Putting a new spin on clas­sic film poster im­agery

Comic book il­lus­tra­tor and con­cept artist Karl Fitzger­ald re­veals why he has made the leap into the niche in­dus­try of screen printed film posters

ImagineFX: Sci-fi & Fantasy Art magazine - - Artist News, Software & Events -

“I’m still amazed at ex­actly how much de­tail can be achieved through the screen print­ing tech­nique” says Karl Fitzger­ald, a rel­a­tive new­comer to the medium. Now work­ing with gal­leries and stu­dios who have a love for the by­gone age of painted-style film posters, Karl’s screen print poster com­mis­sions have seen him rein­ter­pret­ing iconic char­ac­ters and set­tings with his unique art style.

Karl was orig­i­nally in­spired by Chris Weston’s The Good, The Bad and the Ugly screen print poster. “It was the first screen printed movie poster I saw in the flesh and it’s what made me want to get into this in­dus­try,” he says.

To his de­light, Karl’s now found him­self work­ing through a long list of li­censed ti­tles. It’s en­joy­able, of course, but also in­volves proper re­search work. “I start by re­watch­ing the film, tak­ing notes and then do­ing small sketches and stud­ies,” he says. “I look for key scenes, and re­ally try and im­merse my­self in the at­mos­phere and en­vi­ron­ment, be­cause that’s what my paint­ings fo­cus on.”

But with a lim­ited pal­ette of just six or seven colours, Karl has to plan his work care­fully to en­sure that he cap­tures the like­ness of recog­nis­able ac­tors and char­ac­ters. “As these are such iconic films, at­ten­tion to de­tail is very im­por­tant,” he says. “Fans will pick up on any in­ac­cu­ra­cies in terms of cos­tume or props.”

Be­gin­ning with pen­cil sketches to nail down the con­cept, Karl grad­u­ates to Pho­to­shop to com­plete the paint­ing be­fore the screen print­ing be­gins. The colour re­straints don’t ap­pear to in­hibit his posters though, as the re­sults are beau­ti­ful, deeply tex­tured new takes on fa­mil­iar sto­ries. “With these par­tic­u­lar posters, I was try­ing to show the re­la­tion­ship be­tween the char­ac­ter and their en­vi­ron­ment,” says Karl.

It isn’t all hard work for the young artist though, as he’s also been bask­ing in the warm re­cep­tion his posters have re­ceived. As for the fu­ture, he’s ex­cited to see where screen print­ing will take him. “Plus,” he says, “It’s a great ex­cuse to watch my favourite films again as ‘re­search’!”

For more of Karl’s art, visit his Face­book page at http://ifxm.ag/karfit.

As these are such iconic films, at­ten­tion to de­tail is very im­por­tant

This piece is de­lib­er­ately over-the-top as Karl crammed in ev­ery car that he could. For this com­mis­sion Karl wanted to ex­ag­ger­ate the loom­ing me­nace of the Nazgûl on Weather­top.

This at­mo­spheric paint­ing of Karl’s favourite film of all time fea­tures mul­ti­ple ele­ments from the movie, all drenched in rain and smoke.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.