From canvas to code

In the days before mass media and star-studded social media movie promotions, film posters were the ‘primary’ and ‘only’ means of publicity. Around the world now, they’ve turned into a collectible item and are a cinephile’s equivalent of having an Abbey Road poster up on room walls. Today, vintage Indian movie posters are highly sought after by collectors and art lovers, valued not only for their cultural significance but also as unique pieces of graphic design history.

Now Showing

Indian movies—and their posters — have a rich, varied history that reflects the country's diverse cinematic landscape.

The country’s many languages have led to distinct film industries, each with its own poster design traditions. But how much freedom do poster artists have when working with filmmakers? Prashanth C, a visual artist, says, “Independent filmmakers are often more receptive to bold, unconventional ideas. Some are highly involved, offering references and feedback, while others grant me complete creative freedom. I prefer more input from the filmmaker, as I enjoy understanding their journey throughout the filmmaking process. This allows me to grasp the underlying philosophical layers of the film, which may not be immediately apparent on screen.”

Estanislao Perez Voss, a designer from Buenos Aires, says, “I pay close attention to how whites are handled in the film. For example, if they lean toward blue, I know that blue plays an important role in the movie’s colour language.

I also consider our associations with colours. For instance, red will have a very different impact on a poster featuring the word blood than on one with the word love.”

Voss recently designed the poster for Sabar Bonda (Cactus Pears), a Marathi drama film that received the World Cinema Grand Jury Prize at the Sundance Film Festival in February. He says, “The film’s poster meets all the commercial requirements without sacrificing its message. We had a lot to say with that poster.” Voss worked closely with two colleagues, Jahan Singh Bakshi (art direction) and Prashanth C.

Historical Perspective

The first known use of movie posters in India is believed to have occurred in the 1920s with films like Kalyan Khajina (1924). By the 1930s and 1940s, posters began to feature illustrations of key actors, a practice that continues. The rise of lithographic and offset printing techniques in the 1950s facilitated the mass production of these posters, making them a ubiquitous part of Indian cinema.

The 1980s ushered in a period of photographic posters, and the creative, hand-painted style started to decline. The designs were indicative of the growing action genre, with stars like Amitabh Bachchan and Rajnikanth achieving legendary status due to their portrayal in these posters.

Hemant Chaturvedi, a former cinematographer, now a photographer and filmmaker, travels across the length and breadth of the country, documenting cinemas. In 2020, he got in touch with Sheikh Rehman (born 1947), who is the last of the hand-painted film poster artists of that generation. Chaturvedi says, “As cranky an old man as any, it took me two years to finally win his trust and let me interview him and photograph him and his studio.”

Modern Touch

Modern technology and social media have transformed Indian movie poster design, elevating it from traditional static images to dynamic digital creations. The film Mersal (2017) used Twitter by releasing first-look posters. The promotional campaign for Baahubali - The Beginning (2015) had the team releasing first-look posters and behind-the-scenes videos on social media, building hype long before the film's release.

Aleks Phoenix, a poster artist and graphic designer from Mexico City says, “I resort to colour and typography to build an engaging composition that is striking, refined and congruent with the film's story and genre. I'm more influenced by the experience of the film and the expressions of the characters, and the performances of the actors than a film’s production design and cinematography, though those aren't excluded.”

Digi Artwork

The digital era presents both challenges and opportunities for movie poster design in India. Voss says, “Posters have gone from massive 27x40” prints that you admired in awe while waiting in line to see a movie, to having to fit within 1080x1350px for Insta scrolling.” He adds that posters have simply evolved, just as they did when DVDs emerged. Instagram is just another factor to consider, not a death sentence.

Fan Art Fad

Independent artists and fans often create alternative designs. Prashanth says, “I loved the posters made by Tamil fans for movies starring their favourite actors. The alternative poster game has been too good recently, often better than the official posters. This is paving the way for directors to identify and commission artists.”

Platforms like Letterboxd have embraced this movement as well. Phoenix says, “Fan art posters are a way to say and share with the world how much a film represents to you, or maybe just have fun and be part of a conversation around a movie event. It is a safe, free, open, unrestricted way to be part of the movie experience, without studio interference.” Instagram handles like Posterphilia, This Is A Poster Archive, Movie Poster of the Day, and A Poster Factory allow fans to interact with official and fan-made poster art for cinema around the globe — art that must be duly archived and preserved.

Coming Attractions

• Some of the iconic posters from Indian movies include Sant Sakhu (1941), Mother India (1957), Mera Naam Joker (1970), Sholay (1975), Don (1978), DDLJ (1995) and Bahubali —The Beginning (2015) to name a few.

• Not many know that the legendary painter, the late MF Hussain, started his career by hand-painting film posters.

One detail I pay close attention to is how whites are handled in the film.” — Estanislao Perez Voss, Designer, Buenos Aires

“I loved the posters made by Tamil fans for movies starring their favourite actors.” — Prashanth C, Visual Artist