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after some discussion about how myrid wanted to communciate with people about her film, we presented a range of ideas for a poster. myrid chose the direction you see here, citing also particular painting styles that resonated with her. caspar then painted 24 portraits of myrid's mother, nuala, with acrylic paint, and presented the 9 best ones to myrid. together they then arranged the portraits in an order that suitably echoed the film's narrative. as a final touch myrid asked that we christen the poster by pouring a bottle of cider – her mother's chosen drink – all over it.

during the making of the poster the film was selected for IDFA. if you're headed to the festival, the film is well worth your time.

the film is beautiful, moving and difficult to watch. we were excited to make a poster for it. caspar and simon came up with the concept for the poster on the phone together, and then after a few rounds landed on the version you see here.

the film will have its world premiere at the 2024 montreal international documentary festival, where it will compete for the magnus isacsson award.

we presented a range of ideas and rob chose the one you see here. the picture of his mother used is the one he has in his kitchen right now, and yes his mother's name began with the letter E. the rest of the poster tries to simply reflect upon the terribly empty space which she surely left behind.

a few days later we presented dea and arseni with a range of ideas, and they chose the approach you see here. the film is a dark, surrealistic tale about a female doctor in the country of georgia who performs unsanctioned abortions for woman, in face of oppressive, patriarchal and often religious resistance. the poster is an attempt to express the impossible and painful level of denial one feels the men in the film are imposing upon the women. 

caspar made the poster with paper, ink, paint, a pencil, a knife, a printer, a camera and photoshop. the approach here, aesthetically speaking, is in part an homage to the great work of postermaker lanny sommese. however the influence of painters cy twombly and rené magritte is clearly in there too. do see this film if you have the means, it's remarkable. 

caspar presented a range of ideas to tadhg, and then they met in berlin to discuss them. tadhg ultimately went with the approach you see here, utilizing a postcard of jean-françois millet's, the gleaners. the poster was made with a printer, scanner and some paper card torn out of a decrepit 1962 french book of touen houang chinese wall paintings.

we presented a series of ideas to sarah and after some discussion she went with the one you see here. sarah then took a photograph of lead-actor kathleen chalfant's hand and arm, and caspar used that image as a basis of a mixed-media painting. the poster, including its hand-painted lettering, was worked on in various countries, and finally finished in berlin.

during the making of the poster the film was selected for the 2024 venice film festival. do see it if you have the means.

in the process of putting together ideas for the poster caspar reached out and requested a collaboration with elena germain, whose work he'd admired for some time. thankfully elena was interested and she and caspar then worked together on developing ideas and in the creation of the poster itself. elena brought her particular skillset to the rich colouring and texturing of the piece. 

the film ended up winning the short film jury award at sundance, and other awards since. do see it if you have the means, it's excellent.

the film is a tightly executed and moving chamber drama, with a startling solo performance from bethany anne lind. the narrative details a woman driving as fast as she can to try and stop her son from doing something horrifying. she reacts to phone calls and radio reports on the way, all the while slowly and understandably falling apart. 

the film's combination of frantic eyes in the rearview mirror and bullet hole-esque traffic light shots immediately gave us an array of ideas. we presented a series of poster concepts and maia asked us to develop the one you see here. caspar made the poster in the berlin studio, finishing it off by printing it onto carefully lit black paper, to give the final piece it's "headlights on the road at night" papery sheen.

we presented a range of ideas of ideas and shelly went with the one you see here. she mailed caspar the packet of korean cigarettes used in the film from los angeles, and he then photographed them with flowers sourced in berlin. the rest of the poster was built out from there, including a hand-distressed typographic treatment.

we pitched several ideas to ana and she went with the one you see here. caspar made it in berlin with flowers from local flower shops, all laid out on a light box and photographed. 

we presented a range of ideas. molly and ryan went with the approach you see here, that utilized a series of beautiful photographs taken on set by josh beavers. caspar created individual fashion advertisement-style posters for each of the five women in the film, and then photographed those posters with a sheet of bubble wrap over the top of them. the bubble wrap in each case was shot as it was being removed, leaving the poster (and thus the character) beneath exposed, vulnerable and without the protective layer that luxury previously afforded them.

