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Time of India
19-05-2025
- Entertainment
- Time of India
From Brushstrokes to Photoshop: How film posters evolved—and why the original art still matters
Long before Indian films embraced digital gloss and photo-editing precision, its visual identity was painted—literally. Film posters weren't just promotional tools; they were standalone works of art. Painted in bold hues, they adorned city walls, billboards, and cinema facades, inviting passersby into worlds of romance, revolution, action, and fantasy. This is the story of how Bollywood film posters transformed over the decades—from handmade brushstrokes to computer-generated designs—and why the legacy of the hand-painted poster deserves to be remembered, restored, and revered. The Origins: India's First Cinematic Canvases One of India's earliest surviving film posters is believed to be for Kalyan Khajina (1924), a Marathi historical based on the life of Shivaji Maharaj. Directed—and likely designed—by Baburao Painter, it featured a dramatic image of the Maratha warrior discovering a hidden figure in a treasure chest. Some experts, including The Art of Bollywood author Rajesh Devraj, date this poster to around 1927, but its artistic merit remains timeless. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 'Swing is King': Top Trader Hemant's Strategy Finally Explained in this Free Session ! TradeWise Learn More Undo Even before cinema found its footing, India's most iconic painter, Raja Ravi Varma , laid the groundwork for mass visual storytelling. In 1890, he established a lithographic press to make art accessible to the masses—prints that featured mythological themes and gods, which would go on to influence early film posters. Dadasaheb Phalke, the father of Indian cinema, briefly worked with Ravi Varma's press before founding his own studio and eventually pioneering India's first feature film. The Golden Age of Painted Posters (1940s–1980s) As cinema grew in reach and popularity, so did the art of the poster. With the arrival of sound in film, the 1940s saw the rise of hand-painted visuals as the dominant form of film publicity. In 1941, Sant Tukaram featured a striking poster by Ravi Verma (not to be confused with Raja Ravi Varma), combining devotional themes with human emotion—a blueprint for much of early Indian poster art. From the 1940s through the 1980s, painted posters became Bollywood's visual signature. These designs were marked by vivid colors, exaggerated facial expressions, dynamic poses, and larger-than-life emotions. Artists often worked from stills or simply a narration of the film's theme, relying on their imagination to bring characters to life. Sachin Suresh Gurav , one of the most respected poster designers in contemporary Indian cinema, carries forward a legacy deeply rooted in the visual storytelling traditions of Bollywood. His creative contributions span a wide array of films—from Queen and Radhe to Hotel Mumbai and The Tashkent Files . Speaking about the transition in film poster aesthetics over the decades, he offered a thoughtful reflection on the evolution of this unique art form: 'In the 1920s and '30s, Indian film posters had a beautiful Art Deco influence. The designs were elegant and visually rich, reflecting global design movements while retaining local flavors. During the 1940s and '50s—the pre- and post-Independence era—posters reflected the national sentiment. These were more revolutionary in tone, often showcasing the male actor's face prominently, with smaller representations of female leads. It was an era of hope, change, and patriotic symbolism. As we entered the 1960s, romance and escapism took over. Films like Love in Tokyo marked a new wave of cinematic expression. People began traveling abroad and bringing global aesthetics back to Indian poster design. The 1970s saw a shift in Bombay's cultural landscape. Posters from this era had a 'macho' appeal—dynamic, cluttered, and packed with visual detail. They aimed to tell the whole story in a single frame. By the 1980s and '90s, photography began replacing painted imagery. The 'angry young man' era emerged, and still photography became the base for posters. Though film, music, and even poster copying existed then, the absence of social media meant no one really noticed. After the mid-'90s, we saw the rise of computer-generated imagery. By 2010, the celluloid era ended, and digital filmmaking and poster design