I went through a few rounds of sketches to reach these nine, which were re-drawn at the last.
I’ve discussed this through a little on the discussion boards, and it’s true that Kelly’s helmet is both iconic, and perhaps too easy a call when producing the poster.
However, I feel strongly that unless some amazing other angle occurs to me, it is still the best reference that is culturally known, even if it is used in the abstract. It is effectively the Kelly “brand”.
Inevitably, simplicity of style appears to be the key to getting these posters right. Clumping of information, clear hierarchy, especially between the title and other information, and effective use of shape and colour to direct the eye, are highly important in this process.
These are very rough. The finals will work on the typographic style, more clearly.
As I moved through these, the elements stripped away a little. I can see a vivid red ‘slash’ of sorts representing the eye slot in the mask, which to me is recognisable when combined with the natural shape of the poster.
This is how Sidney Nolan represented it, although he used a more squarish ratio….
So in the final three, I think there may be some good merit. I like the idea of a slash of red, dripping blood or blood spatter, and also that of the guns.
Most of all though, I like the scale of using that slash of red, etched into it a scene of conflict in miniature, shown only in silhouette.
I got a little lazy with the type at the end, but that will be sorted out in due course.