caspar and india quickly developed an idea for the titles based around a sense of caution that comes from certain colours, both in the human and the animal kingdom. beyond that it was an exercise in minimalism — how little can one affect the text whilst still allowing it to perform its function. 

the film had its world premiere at the sundance film festival and its european premiere at the cannes film festival. the film will be released by metrograph pictures. 

the title sequence is conceptual in nature such that it prepares the audience for a film that is itself poetic and mercurial by nature. thankfully lucy was open to trying something more experimental than the kind of thing most directors would go for. 

we fell for the story and the aesthetic of the film immediately. after talking to faryl about her work we presented her with a range of different ways to approach a potential poster. faryl chose the "emotional road sign" idea you see here, itself an exercise in the complexities of california road sign design. caspar made the poster in the berlin studio with a laptop, printer, bright light and camera. 

the film premieres at the 2024 florida film festival. do see it if you have the means.

mollies is a queer-feminist collective that had been living at a trailer park next to ostkreuz train station in berlin for nearly a decade. the garden cadences documents their last summer there before being evicted. caspar made the poster in berlin after spending hours looking through the smithsonian institute's digital archives.

once caspar completed tbe title design and animation, kevin and cinematographer shabier kirchner printed the footage back onto film and scanned it back into the computer. this is what gives the whole piece the beautiful analog glow and grain that it has now.

the film's title sequence concept centers around having the main title card at the end, such as suggested by the film's name. furthermore the title is revealed, over picture, by the movement of a figure whose very existence is significant to the film's beginning and ending.

the film is dark. it left us breathless at times. we knew we had to somehow touch upon this darkness from the confines of HBO vetted artwork. we presented a range of ideas and amanda chose the one you see here.

caspar made the poster in berlin by printing out many photographs from amanda's family archive and arranging them across a larger print-out of amanda's face. this collage was then itself photographed.

you can watch a trailer for the film here.

to watch vfc you have to wear a headset. it's a headset that does two unusual things. it monitors your biofeedback and it plays audio. however it doesn't play audio through your ears, it plays audio into the bone of your skull. the reason the headset monitors your biofeedback is because vfc's soundtrack changes based on how you are physically reacting to the film. this means that for every person in the cinema vfc is different sonically, based on how the viewer feels about it visually.

conceptually the reason for offering such a unique soundtrack to the film is because the film's story is about a virus that is transmitted by audio into the minds of scientists at a research facility. as the virus spreads the various scientists in the film start to lose their mind. narratively similar in some ways to the plot of the film the thing, vfc offers an ineffable cinematic experience. for example imagine if you can those moments when the soundtrack to the film appears to jump from the cinema speakers into your head - the bone speakers in your headset making it feel like the sound virus is leaping physically inside you.

charles and caspar discussed at length ways of describing this experience with a poster. many ideas were on the table and in the end charles went with the image you see here. to capture the ear charles conducted a photoshoot in canada with the film's star elisapie. the rest of the poster was made in berlin by caspar with a printer, a scalpel, a bowl of water, a sponge, a desk and a camera.

we watched the film and were immediately taken by how smart and elegantly put together it was. shot on film, the piece captures the troubled yet somehow magical inner life of a teenage girl as she struggles with finding her own identity.

we suggested several ideas for the poster, and jimmy chose the one you see here. it involved printing out the "missing person" poster from the film and collaging it with a pencil drawing caspar made of the film's lead actress. the trick was that the drawing itself had to deliberately feel like the work of a teenage girl.

we presented a range of ideas and saim and apoorva asked us to the explore the one you see here. making the poster involved hand-drawing the floor tiles from the family home's inner courtyard, and then removing lotus flowers from this design to reveal the three main characters seemingly witnessing each other's indiscretions.

as a final touch, the blood of an animal slaughtered in their courtyard is smeared across a few of the remaining lotus flowers to provide a suggestive balance to the otherwise cheery name of the film.

we presented a few ideas and peter chose the one you see here. the decision to make two posters that seem to be looking at each other came during the design process. caspar made the two posters by scanning in various card folders from a local stationery shop, and then inserting photographs laura mccluskey had taken on the film's set inside them.