fully took over. Technology improved—high-end cameras, advanced lighting, and software changed everything. Hollywood's influence grew stronger too. But one thing I always say— as long as posters were hand-painted, originality was sacred . There was no copying. Every poster was an artist's pure vision. Designing a film poster isn't easy; it takes observation, emotion, and imagination. When I create, I keep my eyes open to the world around me, looking for minute details that can translate into unforgettable visuals. A good poster should not just sell the film—it should become part of cinema history.' Iconic Posters That Defined an Era Some painted posters have transcended time to become part of India's visual and cinematic heritage: Mother India (1957) – Painted by B.M. Gupta, this poster channeled Soviet influences with Indian iconography, casting Nargis as the face of endurance and maternal strength. Mughal-e-Azam (1960) – B. Vishwanath's regal design reflected the film's grandeur and timeless romance. Guide (1965) – A soft, evocative portrayal of Dev Anand and Waheeda Rehman captured the film's poetic soul. Sholay (1975) – A high-voltage explosion of drama, color, and fury, it distilled the film's intensity into a single frame. Pakeezah (1972) – Another B.M. Gupta gem, this haunting portrait of Meena Kumari remains a permanent exhibit at Mumbai's Film Museum. Studios and Artists That Shaped a Visual Language Behind these masterpieces stood legendary studios and visionary artists: Studio Mohan , run by C. Mohan, became a hub for iconic visuals. Pamart Studio , headed by B.S. Sarwate, was known for massive, multi-panel posters. R.K. Studios , under Raj Kapoor, treated poster design as an extension of the film's storytelling— Awara 's (1951) poster remains iconic. Artists like Ram Kumar Sharma , Diwakar Karkare (of Satyam Shivam Sundaram fame), and Shrikant Dhongade brought depth and drama to Bollywood's painted past, each treating the canvas as cinema itself. Milind Mathkar , who has designed posters for many Marathi films such as ' Gadad Andhar' , ' Bedhadak' , ' Fatwa' , and ' Sur Sapata' , shared his thoughts in an exclusive conversation with ETimes : "Poster designing is a very crucial aspect of filmmaking, but unfortunately, it is not given the importance it deserves. If a film does well, it means that every department has worked hard and contributed their efforts. When we create a poster, the filmmaker considers several aspects—what the film is about, whether it has an ensemble cast, the era it is set in, and its genre. The poster is the first glimpse the audience gets before even the trailer is released. It has the power to attract viewers to the film—it's the first step in any kind of promotion. Earlier, when there was no social media, people depended on posters to know what a film was about, who starred in it, and whether they wanted to watch it. Poster-making is a deep and nuanced art form, and no AI-generated artwork can replace it, because a poster carries the soul of its creator. We've had many incredible painters and poster designers in our industry and around the world whose work has been celebrated by audiences. Names like M.F. Husain still echo in the world of art. Poster-making is a vital part of cinema, and we must preserve it. Only an artist can truly convey the beauty of creating a masterpiece—the brush, the smell of the colours, and the intention behind crafting something beautiful on canvas. It's an outstanding feeling, one that cannot be captured in words." Why Painted Posters Mattered In an era without trailers, teasers, or social media, posters were often a viewer's first encounter with a film. They shaped expectations, built buzz, and helped turn newcomers into stars. For many artists, poster design was a form of storytelling—an interpretive art that conveyed emotion, scale, and tone. Each brushstroke carried intention. The imperfection of the human hand gave these posters character and charm. The gaze of Nargis in Mother India or Amitabh Bachchan's silhouette in Deewaar —these were not just visuals, they were cultural imprints. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
Time of India
29-04-2025
- Time of India
Maharashtra govt provides Rs 52cr to Aundh's Shri Bavani Museum museum for infra boost
