Film posters, though often overlooked, are the first introduction audiences have to a film, apart from the trailer. They are a visual art form that offers a glimpse into the story. While trailers are widely praised, poster designers remain underappreciated.
Yet, for Cannes Short–nominated designer and founder of Kratizens Studios, Iyebiye Adeitan, his work is one he regards with deep reverence. The heartbeat of his practice lies in minimalism and excellence. In an industry where posters are often overcrowded, Adeitan is gradually carving out a distinct identity.
Over nearly a decade in the industry, Adeitan, through his studio, Kaizen Kreativ, has produced more than 100 film posters, including Áfàméfùnà: An Nwa-Boi Story, Ayinla, Farmer’s Bride, Grind, Soólè, A Ghetto Love Story, Other Side of the Bridge, Ilé Owó, Love, Olaitan, and, most recently, Call of My Life. His work blends photography, graphics, illustration, and painting. Beyond film, his practice extends into brand identity, editorial design, product design, iconography, and music art.
In this exclusive interview with The Nollywood Reporter, Adeitan discusses his creative process and how he is working to ensure that film posters remain a vital part of Nollywood’s culture through his exhibition, The Big Swerve from Ebinpejo Lane.
Adeitan’s journey began when he joined the Film Rats Club, seeking a community of filmmakers. “I joined the club because I wanted to be in a community of filmmakers, and I was so glad I did,” he recalls.
Though he fell in love with art as a child while baking with his mother, he only began designing and illustrating in his final year at the Federal College of Education, where he studied theatre arts. Inspired by US-based Akiko Stehrenberger, Germany’s Eileen Steinbach, and African designers whose posters deeply connect to their films’ stories, Adeitan realised Nollywood lacked that synergy and set out to change it. His poster for Efunsetan Aniwura marked his cinematic debut and was nominated at the Toronto International Nollywood Film Festival (TINFF).
His philosophy is rooted in visual storytelling. “I am always passionate about the stories behind the posters I make. This is partly due to my theatre background, which allows me to understand the stories more deeply,” he explains. “I need to talk to the director. We both decide how to fit that vision into the poster in a way that doesn’t reveal too much while still keeping the audience curious.”
As a minimalist designer, Adeitan acknowledges the challenges of working in Nollywood. “When you make a big film and try to market it, my kind of posters won’t get the job done alone, based on what Nollywood audiences respond to,” he admits. “I also create designs that appeal to the Nigerian audience while still trying to infuse my philosophy.” His aim remains clear: to create posters that are aesthetically pleasing while telling a story.
His identity and style are evident in his designs, from how characters are portrayed to the fonts he selects and his attention to detail. “I appreciate our skin colour, and I love playing with shadows and black silhouettes. It feels like you are trying to hide something in plain sight. These themes reoccur in my work.”
Typography, he stresses, is critical. “Sometimes, when people make films like comedies, there is a type of font the film should have; giggly, lively, cursive fonts. Those are basic design rules. You can’t make a horror film and use a font meant for a comedy. It just won’t work because the audience will be confused about the film’s genre.”
His design process is structured yet creative. “For cinema films, I start with a discovery call with the director or producers. Before that, I’ve already read the script and formed ideas and questions to guide my choices. From the call, I create a concept document with references and sketches, then we go on set to shoot images for the posters. We usually do two or three drafts, finalise the credits, and prepare versions for social media. Festival films follow a similar process, though simpler. A short film poster can take about a week, while a feature film may take up to three months.”
Determined to preserve poster culture in the country, Adeitan staged his first exhibition in 2023, titled The Big Swerve from Ebinpejo Lane, lining up works in a way that travels through history while elevating the space. He is now preparing a larger solo exhibition, with the long-term goal of building a museum of Nollywood film posters. “I am currently building an e-library called Nigerian Archives of Poster Arts (NAPA), and over time, we will continue to develop it,” he says.
The proposed museum will showcase posters from each decade while creating opportunities for young designers. “I believe film posters, beyond marketing assets, are art materials. Long after a film has completed its run in cinemas and on streaming platforms, people should be able to access these posters and hang them in their homes as reminders of how the film made them feel. This is the culture I am dedicated to reviving.”
His advice to aspiring designers is practical: “The more you recreate other people’s work, the more you understand their design choices, and you will develop your taste and style through that. As you grow, you will find your voice.”
To maintain creativity, Adeitan takes spontaneous trips within Nigeria. “When I experience creative block or need inspiration, I move from where I am to somewhere else, taking spontaneous trips. I am seeking different cultures and experiences, which we have a lot of in this country. I just wish the country was safer. I am an explorer—it helps and fuels my creativity. This has happened several times. For example, when I was stuck once, I packed my bags and spent three days exploring Abeokuta.”
So far this year, Adeitan has produced a stage play, a short film, and a performance show, and is currently writing his debut book, which will be launched at his solo exhibition. Through these ventures, he continues to demonstrate his versatility beyond poster design. Ultimately, he hopes to be remembered as one of his generation’s most distinct film poster designers.
