Fake Love Letters, Forged Telegrams, and Prison Escape Maps: Designing Graphic Props for Filmmaking

by Annie Atkins

A behind-the-scenes look at the extraordinary and meticulous design of graphic objects for film sets Although graphic props such as invitations, letters, tickets, and packaging are rarely seen close-up by a cinema audience, they are designed in painstaking detail. Dublin-based designer Annie Atkins invites readers into the creative process behind her intricately designed, rigorously researched, and visually stunning graphic props. These objects may be given just a fleeting moment of screen time, but their authenticity is vital and their role is to nudge both the actors on set and the audience just that much further into the fictional world of the film.

Genres: Design, Nonfiction, Film, Art, Art Design, History, Reference

208 pages, Paperback

Published February 26, 2020

Reviews

[Prince William Public Libraries · Rating 4 out of 5]

I love movies and I love reading about movies, especially books about the behind-the-scenes collaborative efforts of different departments in the making of movies. I’ve read books by and about directors, writers, producers, cinematographers, actors, editors, and costume designers. I’m pretty sure this is the first time I’ve read a book about movie graphic design, and I really couldn’t have been more thrilled by it.

This book is a fascinating look at what the graphics department does on a film set, and it contains many wonderful images of specific examples from movies and shows on which the author has worked, such as a passport for Tom Hanks in Bridge of Spies, postage stamps for the fictional country of Zubrowka for The Grand Budapest Hotel, and a letter written in detailed calligraphy from The Tudors. There are also lots of images of original reference material, so you can see the different designs that inspired the work you see onscreen. Atkins even includes images of tools from her personal toolkit, such as pens, pencils, scalpel blades, compasses, and a wide variety of other items she uses in her job.

The best part about reading this book is that it makes you want to go watch all of the films mentioned—some you’ve probably seen and some you probably haven't—and pay extra attention to the graphic props. Luckily for you, some of these movies can be checked out on DVD at the library—Isle of Dogs and Wonderstruck, for instance—so check out this book and then go watch some movies. It'll be the perfect way to get your film fix while we all wait for the theaters to open again.

-John D.

Click here to find the book at Prince William Public Libraries.

[Cami · Rating 5 out of 5]

A lovely look into a field in the movie industry that's often overlooked. If finer details and meticulous research for film sound intriguing I'd recommend this in a heartbeat. Fingers crossed she writes more in the future!

[Emily · Rating 5 out of 5]

Really interesting look into graphic design for film - delightful to see traditional methods and the lengths Annie Atkins goes to for the smallest but important details. The cover is so beautiful too, a great addition to a designer's bookshelf.

[Helena · Rating 4 out of 5]

Such a cool insight into the way props are made and used

[Andrew Child · Rating 5 out of 5]

i'm geeking out. so cool!

[Matildemona · Rating 5 out of 5]

An amazingly inspiring and interesting book that I’d recommend to anyone interested in graphic design! Wish I had more books like this one, Annie Atkins is truly an inspiration ✨

[Olga_evstifeeva · Rating 5 out of 5]

I expected some useful info on prop making and there was almost none. Still it is a very enjoyable read, full of charm and cool stories about movie world and its many bizarre details.

[Morgan · Rating 5 out of 5]

I first found out about Annie Atkins while listening to a podcast and was blown away by her knowledge and work. When I realized that she had published a book in 2020 I had to purchase it! I love Annie's work and the detail that she puts into making props for films. This book is a must for film buffs, lettering artists, or someone who enjoys obscure knowledge.

[Ali · Rating 5 out of 5]

A really wonderful look at all of the graphic design work that goes into making props for films.

[Quinn · Rating 5 out of 5]

Fantastic! The book itself is beautifully designed (no surprise there) and it gets the place of honor on the top of the stack of coffee table books. As a graphic designer I loved the extra details provided about the process behind each prop, the materials used, and fun anecdotes about working on a film set.

[John Braine · Rating 5 out of 5]

This is a beautiful book brimming with images of many beautiful handmade artefacts, but don't make the mistake of thinking this is coffee table book. Before Annie Atkins became a specialist in making movie props for the likes of Stephen Spielberg and Wes Anderson, she was (and is) an amazing writer and easily one of my favourite bloggers, so make no mistake, this book wants to be read from cover to cover. There is so much great insight into what goes into making movie props. Even if they may only be glimpsed for a second they provide a realistic setting for the actors to get into character. And there are many intriguing examples of finding that sweet spot between authenticity, driving a narrative and being understood by modern eyes.

Confession: for many years now I've secretly wanted to be a movie prop maker or designer. If I could go back a few decades, that's what I'd do. It's a joy to see that experience brought to life in this wonderful book:

"I felt as if I'd found a job in a world that I'd heard about but had never really quite believe existed - like running away and joining the circus"

A beautiful book and a fantastic read for anyone interested in movies.

