Kshitij Tembe reintroduces the memories of Italian films that contained the impact of World War II. Redesigning the posters of The Bicycle Thief, he attempts to replicate the vibe of that age.
Creating the set-up.
The Bicycle Thief stands as a symbol of the neo-realistic film era of Italy. Through the representation of this iconic classic, the intention was to personify that phase of time. Its no-nonsense style is what guided the poster-work, throughout. The unpretentious manner of the movie was the essence that needed to be captured in the work.
Establishing the sync.
The non-use of artificial sets peculiarly characterised the cinema of this genre. The film was instead shot at real-life locations in the midst of moderate societies. Paying attention to this simplistic quality, a minimalist and modern approach was chosen for the depiction – through elements such as the Typeface. A natural harmony thus arose between the movie and its representation.
Creating the balance.
The bicycle subtly runs as a secondary ingredient, through the motion picture. Yet, even though it doesn’t announce itself, its significance cannot be undervalued. Hence, the poster gently broadcasts the bicycle as an important element in the story, without establishing its impact. It does so simultaneously while allowing the audience to connect the dots during the film.
Published in Issue 19
A typography special, made up of not only Indian type designers or designers whose first love is type, but also few very talented international designers who open a totally new playground with sharing their insights and inspirations. This issue has exclusive interviews with Lucky Dubz Trifonas from Netherlands, Indian UI & type designer Sabareesh Ravi and Shiva Nallaperumal, who believes, type designers are the material providers to all the creative professionals. Also, includes a special making of Nirlep rebranding done by Elephant Design and an interaction with the ace product designer Aman Sadana.
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