"Muller Brockmann published several books, including The Graphic Artist and His Problems and Grid Systems in Graphic Design. These books provide an in–depth analysis of his work practices and philosophies, and provide an excellent foundation for young graphic designers wishing to learn more about the profession."
"Berkeley's choreography is important less for its movement of the dancers than for its movement of the camera. To overcome the limitations of sound stages, he ripped out walls and drilled through ceilings and dug trenches for his film crews. When a desired effect could not be accomplished with traditional film equipment, he had his budget expanded to include costs for developing custom rigs. His innovations explored ideas that the stationary camera could not. He wanted to take the audience through waterfalls and windows. He wanted lines of dancers to fall away to reveal scenery that in turn would fall away to expose an even larger setting. His dreams were big, but his determination to see them actualized was even bigger.
Even his worst attempts resulted in eminently watchable movies of exhilarating movement, but his best efforts produced startling effects that bordered on surrealistic dream states. In the quintessential Berkeley films Footlight Parade (1933) and 42nd Street (1933), cameras mounted on tracks are sent soaring past a multitude of dancing legs, flailing arms and orchestra instruments. In all, he directed more than twenty musicals, including an underwater sequence with aquatic star Esther Williams."
(Scott Smith, 6 February 2013, Keyframe)
"We made this animation in BrosFx Studio. It is an opening to the TV series 'THE PILLARS OF THE EARTH', an adaptation of a book by Ken Follett. The series director is Sergio Mimica Gezzan, who cooperated, among others, with Steven Spielberg. Our goal was to create an animation which would render the colourful and vivid world of medieval England. The next step was to create a distinctive style that the audience would remember. After many tests, we opted for a hand painted stop motion, which suited perfectly the spectacle."
"This composition comprises the flat, featureless and strongly linear below–ground buildings of Metropolis' workers city, transformed and transposed into a mass of soaring, above–ground skyscrapers, huddled together and rather chaotically intersected by aerial roads and walkways. This interpretation of Fritz Lang's urban vision, as opposed to a mere reproduction of images from the film, makes a stunning poster. The strongly linear elements of Bilinsky's cityscape contrasts with the circular Tower of Babel and other soft–edged constructions which exist in Joh Fredersen's above–ground city for the rich and privileged. This poster has been reproduced in a number of publications dealing with European film posters, posters in general, and art movements of the 1920s. Bilinsky's work presents an artisitc bridge between Russian constructivism with is hard edges and linearity, and the soft, romantic elements so much a part of the French tradition."
Fig.1 Metropolis – L'Alliance Cinématographique Européenne présente une production UFA réalisé par Fritz Lang d'aprés le scénario de Thea von Harbou. UFA ACE', 4 Sheet poster, (240 x 320 cm) 224 x 303.5 cm / 96 x 120 inches, Farblithografie, Bédos et Cie, Paris, 1927. Signed 'Boris Bilinsky', upper right. Collection: Kunstbibliothek, Staatliche Museen / Stiftung Preußischer Kulturbesitz, Berlin. René Clémenti–Bilinsky catalogue no.1030.
(Michael Organ and René Clémenti–Bilinsky)