(v)
(v_i)
(version_industries)

MUBI, movie poster of the week + interview_072222


our poster for alexandra stergiou’s hybrid documentary, the act of coming out, was selected as MUBI’s movie poster of the week today. to accompany the selection caspar was interviewed by adrian curry about the making of the poster. you can read an excerpt from the interview here:

NOTEBOOK: As with A Confucian Confusion, your poster feels as if you should be able to step back from it and a face will start to appear, but only a very vague sense of a face forms. Is there an actual face in there or is it a multitude of faces mashed together?

NEWBOLT: There is an actual face there but much like standing very close to a large painting by Seurat, when you are close to the poster you end up seeing only a cloud of colors and thus having the vaguest sense of a face or a multitude of faces as a result. That said if you squint your eyes, even close up, you’ll see the face much more clearly.

It will perhaps remind people of that famous scene in John Hughes’s Ferris Bueller’s Day Off (1986) where they visit Chicago’s Art Institute and Cameron Frye ends up transfixed in front of Seurat’s painting, A Sunday Afternoon on the Island of La Grande Jatte (1886). The picture was painted exactly 100 years before the Hughes film came out, and this particular scene in the film hit me very hard when I first saw it.

I am the son of two painters and grew up in museums and art galleries around the world. I knew every word of Ferris Bueller’s Day Off by heart by the time I was 14, inspired largely I’m sure by this moment Cameron has with the Seurat. I myself had stared in just such a way at just so many paintings as a kid. I love that in the director’s commentary for the film John Hughes describes Seurat’s pointillistic painting style as being like filmmaking, in that: “You’re very very close to it. You don’t have any idea what you’ve made until you step back from it.” (You can see the scene and hear Hughes’ commentary here.)

It was important to Alexandra and I that, because of the film’s narrative, you could not clearly tell the gender or ethnicity of the person in the poster. The film presents a series of queer and trans actors of various ethnicities exploring what Alexandra describes as “the never ending process of coming out,” and if you look at the LGBTQ flag you can better appreciate the color field we created for the poster. We strove therefore to create an image of a person with a visage comprised of these many shifting colors.

you can read the rest of the interview here. a huge thank you again to adrian curry and to everyone at MUBI for the continued support.

_category
blog, grafiks, news, , , , , , , , , , , , , , , , , , , , , , , ,

print shop_090521


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.

_category
blog, grafiks, news, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

100 hidden heroes of cinema, sight + sound magazine_061421


caspar was recently included in sight & sound magazine’s “100 hidden heroes of cinema” list. here’s what they had to say on the subject:

“Caspar Newbolt is a graphic designer, filmmaker and photographer who co-founded the graphic design company Version Industries in 2003. Best known for its film posters, Version Industries’ designs are simple and striking, often featuring a conceptual conceit such as the smashed piggy bank that adorns the poster for Dead Pigs (Cathy Yan, 2014) or the cascading boxy stills that parachute down the one for Anne at 13,000 Ft. (Kazik Radwanski, 2019).

Two things define Version Industries’ approach. The first is a propensity towards working with independent, outlier filmmakers—some of whom, like Yan or Chloé Zhao, would subsequently become hugely popular—that seems curatorial. The second is a commitment to the art and aesthetics of design, and a resistance towards trend-driven or marketing-led approaches. Both of these choices ensure some degree of obscurity, and yet, many years since its foundation, Version Industries remains sustainable despite still making distinctive designs and still working with smaller filmmakers.

On the company’s blog, Newbolt wrote that “after a while in this business you realize that you need to just let the work speak for itself” and his company’s posters continue to quietly do that. Sometimes success isn’t about shouting the loudest, but about finding those who are willing to listen to what you have to say.

Key films: It Follows (2014), Songs My Brothers Taught Me (2015), Anne at 13,000 Ft. (2019), Giraffe (2019)

a huge thank you to sight & sound magazine and to matt turner for penning the piece.

_category
grafiks, news, , , , , , , , , , , , ,

ten years (v)_030613

ten year party poster

2013 marks the 10 year anniversary of the founding of our company, version industries. to celebrate the occasion we threw a party at the cake shop in manhattan, new york. it was a magical affair to say the least, with friends and collaborators flying in from europe and all over the US to be a part of it.

we created a poster and an engraved, acid-burned copper plate to commemorate the occasion. these we gave out to those in attendance. the plate itself of course inspired by the late joy division’s record sleeve for their song,?love will tear us apart.?each plate’s lettering was hammered in by giles and myself personally.?both the concept and the treatment just seemed apt somehow.

copper plate
copper plate

the following are some photographs from the night, which consisted of food, drinks, live music, dancing, glowsticks and all manner of other madness. none of which would of course be possible without incredible performances from?SONOIO, makeup and vanity set and BELLS?, and of course the?help of andy boder and all the other fantastic people working at the cake shop.

dj
bells
makeup and vanity set
sonoio
dancing

thank you a million times over to everyone who’s ever asked us to work for them in any capacity. we are only still here because of you and you’ve quite frankly given us a reason to live. not to mention a chance to see some of those ridiculous dreams we had as children realized.

here’s to you.

_category
blog, , , , , , , , , , , , , , , ,