In a new exclusive interview on Blazing Minds, Neil Fraser of Neil Fraser Graphics talks about how he got into designing posters and his influences.
Q. Can you tell me a little be about Neil Fraser Graphics and how it got started?
A. I’ve primarily been a graphic designer since 2000 but I have always wanted to follow my love of film and especially horror, I just couldn’t find a way into the scene, but in 2019 I had a chance Twitter encounter with our very own Chris Barnes (Brutal Posters) who gave me so much amazing advice and encouragement to try and find my style.
It took a LOT of practice, hours and hours of sitting at my desk until 3am on my own trialling techniques, working, reworking and then when I was happy reworking it again and trying to put my work out there, it was a long slog I won’t lie, hours and hours of work for 2 likes and a retweet but lockdown V1 saw a change in my approach, I was feeling very low and stuck in isolation as my wife was sick and I really needed to try something new, I reached out to as many filmmakers as I could on Social media and stumbled across a little British film called ‘HOST’ that was about to be released and asked Jed Shepherd if he had access to any reference images and if he minded me doing some fan art, 3 days later I was inundated with work offers and it hasn’t stopped since.
I literally owe my career to Jed Shepherd and the girls from HOST.
Q. Your posters designs are extremely detailed and really capture the essence of the characters. What is your process for working on a new piece and how long does it take you to complete?
A. I try and be as detail orientated as I can when I artwork, I like to get a feel of the film and characters, so I always try and get even a rough cut of footage and a synopsis before I start, I then talk to the film makers about what they want to capture and what the essence of the film is. Hopefully by that point I have an idea that comes to mind and then it’s just the small matter of making what’s in my brain appear on the screen, I block out the idea, work on a few of the elements, run it by the filmmakers and then start doing all the proper art working.
The process probably takes between 10-20 hours depending on what’s involved, sometimes much longer though.
Q. Who are you biggest influences when it comes to your artwork?
A. Don’t say Drew Struzan, don’t say Drew Struzan.. Oh John Alvin is by far my biggest influence with just the all-round way he switches styles, Arachnophobia and Princess Bride style all the way through to Batman Returns, Blade Runner and the poster that started it all for me, Gremlins, it is something I am trying to incorporate into my work.
Q. One of the features which often makes your posters stand out is the highlighted glow with the colours. What first attracted you to using this style in your work
A. I wanted to be different, I love 80’s horror and the old VHS styles and that was becoming popular again but I didn’t want to just copy what was already being done better by far more talented artists than me (Chris) so started adding more modern colour’s and overlays and really liked how they started looking, when your artwork is on a screen against a wall of black and next to a sea of traditional horror artwork, it really helps it stand out, it might not be the most technically gifted piece but it kind of slaps you in the face for attention.
Q. Can you tell me a bit about some of your favourite poster designs which you have created?
A. Oh I am my own worst critic and I almost get sick of them by the time I am done but obviously HOST started it all, so I am very fond of that but personally I actually love the “Scare me” poster I did while on a zoom call for work. shhh. I was just dabbling, and it developed into that. I have done a private commission for an actor friend and he really wanted a “Who’s afraid of Virginia Woolf” artwork and I really enjoyed that as it is not something I have gotten to do very often.
The artwork I made for “Duel” is one of those rare occasions where I thought “I want to do it exactly like this” and it worked with no fuss, I am still shocked.
Q. Talking about your previous work you currently have a Charity print sale which is raising money for “The Max the brave fund”. Can you tell me how this idea came about to help the charity?
A. I have supported Great Ormond Street Hospital for years but after getting to know Lou Yardley and hearing the story of Max I really wanted to do something and use whatever little reach I have to help them out, I have little to offer but if my artwork can make a difference then I will do it.
[You can enter to win a numbered A3 Host art print by going to www.justgiving.com/fundraising/maxthebravefund and donate any amount, even £1, $1. Drop your social media handle into the info when you donate and follow Neil on social media so he can contact you.]
Q. And what prints will be available during the sale?
A. I went back through my early work and reworked a lot of them so there are all new versions of that work plus the teams behind “Scare Me”, “The Mortuary Collection” and “The Cleansing Hour” have been gracious enough to authorise official versions for the sale so I am selling them as a bundle or individually, as well as my take on the Cornetto trilogy and I am also doing a giveaway of some test prints I have for “HOST”.
Q. You have worked with some amazing filmmakers and writers with your commissioned work. Looking to the future are there any you would like to work with again to create some new designs or would like to collaborate for the first time?
A. I am desperate to work with the next wave of indie and horror talent, I have done a few things with Giles Alderson, Jed Shepherd and Rob Savage, Josh Ruben, Jed Brian and Damien Laveck, all of which I would jump at the chance to work with again, the wonderful girls at Monstrous Femme films are going to be superstars and I really want to work with them, or at least stay in their good books.
I would love to start growing the level of productions I work on, so I have a hit list of dream clients that I am gunning for this year, Blumhouse, Shout Factory, Scream Team and Troma to name a few, but a life goal is definitely to do something for The Asylum.
Book covers are something fairly new for me and I am hoping that my style may fit more and more in the near future as I enjoy working on them a lot.
Q. Do you have anything else which you are working on?
A. Plenty, just finished the cover for a new documentary on the cult film “Clue” and working with Hex Studios up in Scotland on a couple of projects, just finished Janine Pipes horror collection book cover for ”Twisted: Tainted Tales” and working on book two in Lou Yardley’s Venari series “Everfrost”. There is a lot I can’t talk about, but I have just recorded a cameo in Jed Brian’s Directors cut of “Unlisted Owner” I definitely need to stick to art, let’s just say you won’t see me appearing in a Rob and Jed production anytime soon.
You can find out more about Neil Fraser Graphics and purchase the charity prints on the website Neil_Fraser_Graphics (myshopify.com)
You can also keep up to date with Neil Fraser Graphics on the following social media
Twitter: www.twitter.com/neilfraser78
Insta: www.instagram.com/neilfrasergraphics/
Facebook: www.facebook.com/Neilfrasergraphics
Published in various websites, Philip is a reviewer who is best known for his interviews and media coverage of independent projects including; films, books, theatre and live events. Always on the lookout for something different to cover!
