Movie poster designer Huang Hai-The first pot of incense poster was well received. Why is he favored by the great director?

Whose work is Mujiro's Summer? Mujiro's Summer is the work of Kitano Takeshi.

The Summer of Kikujiro tells a series of funny and tearful stories about the little boy Masao and his uncle Kikujiro next door on their way to Tokyo. The play is a 12 1 minute comedy film, which was produced by Kitano Takeshi Studio. The film is directed by Kitano Takeshi, starring Kitano Takeshi, Yusuke Sekiguchi and Kayoko Kishimoto. It was released in Japan on June 5th 1999.

On September 7th, 2020, the China version of the poster was previewed twice. This poster was designed by Huang Hai, a famous designer. Posters not only cured the painting style, but also showed the fresh colors in summer. Through ingenious composition, the core of the film's warmth and healing is explained: angel wind chimes represent happiness, and everyone can shake wind chimes to bring happiness to others.

Internet users' comments on the movie Summer of Mujiro

Summer of Kikujiro is the most autobiographical and affectionate work in Kitano Takeshi's creative process. Compared with the previous reticence and passion, many words and jokes this time will make people feel a heartfelt touch silently in happiness.

This work is the gentlest and clearest film directed by Japanese director Kitano Takeshi. Focusing on finding family members, the film tells the story that happened on the difficult road of finding relatives, the various people you met and the friendship between people. Kitano Takeshi's humor and Kitano Takeshi's grasp of the art of laughter in the film are impressive, which not only makes people laugh, but also highlights the cuteness and spiritual charm of the characters in the play.

The poster of "The First Furnace Incense" received rave reviews. Why is he favored by big directors? Poster of "The First Furnace Incense" in the Yellow Sea

On July 20th, when director Xu Anhua won the Golden Lion Lifetime Achievement Award at the 77th Venice Film Festival, a brand-new poster of her highly anticipated new work "The First Furnace Incense" was released. Words such as "amazing", "unique" and "original" suddenly poured into the comment area. The creator of this poster is Huang Hai, a famous designer in China. This is also the second time that he has made posters for Xu Anhua's works after the film "Golden Age".

In the picture, a pair of women's hands occupy the visual center, one of which is dyed with red nails and wearing gold ornaments, and the other is slightly unpretentious, in sharp contrast. This is exactly the same as Zhang Ailing's description of "Aunt Liang" and the heroine "Ge" in the original work.

In the novel "Fragments of Aquilaria Resinatum, the First Furnace Incense", Stuart Xie gave Mrs. Liang and Ge a "three-inch-wide diamond bracelet". Huang Hai grasped this point and used it as the finishing touch in the poster, turning a seemingly exquisite bracelet into the shackles of two people.

Sandra and Faye Yu play "Ge" and "Mrs. Liang" respectively in the film.

What is the charm of "Yellow Sea"? Why are so many directors willing to wait in line to cooperate with him? In fact, the answer lies in his works.

Express feelings with works

Before he officially came into contact with movies, Huang Hai ran news and advertised, which seemed to have little to do with poster design, but subtly opened the door to creativity for him. In 2007, Huang Hai created the first movie poster in his career, and since then, he has formed an indissoluble bond with movies.

This film is very famous.

The sun rose.

,

Jiang Wen

A masterpiece.

Poster of The Sun Also Rises

Jiang Wen's requirements for posters are "simple and rude": only look at feelings, don't shoot * * *, and look for materials from films. After being denied hundreds of ideas by this "picky customer", Huang Hai finally found a breakthrough. Finally, he told the whole story with a pair of embroidered shoes and a woman.

This oriental red with great visual impact caused a strong response once it appeared in Cannes market, and also made the Yellow Sea emerge in the industry.

After this battle, Jiang Wen safely left his later works to the Yellow Sea for "disposal", and the double-exposure visual effect of Let the Bullets Fly and the firm but gentle trend of Evil Doesn't Suppress Right came from him.

Besides Jiang Wen, Wong Kar-wai should also be regarded as an alternative "Party A". Before painting the poster of the American master, Wong Kar-wai didn't say a word, but sent a picture of dancing trees for his reference.

American "A Generation of Masters" Poster

The Yellow Sea will freeze the unforgettable encounter between Ip Man and Gong Er through this image of virtual reality. In the archway, figures and shadows are intertwined, kung fu and family are intertwined, bright and dark, moving and static, and all feelings are self-evident. In the master training with Wong Kar-wai, Huang Hai is no less.

