Annie Atkins reveals how graphic props, vintage design, and calligraphy create immersive visuals in films like The Grand Budapest Hotel
Think of the last film you watched. Was it a historical drama? A rom-com set in the modern day? A horror film from the 1970s? Regardless of the genre, were you fully immersed in the story? What made you forget your own life, your world, and become completely absorbed in the narrative? The acting, the costumes, the dialogue… of course, they all play significant roles. But there’s a hidden element that’s often overlooked—something that can make or break a film’s ability to fully immerse its audience: the design of the props surrounding the actors. More specifically, the graphics on those props.
Why Graphic Props Matter More Than You Think
Not long ago, horror fans took to Twitter (yes, I refuse to call it X) to express disappointment with IFC Films’ feature “Late Night with the Devil”, which used AI-generated art in a few brief scenes.
@thechainsawdotcom Users on Letterboxd noticed that indie horror film ‘Late Night With The Devil’ used AI art. #letterboxd #filmtok #horror #ai #art ♬ original sound - The Chainsaw
Part of the backlash stemmed from the production team’s decision to use AI instead of hiring real artists to create the still images—a debate in itself. However, another critical point was that poorly designed stills shattered the viewer’s immersion. In a film set in 1977, the graphics resembled a parody or a joke, completely undermining the film’s authenticity and the overall experience.
Why Is Authenticity Important in Graphic Prop Design?
It’s small details like these that make the world of graphic props so fascinating. These items are often placed in the background and rarely shown up close. But even from afar, they can significantly influence the tone and feel of a film. Authenticity in graphic props helps maintain immersion, convincing the audience they have been transported to another time and place. When props appear out of sync with their era, the entire film risks feeling less believable.
And in the realm of graphic props, no one stands out quite like Annie Atkins.
How Did Annie Atkins Become a Graphic Prop Designer?
Atkins has established herself in the film industry by working with notable directors such as Wes Anderson and Steven Spielberg. She has authored books about her craft, with her first book, “Fake Love Letters,” inspiring Jeff Goldblum to comment: “Annie makes the unreal seem hyperreal, and the real seem more supremely alive and utterly magical.”
Her first job was on the third season of “The Tudors.” She recalls thinking, “It didn’t make sense to me that they’d be looking for a full-time graphic designer on a series that was set in a time before graphic designers existed. But just because there were no graphic designers in the court of Henry VIII didn’t mean there wasn’t any graphic design: it was just that, at that time, craftsmen produced the graphics. So, if the king wanted to chop his wife’s head off, for example, he would need a death warrant, and if he needed a death warrant, he would need a calligrapher. Today, in filmmaking, it’s the graphic designer’s job to imitate what that calligrapher might have created—or, at least, to hire a real calligrapher to help us out.”
Since then, Annie Atkins has become a frequent collaborator with Wes Anderson. While working on “The Grand Budapest Hotel,” she designed the packaging for the now-iconic Mendl’s pastries. The graphics on those boxes were created entirely by hand, staying true to the methods available during the film’s setting.
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"When we made the Mendls boxes in the graphics department we didn't actually know what the patisserie set was going to look like. Seeing them in the movie for the first time was astounding!" writes on her instagram account.
Designing for the Past: Research, Calligraphy, and Handmade Details
In her books, “Fake Love Letters, Forged Telegrams, and Prison Escape Maps: Designing Graphic Props for Filmmaking,” Atkins delves into some of her most significant projects, offering insights into the strange but wonderful world of prop graphics. So, how does one start creating for the movies? She notes on her website that you must have a genuine passion for old-fashioned prop-making—don’t pursue it solely to meet celebrities. Learning how to create props—often without relying on digital tools—is essential. One of her most enjoyable experiences, she shares, was working on “Camelot,” where she crafted ancient tombstones, carving Roman lettering into soft, wet clay.
@scottpropandroll Making a Prop Ice Pack for a TV Show #filmmaking #tv #props #propmaking ♬ original sound - Scott Reeder
In interviews, she often stresses the importance of maintaining a personal archive. Conducting offline research is crucial, especially if you aim to work on period films or TV. References for vintage lettering can appear in the most unexpected places. “Scouring flea markets, antique shops, and your grandmother’s attic might offer up more interesting results than keying search terms into Google.”
Another tip from Atkins is to learn how to work with your hands: “There’s nothing quite as satisfying as sinking a piece of crisp white paper into a tray of tea and watching it turn a lovely antique brown. Tea staining is a staple of art departments, used to make piles of paperwork look old. It also makes the paper look like it was once dropped in a puddle, so we have to choose the right stock and give everything a good iron to try to flatten things back out again.”
“The key to staining paper is to experiment for each individual prop, keeping a careful log of recipes,” she once pointed out. “If we’re called to remake a document for a reshoot, continuity of tone can be tricky if we don’t have ratios and timings written down. An old recipe used for staining a last will and testament—a document meant to look like it was written in 1886—calls for ten tea bags steeped in one kettle of water for five minutes.”
Then she added, “Of course, not every document in a period movie needs to be aged: many of the pieces we make are supposed to be brand new in a script’s storyline. Still, giving graphic props a slight patina can help convince an audience that they belong to a different time—and weren’t actually printed in a film’s art department the day before the shoot.”
How Can You Become a Graphic Prop Designer?
To break into this field, you not only need to be a skilled visual designer, but you must also have a passion for research and a hands-on approach. The ability to collaborate with an entire art department and production designers is equally essential.
If you want to learn more about this fascinating world, visit Annie Atkins’ website and admire her intricately designed props. You might even want to start creating your own vintage-inspired postcards and love letters.