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our poster for sarah friedland’s award winning debut feature film, familiar touch, has been acquired by the margaret herrick library of the academy of motion picture arts and sciences. two copies of the poster now exist in their collection in los angeles, california. you can view their digital record of the acquisition here.

this is the second of our posters that has been acquired by the academy. we’re incredibly grateful to gordon spates and everyone else at the margaret herrick library for their interest in and support of our work.

the art library of the staatliche museen zu berlin (state museum in berlin) have just informed us that their forthcoming großes kino (the big screen) show will now also include the poster we made for mareike wegener’s film, echo. we are delighted.

the echo poster will join the act of coming out poster alongside 298 other posters dating back to the year 1900 in a celebration of 120 years of film poster making.

here are some further details, translated into english, about the show:

THE BIG SCREEN — FILM POSTERS OF ALL TIME

Film posters are both advertising and art: they condense a film’s plot into a single concise image and spark curiosity. They translate cinema – and all the emotions it evokes – into graphic design. The exhibition presents 300 original posters from twelve decades – classics, cult films, and arthouse cinema.

PROS AND CELEBS: 26 posters were chosen by film industry experts – hear their voices in the exhibition.

OPENING CREDITS: Graphics meet moving images.

PAULA POPCORN: Follow our mascot to family stations and listen, play, and draw!

CURIOUS? For details about our catalogue, symposium, and events programme, go to smb.museum/kb

An exhibition of the Kunstbibliothek, Staatliche Museen zu Berlin

3.11.2023 – 3.3.2024
Tue–Sun 10am–6pm
Tickets 10 € / 5 €, ‹ 18 frei / free smb.museum/tickets

Kulturforum Matthäikirchplatz
10785 Berlin
Tel. +49 30 266 42 4242 service@smb.museum

the show will run through until march of 2024, which means it will be open during the 2024 berlinale. a huge thank you again to christina thompson and christina dembny at kunstbibliothek for finding and acquiring these posters.

see you at the show.

after 10 years of working to make the best and most original film posters we can for everyone, we wanted to celebrate by opening a print shop at shop.versionindustries.com to provide physical copies of those posters to anyone anywhere.

our mission is simply to make sure those that want these posters can have them and for the cheapest price possible. during the 2020 global pandemic we worked out a way to print posters “on demand” and deliver them worldwide whilst keeping our overheads very low. as you can see, we’re talking around $25 at most for a full-size 27×40 inch US one-sheet or A0 poster on good paper, plus shipping. what small profit margin there may be will hopefully cover the overheads of running an online store of this kind.

we trust that this offers us a way to make sure the films we have worked on can be remembered beyond the festival and theater releases, on the walls of those who really loved them. the funny thing is this is so often not the case; film posters only get printed a handful of times and then they’re just the result of google image searches and that’s that. this goes against the entire point of making posters of course.

thank you in advance for your continued love and support for independent cinema, and for the work that we do to celebrate the films and filmmakers we’re lucky enough to work with.

the film stage just selected caspar’s poster for sonejuhi sinha’s feature film, stray dolls, as their 4th best poster of 2020. jared mobarek, writing for film stage, had the following to say about the poster:

Caspar Newbolt and (version_industries) take that sense of barrier through line work one step further to create a piece for Stray Dolls like only they can: dark, evocative, and eccentrically off-kilter in an almost discomforting way. Our vision is in constant flux like an optical illusion, shifting back and forth between the woman looking down on the page and the woman on the phone behind it. There’s a sense of before and after … or perhaps lost and found when you bring in the title. The red hue supplies connotations of danger that the cool blues beneath—via depth (the second face) and direction (the text)—contrast less with the promise of safety than the allure of mystery.

thank you jared and everyone at the film stage for this vote of confidence.