However, it was Xu Anhua who really brought the Yellow Sea into public view. In 20 14, when the poster of Xu Anhua's "Golden Age" came out, it immediately monopolized the audience's sight.

The pen is sharp and the words are like knives. In that stormy era, mutual appreciation, a writer, depends on a pen. In another "splash ink" poster, Xiao Hongjing, played by Tang Wei, is standing on a piece of paper, alone, covered in mottled ink, and a picture of "ups and downs in life, and the rain is flat" is ready to come out.

When the poster was born, the word "good" spoken by director Xu Anhua not only recognized the strength of the Yellow Sea, but also laid the groundwork for the cooperation between the two, and also made it the first fragrance with infinite charm today.

With the fame of "Golden Age", Huang Hai, who has been invited constantly, has designed posters for famous films such as "Searching for Dragons", "Desire for Survival" by Muyewen, "Jianghu Children" by Jia and "Shadow" by Zhang Yimou.

Looking for dragons (left) and shadows (right)

In 20 18, after Hirokazu Koreeda won the Palme d 'Or in Cannes with The Thieves Family, he asked Huang Hai to design a Chinese poster for him. Although the Yellow Sea makes good use of the national style, it is unwilling to break the tranquility of Japanese aesthetics. He chose the classic scene of a family playing by the sea in the movie as the main content, and took the wave pattern in Japanese ukiyo-e prints as the base.

This scene is the subjective perspective of "Grandma" in the film. Although it has never appeared in the poster, Huang Hai still held up a big umbrella for a family of five with his hands. While building a small shelter for her family, it also predicted the reality that "an umbrella can shelter from the wind and rain, but it is difficult to stop the waves of life".

At the beginning of this year, Jia's new work "Swim to the Sea and Turn Blue" released two posters. One looks at the sea, the other looks at the mountains, and the other turns the pen into a lighthouse to illuminate the night. The whimsy of the Yellow Sea once again attracted repeated admiration.

"swim to the sea and turn blue" poster

In fact, it's not just movie posters. Huang Hai's well-known design works in recent years include the main vision of the 22nd Shanghai International Film Festival on 20 19 and a series of theme posters he created for the movie channel in Tomb-Sweeping Day this year.

Main Visual Poster of the 22nd Shanghai International Film Festival

In the past, the posters of domestic film festivals gave the public the impression of being quite satisfactory, but last year's film festival, Huang Hai creatively applied the classic "Make a scene in Heaven" with the attributes of "Shanghai" and "film" to the posters. He invited the Monkey King to the "C position", and two little monkeys slowly opened the red tassel silk water curtain. The number "22" has also been transformed into the Monkey King's spell, which is skillfully integrated into the picture. Every ingenious idea is closely related to the theme of the last film festival "Everything is created behind the scenes".

Huang Hai created Qingming series theme posters for the film channel.

This year, in Tomb-Sweeping Day, Huang Hai was invited to create a set of theme posters specially for the film channel to express his grief. In the candlelight symbolizing mourning, a seedling grows quietly in the afterglow, and the sun and the moon shine together as far as the eye can see; In hit floor's mourning speech "Wan Li dances with all souls in the sky", pigeons bring a jasmine flower in spring, which not only indicates the arrival of spring, but also indicates that we are about to get out of the haze of the epidemic and usher in the renewal of Vientiane.

At the same time, he can win an unexpected victory. Every attempt by Huang Hai has made his wings full day by day, and the public can no longer ignore this behind-the-scenes craftsman with deep merits and fame.

Win by clever thinking

Nowadays, "Yellow Sea products must be fine" has become a famous slogan in the domestic and foreign film markets, and the outside world has also labeled him "the most expensive poster designer in China" and "Jia in Jiang Wen and Zhang Yimou".

Nowadays, this name is called "boutique" by the public, and the reasons behind it seem to be rarely explored. So, how does "Yellow Sea Production" add icing on the cake to the film?

Huang Hai made posters for Oscar representative Green Book.

Poster is not only the first business card presented to the audience, but also an important tool to help film marketing. When the completed official posters are displayed in cinemas, bus stops and social platforms, their significance is no longer limited to the aesthetic level, but attracts and drives more audiences into cinemas for movie consumption.

Some people say that a poster of "Yellow Sea" is priced at 654.38+0 million, but this poster alone can bring 20 million box office income to the film.

Many directors also took a fancy to his "value for money". Chen Kexin found Huang Hai to make a poster for Leap (formerly known as "China Women's Volleyball Team"). Compared with ordinary posters, the difficulty of Leap lies in how to put nearly ten women volleyball players in the picture reasonably to avoid a sense of piling up.

