Luke Drozd started his illustrating career by designing gig posters, 10 years on his work encompasses everything from art prints to sculptures and he’s even turned his own living room into a an exhibition space as part of 38b. His screen print for The Great Guillermo is based on the film Cronos.
How would you describe your style?
Ligne Claire with a Northern accent.
Which Guillermo Del Toro film have you decided to base your book cover design on and why?
Cronos. It was the first Del Toro film I saw and it left a lasting impression. It uses the Vampire myth as the starting point and spins it into new and intelligent areas. It’s thoughtful and stylish and a real gem.
How much of the film did you watch before getting a clear idea of how you were going to approach this illustration?
I have watched the film quite a few times so I knew that the Cronos device itself should be the central image. It is this that ‘turns’ those who trigger it’s mechanical innards. It is quite a detailed piece of design in the film so I wanted a stylised version, with nods to its mechanised interior used around the border and background.
How different was your design process knowing that the final image was going to be interpreted as a screen print?
A lot of my work ends up being screen printed so not different at all. I tend to design with screen print in mind even if it may not end up being printed this way. I like the restrictions it sets to the process.
Is this the first time you’ve made work in response to a film?
No, I previously worked on a piece for the Little White Lies Coen Brothers show based on ‘Oh Brother, Where Art Thou?’. It’s not something I do often, but I do enjoy it.
Which 3 tools could you not live without?
Pencil, hand, corkscrew.
If you would like to attend the private view please RSVP here: http://thegreatguillermo.splashthat.com/