# Three men, three sizes, one explosion > Seventies action posters cut figures out and stacked them at different scales over a sunburst. The composition is chaos with a rule, and the rule is what makes it work. August 18, 2026 · https://justog.club/stories/70s-kung-fu-film-poster Three fighters, frozen mid-strike, each a different size. Behind them, hard golden rays going everywhere. Across the middle, angular block letters. It looks like chaos. It's actually a very strict layout, and once you see the rule you can't unsee it. ## What's the rule? One big, one medium, one small, and the rays hold them together. Seventies action posters were assembled from cut-out figures at deliberately mismatched scales — the star large, the antagonist medium, a third figure small and low. The burst lines behind them aren't decoration; they're the only thing stopping three unrelated cut-outs from floating apart. It's a collage technique that came out of the deadline: no time to shoot a group photograph, so paste one together and make the seams into the style. ## Why does it read as energy? Because everything points away from the centre. Radiating lines force the eye outward at speed, and figures caught mid-motion have nowhere to settle. Nothing in the composition is at rest, which is a hard thing to achieve and the reason this layout is still borrowed constantly. For a chest print it's close to ideal — it fills a wide area without needing a background, and [the rays give the artwork its own outline](/stories/composition-for-a-chest-print) so nothing has to be boxed. ## Can I put a real martial artist on it? Only with permission, and the permission is a real one to get. A performer's face and likeness belong to them or to their estate. Likeness rights outlive the person, the biggest names in this genre are represented by active estates, and a signature costume from a specific film is separately owned. All of that is licensable — studios and estates license this material constantly — but it has to actually be licensed before anything is printed or sold. So the honest version of the answer is: if a real person is the point, the rights are part of the job. If they're not the point, don't take on the paperwork for nothing. ## Isn't an anonymous figure a compromise? It's usually the stronger poster, which is the part worth knowing. A recognisable star is a shirt a thousand people already own, and the composition then belongs to that film. Three anonymous fighters is a poster for a film that doesn't exist yet — the layout becomes yours, the title becomes yours, and nobody else has it. That's [the whole reason to work in a tradition rather than copy a work](/stories/90s-anime-aesthetic), and it happens to also be the version with no paperwork attached. ## What should the title be? Two nouns and a preposition, in that order. `FIST OF THE IRON GATE`. `SHADOW OF THE CRANE`. `EIGHT STEPS TO THE RIVER`. The genre's naming convention is almost mechanical, which makes it easy to write and easy to make funny — the same grammar applied to something domestic lands hard precisely because the layout is so serious. Set the letters angular and heavy, and let them overlap a figure. Titles in this tradition were never politely placed. ## Does it work for a real group of people? It's one of the best formats for it. Three people at three scales, mid-motion, is a group portrait that isn't a group portrait. A team, a band, three siblings, a kitchen crew. Everyone gets a size, and arguing about who is the big one is part of the gift. Which puts it next to [a crew list](/stories/rowing-shirt) — the format encodes a relationship, not just faces. ## What palette? Two hot colours and black, no more. Golden yellow and red on black. Orange and cream on deep red. These posters were printed cheaply on poor paper, so the palettes were forced to be short and loud — a constraint that translates directly onto cotton. The rays should be a single flat colour, not a gradient. Gradients are what make a modern imitation of this look wrong. ## Does it print well? Very — it's flat colour with hard edges by construction. Cut-out figures, flat rays, heavy letters. The only fine detail is in the figures themselves, and they want to be drawn as bold graphic shapes rather than shaded illustrations — [the weave has a floor](/stories/bold-shapes-survive-fabric). Deep red, black and mustard grounds all suit it. Three inks maximum. ## How do I get one made? Describe the poster at [JustOG](/) — who the three figures are, who's biggest, and what the film is called. Pick a direction, drag the crop frame, see it composited on the real garment, and it's made to order and shipped. Designs other people have published are in the [shop](/shop). One big, one medium, one small. Everything else is rays.