Inspired by the heroic rescue of the 33 trapped Chilean miners, graphic designer Adam Campbell whipped up this fantastic movie poster. I got in touch with Adam to ask him about his background and his story behind this poster.
"My name is Adam Campbell, and I'm a Canadian web & print designer currently living in Huntsville, Alabama, USA with my wife Anna. I've always been enamored with design that involves re-creation (collage) or de-creation ("vintagization"). Aside from this poster, I'm also responsible for the vintage LOST "Dharma" ads that were released last year.
"The inspiration for the poster just struck me yesterday morning, as I thought about what a dramatic and ultimately heroic situation it had become. I was inspired by those guys and their rescuers, and I thought it would be very cool to capture that drama in a medium that is really familiar to our culture: film. Of course, I wanted it to be vintage-y too :) I'm also considering on extending this to a series of pieces (very periodic however) all based on current dramatic headlines, and all, hopefully, with happy endings.
"I get most of my inspiration from old books and movies, and of course other designers from the past 40 years, from Saul Bass to Ralph McQuarrie to Olly Moss. And my biggest motivation is just out of pure enjoyment... I love the process, the nit-picking, and the amazement when something cool comes out - I always think "How the heck did that happen?"
http://grainedit.com/2010/03/17/noma-bar-interview/
http://www.dutchuncle.co.uk/illustrators/noma-bar/portfolios/portfolio
http://grainedit.com/
Noma Bar is a man of few strokes. But don’t let the simplicity fool you. His talent lies in his efficiency in depicting characters and social issues. With bold colors, shapes and one or two icons he captures the spirit of a person. Other times he communicates a message on a social issue with amazing clarity while adding a bit of humor to everything. Whether the message is about violence or equality, his straight-forward visual approach is refreshing.
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