Credited As: Graphic Designer

Credited As: Graphic Designer


Charles: AS A GRAPHIC DESIGNER, I’M CALLED TO CREATE THAT LOOK
THAT YOU SEE IN EVERYDAY LIFE. YOU WALK DOWN THE STREET, THERE
ARE BOOKSTORES, BILLBOARDS. THESE THINGS
HAVE TO BE PRODUCED, AND AS A GRAPHIC DESIGNER, I’M CALLED ON
TO DO THOSE THINGS — CREATE MARBLE THAT DOESN’T EXIST
OR WALLPAPER, OR BOOK JACKETS, ANYTHING THAT NEEDS
TO TELL A STORY. I’M MARTIN CHARLES,
GRAPHIC DESIGNER. ♪♪ I DO GRAPHIC DESIGN FOR FILM —
ALL KINDS OF FILM — PERIOD FILMS, FUTURISTIC FILMS,
CURRENT FILMS. THAT’S MY FOCUS —
CREATING A WORLD — A VISUAL WORLD THAT IS
RATHER SEAMLESS, ACTUALLY. YOU DON’T THINK ABOUT IT
WHEN YOU LOOK AT A MOVIE, BUT IT’S ALL THERE —
ALL THE DETAILS THAT YOU HAVE TO FILL IN
AS A REAL COFFEE SHOP WOULD BE OR A REAL BOOKSTORE
OR A REAL BALL FIELD AS “42.” MY FIRST MOVIE, IN 1990,
IT WAS A STUDENT FILM. IT WAS A 10-DAY SHOOT
IN YUMA, ARIZONA. IT WAS ABOUT WORLD WAR II. AND I WAS THE GRAPHIC DESIGNER,
I WAS THE PROP MASTER, I WAS THE SET DECORATOR. I WAS EVERYTHING ON THAT FILM, BECAUSE IT WAS A STUDENT FILM
THAT WAS VERY, VERY SMALL. BUT THEN I WAS HOOKED. I JUST LOVED THE INTRIGUE
OF CREATING THINGS THAT WILL BE SHOT ON CAMERA. IT’S LIKE YOU CREATE SOMETHING,
YOU PUT IT UP, AND YOU SEE IT, AND IT LIVES ON FOR A WHILE. WHEN I FIRST STARTED IN FILM, I HAD TO READ BETWEEN THE LINES
TO STAY EMPLOYED. I WOULD READ BETWEEN THE LINES,
AND I WOULD SUGGEST. EVERY SET THAT COMES IN
THAT NEEDS GRAPHICS GETS ONE OF THESE. AND THEY GET OVERWHELMING
SOMETIMES. THEY’RE EVERYWHERE, BECAUSE ANYTHING
THAT’S CALLED OUT GRAPHICALLY NEEDS TO BE NOTED. THE ART DECORATOR,
THE SET DECORATOR, THE PROP MASTER,
THE PRODUCTION DESIGNER WHO GETS FIRST DIBS ON MY TIME,
BUT WE HAVE TO SHARE. SO IF SOMETHING IS DUE UP FRONT,
RIGHT AWAY, I WOULD STOP WHAT I’M DOING AND TAKE CARE OF
THE PROJECT AT HAND. Man: WE’RE GONNA COVER THIS
COMPLETELY. Charles: GRANTED, DOWN HERE,
OF COURSE, WITH THE THIN… WHEN WE’RE IN PRE-PRODUCTION, IT’S MUCH EASIER
BECAUSE YOU HAVE TIME. SO YOU DESIGN SOMETHING, AND YOU
WOULD REDESIGN IT IF YOU HAD TO. AND YOU WOULD GO THROUGH
THE CHANNELS. BUT ONCE WE START SHOOTING, THERE’S NO MORE TIME
FOR PRE-PRODUCTION. IT’S ALL ABOUT GETTING IT DONE. SO WE HAVE DAYS NOW —
SOMETIMES ONE DAY. SOMETIMES WE HAVE HOURS
TO PRODUCE SOMETHING FOR CAMERA. AND THAT’S WHEN
THAT TAKES PRIORITY OVER THE THINGS THAT I’M DOING
FOR NEXT WEEK. WE GOT TO WALK BACK
TO OUR PRINT SHOP. I WAS A GIVEN A SCALPEL
BY A VERY DEAR FRIEND MANY YEARS AGO IN NEW YORK. THAT’S PHYSICAL CUTTING,
AND I CHERISH THAT. BUT AS WE FAST-FORWARD INTO
THE DIGITAL AGE, MY MAIN TOOL, APART FROM THE COMPUTER
AND THE PROGRAMS THAT I USE, BECOMES MY PRINTER. IT PRINTS AND CUTS. IT MAKES MY LIFE
SEAMLESSLY EASIER, BECAUSE I’M ABLE TO DESIGN KNOWING WHAT
