OSCAR POP! posters

Each of our designers chose one of the nine nominated films to reinterpret them as a work of Pop Art, based on the style of an artist who inspires them most, while using images from Shutterstock’s collection to complete the creations.

 

ROLE

Art Diretor, Designer

 

OSCAR POP! 2020 | Ford v ferrari

Ford v Ferrari poster inspired by Takashi Murakami's style.

Shutterstock blog | Adweek | GDUSA | 

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Ford v Ferrari revs the engine on camaraderie by putting corporate ego up against the skilled partnership of famous American automotive designer Carroll Shelby and fearless British race car driver Ken Miles.

In my poster, I explored friendly competition using Takashi Murakami’s vibrant coloring and iconic humanlike flowers, playfully juxtaposing the serious with the pursuit of the exciting and fun.

TIME-LAPSE VIDEO

 

OSCAR POP! 2019 | Bohemian Rhapsody

"Bohemian Rhapsody" poster inspired by Andy Warhol's style.
The poster series has won the 2019 GDUSA American Inhouse Design Awards and was the cover design of the GDUSA July/August 2019 issue.

Shutterstock blog | AdAge | Design Taxi | Creative Bloq

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OSCAR POP! 2018 | Get Out

"Get Out" poster inspired by Kieth Haring's style.
The poster series has won 2019 One Screen Movie Poster and GDUSA American Inhouse Design Awards.

Shutterstock blog post | IndieWire | Ad Age Creativity

Though he’s known for his colorful dancing figures, much of Keith Haring’s work was darker, dealing with violence and fear. That made his style a good match for Get Out, a horror film about racism. I also used Haring’s doodles to represent important elements from the film, including a teacup and spoon, a deer, and a police car.

 
The director and writer of the Oscar-nominated film “Get Out” also shared the poster series on his twitter.

The director and writer of the Oscar-nominated film “Get Out” also shared the poster series on his twitter.

 

OSCAR POP! 2017 | Arrival

Shutterstock blog post | Ad Week | Print Mag

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I love Lichtenstein’s comic style and bold colors, and I used it to bring a totally different perspective to Arrival by adding a sense of fun. I made Amy Adams’ character into one of Lichtenstein’s heroines, trying to make sense of her extraordinary situation.