[Christina · Rating 5 out of 5]

I really really love this book and all the details and ideas that went into it - into the making of the book itself and the insight of Atkin's work. As a film prop maker and graphic designer myself, this book is golden insight into a world I am relatively new to. I love Annies wit and humor, her play of words and of course - her passion for paper, lettering and details, that spills from every word she writes. The photographed props themselves are BEAUTIFUL and the presentation (product photos) are, as well, splendid. The layout is thought-through and DAMN, the book cover is just RIGHT: who would ever have the idea to use oversized drawing paper and print the leftovers of a sharpened pen on the back that feels SO REAL that you want to peel it off the cover!? This ALONE is my reason to buy and to know that Atkin, apart from all her movie work, is a passionate master of her job.

Thank you, Annie, for such a beautiful book and all the love for art you share with us!

[Michael Howley · Rating 4 out of 5]

This is a beautiful book cover to cover, worthy of the author's profession. I've gained a new appreciation for a craft that I hardly knew existed before. And learned a lot about history in the process! My only wish is that there was slightly more substance here. The vast majority of the text is descriptions and anecdotes about various ephemera with only the handful of 1-3 page chapter openers as connective tissue. I would happily read much more in any direction, whether personal experiences of the author or a start to finish breakdown of the process for a single project.

[dee · Rating 5 out of 5]

as both an avid moviegoer and a graphic designer i found this book was such an eye-opening read.

best design book i’ve read so far, (i don’t read that many obviously lol) but if i could give this ten stars i would!!

i love how she describes all the detailed props, some tips and trick and mentions about her work station esp. on the grand budapest hotel movie set. ughh dream job indeed. how to be her please :’) 5 years in the graphic design field myself, never have i ever encountered a project half as exciting as hers. i hope someday i can experience all this myself.

[Dave Williams · Rating 4 out of 5]

A fascinating glimpse behind the scenes of graphic design for film and television, showing how the right choices of layout, lettering and typography, when fabricated with meticulous attention to detail, help to ground a production with its sense of time and place, not just for the viewers but also for the cast themselves.
Perhaps a good companion piece for Dave Addey's Typeset in the Future, which looks at a different aspect of the same world.

[Erik Rose · Rating 5 out of 5]

This book covers all the little (and not so little) things you never think about that help tell stories in movies. The graphic design of a film is interesting whether or not you know anything about design. Even casual film and tv watchers with become fascinated with al the details that someone has to create to make worlds come to life. Annie’s text is witty, smart, and filled with ideas and tips for building and recreating worlds.

[Stephanie · Rating 4 out of 5]

I really enjoyed this. It’s more coffee-table than I had hoped but it was still wonderful and magically to see inside the prop design world. I really enjoyed the subtle nod to script edits with the coloured chapter pages. Photography is beautiful as well. I want to know so much more though. It would be a dream to work as a designer in films or television and seeing farther into her process would be nice.

[Jessica Lalonde · Rating 5 out of 5]

An absolutely beautiful book. If you make props, miniatures, or are just a lover of good design, this book will nourish your artistic soul. The author makes props for Wes Anderson, and shares his meticulous eye for details. The layout of this book is also gorgeous. Definitely will be a constant reference for my future projects.

[Regan · Rating 5 out of 5]

This book is beautiful. It opens up an area of graphic design that is rarely depicted. I was absorbed, start to finish, in the process of historical research to material aging to hand calligraphy. I cannot day enough good things about this book!

[Wenny H · Rating 5 out of 5]

Picked up this book by chance at the shops, and what a beautiful coincidence it was. An endlessly fascinating book of ephemeras, inspiring and exciting with every turn of the page. Superbly exquisite.

[Clay Doran · Rating 4 out of 5]

As a graphic designer I was never quite sure how graphic designers were used on the set of a film. Sure, there are obvious uses like designing posters on the wall or the logo for a fictional company but is that a full time job? Annie Atkins’ book does a great job of showing just how detailed the job can get. Every little detail is carefully considered. The papers age, the typefaces used, the materials available at the time, so many details are almost invisible to the viewer however they all combine to create a flawless texture and realness to a film. This book is not a “how to” or a history of the craft. It is more just a look into one designer’s (Atkins) bag of tricks. The author will describe needing to create 14 identically aged envelopes before flipping to the next page and seeing these envelopes perfectly organized on the next page. She describes what she needed for her projects but you quickly realize that every prop designer will have a totally different skill set based on the films they have been hired to work on. Atkins book feels almost like you get a chance to walk around her office and peak into her drawers full of scraps and past projects. Especially interesting if you are a fan of Wes Anderson or Bridge of Spies. Overall, a beautifully laid out book that is a joy to flip through but upon closer inspection offers an interesting survey into a path of graphic design that is often overlooked.

[Kurt Basham · Rating 5 out of 5]

Annie Atkins has been the graphic artist and graphic prop designer for the TV series The Tudors, the movie Bridge Of Spies, as well as several Wes Anderson movies.

