To get the humor in this visual pun by PES, the acclaimed motion graphics artist, it is best if you speak English. Sponsored by Lipton Iced Tea, the video centers around a homophone – meaning a word that sounds the same as another but has an entirely different meaning and spelling. Example: Flower and flour. In this case, PES based his pun around the homophone “mussel,” the shellfish that tastes great grilled and dipped in lemon and melted butter, and “muscle,” the body mass that men flex to flaunt how buff they are. It’s a clever visual pun, but only if the word for “mussel” and “muscle” are phonetically identical in your spoken language — otherwise, you’ll chuckle and wonder what that’s all about.
How do you design a film poster that suggests how humans come to inhabit a different body over time? This is the subject of a new documentary called “The Many Sad Fates of Mr. Toledano,” which premieres at the Tribeca Film Festival this week. The film was produced by filmmaker Joshua Seftel who has produced and directed several award-winning documentaries for television, radio and theater release. “The Many Sad Fates of Mr. Toledano” is about famed photographer Phillip Toledano’s effort to envision the ways his life would change over the next 40 years. The project is a continuation of an exploration of aging that Toledano presented in a photo journal on his father’s final years. Called “Days With My Father,” the journal visually tried to reconcile the active, handsome man his father once was with the decrepit old man plagued by severe memory loss. In this film Toledano “fast-forwarded” himself through theatrical makeup to picture how he would be at various stages of his life.
The discussion of an appropriate poster design for “The Many Sad Fates of Mr.Toledano” began between Seftel and Kit Hinrichs while they were on a long flight to Saudi Arabia. When Kit returned to the States, he developed several poster options, three of which are shown here. The top one was the final choice. The one at bottom left simply shows Toledano’s face. At bottom right, the collage of rectangular pieces shows abrupt facial changes, whereas the top image, with the thinly sliced horizontal strips, seem to vibrate Toledano’s facial features, suggesting a gradual, constant change.
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Designers, in my humble opinion, are a self-congratulatory lot. They constantly hold juried competitions and give themselves awards, produce publications to pat each other on the back, and freely call elder designers “icons” and “legends.” Copywriters, on the other hand, (of whom I count myself among them) never refer to anyone in the profession as a “copywriting legend” or “copywriting icon”. We don’t put out magazines reprinting the best corporate brochure text, direct marketing paragraph, or pithy headline. As a group, copywriters are usually unsung and ignored. That said, there is one designer who genuinely deserves to be called a “legend”: Milton Glaser. He is to be admired for his originality, talent, contributions to art and design, and because he comes across as a sweetie. That makes us happy to present this short video interview of Milton Glaser, put together by the New York Times.
With Walt Disney Pictures, the entertainment starts with the presentation of the graphic identity. Ethan Jones posted this compilation on YouTube to show how the studio has adapted the Disney brand logo to suit the featured movie. Every variation retains the key elements of the brand – the castle, the shooting star and the Disney script signature.
Years ago the CEO of a company I was working for was hospitalized at the time the board of directors’ group photo had to be taken for the annual shareholders report. Another executive who was roughly the same built as the CEO was recruited to stand in his place. Later a photo of the CEO’s head was pasted and airbrushed onto the stand-in’s torso. It looked okay, but anyone who knew the CEO found something about his pose unsettling.
For another annual report cover, we had a shot of a logging truck traveling on a freeway past a forest of gorgeous fall colors. Due to reasons I’ve forgotten, the photograph had to be flopped, so the freeway sign made it look like the truck was driving on the wrong side of the road. If I remember right, a print had to be made of the photograph so the retoucher could fix it, and then it had to be converted back into a transparency.
That was in the days before Photoshop. Because significant manipulation of a photograph was such a big deal back then, it used to be said that “the camera never lies,” Now designers are often overheard saying, “Don’t worry. We’ll photoshop it in (or out) later.” Photography has become an “impressionistic” art form. Seeing isn’t believing. Changes can be made in an instant on a computer by virtually any designer. The airbrushing and retouching professions have all but disappeared. Through Photoshop, a hybrid art form has emerged that is producing some incredible images. More and more, designers have assumed control of the photograph, and taken it out of the hands of the photographer.