Leap official poster

So, there is the official poster of this film. The image is fixed in the wonderful moment of women volleyball players diving, blocking and spiking. Huang Hai puts the protagonist on the left, and the girl in the red team uniform and the eye-catching gold winner on the right "live in harmony" in the picture. This kind of full-screen blood boiling is really hard for the audience not to expect.

Similar ingenuity is also reflected in the poster of Kill a Sheep. Although there are many characters in the picture, they are cleverly distinguished by the natural light of the Yellow Sea, and the contrast between light and shade creates a three-dimensional sense, which alludes to the warmth and coldness of human nature in the film. Visual oil painting texture with authentic Tibetan titles, a film condensed with mysterious Tibetan aesthetic style immediately came to mind.

Official poster of "Kill a Sheep"

Once the poster was released, it attracted many fans who couldn't wait to go to the cinema to find out. Although the final box office performance of the film is difficult to compete with large-scale commercial films, this poster of the Yellow Sea has really put a lot of effort into it.

Different from official posters, preview posters pay more attention to how to arouse the audience's interest in the film. Long before Leap, the drawing of the preview poster of another new film by Chen Kexin, Li Na, was also handed over to Huang Hai.

"Li Na" concept poster

The tennis court under the close-up captures the line of sight, and the diagonal composition enhances the sense of extension of the picture. Although Li Na is short in stature, she left a huge reflection on the court. There are many themes, characters and scenes, and there is no complicated description. Only a few strokes outline the embryonic form of this biographical film.

But often walking by the river will inevitably lead to embarrassment. When the final poster of Di Renjie's Dragon King was released by the Yellow Sea, it caused a lot of controversy. "Why do people have to form a V-shape?" "The expression is not good, and the color matching is not advanced enough."

Similarly, among the many versions of posters created by Huang Hai for Jiang Wen films, the official poster of "evil does not suppress right" is slightly inferior, and it is considered as "the protagonist's aura is too serious" and "like a remake of Jason Wu Hero", so the response is mediocre.

Regarding the gains and losses of the works, Huang Hai said that he can constantly challenge himself every time he meets a movie. Without the evolution of posters, it is difficult to better serve the creators.

In the heart of the Yellow Sea, posters are the wedding clothes of movies.

He said: "In the final analysis, the movie poster is the wedding dress of the movie, and the creator's painstaking efforts are' married' to the audience. All the particularities come from the particularity of the film, and each drama is different. " In Huang Hai's works, we can always read the word "understand", and he can always properly understand the spirit conveyed by the film, and extract the most cinematic elements from it to use and show it.

How important are posters to movies? He painted a picture of 654.38+00000. There is a saying in domestic film and television circles that a good movie poster is worth 20 million box office.

Movie posters constitute people's first impression of movies and play an important role in the promotion of works. Some people even spend money to buy a poster for a movie.

There is such a top movie poster designer in China: it needs to make an appointment one month in advance, the construction period is long, the given work will not be reworked, and the price is 1 10,000.

But many great directors are still willing to spend time waiting for his works, and the audience will even go to the cinema to see a bad film for his posters.

This designer is called

Yellow Sea

Fujian native, graduated from the Design Department of Xiamen University.

Before the Yellow Sea, China film industry paid little attention to movie posters, and filmmakers mainly stayed at the stage of attracting audiences with stars-

The big face piled up on the poster is not beautiful at all.

20 15

Looking for dragons

Posters are a typical example.

What, you said it looked familiar? I feel the same way.

Huang Hai decided to break this inertia thinking after realizing that he likes to pile up star portraits.

In his poster, the story of the film itself is the focus, and the star's face is only a small part of the film. So the pilot poster he designed for "Searching for Dragons" is like this-

Since the design of movie posters began in 2007, Huang Hai has been doing subtraction-cutting off useless scraps and digging out the core of the movie.

He is most grateful to Jiang Wen, because his first work was directed by Jiang Wen.

The sun rose.

This also laid the foundation for his future design style.

At that time, Jiang Wen's requirements for posters were simple and rude: look at feelings, don't take photos, and look for materials from movies. After rejecting hundreds of designs, Huang Hai's works were favored by Jiang Wen.

This poster was "an instant hit" at Cannes Film Festival: with a big red background, barefoot women and embroidered shoes hanging from branches, the story came out at once.

This strong visual impact and unique artistic conception touched everyone, and he also designed several other posters for this film one after another, which made him famous internationally at once.