we presented a series of ideas for the poster and after much discussion hannah and daniel went with the one you see here. charlotte gosch and caspar photographed their own hands in various poses in order to re-create a more demonic cat's cradle than the one seen in the film. charlotte then did all the caligraphy using a pen and ink, and ripped the black hole in the middle of the poster. caspar then drew the cyclops.

the title design took a direct lead from the poster design. you can see a small sample of that the film's trailer here. 

zach had some ideas about how he wanted the title sequence to be a part of the film's opening narrative sequence. after some discussion we settled on the treatment you see here, itself a visualisation of what it feels like when ideas or even simply words appear in your mind. the reason we did this will be obvious when you see the film.

the film has since been acquired and distributed by NEON you can watch the trailer here.

the short tells the story of a conservative texas state senator who reconsiders his anti-abortion views after being forcibly surgically connected to a woman; a woman whom he must keep alive with his own body for nine months. it is inspired by the essay a defense of abortion by judith jarvis thompson. 

we presented a series of ideas for the poster and katy went with the one you see here.

the film is a remarkable piece of work. we watched it twice through the first time we sat with it. what you initially perceive to be one kind of film transforms into something entirely different as you watch it. the idea for the poster came very quickly to us on a call with lucy and her producer megan pickrell. the hard part was finding an old master painting we could use to successfully capture the treatment we were after. however when we stumbled upon the westwood children by joshua johnson we knew the search was over.

caspar made the poster in berlin with a printer, a scalpel and a camera. during the making of the poster the film was selected for the 2023 locarno film festival.

sarah gave us carte blanche to create any kind of poster we wanted for the film. we went for a poster that obliquely relates the film's narrative using collaged graphic elements traced from the film itself.

during the making of the poster the film won the grand prix du jury at the champs-élysées film festival.

we presented several ideas to the production team and the 5 posters you see here collectively represent the final chosen concept. creation of the work involved caspar printing and posting flyers around the city of berlin, and then returning to them later to photograph them. 

during the making of the poster the film won the visions du réel burning lights jury prize and the international critic award.

we watched the film and immediately fell in love with its discussion of history, memory, the stories we tell and why, and the nature of truth. pretty soon we were talking to the film's director elan golod and devising ways we could talk about this film in poster format. we presented a range of ideas and ultimately landed on the poster you see here, which was made with a laser printer, some thick paper, a scalpel, a scanner and a camera. 

the film tells the story of nathan hilu a jewish american man who was a prison guard at the nuremberg trials at the end of world war 2. the poster in return talks about the three different nathan's we see in the film - the young nathan, the old nathan and the nathan depicted in the drawings he made in remembrance of his time in nuremberg. the latter nathan, as the poster in part suggests, was a figure whose history was very much influenced by the older nathan's ageing mind. 

our approach here is in part an homage to the great work of swedish artists inka and niclas lindergard. it was created by taking a photograph of a light source with grease smeared on the camera lens. the effect was then overlayed on a behind the scenes photograph from the film.

we watched their beautiful and moving piece of work and immediately had a very clear idea of what the poster should be. liza evseeva did the figure painting and caspar took care of the rest of the type and layout.

maret is an excellent film. it tells the story of an artist who quite suddenly loses the last 20 years of her memory. she then, after reacquainting herself with close friends, discovers that she might not be so interested in returning to the kind of person she used to be. 

we presented a series of concepts to laura and she chose the one you see here. we made it using photoshop, a printer, a scalpel blade and a camera. 

the film is about a college freshman trying to impress an older girl during a slew of sorority hazing rituals. we dug the film and presented a handful of concepts we felt might be apt. chaconne chose the idea you see here. we made the poster using jello, a refrigerator, a large ceramic baking dish, a bathtub of hot water, a knife, a large format printer, an SLR camera and LED lights.

the poster was made in photoshop and then printed out using a large format printer. we then ripped the poster in half and scanned it back in again against a black backdrop.

caspar had the following to say about making this poster:

after watching their radical film, we presented a range of ideas, and the collage approach you see here was one that laura gravitated toward. after trying 3-4 different collages of both stills from the film and behind the scenes photographs, we landed on the one you see here. 

a few days before the 2022 cannes film festival producer adele romanski reached out and asked if we had the time to create the title sequence for a new film she had produced called aftersun. we connected with the film on a number of levels and immediately committed to the work.

