is a blog about design, technology and culture written by Khoi Vinh, and has been more or less continuously published since December 2000 in New York City. Khoi is currently Principal Designer at Adobe. Previously, Khoi was co-founder and CEO of Mixel (acquired in 2013), Design Director of The New York Times Online, and co-founder of the design studio Behavior, LLC. He is the author of “How They Got There: Interviews with Digital Designers About Their Careers”and “Ordering Disorder: Grid Principles for Web Design,” and was named one of Fast Company’s “fifty most influential designers in America.” Khoi lives in Crown Heights, Brooklyn with his wife and three children.
Please refer to the advertising and sponsorship page for inquiries.
+
“Tournee” is great. I also liked “Atling Bliver Godt Igen” with its throwback to Hitchcock and Saul Bass. And of course, “Annee Bisextile” gains points for shock value alone. But I agree, most of these are unremarkable.
Classic movie posters stand out because for the most part they are all illustrated. They are non-literal depictions of the theme, feeling, and subject of a film. I think this is also why foreign poster interpretations (Poland and Japan, to name a few) of Hollywood films turn heads so often.
Contemporary film posters often lack vibrancy and uniqueness, and much of this, I think, is due to the over-reliance on photography rather than illustration. Too many posters seem like advertisements for the actors involved, rather than the film itself, and it feels like there’s a predominant sense of apathy amongst them, as in “the more bored these actors look, the more important this film is.”
BTW, I love your site 🙂