After that, the posters of the Yellow Sea began to try more Chinese styles.

He always studies scripts carefully, selects characters and materials from stills, and then shoots live experiences, captures the emotions of characters with his heart, and applies the traditional elements of China as visual language to poster design.

20 14 Huang Hai was invited to be directed by Xu Anhua.

golden age

When designing the poster, he gave a picture like this:

A woman dressed as an intellectual youth stood in the corner of messy ink dripping, and the traces of splashing ink were irregular and scattered at will, which was a metaphor for the quiet and peaceful posture of the woman in troubled times.

The combination of dynamic and static reflects the contradictions and conflicts between the background of the times and the characters. The hostess stood stubbornly on the paper, just like a nobody in the flood of the great era.

The story of Xiao Hong, a female writer, is vivid in my mind, which also indicates my wandering life.

After that, Huanghai also designed five international editions, which took more than half a year. Xu Anhua, the director who has always been strict about details, said "OK" after seeing the poster, and there was no change.

The Yellow Sea has a strong appeal to the use of ink painting and calligraphy, which is neither distracted nor the finishing touch.

In Zhang Yimou.

shadow

In his poster design, he only uses black and white to extract the black of ink and the white of rice paper to form the keynote of the poster.

The whole movie revolves around the body body double and real people. They are both antagonistic and unified, just like the shape of Tai Chi gossip-they are integrated and separated forever.

The word "shadow" is used in the running script, and the brushwork is vigorous and elegant, especially the last stroke is intermittent, which gives people a hard feeling and just implies the personality characteristics of "shadow".

For Wong Kar-wai.

master

In the US poster, the Yellow Sea uses the traditional arch elements of China.

The two men in the door stand opposite each other, posing for the gait and boxing of martial arts-arches, martial arts and robes, which are the perfect balance and interpretation of movement and quietness, the vague and delicate expression of friendship and the long sense of history.

It not only shows the elegance of a generation of master Ye Wen, but also has a sense of lens and literature. These are quite in line with Wong Kar-wai's personal style.

In the poster design of animated films, Huang Hai also showed a super high standard.

Big Fish & Begonia

Our poster uses highly saturated colors, and through the changes of lines, levels and colors, it depicts a magnificent and imaginative picture.

In the middle is a smooth line of Dahongyu. The girl touches the mouth of the fish and draws a wonderful meeting between them.

The interweaving of red and cyan blends the ocean and flame, including the phoenix with wings spread, which has strong oriental aesthetic characteristics and also opens the audience's imagination of a mysterious dream.

For the digital repair version.

My Neighbor Totoro

In the poster of China, Xiaomei and Xiaoyue are running happily on the hairy belly of my neighbor totoro. The overall style is warm and healing.

As soon as this poster came out, it caused a strong response in Japan and once boarded a hot search. Everyone praised the design of this poster as no less than the original.

Japanese film

Thief family

In the China poster, Huang Hai added an umbrella in the style of Ukiyo-e painting, which combined with the classic scenes of the film to form a feeling of "home".

In addition to a strong sense of beauty, it also shows the family concept conveyed by the film to the fullest. Director Hirokazu Koreeda praised the euphemistic and implicit beauty of the East.

In the 20 18 Best Poster in the World selected by British Film Magazine, My Neighbor Totoro and the thieves are among the top 20.

Including the documentary of 20 16 fire.

I am repairing cultural relics in the Forbidden City.

Huang Hai also designed a series of posters.

In one of them, he chose the part of "Ruyao Green Glaze Three-legged Bottle" as the background color of the poster, and added a silhouette of a figure with uniform tone on the broken porcelain.

It not only combines figures and artifacts, but also shows the daily restoration work of craftsmen in detail. Perfectly convey the theme of "great history, small craftsmen, choose one thing, lifelong".

The Yellow Sea also helped Chen Kaige.

Monk Comes Down The Mountain

Designed a very eye-catching preview poster.

At that time, when this kind of ink-and-wash poster came out, it made people feel full of advanced feeling, and everyone's expectations for the film were much higher.

But in the final official poster, the director still chose the version of Stars, which is a fairly good movie.

Besides, who will go to see this movie without a star? Stories? Chen Kaige has been unable to tell stories for a long time.

An excellent movie poster carries the most sincere emotion and artistic conception behind a movie, not a simple group of people.

While fully guiding the commercialization of movies, it can also carry forward the aesthetics of the East. No wonder so many people say:

Basically, the film doesn't match his poster.

Finally, let's enjoy the works of some masters.