Remembering John Alvin

Many of you may not be aware of John Alvin’s work, but for those of us that are enthralled by movie poster art, Alvin is a legend.

I wrote about John Alvin’s passing on Squandrous yesterday, but I felt that I needed to share some of Alvin’s genius with a larger audience so that more people can know about the immense impact he has ad on the design and film communities.

John Alvin was responsible for some of the most memorable promotional art in film history. His filmography is not only massive, but impressive. He may be best remembered for his iconic art for the Star Wars celebration, but avid movie-goers have seen his work in the posters for some of the most influential films in the past thirty-five years: Blade Runner, The Color Purple, The Princess Bride, E.T., Alien, Empire of the Sun, and almost every Disney animated classic to be released in the past twenty years.

Alvin passed away on Wednesday from a heart attack at the age of 59. A message by his family on the International Movie Poster Awards website demonstrated his passion for film:

John loved “making movie posters” because he, just to put it plainly, loved movies. Thirty-eight years and over 120 film campaigns show that his contribution to Hollywood was very integral in shaping the landscape of motion picture advertising. Along with Peak and Amsel, John is now a part of an elite group. A group that helped create the “Golden Age of Movie Posters.” An era of art that sadly will never be echoed through the halls of an institution but more through halls and cubicles of our industry.

I never did get the chance to meet John Alvin, but I knew his art. Unlike so many film promotional artists today, Alvin didn’t just sell a movie — he told stories and shaped experiences through his work. His one-sheets were more than just marketing tools: they were insightful works of art that were necessary accompaniments to the film they were promoting.

Alvin’s poster for Disney’s Beauty and the Beast (my favorite film) is a stunning example of how his artwork became part of the film experience instead of just being advertising. Reflecting upon iconic scenes from Trousdale and Wise’s film, the most clear image for many people is one that actually never did appear in the film, but is instead one of Alvin’s pieces of art.

Needless to say, John Alvin will be missed — not only by his family and friends, but by the entire film community. He has inspired many, and it is my hope that new film artists (like one of my current favorites, Corey Holms) will continue in his tradition of creating insightful, profound, and visionary art for the movie industry.

Rest in peace, John. And thank you.