An Argen­tin­ian model and dancer Jesica Cirio to get you through the day.

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You were prob­a­bly men­tally con­struct­ing this already. Nice of some­one to lay it out for you. And to con­firm which gig was least dignified.

Via: maxim

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Nick­names: Twinkie
Heritage/Ethnic Back­ground: Mex­i­can
Height: 5’7
Weight: 105
Bust size: 34 – D
Astro­log­i­cal Sign: Gem­ini
Pro­fes­sion: Fash­ion Styl­ist
Claim to Fame: Play­boy Model
Web­site: www.martikaibarra.com

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As we all know, the Euro­peans love their body painted babes. (And we love them, too!) It seems like every chance they get, they’re strip­ping down a hot chick to slather her in their team’s favorite col­ors. Here in Amer­ica, how­ever, this most excel­lent trend is just catch­ing on. So to help get things rolling, let us present to you, Body­paint Babe Bonanza: Amer­i­can Sport Edition!

(click thumb­nails to see full image)

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Noth­ing says sum­mer or des­per­ate high school dance team quite like the bikini car wash, so please enjoy this gallery of dirty girls clean­ing dirty cars.

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Ordi­nar­ily, I’m all in favor of cleavage-displaying dresses, am I right fel­las????? MAN DO WE LIKE BOOBS!!! I’m dri­ving over to all your houses now to high-five you then to do some KEGSTANDS, which we also love!!!!

But…Miley Cyrus is still sev­en­teen, and she’s meet­ing the Queen of Eng­land, and each one of those facts might cause one to notice the pro­nounced cleav­age in her dress of choice:

Need­less to say, many a mon­o­cle dropped into a cham­pagne glass this eve.

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No, that is not Hilary Duff! I have been star­ing at this ad for 30 min­utes, and I can­not find Zooey in it. Creepy.

Kate Beck­in­sale and Zooey Deschanel are in new ads for Abso­lut vodka. Below are four of the shots, all taken by pho­tog­ra­pher Ellen von Unwerth.

Bekcin­sale plays dress up in one shot as a blond and dons a gold sequined bikini thing in another. Deschanel also goes blond in a futur­is­tic scenario.

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Movie posters have been around for longer than most of us have lived – thus, study­ing them can give us insights on how design has pro­gressed through­out recent his­tory. They were the main way of adver­tis­ing film 70 years ago, and although we now have tele­vi­sion com­mer­cials and the inter­net, posters are still one of the best forms of adver­tise­ment. In this col­lec­tion, we will look at how poster design has devel­oped over the years, look­ing at films that have been remade.

Scar­face

1932

The orig­i­nal Scar­face movie uses some good design tech­niques such as the silhouette-style shadow and some mid-saturated colors.

1983

The typog­ra­phy of the 1983 Scar­face remake is ele­gant and easy to read.

The Mummy

1932

The com­po­si­tion of the orig­i­nal The Mummy movie is great, but it has three-dimensional text that is directly above the 3D text, which seems a bit odd.

1999

The remade movie poster uses superb dig­i­tal manip­u­la­tion as well as a great text effect used for the ‘M’ in Mummy. The color schemes for the poster are per­fect, reflect­ing mum­mies and the desert, a cen­tral theme in the movie.

House of Wax

1953

The hand-painted poster com­bined with neat typog­ra­phy rep­re­sents the 3D image really well. The warm and dark color scheme sets the theme for this Tech­ni­color film.

2005

The use of sub­tle grunge at the top of the post draws your eyes into the incred­i­ble manip­u­la­tion effects used on the por­trait. Beneath the movie title, you’ll see a blurred reflec­tion that can really play with your eyes – fit­ting for a hor­ror movie.

War of the Worlds

1953

This movie poster is sim­ple and col­or­ful and has some great artwork.

2005

The typog­ra­phy used on this poster is ele­gant and sim­ple, but it works well for this movie’s theme. The bright red on pure black works great as an eye-grabbing color combination.

