8021年度最好看电影海报合辑
2019年都到了，
你还停留在8021年？
不怕不怕，
我们陪你一起！
Creative Review网站罗列了一份
2018年度十佳电影海报设计（海外），
一起来看看吧~
大陆海报设计2018年也是佳作不断，
欢迎在评论区补充！
《犬之岛》
"Isle of Dogs"
为满足互联网时代的需求，海报的性质和目的不断进行着调整。同时，随着电影发行量的爆发，我们也逐渐看到了更多样化的电影海报设计——更多形式、更多创意的海报涌入社交媒体的大海中，钻进观看的人群里，让电影发行前及海报出炉后的营销首尾相连。
有些海报的发布对于电影的宣传是致命的，好好的一锅粥，被一窝杂乱堆砌的jpg给破坏了，电影的一致性被冲刷得七零八落。但有的海报，则使电影的各项元素达到了前所未有的高度和谐。
就比如《犬之岛》这部电影的系列海报，成功捕捉到了韦斯·安德森的视觉语言特点。
The nature and purpose of the poster has continued to adjust to meet the attention span of the internet. With the bigger releases, we’re seeing more of a diverse approach – multiple creative treatments drip fed into social media, each one another minor talking/sharing point to perpetuate the pre- and post-release marketing of a film.
With some campaigns, it can seem like not a single idea was rejected; the consistent identity of a film diluted by a bombardment of jpgs. But when it works, it really works. Isle of Dogs successfully captured the visual language of Wes Anderson, particularly with a series of deadpan character posters.
"Suspiria"
人物层层摞起（以一种诡异更诡异的姿态静静地排列着）的样式很适合《阴风阵阵》，尤其呼应着电影步步逼近式的紧张氛围。可能唯一让你意识到这是部恐怖电影的就是这铺洒在画面上的泼泼鲜血和双双眼睛，覆盖在经验老道的设计师：Dan Perri设计的字体上。
The gradual reveal of characters (and, more eerily, innocuous locations) also worked well for Suspiria, a campaign that echoed the film’s sense of encroaching dread. The only suggestion of horror was saved for the main poster, blood and eyes spattered over cinematic type veteran Dan Perri’s distinctive lettering.
《宠儿》
"The Favourite"
继惊艳四座的《龙虾》及《圣鹿之死》之后，导演Yorgos Lanthimos再次携手设计师Vasilis Marmatakis，创作了最新奥斯卡宠儿《宠儿》的电影海报。
Following striking campaigns for The Lobster and The Killing of a Sacred Deer, Yorgos Lanthimos continued his collaboration with designer Vasilis Marmatakis for our favourite Oscar favourite, The Favourite.
"Spider-Man: Into the Spider-Verse"
2018年可以说是个超级英雄元年，超级英雄电影越来越多元化，更多的种族；更多的性别；更多的风格……漫威很好地避免了落入英雄脸谱化的俗套之中。《复仇者联盟3：无限战争》像炮制彩虹糖一样把十年来他们的超级英雄们的倩影压缩在了一部电影中，但是尽管它如此让人大饱眼福，《蜘蛛侠-平行宇宙》可能还是要登顶年度最惊艳的漫画海报了。
与其将电影中躁动的狂热因子及多重人格一股脑倾倒而出，《蜘蛛侠-平行宇宙》却选择将我们全新的蜘蛛侠以一种看似最简单的面庞，最初始的标志动作放置其中。抛出那个终极问题——跳上？还是跌下？
It was of course yet another big year for superheroes, the genre finally seeing some meaningful diversity of race, gender and style. Marvel just about managed to stave off homogeneity with strong campaigns for multiple films.
Avengers: Infinity War is notable for squeezing ten years worth of characters into a rainbow-hued ensemble. But perhaps the most striking comic book poster of the year goes to Spider-Man: Into the Spider-Verse.
Rather than throwing the film’s frenetic style and multiple personalities at the page, we see the new Spidey in a simple, seemingly archetypal heroic pose. But is he jumping or falling?
《他之残骸》
"They Remain (Jeanne D’Angelo)"
小众电影常依靠更精简、更抓人眼球的图案去吸引观众。比如这部Philip Gelatt的电影《他人之骸》的海报中，便是溢出屏幕的隐秘自然力量。美得摄人心魂，但又让人隐隐害怕……有东西正在盯着你！
Smaller films relied on fewer, more striking images. The poster for Philip Gelatt’s They Remain is all about Jeanne D’Angelo’s cryptic, arboreal artwork. Beautiful yet terrifying … it’s looking at you.
《抱歉打扰》
"Sorry to Bother You"
为了避免俗套，《抱歉打扰》的海报披上了插画师J. Otto Seibold精心设计的字体（这个字体也以女主耳环的形式贯穿整部电影），显然这做法很奏效。尽管电影名平平无奇，但这海报的张力呼之欲出，赚足了眼球。
Sorry to Bother You harnessed illustrator J. Otto Seibold’s lettering (also peppered throughout the film and its wonderful array of earrings) to fantastic effect, just about managing to sidestep garishness. Despite the reticence of the title, this film successfully screamed for attention.
好设计不仅仅为普通电影所专属。有了Midnight Marauder与插画师Tony Stella合作的海报加持，Max Law拍摄的短片《往日的光辉》也仿佛受到了神的祝福。
Great design isn’t just for feature-length films – Max Law’s short Angels of Our Past was blessed with this poster by Midnight Marauder, who has also been producing some fantastic work with illustrator Tony Stella as Alphaville.
"We The Animals"
谁说电影海报应当受限于固定的比例？当今的海报也渐渐开始汲取其他设计形式的养分。不同于往常海报的标准式排列及布局，The Boland Design 设计公司为Jeremiah Zagler的童年戏剧《我们，动物》设计的海报则以一种近似书衣的形式展现在人们面前。
No longer required to work at any particular fixed scale, posters are taking more design cues from other forms. Eschewing the once-standard credit-block and tagline, The Boland Design Co.’s poster for Jeremiah Zagler’s childhood drama We Are Animals could/should be a book jacket.
"Mary Queen of Scots"
大胆的色彩加上大头照似的人物特写（对应演员+对应角色+某个国际标准色），告示牌里的大头照都喜欢这么用。《玛丽女王》的海报之所以在这里被单独拎出来提到只是因为它那惹眼的蓝色，演员Saoirse Ronan的面庞静静地落在照片与画作之间的某个点上。
The bold-colour-plus-headshot direct approach (here’s the star, here’s their role, here’s the Pantone swatch) is ideal for a medium that is now as much about the thumbnail as the billboard.
Mary Queen of Scots deserves special mention simply for that vibrant blue, the image of Saoirse Ronan falling ambiguously between photograph and painting.
"L’Empereur de Paris"
《巴黎皇帝》可是给漫画爱好者们的一个特别福利，这部François Vidocq的传记电影充分利用了Charles Picquet制作的1804年的巴黎城于郊区的路线图。谁知道呢，也许复古地图就是2019年的潮流趋势。
A particular treat for cartophiles, the poster for François Vidocq biopic L’Empereur de Paris made great use of Charles Picquet’s 1804 Plan routier de la ville de Paris et de ses faubourgs. Who knows, maybe antique maps will be the big trend of 2019?
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来来来，做个选择题
没看够？
《我不是药神》电影背后的海报设计
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一出好戏 | 海报浑身是戏
一出好戏 | 海报浑身是戏
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