Kolhapur : State govt sanctioned Rs 52 crore for the Shri Bavani Museum in Aundh, located 50km away from Satara. The museum plans to use these funds to construct another building on the same premises and repair the existing one. The current building, which was established several decades ago, lacks space to hold over 8,000 artifacts and 16,000 books. They all will be displayed in the new building. The museum features as many as 500 miniature paintings from major Indian schools (Jaipur, Kangra, Mughal, Punjab, Bijapur, Pahadi, and Maratha) spanning the 15th to 19th centuries and three original paintings of Raja Ravi Varma, making it one of India's largest such collections. "The plan has a few components such as a multi-storey building, repairs of the old building and premises development. The museum witnesses around 1,500 visitors every day and the number goes up during holidays. The current building, and the library in it, has artefacts cramped up. We plan to decongest the museum to bring a new aesthetic sense and also ensure the visitors can get a glimpse of the artefacts and the paintings very carefully. A presentation was organized at the Mantralaya a few weeks ago. Based on it, the funds were sanctioned," said a senior officer of the state archaeology and museums department on the condition of anonymity. The famous 'Mother and Child' stone sculpture by Henry Moore, Western paintings, including works like Madonna of the Book by Andrea Del Sarto, a Rembrandt self-portrait and others by artists such as AH Muller and L Goya, are also in the museum. Artefacts made of sandalwood and ivory, sculptured pots, weapons, and valuable ornaments, including a diamond collection, are displayed in a strong room. The Maharaj of Aundh principality dedicated his life and wealth to finding and collecting unique artefacts. The museum has a well-maintained garden and play area for children. Art enthusiasts spend hours walking through 18 sections. "We are planning to install modern equipment, especially for lighting and ventilation purposes. The seating arrangements will also be made. In short, the two buildings will be spacious enough to accommodate more tourists and provide them with a truly engaging experience," said the official.
India Today
29-04-2025
- Entertainment
- India Today
Before TV and posters, Raja Ravi Varma's prints gave Hindu gods their modern face
Whether Lord Ram or Vishnu, the heroic warriors of the Ramayana and Mahabharata, Goddess of prosperity and wealth, Lakshmi, Shakuntala of Kalidasa, the King of Baroda, or Swami Vivekananda, there is one name that brings them all under the visual memory of modern India: Raja Ravi Varma. Mythology, literature, and history took on a new life in his paintings -- one that reached from the court to the common was he who not only popularised the faces of Hindu deities in Indian households but visualised them as human beings, bringing them closer to the Ravi Varma's art not only revived traditional Indian themes but also introduced them to the Western world, blending European techniques with Indian Ravi Varma was born on April 29, 1848, in Thiruvananthapuram, Kerala. Varma's paintings require no introduction. His way of presenting Hindu gods made it possible for the common people to connect with them, so they reached Indian households on a mass in the words of Geeta Kapoor, an Indian art historian and critic, is the indisputable father figure of modern Indian art. Hindu deity Karttikeya or Murugan with his consorts on his Vahana peacock. (Image: Wikimedia Commons) It is interesting to note that the works of Raja Ravi Varma went on to touch the shores of the Western world. Verma deity paintings were exhibited in America in 1893 at the World's Columbian Exposition, Chicago, the same event where the West witnessed Swami Vivekananda's famous "brothers and sisters" paintings exhibited were dedicated to the ethnography section, a field of study dedicated to the scientific description of peoples and cultures with their customs, habits, and mutual differences. Such a placement of his art remains debated the works of other painters were exhibited in the arts section, Arbin Newmyer writes in Popular Indian Art, that it "shows the discrimination towards Varma's work. To some extent, it could be said that the work of an Indian artist wasn't wanted by the West to be given the credit." Rama and Sita, with Hanuman, and Rama's three brothers Lakshmana, Bharata, and Shatrughna (Image: Wikimedia Commons) This incident did not deter Raja Ravi Varma's work. The exhibition became the first one where the world could witness the depiction of Hindu OF WESTERN TECHNIQUES