Rob Jones' Top 10 Posters of 2012

Torso by Jay Shaw:

Jay is fucking great. I don't have many Mondo posters on my walls, but I do have this one proudly displayed alongside his works for "Killer Nun" and "Bone'" in my living room.

They Live by We Buy Your Kids:

If you don't like the work of WBYK, then to paraphrase from Lux Interior, "you're a turd." All the work from their recent show gave me eyegasms of varying intensity, but their poster for "They Live" appears as the cream of a bountiful crop. I found it interesting that they portray the grim visage of the alien menace only half-covered by an overtly saccharin mask. I personally interpreted that choice to communicate that the aliens don't really have to try too hard to disguise their intent AND that the shame lies on us for not violently recognizing them or their quisling servants as opposed to the best interests of humanity.

Psycho by Daniel Danger:

Horror fans are overly exposed to this scenic shot, and it could have turned into a predictable yawn in another's hands. However, Daniel really injected his own atmosphere into the familiar image. He brings it an unsettling new life much like Norman does with his mother's corpse (if that's a spoiler, then fuck off and catch up with the rest of us).

The Bride by Craig Drake:

It's no secret I have a creepy attraction to Elsa Lanchester (in and out of the Bride make-up). Her multiplied eyes stare out from many of the walls in my home. Drake's rendition of the Bride could have easily come off as gothic goof, but instead I really think it translates for normal folks how a monster kid perceives that character with its dark unnatural glamour. I see her beauty in that make-up as indistinguishable in presentation essence from how the studios would market something straight-sexy like Jane Russell.

The Foghorn Leghorn by Tom Whalen:

Tom's "Duck Dodgers" poster is technically superior, but this one remains a personal favorite as it reminds me of my dad. Foghorn is his favorite Looney Tunes character, and as a teenager I often felt like Henery Hawk. Anyone with a yearning to know more about the creation of Foghorn should definitely check out Robert McKimson's new book detailing the careers of his father and uncle and all of their enduring creations.

Looper by Martin Ansin:

Very nearly put Martin's "Tron" on here, but "Looper" just demonstrates such an interesting departure for him in both the illustration style and a next-level composition.

Jodorowsky's Dune by Kilian Eng:

I'm a sucker for just about anything "Dune". Eng really hit this one into the parking lot and through the windshield of my shitty Honda with a 1-sheet peek into worlds that sadly never found a true home on film.

King Kong by Laurent Durieux:

Laurent has become a bull-blooded juggernaut with his output this year. The shittiest thing about working with him is choosing from his roughs. Usually folks send in some ideas, and there's generally only 1 stand-out. Laurent, however, always presents a bevy of beautiful takes. It's exceedingly difficult not to just say "Great, do them all". That was certainly the case with King Kong. We all loved his rough concepts so much we literally couldn't choose, and we asked him to bring two of them to final. I prefer the variant one I think as I thoroughly enjoy the quasi-trompe l'oeil approach and small accents such as working elements from the film into the curtain pattern.

20,000 Leagues Under the Sea by Ken Taylor:

Well, we knew this would be a big one when the blackline got turned in. Great composition, color, and phalangeal-powdering attention to illustrative detail. Ken's still got the the flesh pouch that all Australians are born with on their left thigh.

Film by Delicious Design League:

A fairly difficult assignment, but Billy at Delicious Design pulled it off with extreme aplomb caging the struggle between eye and object.

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