06 Oct film illustration

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Empire of the Sun artwork
Movie art

Film illustration

Analog-Inspired Elements – Old film effects, Polaroid frames, and VHS distortions bring a sense of nostalgia. Designers often incorporate these elements to mimic the aesthetics of past media formats, such as TV screens with scan lines, cassette tape designs, or faded print advertisements levi’s stadium age requirement. These details help recreate the visual language of a bygone era, making the design feel more immersive and emotionally engaging.

The retro design offers a timeless quality that outlasts trends, giving a lasting appeal to any project. When combined with modern techniques and technology, retro elements help create fresh and unique visuals that stand out in today’s crowded digital world.

If you’re also interested in this genre of throwback designs then you’re in good company. With so much passion retro design around, but a distinct lack of helpful guides or entry points to draw inspiration from, we’ve decided to step in and make one.

Movies, music, games, TV shows – there’s no denying that pop culture had a massive influence on 80s design trends. While always destined to make a comeback, we first saw the return of 80s pop culture in recent years with the creation of Netflix’s Stranger Things in 2017 – a show clearly inspired by 80’s pop culture. Now, there’s been a big increase in 80’s content as the style continues to infiltrate the zeitgeist.

Nothing comes close to the nostalgia-inducing horizontal white lines that scratch across the screen due to imperfections in the tape. Now grab that one concept and turn it to a retro visual style that will keep your followers wanting for more.

Empire of the Sun artwork

The exhibition is staged to coincide with the 2014 centenary and concludes with new and recent projects by British, German, Polish and Syrian photographers which reflect on the First World War a century after it began.”

“… taking its cue from Vonnegut, ‘Conflict, Time, Photography’ is arranged differently, following instead the increasing passages of time between events and the photographs that reflect on them. There are groups of works made moments after the events they depict, then those made days after, then months, years and so on – 10, 20, 50, right up to 100 years later.”

Vonnegut was a prisoner of war in Dresden when what he called ‘possibly the world’s most beautiful city’ was destroyed by incendiary bombs, and struggled to write his war book for almost 25 years. Kawada was a young photographer working in post-war Hiroshima when he began to take the strange photographs of the scarred, stained ceiling of the A-bomb Dome – the only building to survive the explosion – that he would eventually publish on August 6 1965, 20 years to the day since the atomic bomb was dropped on the city.

While the images allow increasing passages of time between events and the photographs that reflect on them – “made moments after the events they depict, then those made days after, then months, years and so on” – there settles in the pit of the stomach some unremitting melancholy, some unholy dread as to the brutal facticity and inhumanness of war. The work which “pictures” the memory of the events that took place, like a visual ode of remembrance, are made all the more powerful for their transcendence – of time, of death and the immediate detritus of war.

Movie art

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