CREATIVE BLOQ posted this interesting article on the state of movie posters, and Richard Amsel is mentioned in the article. Here is an excerpt: Last month saw the release of the poster for Spider-Man: Homecoming. The design was – well – pretty crowded to say the least. Featuring Peter Parker, Tony Stark as himself, Tony Stark as Iron Man, new baddie Adrian Toomes and the Vulture twice, plus both fireworks and lasers, and the Manhattan skyline and the Washington Monument squis

CREATIVE BLOQ posted this interesting article on the state of movie posters, and Richard Amsel is mentioned in the article. Here is an excerpt: Last month saw the release of the poster for Spider-Man: Homecoming. The design was – well – pretty crowded to say the least. Featuring Peter Parker, Tony Stark as himself, Tony Stark as Iron Man, new baddie Adrian Toomes and the Vulture twice, plus both fireworks and lasers, and the Manhattan skyline and the Washington Monument squis

Yet another rediscovered early Amsel work, this one for Pocket Books' 1972 paperback edition of THE BAY OF NOON, by Shirley Hazzard. Very special thanks to Randal Tolbert for this image. Randal has an extraordinary collection of Amsel's work, which I'll be writing about in the near future...

Yet another rediscovered early Amsel work, this one for Pocket Books' 1972 paperback edition of THE BAY OF NOON, by Shirley Hazzard. Very special thanks to Randal Tolbert for this image. Randal has an extraordinary collection of Amsel's work, which I'll be writing about in the near future...

I first remember seeing Erik Sharkey, the director of the wonderful documentary DREW: THE MAN BEHIND THE POSTER, when the film screened at the LA Film Festival within the Hollywood Arclight some years ago. I would see him again at the opening of the 2014 Glendale Forest Lawn art show, featuring the work of both Mr. Struzan and Bob Peak. In both instances, I was too shy and nervous to approach him; the guy seemed to be always flanked by reporters, or VIPs, or engaged in conver

I first remember seeing Erik Sharkey, the director of the wonderful documentary DREW: THE MAN BEHIND THE POSTER, when the film screened at the LA Film Festival within the Hollywood Arclight some years ago. I would see him again at the opening of the 2014 Glendale Forest Lawn art show, featuring the work of both Mr. Struzan and Bob Peak. In both instances, I was too shy and nervous to approach him; the guy seemed to be always flanked by reporters, or VIPs, or engaged in conver

I still have yet to write up everything about my last trip to the East Coast, even as I plan to fly out yet again next week. It's been a challenging time, as I'm dealing with an ill family member, and have put a lot of creative things on hold while focusing on life's priorities. One early snippet I'd like to share here is an old illustration Amsel did for RCA Records. I'm not sure about the details of the piece, but I think it's dated around 1971. I found this in an old copy

I still have yet to write up everything about my last trip to the East Coast, even as I plan to fly out yet again next week. It's been a challenging time, as I'm dealing with an ill family member, and have put a lot of creative things on hold while focusing on life's priorities. One early snippet I'd like to share here is an old illustration Amsel did for RCA Records. I'm not sure about the details of the piece, but I think it's dated around 1971. I found this in an old copy

I first remember seeing Erik Sharkey, the director of the wonderful documentary DREW: THE MAN BEHIND THE POSTER, when the film screened at the LA Film Festival within the Hollywood Arclight some years ago. I would see him again at the opening of the 2014 Glendale Forest Lawn art show, featuring the work of both Mr. Struzan and Bob Peak. In both instances, I was too shy and nervous to approach him; the guy seemed to be always flanked by reporters, or VIPs, or engaged in conver