IN INDIAN ARTRaja Ravi Varma adopted European realism in a manner that made it appear as his own. The greatness of Raja Varma's work showed how he blended Western oil painting techniques with traditional Indian iconography in a profound fusion resulted in artwork that was culturally rich and strikingly lifelike, leaving an impact on generations of artists. Goddess Lakshmi by Raja Ravi Varma (Image: Wikimedia Commons) As one of the most prolific Indian artists, he is said to have created over 2,000 paintings before taking the nymph, seduces the sage Vishwamitra; Lakshmi, the goddess of prosperity, sits on a lotus flower; Vishnu sits on his steed Garuda, holding a serpent wrapped in its claws; a lady holds a fruit, looking innocent in silence -- these paintings by Raja Ravi Varma adorn the walls of many Indian homes. Particularly in the south, his prints are found in the puja room -- the room reserved for daily of Raja Ravi Varma's well-known works is Shakuntala. In this painting, she bends as if to pick something from the ground, but she is truly looking back to catch a glimpse of Dushyanta, her lover. Shakuntala lost in thoughts by Raja Ravi Varma (Image: Wikimedia Commons) The moment is drawn from the Mahabharata and shows quiet longing through a simple for his work, was given the title Kaiser-e-Hind (a medal for services to the British Raj).One of the most intriguing aspects of Raja Ravi Varma's own legacy is how his work escaped the art world and was welcomed into the realm of ordinary paintings were converted into lithographs, meaning that numerous reproductions could be produced. They circulated through towns and villages, introducing his artwork into homes, stores, and places of Ravi Varma's hand did not rest solely on the forms of gods and kings. He turned his gaze also upon the lives of common folk, painting scenes and faces known to his work, one finds women of various lands and dress, each drawn with care, showing the ways of daily life, of grace in simplicity. Galaxy of Musicians by Raja Ravi Varma (Image: Wikimedia Commons) Raja Ravi Varma's Galaxy of Musicians is a lesser-known work that shows women from different parts of India, each playing a musical instrument tied to their region. From the veena to the tabla, the scene reflects India's musical attire hints at their origin, and their faces, calm and focused, show a shared moment through THE MOST ADVANCED PRESS OF THE TIMEOn the advice of the Dewan of Travancore, T Madhava Rao, Raja Ravi Varma established this lithographic press in Ghatkopar, Bombay, in this press, he largely created paintings of Lord Rama, Krishna, characters from the Mahabharata, and other figures from Indian mythology and pictures, called oleographs, became very popular and were printed in large numbers, even after Ravi Varma's death in of his famous works, Tilotama, was also printed at the same press. This relatively unknown work later became one of the most expensive paintings ever auctioned from his collection. Painting of Tilotama by Raja Ravi Varma (Photo: Wikimedia Commons) advertisementThough it was the largest press in India at the time, it did not make money under the care of his brother, Raja Varma. By 1899, it was in debt and was sold in 1901 to Fritz Schleicher, a German technician. Schleicher kept printing Ravi Varma's works and later brought in new press ran for many years, but in 1972 a great fire burned it down, and many of the old prints were lost his legacy might raise controversy, Indian art was never the same once Raja Ravi Varma appeared on the art stretches deep into time, from the rock markings of Bhimbetka to the painted walls of Ajanta and Ellora. Under the Satavahanas, and later the Kushans, art took many forms -- stone, colour, and Gupta age brought forth grace in sculpture, remembered still. In the south, the Cholas and Pandyas carried it forward; in the north, Rajput hands did the same. Ravana, killing Jatayu who was encountering Ravana to save Seetha, wife of Sri Rama. (Image: Wikimedia Commons) Yet it was Raja Ravi Varma who brought sacred figures to the common eye, printing gods and tales upon canvas, and placing them in the homes of Manu Pillai states in his book False Allies, "He was a man of many parts. He had land and wealth, yet he held strong to his purpose. He worked with passion, was bold in thought, spoke well, made useful ties, and saw art as more than beauty -- it was a means to reach the people and shape the world around him."
