You know that feeling when you see a triangle of light, a hooded figure, and a giant mechanical sphere looming in the background? It’s instant. It’s visceral. Honestly, a star wars movie poster isn’t just a piece of marketing material; it’s basically the DNA of modern blockbuster branding. If you walk into any comic shop or a random dorm room, you’re almost guaranteed to see one. But why? Is it just nostalgia, or did these artists stumble onto a visual language that we’re still stuck in forty-plus years later?
The history of these posters is a mess of last-minute changes, legal fights over actor likenesses, and artists who didn't even see the movie before they started painting. It’s chaotic.
The Tom Jung "Style A" and the Birth of a Legend
Back in 1977, nobody knew what Star Wars was. The studio was terrified. They needed something that looked like a classic fantasy but felt like the future. Enter Tom Jung. He was tasked with creating the "Style A" theatrical poster, which is the one you probably picture first. It’s got Luke Skywalker standing in a heroic, almost Herculean pose, holding a lightsaber high above his head with Princess Leia reclining at his feet.
It’s iconic. It’s also kinda weird when you think about the actual movie.
Luke never stands like that. Leia isn’t exactly a damsel in distress waiting for a rescue in that specific outfit. But Jung wasn't trying to be literal. He was selling a "space fantasy." He used a lot of "negative space" and harsh contrasts to make the characters pop against the blackness of the void. Interestingly, George Lucas felt this version was a bit too "dark." He wanted something more colorful, more vibrant. That’s how we ended up with the Brothers Hildebrandt version, which was painted in a frantic 36-hour session. They took Jung’s layout but added that "comic book" glow that made the whole thing feel more accessible to kids.
Why the Style B and C Variations Matter
If you’re a collector, the star wars movie poster you actually want is usually the "Style B" or the rarer international versions. The Style B, often attributed to artist Tom Chantrell, moved away from the abstract fantasy and leaned into the ensemble. This is where we start to see the faces of Mark Hamill, Harrison Ford, and Carrie Fisher more clearly.
The studio realized people were falling in love with the actors, not just the concept of a "star war."
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Chantrell’s work is much more grounded. It feels like a movie still that’s been run through a filter of epic heroism. This shift—from abstract concept to character-focused collage—set the template for every Marvel and DC poster we see today. If you look at an Avengers poster and see twenty heads all floating in a giant pyramid, you can thank (or blame) the evolution of the 1977 marketing campaign.
The Drew Struzan Era: Painting the Force
You can’t talk about this stuff without mentioning Drew Struzan. He’s the GOAT. Period.
Struzan didn't just do Star Wars; he did Indiana Jones, Back to the Future, and The Goonies. But his work on the Special Editions and the Prequels is where the star wars movie poster reached its peak artistic form. He uses airbrush and acrylics to create this hazy, dreamlike texture that feels more "real" than a high-definition photograph.
There’s a specific warmth to his work. Take the poster for The Phantom Menace. Despite what people think of the movie itself, that poster—with young Anakin Skywalker standing against a desert wall, his shadow forming the silhouette of Darth Vader—is a masterpiece of visual storytelling. It tells you the entire plot of a three-movie arc in one single image. No text needed. Just a kid and a shadow.
The Problem with Modern "Floating Heads"
Lately, things have gotten a bit... sterile. Have you noticed?
Most modern posters are digital composites. Designers take high-res photos of the actors, mask them out in Photoshop, and layer them together. It’s efficient. It’s also kinda boring. The posters for the Sequel Trilogy (The Force Awakens, etc.) tried to bridge the gap by having artists like Bryan Morton emulate the Struzan style, but you can usually tell the difference. The lighting feels a bit too perfect. The grit is gone.
The hand-painted era had flaws. Sometimes the likenesses were a bit off—look at the original Empire Strikes Back "Gone with the Wind" style poster by Roger Kastel. Han and Leia look like they stepped out of a 1940s romance novel. But that’s what gave them soul. They felt like art, not "assets."
Collecting and the "Revenge" of the Jedi
If you’re looking to buy an original, watch out for the "Revenge of the Jedi" posters. As most fans know, Return of the Jedi was originally titled Revenge. Lucas changed it because he decided Jedi don't seek revenge. That’s a very Jedi thing to do.
However, thousands of posters had already been printed.
The studio sold them through the fan club for a few bucks just to get rid of them. Today, those are some of the most forged items in the hobby. If you find one at a garage sale for $20, it’s probably a reprint. Real ones have specific "cloud" patterns in the ink and very particular dimensions that the fakes usually miss.
- Size matters: Standard US one-sheets are usually 27x41 inches for anything pre-1980s.
- Folded vs. Rolled: Before the mid-80s, posters were shipped to theaters folded. If you find a "pristine" 1977 poster that has never been folded, be extremely skeptical.
- The "Hairline" test: Professional authenticators look at the crispness of the hair on the characters. Reprints lose detail in the fine lines, making the hair look like a solid blob.
The Global Variations You’ve Never Seen
Some of the coolest star wars movie poster designs didn't even come from the US. During the Cold War, artists in Poland and Hungary didn't have access to the official publicity photos. They had to create art based on nothing but the movie’s title or a brief description.
The result? Absolute madness.
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The Polish A New Hope poster features a weird, robotic exploding head that looks like something out of a psychedelic nightmare. The Russian versions look like disco-era space operas with neon colors and abstract shapes. These posters are becoming massive in the high-end art world because they offer a totally different perspective on the franchise—one that isn't beholden to Hollywood's branding guidelines.
How to Spot a Fake in 2026
We're at a point where digital printing is so good it's scary. Honestly, the "flick test" doesn't work anymore. You have to look at the "Goya" markings or the NSS (National Screen Service) numbers at the bottom. Most original posters from the trilogy era have a stamp or a lithography credit that is incredibly hard to replicate without the original plates.
Also, check the paper weight. Original 70s posters were printed on a thinner, more fibrous paper than the heavy, glossy stuff you see at the mall today. If it feels like a high-quality photo print, it’s a modern reproduction.
Actionable Steps for Enthusiasts
If you're looking to start a collection or just want a piece of history on your wall, don't just go to a big-box retailer. Start by researching NSS numbering sequences to understand how studios tracked authentic prints. For those on a budget, look for "International Style" posters; they often feature the same art but are slightly more affordable because they weren't the primary domestic release. Always verify the dimensions with a tape measure—even a half-inch difference is a massive red flag for a forgery. Finally, if you're buying for investment, prioritize condition over everything else; a "Style A" with a pinhole is worth significantly less than a clean "Style B."