style. The focus of the designer, in fact, falls precisely on faces: there is no setting or scenery; gazes and facial expressions are enough to connote the story. The focus of this artist is on portraits and the plot becomes secondary, preferring a simple and minimal graphic composition. In this stylistic choice, Gargiulo favors clean, graphic lines and the use of iridescent and bright colors to create luminous effects on the face. The movie stars occupy the space entirely, carving out a space in fanciful spots, clouds, or squares. In some cases, Gargiulo chooses interesting monochrome shades of gray or shades of bronze, giving the characters the noble status of sculpture. Gargiulo's artworks are sculptural portraits. ·

Di Stefano

Di   Stefano   is   an   artist   whose   movie   posters   reflect   the   great   tradition   of   hyperrealist   design.   His   faces   -photographic,   skillfully   represented with   light   and   shadow,   sometimes   monochrome-   look   like   precise   charcoals,   so   faithful   to   reality.   However,   the   originality   of   this   artist   lies in   his   compositions:   the   realism   of   the   portraits   is   combined   with   scenarios   and   more   evocative   elements.   Even   the   titles   stand   out   for their   particularity   with   chromatic   contrasts   often   accentuated   by   the   preponderant   use   of   black.   Di   Stefano's   works   play   with   color, defined through suggestive combinations.