THE PRINTER WILL PRODUCE. TECHNOLOGY HAS CHANGED
THE ROLE OF GRAPHIC DESIGN. THERE WAS A TRANSITION
OF THE ILLUSTRATORS MOVING INTO THE DIGITAL WORLD. IT TOOK A LONGER TIME,
BUT I REMEMBER VIVIDLY BECAUSE I WAS WORKING
SPECIFICALLY WITH SOME REALLY TALENTED
ILLUSTRATORS WHO WERE STILL DRAWING BY HAND. AND BY A FILM OR TWO LATER, THEY ALL HAVE TRANSITIONED
TO DIGITAL. THE ILLUSTRATORS NOW
ARE ALL ON DIGITAL. YOU CAN CREATE MORE, FASTER. THE EDITING PROCESS IS EASIER. Man: YES, IT’S BLACK
BEHIND THE WINDOWS SO YOU HAVE A SHINY FACE. Man: AND THEN WE DO THE GOLD
ON TO THE WINDOW FRONT… Charles: FANTASTIC. ALL RIGHT. Man: …IN A VINYL,
WHATEVER THAT IS. Charles: YOU GET A CALL
FOR SOMETHING THE NEXT DAY, IT’S POSSIBLE. 25 YEARS AGO, YOU’D HAVE TO
WAIT TWO DAYS FOR IT. DO YOU MIND PRINTING THAT ONE
FOR ME? Man: NO, NO,
OR I’LL SEND IT TO YOU. NO, I’LL PRINT IT.
I’LL PRINT IT OUT. Charles: SO THAT HAS COMPLETELY
CHANGED THE WAY MOVIES ARE DONE. BIG-BUDGET FILM,
THEY’RE REALLY GREAT. YOU’RE ON FOR A VERY LONG TIME. YOU GET TO DO THINGS
OVER AND OVER AGAIN SOMETIMES, BECAUSE DECISIONS
ARE NOT MADE AS EASILY BECAUSE YOU COULD AFFORD
TO REDO CERTAIN THINGS. BUT ON A SMALL-BUDGET FILM
LIKE “THE ARTIST,” THE DIRECTOR WAS A STORYBOARD
ARTIST AND ILLUSTRATOR. SO WHEN HE MAPPED OUT
WHAT HE WANTED TO DO, THAT WAS VERY SPECIFIC, AS A GRAPHIC DESIGNER, I HAD TO
CREATE THAT WORLD VISUALLY. THE MOST INTERESTING PART
OF MY JOB IS INTERACTION, BECAUSE I GET CALLED ON TO
A PROJECT NOT JUST FOR MY SKILL
BUT FOR MY INPUT. AND SEEING A PRODUCTION DESIGNER
ACCEPT A SUGGESTION AND TAKING MY INPUT,
THAT PART IS VERY INTRIGUING. BUT, TO ME, PRODUCING —
THAT, TO ME, IS THE MOST INTERESTING PART,
AND I REALLY THRIVE ON THAT. SO I WORK HARD TO MAKE SURE THE PRODUCTION DESIGNER IS HAPPY
WITH THE STUFF. AND THAT INTERACTION —
WITHOUT THAT, IT’S JUST HAVING THAT SKILL AND THAT CRAFT
WITHOUT THAT REAL EXCITEMENT.


7 thoughts on “Credited As: Graphic Designer

  1. This videos are pretty awesome, just a little advise to whoever is running this channel: you guys should try to make more attractive and eye-catching thumbnails because the content inside the video is amazing but the thumbnail doesnt look very interesting and that's why not many people are clicking to see them so far, with that being said hasta la vista! -RJ

  2. This is very inspiring! I'm also a graphic designer, I really want to make it down this path for an amazing experience in the future.

  3. Great video! I've never seen a video that shows the job of a graphic designer in a film. I'm a graphic designer and I love production design 🙂

  4. Kudos to Martin Charles the graphic designer for films! Thank you for posting this video Academy Originals! Love it! -Richard John (#BrandingPower365)

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