Sab­rina

1954

An off-white bor­der, a sim­ple and ele­gant grid-based com­po­si­tion is the high­light of this poster (and movie).

1995

The 90’s prob­a­bly spurred some of the worst design trends as shown in this poster design. The com­po­si­tion is poor and none of the text in the bot­tom right can eas­ily be read.

Ladykillers

1955

This hand-drawn poster presents us with a group of rather scary-looking men run­ning away with what look likes heavy-duty steel cases filled with multi-colored cash. It’s a com­i­cal and tra­di­tional hand-drawn poster (when Illus­tra­tor wasn’t in the mar­ket yet).

2004

The low-opacity street scene and lights in the back­ground adds a great feel to the over­all poster, and the shad­ows from the four guys in the back­ground adds depth to the poster. The major­ity of it is grayscale, fol­lowed by neu­tral browns and beiges, and fol­lowed by a great burst of what’s best described as “vin­tage pink”, bring­ing your eyes towards the movie title.

Oceans 11

1960

This poster uses a grid-based lay­out, a pop­u­lar tech­nique in the 60’s to con­vey moder­nity. The sil­hou­ette, vector-style illus­tra­tion at the bot­tom of the poster is a great touch. The typog­ra­phy is superb, stand­ing out well against the warm yel­low background.

2001

The vector/silhouette style illus­tra­tion used in the poster is so dif­fer­ent to almost any other movie poster made in this mil­len­nium, that even today, peo­ple still have it hang­ing on their col­lege bed­room walls. Have you noticed how it doesn’t actu­ally say “Oceans 11″ anywhere?

Spar­ta­cus

1960

As indi­vid­ual design ele­ments, this poster has some great art­work, such as the draw­ings, the unique movie title text effect and the duo­toned pho­tographs, but the over­all com­po­si­tion lacks “oomph”.

2004

After 44 years, Spar­ta­cus was remade. The cos­tume and pho­tog­ra­phy is excel­lent; the sepia-toned color sets the movie’s time period.

The Time Machine

1960

This poster design is pre­sented on a grid and has the clas­sic white bor­der. The typog­ra­phy in this poster (espe­cially the head­line) is superb and truly unique for this time period.

2002

The color scheme of the remake seems off, and in some places, appears to be too bright. There are also some parts of the posters that are too busy.

Last Man on Earth / Omega Man / I Am Legend

1964

“The Last Man on Earth” is the orig­i­nal story of what we now know as “I Am Leg­end”. The poster is a typ­i­cal 60’s hor­ror movie poster. The design­ers used a lovely grid-based com­po­si­tion and a very lim­ited dark color scheme.

1971

Seven years later, and the film was remade under the name “Omega Man”. They were still using sim­i­lar tech­niques to pro­duce posters, and there­fore this poster isn’t too dif­fer­ent from the orig­i­nal. The color scheme is still very lim­ited to dark col­ors, which is great for this genre of film.

2007

The grungy, noisy and tinted feel to the “I am Leg­end” poster over­all is great. The mod­el­ing work in the back­ground of the scene is superb, and the small cen­tered typog­ra­phy going directly through the mid­dle of the poster adds a great touch to the poster, mak­ing it incred­i­bly unique.

Planet of the Apes

1968

This great poster from the late 60’s per­fectly com­bines the use of a bright and cap­ti­vat­ing back­ground color gra­di­ent against black/white. The warm feel of the poster along with the black and white por­trait cre­ates a mem­o­rable design. The films logo was such as a suc­cess that it has only seen a few minor tweaks in 40 years.

2001

2001 brought us the mod­ern remake of the film, fea­tur­ing manip­u­la­tions and mon­tages of sev­eral scenes and pho­tographs. The moons in the back­ground tops off the over­all feel of the poster. Notice that the movie title logo is still very sim­i­lar to the original.

The Ital­ian Job

1969

The art­work in this poster is superb con­tained in a lovely off-white bor­der. White typog­ra­phy lies on a pure black back­ground at the bot­tom of the poster, mak­ing it easy to spot and read. This poster sug­gests the kind of film it is: busi­ness, vio­lence, jokes and getaways.

