Image by Ibraheem Youssef

Image by Brandon Schaefer

Movie Poster Redesigns have been a recently new trend. A quick search online will pop of various poster redesigns from Olly Moss , Hailmika, Eduardo Prox and many more talented designers.

We here at Rocket Pop Media like them so much a few of us decided to make our own, check them out below.

“The Departed” was designed by our newest intern Casey Starr.

“Evil Dead 2″ by Josh Jackson

I found this new print by one of my all-time favorite artists, Dave Kinsey. This limited edition print is entitled Black Diamonds and can be viewed / purchased from BLK/MRKT Gallery. I’ve always appreciated the craft that he puts into his work especially after understanding how much effort is involved in screen printing. Although at first glance it may seem a little abstracted, there’s so much emotion and detail lying within his work, that its hard not to think everything single brush stroke is intentional. Happy Friday!

Props
Artwork: Dave Kinsey
Gallery: BLK/MRKT Gallery

At first look, it might look like a regular plotting printer, but after a few seconds you’ll realize that this contraption is anything but ordinary. This invention called simply “The Plotting Machine” was developed by the folks at You Don’t Matter. This modified printer can work in various types of media and do anything from print, draw, cut, and scratch using any type of traditional technique, allowing for results that are neither man-made nor machine-made. I find the aesthetic to be one of its most interesting qualities. Although its a machine, none of the images it produces are ever the same. This may vary by pressure, color, media, etc. Furthermore, with the proper equipment, you could attach a glowing diode and take a timed exposure and actually watch this machine draw out its masterpieces with light. Overall, I think this is a truly unique piece of equipment. I hope anyone else out there will share my enthusiasm!

For more information and to view some of the work produced from this piece, click here.

Okay, so I was searching around this morning through some of my regular websites and came across a very interesting article that got me really thinking about typography on the web. A common problem I have is writing CSS and designing the type as I’d like it to be presented on the screen to the viewer. So you can imagine how insane of a task it might be for type designer who is actually crafting the fonts. There is a big difference between designing typefaces for print and the web; pixels behave differently than blobs of ink on paper. Typefaces for the Web need different qualities. “The bigger problem is all of the technology that delivers the font to the viewer. The website is delivered by one cluster of hardware to another, often with a different operating system, different browser and, in some cases, different pieces of software. That’s a very long chain. The number of variations is almost bottomless, and the results are unreliable at best.”

Imagine that you are a super-successful movie director, who’s been given hundreds of millions of dollars and lots of whiz-bang technology to make a cinematic epic. Sounds good? Not once you are told that people will have to watch it on fuzzy old black and white television sets.

The new publishing world of pixels presents striking complications to displaying fonts on the Web, according to a recent New York Times article. Browsers grow; eyes get strained; fonts become unclear and unappealing. As the Web world has evolved, typographers have worked to develop new tricks to fashion fonts for computer screens while preserving the craft’s rich history and nuance. For instance, if typographers “make enclosed spaces, like those in an ‘a’ and ‘e,’ bigger than they need to be in print.”

Props
Reference: All Top
Article: New York Times
Photo Credit: Fotolia