What is a graphic prop? Pretty much any item on a set that has writing in or on it. Need a London street business signage from the 1880s? Or the correct price on a sign advertising haircuts in 1950s New York? (it's $1.50 btw) Need a stack of newspapers (The Trans-Alpine Yodel -- Two Daily Editions!) from the fictional country of Zumbrowka carried by a busboy to the equally fictitious Grand Budapest Hotel? And then there's the hotel stationery and logo, competing hotel logos, and... Well, that's why you need a good graphic prop designer.

This was a beautiful read, with loads of pictures attractively arranged on the page (if you have never heard of knolling, well, here you go and you can thank me later)

https://theultralinx.com/2013/09/50-a...

[dientito de leche · Rating 4 out of 5]

UGHHHH OJALA EL LIBRO FUERA MIOO !!

me lo presto mi jefe, pero siento que un gran propósito de los libros de arte/diseño es tener las copias físicas en algun librero para que puedan servir de referencias para futuros proyectos. Me encantaría empezar a cultivar mi propia colección! Después de este libro no volveré a ver ninguna película de la misma manera, toco ser insoportable y escrudiñar por las tipografías en los segundos planos fuera de foco! Sere yo quien aprecie los minuciosos detalles del equipo de diseño! Los quiero muchos diseñadores gráficos que se esconden en las esquinas de cada proyecto sin ser reconocidos. Sere fastidiosa en su honor!

on that note,,, IS ANYBODY HIRING FOR THIS POSITION ILL SENT YOU MY PORTFOLIO NO ES MUY BUENO PERO TENGO MUCHAS GANAS DE APRENDER LO JURO !!!

[Angie Fato · Rating 5 out of 5]

Annie Atkins nos introduce al mundo de diseño gráfico para películas como si nos estuviera contando un secret. Entra en detalle sobre sobre sus técnicas manuales y nos lleva a través de sus piezas para los mejores proyectos con los que trabajó, desde sus películas para Spielberg hasta Wes Anderson. Lo mas fascinante de todo es que cada objeto, cada carta y mapa tienen su historia detrás, aunque solo aparezcan unos segundos en cámara. Esta parte de las películas pasa muy desapercibida, y Atkins le hace mucha justicia. La edición y la fotografía son hermosas, al igual que los trabajos de la diseñadora en sí.

[Jude · Rating 5 out of 5]

What a delightful, satisfying romp in the world of film props and graphics. I devoured the entire book in just one sitting. It's filled to the brim with an eclectic display of the variety of graphics she has designed, from hero pieces like a 1800s theatre frontage and the iconic Mendt's box from the film The Great Budapest Hotel, to ephemera like ticket stubs and customs documents. Atkins is very generous in sharing her on-set experiences and accumulated wisdom - how to stain paper for a period piece, what basic tools a graphic designer should be equipped at every set. The extraordinary care she lavishes on her film work, is just as evident in the making of this book. I highly recommend it!

[Cassia · Rating 5 out of 5]

Really fantastic insight into graphics work on films! Great images, anecdotes, and glimpses into Annie's well researched and detail-oriented work. I've heard interviews with folks on props and costumes teams, so it's interesting to see how those in particular intersect or don't with this role.
As someone more research/history/archives adjacent, it was most fun to hear about some of the specific reasons items are not historically accurate, even when that information is known. Film, after all, is a visual artistic and storytelling medium that has many other concerns beyond complete accuracy.
Got this from the library, but honestly might purchase because it seems like it'd be fun to revisit!

[Charlee-Ann Ellis · Rating 5 out of 5]

I read this book cover to cover in one sitting. It's so well put together and thoughtful and just all around interesting. The detail is extraordinary, right down to the texture on the front cover. It gave me new information whilst also showcasing Annie's work alongside interesting anecdotes about her life as a graphic designer and prop maker. If there's one thing I would've liked more of though it would be practical advice for prop making. She talks a little about tools, but I would've liked just a little more useful detail here. Overall though I'm glad I bought this book as it's stunning.

[Kelsey · Rating 5 out of 5]

Helpful info that I’ll probably refer back to

Find as many examples of historic references in the real world as opposed to looking them up online

As scripts get edited they go through different colored pages which are; white, blue, yellow, pink, green, goldenrod, buff, cherry and back to blue

Notes aren’t taken on the script. They’re put in a separate document called a “script breakdown” that can take weeks to put together after combing through the script

Starting at page 167 it shows paper staining methods

[Nigel Ewan · Rating 4 out of 5]

Cute book! Seems like the sort of thing you make closer to the end of your career, when you have an even larger body of work to draw from. But there was enough here to make it feel engaging and complete. I would have appreciated a more in-depth discussion of the author's lettering and typography choices as they relate to historical and cultural contexts, but I guess she was shooting for a more general audience with this book.

[Carmen · Rating 5 out of 5]

I bought this book after watching The Grand Budapest Hotel and drooling over the graphics. I knew I had to figure out who designed them—especially those Mendl's boxes—and found Annie Atkins. The book has a whole section devoted to the film. It also shares an inside view of the prop design profession and all the tips and tricks she used to make props for different sets. High quality, thoughtful work. Engaging book with lots of photos that I'd recommend to anyone into graphic design.