Design Case Study: Sexploitation
One of the few projects I've been doing is for the American Community Theater based in Hongkong. In late-November, they will be staging Rebecca Gillman's thriller "Boy Gets Girl," about a blind date that goes awry.
I've been asked to do, among other things, three posters that will be used as set pieces. Two of them are shown here. These are supposed to be movie posters for "sexploitation" flicks and will adorn the scene where the protagonist, a reporter, interviews the director of these movies.
The design brief for these posters specify that they emulate those visual aspects that are common in those materials from 60s and 70s. Those posters of yore are characterized by liberal use of typefaces and sometimes erratic use of lay-out. Obviously, it's the images of scantily-clad women that take top priority.
Admittedly, planning for the new posters was difficult. The greatest challenge was putting myself in the place of the original designers and determining their creative process. This included putting a limit on the amount of computer-generated effects. All the while, I was reminding myself... "Cheese! Cheese! More cheese!" I don't know if you can read the poster text; those are mine as well.
One of the few projects I've been doing is for the American Community Theater based in Hongkong. In late-November, they will be staging Rebecca Gillman's thriller "Boy Gets Girl," about a blind date that goes awry.
I've been asked to do, among other things, three posters that will be used as set pieces. Two of them are shown here. These are supposed to be movie posters for "sexploitation" flicks and will adorn the scene where the protagonist, a reporter, interviews the director of these movies.
The design brief for these posters specify that they emulate those visual aspects that are common in those materials from 60s and 70s. Those posters of yore are characterized by liberal use of typefaces and sometimes erratic use of lay-out. Obviously, it's the images of scantily-clad women that take top priority.
Admittedly, planning for the new posters was difficult. The greatest challenge was putting myself in the place of the original designers and determining their creative process. This included putting a limit on the amount of computer-generated effects. All the while, I was reminding myself... "Cheese! Cheese! More cheese!" I don't know if you can read the poster text; those are mine as well.
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