Al-Sawy, M. (2024). The Art of Caricature as an Experimental Introduction to Crafting and Promoting Egyptian Movie Posters. International Design Journal, 14(2), 225-238. doi: 10.21608/idj.2024.261516.1116
Mohamed karam Al-Sawy. "The Art of Caricature as an Experimental Introduction to Crafting and Promoting Egyptian Movie Posters". International Design Journal, 14, 2, 2024, 225-238. doi: 10.21608/idj.2024.261516.1116
Al-Sawy, M. (2024). 'The Art of Caricature as an Experimental Introduction to Crafting and Promoting Egyptian Movie Posters', International Design Journal, 14(2), pp. 225-238. doi: 10.21608/idj.2024.261516.1116
Al-Sawy, M. The Art of Caricature as an Experimental Introduction to Crafting and Promoting Egyptian Movie Posters. International Design Journal, 2024; 14(2): 225-238. doi: 10.21608/idj.2024.261516.1116
The Art of Caricature as an Experimental Introduction to Crafting and Promoting Egyptian Movie Posters
Lecturer at Department of Advertising- High Institute of Applied Arts – Fifth Settlement, Fineartsmk@yahoo.com
Abstract
The art of caricature is considered the most popular among the other plastic arts, as it is a message through which the artist addresses his readers in a plastic artistic language that relies on line and color as a basis for expressing a reality that has its positives and negatives. It is an art that depends on creativity and innovation, and it requires innate preparation and talent. At the same time, it has become one of the arts that has developed and become a science based on scientific rules and foundations. The importance of this art has expanded to the point where caricature has touched all aspects of life, and it was not limited to newspapers and magazines, but rather it became used in various fields as a field of advertising, such as movie posters and cinematic posters. The research seeks to shed light on the role of caricature art in promoting and reviving movie posters with a new perspective, so that this art, which depends on imagination, exaggeration, and humor, enters the first magical window, from which the viewer overlooks the world of cinema, and through which he swims with his imagination. Cinema is the first relationship between the viewer and the film, and from here what we call love at first sight can be born between the two parties: the viewer and the film, which prompts the spectator to wait for the screening and rush to see the film, perhaps at the first party.
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