2003

This poster goes for a cast shot and fea­tures some great pho­tog­ra­phy, photo manip­u­la­tion and type alignment.

Wick­er­man

1973

This movie poster fea­tures a bright color scheme. The typog­ra­phy is sim­ple but does its job well.

2006

The com­po­si­tion of this poster is great, however,the movie slo­gan “Be care­ful what you search for…” is dif­fi­cult to read against the cloud back­ground even with a promi­nent drop­shadow text effect.

Roller­ball

1975

The Roller­ball poster has smooth glows, dark shad­ows, some well-placed blurs and an over­all aged/worn effect.

2002

This poster design of the Roller­ball remake in 2002 doesn’t do the actual film any jus­tice. There are pro­por­tion inac­cu­ra­cies with the char­ac­ters ver­sus the back­ground, mak­ing it clearly obvi­ous that the shot was taken in front of a green screen; the pro­por­tion and angle of the floor and their feet just doesn’t match up.

The Omen

1976

Other than the excel­lent sketch, you can’t get much more sim­plis­tic than this poster! The typog­ra­phy is sim­ple yet ele­gant, easy to read, and the use of red for the movie’s title is a great way to make it unique, mem­o­rable and slightly scary.

2006

The typog­ra­phy ruins the poster of The Omen remake, but the color theme used effec­tively sets up the eerieness of the movie’s plot.

The Hills Have Eyes

1977

Good typog­ra­phy, a lovely bor­der, and a great scene in the back­ground are the high­lights of this poster design. The over­all color scheme would have eas­ily attracted peo­ple walk­ing past the poster.

2006

The blurs, noise and tex­ture com­bined makes for an excel­lent poster; this poster design is prob­a­bly some­thing you can’t miss from a mile away.

When A Stranger Calls

1979

The poster is purely grayscale and used a mag­nif­i­cent macro still shot and some incred­i­ble typography.

2006

The movie remake’s poster stuck with the orig­i­nal design con­cept. The design uses a lot of dead space, leav­ing you in sus­pense as to what the movie is about.

Prom Night

1980

That dark sil­hou­ette, the glow­ing eyes, the reflec­tion on the knife, the detail of the glove and the mag­nif­i­cent min­i­mal­is­tic typog­ra­phy on a white back­ground makes for an eye-grabbing design.

2008

The ’smashed up’ feel of the poster, the sub­tle grunge feel to the oth­er­wise clean, ele­gant text and the over­all tinted-blue effect all help set the mood of the movie. The noise on that por­trait is a bril­liant detail.

My Bloody Valen­tine / My Bloody Valen­tine 3D

1981

This dark-themed poster of My Bloody Valen­tine cre­ates an eerie look and feel that sets the tone for the movie.

2008

This poster has dark, grungy and noisy ele­ments, again, to set the tone of the movie. The red color works well against the dark back­ground, mak­ing the title of the poster pop.

The Hills Have Eyes 2

1985

Although the art­work is quite inter­est­ing and eye-catching, that bright yel­low blade and beveled typog­ra­phy com­pletely ruins the design (at least for me).

2007

The cre­ators of the remade “The Hills Have Eyes” liked the out­come of their first poster and decided to stick to the same style with the sequel. The dark edges on both the left and right side of the poster really draw your eyes into the main focal point of the poster; the unlucky human being dragged through the desert.

Your thoughts on movie posters

So, what do you think? Many peo­ple say remakes of movies always turn out worse, but is it the same case when it comes to the poster and art­work redesign? Share your thoughts on this sub­ject in the comments.

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Brazil­ian model Roberta Mar­tins would look good in any­thing, even bet­ter in noth­ing but since we like to keep the ladies cov­ered up here at V2 we’ll go for some bikini pic­tures instead of nudes.

Now no com­plaints please, it’s the bet­ter than noth­ing and you must admit she’s pretty tasty in a swim­suit. I’m sure you can men­tally strip her if that’s what floats your boat.

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