![]() I really want to understand why 95% of UX designer portfolios are Wix sites. (I’m really sorry that I can’t give any student interviews at the moment, but the links above should answer all of your questions and you are welcome to quote anything you see fit in your essays.I really want to know - Why Wix? Is it really just a post-bootcamp thing? Like, that's what everyone is instructed to do? Is it a standardization thing? My Domestika course is an in-depth tour in creating graphic props for film and is available to buy online now. My interview page has some other interesting links, too, or you can sign up for my newsletter, which goes out roughly every seventh week. If you’re looking for interviews about film design then this conversation with It’s Nice That is a good place to start, as well as Roman Mars’ 99% Invisible podcast. You can order a copy hereor ask your local bookseller about it. My first book, Fake Love Letters, Forged Telegrams, and Prison Escape Maps: Designing Graphic Props for Filmmaking is now available! Published by Phaidon, it’s a look at the process behind designing graphic props, with some of my favourite personal stories from working on the sets of films like Grand Budapest. Where can I read more about graphic design in film? My most fun job was on a show called Camelot which you will have no recollection of whatsoever, but I got to make some rather convincing ancient tombstones by carving Roman lettering in to soft, wet clay. Is it down to your love of old-fashioned prop-making using a variety of tangible and traditional graphic materials, or is it because you want to stalk Bill Murray? The thing is, it doesn’t really matter if you’re on a small TV show or a cinema blockbuster, learning how to make this stuff is what’s important. Part of me is wishing you a wonderful adventure and the other part of me is thinking look, come on, you should really be at home categorising your serifs, no?īut I only want to work on big box-office movies…Įr, you might want to reconsider why you want to be a graphic designer for film. I think you have a better chance of employment starting local than you do hopping off a bus on Sunset Boulevard with your CV and your backpack, which is how I’m imagining you now, wistfully. We made Penny Dreadful in a little seaside town in County Wicklow, so you never know what’s going on right around the corner. Film sets don’t look like the beautifully composed pictures we see on the cinema screen: the reality is that they’re full of cables, floodlights, and crew members standing around in North Face jackets-so, dressing this weirdly artificial environment with some small authentic details can help create a more fully realised world for the actors to work in. And sometimes what we create isn’t actually for the cinema audience at all. It’s just that these things need to be finely detailed in order to disappear. If the audience is focussing on the props then “we’re doing our job wrong”, as the prop master Robin Miller said here. Maybe 90% of what we make for a film belongs firmly in the background. How much of your work is seen by the cinema audience? You do get a little more used to it as time goes by, but seeing your work on a cinema screen, even fleetingly, even in the blurry background, never stops being exciting. We’re all here for the thrill of it: nobody is here for the health benefits. Yes! Anyone who works in film and tells you it’s not exciting is just pretending to be jaded, don’t worry. Today, in filmmaking, it’s the graphic designer’s job to imitate what that calligrapher might have created-or, at least, to hire a real calligrapher to help us out. So, if the king wanted to chop his wife’s head off, for example, he would need a death warrant, and if he needed a death warrant, he would need a calligrapher. But just because there were no graphic designers in the court of Henry VIII didn’t mean there wasn’t any graphic design: it was just that, at that time, craftsmen produced the graphics. At first, it didn’t make sense to me that they’d be looking for a full-time graphic designer on a series that was set in a time before graphic designers existed. ![]() ![]() My first job after I graduated was on the third series of The Tudors and no job since then has been as exhilarating as that first season I spent on a set, surrounded by beautiful princesses in corsets drinking coffee out of styrofoam cups. ![]() ![]() How did you start working in graphic design for film? ![]()
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