What is your perspective as a UK-based art- ist? Does poster art work differently in the UK than in North America?


At this moment in time, mostly due to social me- dia and availability, I feel that the industry has unified. In the 1980s, I was commissioned to provide posters tailored to a UK audience. Whilst there remain cultural differences, I’m not con- vinced that expectations are very much different anymore. Wider exposure to poster art has re- moved cultural barriers and mainstream posters travel without difference. Retouched photogra- phy of surgically enhanced faces still dominates the multiplex big-earners, both in the UK and US alike. Painted images once spoke to the mass audiences, now they are consigned to niche marketing, shunned by the masses for whom a photograph requires no imagination and feels like a fantasy selfie. That’s sad. It’s as if we were more visually literate a century ago.


How do you handle a project if you don’t like the book or film that you’re commissioned to illustrate?


As a professional artist, it is not for me to judge the material. Even the worst film/book has


"PAINTED IMAGES ONCE SPOKE TO THE MASS AUDIENCES, NOW THEY ARE CONSIGNED TO NICHE MARKETING,


SHUNNED BY THE MASSES FOR WHOM A PHOTOGRAPH REQUIRES NO IMAGINATION AND FEELS LIKE A FANTASY SELFIE. THAT’S SAD.


– GRAHAM HUMPHREYS "


something to generate interest. I consider it a challenge! If all else fails, the choice of colours will do the job!


What is your attitude towards the distinction in horror between suggestion (mood, shad-


ows) and explicitness (splatter, clearly visi- ble monsters) when it comes to the imagery used on your posters?


With each project, I have to make that call (un- less the client has specific instructions). Each project is different, and I try to express that with


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