caspar sent the director, charlotte wells, some typeface ideas based on the film’s overall mood and his experiences of growing up in the 90s. they then began work on customizing and animating the chosen typeface in a fashion that charlotte and he felt appropriate to the tone of the film. all the while caspar’s brother josiah got to work on creating the end crawl.

you can read more about our involvement in the project here, and you can watch the titles themselves here.

we started with the film's titles, and then moved onto the poster. we presented a series of ideas for the poster and taylor went with what you see here. caspar painted the image on the poster using black ink on paper and then scanned it in. he then laid out the rest of the poster from there, leaving in the slight tilt on the image introduced by the scanner because it echoed the intensely hand-held nature of the film .

we had already made the titles for the film and so knew it well. we presented a series of ideas for the poster and kevin immediately went with the idea you see here. soon we were printing out the type onto large pieces of paper and sand papering it by hand. 

we watched this beautiful film a few times and then presented a series of ideas for the poster. matthew and derik then selected the one you see here. hand painted in black ink on paper, the poster will be available as a print with a series of different background colours.

caspar painted the image of the cigarette smoke marias using a brush and black ink, and then scanned it in and inverted it for the poster.

the film has since won the 2023 cesar award for best short documentary. 

the poster you see here is one of two we made in support of the film. caspar had the following to say about making this particular poster:

we sent elegance a series of typographic ideas for the titles and elegance picked the styles you see here. the resulting mixing of typefaces used, to us, suggested the idea of being a sensitive man in a tough military environment. both typefaces are beautiful and imperfect in their own ways and together suggested in this way the film's overall narrative. elegance then asked that we colour the text gold to reflect his feelings about how he felt about the story. 

the poster was made with a printer, a sponge, a bowl of water and a camera.

in order to make the poster we took a hammer to an iphone and photographed it in various stages of its collapse. the poster was then designed proportionately to the phone in order to look like the film's blind protagonist was peering, not just through a crack in a door, but also through a phone screen. such is the film's narrative. 

we talked on the phone for a while, throwing various ideas around. the moment we mentioned this idea of making a still life with two pears, peeled, drenched and positioned as if they were having sex, jake said that was it. soon we were buying and peeling heaps of pears, and photographing the scene you see here on the poster. 

it's a great film. if you have the means, do watch it via the link below. 

once the idea was established gillian asked lee jameson to take some photos of her brandishing a knife. we took it from there, processing the images and the type, and then collaging small fragments of other posters over her.

after printing our design out, we submerged the paper in water and photographed it whilst rippling the water with our hands. of the various exposures we captured, this one seemed to illustrate best the (sometimes dancing, sometimes swimming) figures in a landscape that the film so beautifully presented us with. 

reid's film immediately struck us as unique in its point of view, aesthetic and intention. in talking to him on the phone we agreed upon the poster concept you see here. we then asked reid to send some photographs of himself in his wheelchair. we printed these photos out on card, cut out reid's silhouette from the card, and took photographs of the shadow it cast on the wall.

it was during our discussions with mattias that we came up with an idea that we felt captured the film's narrative and tone. not long after that he was taking some photographs for us in montreal, canada. where the film was made. the still life images he captured we then turned onto the poster you see here.

caspar made the poster in the berlin studio by printing out a still from the film, folding it up in an accordion fashion, lighting it and then photographing it. 

the poster is our attempt to talk about the delicate and beautiful relationship at the core of the film. 

you can watch the trailer for the film here.

the poster was made with a combination of elements. the first being a photoshoot sam conducted himself with tia the lizard who co-stars in the film. the second being an egg caspar fried in his studio in berlin.

for the titles caspar developed an animated title card that uses both the khmer and english languages. from there the rest of the title design followed suit. 

after much discussion about various ways to approach the poster, we settled on this hand drawn and painted approach. the poster tries to speak simultaneously to the idea of a 1930s live "disc recording" and what was ultimately the uncredited, unpaid exploitation of black prisoners by white people.

our poster and title treatment reflect the stark modernism in laine's conceptual and visual approach to the opera. of particular note here is the typography. splitting the film's title up into four segments gave us an opportunity to speak about the four separate acts in the opera. on top of that the squared-off typeface used in combination with this formation echoes abstractly the windows of the various apartments within the same building that the opera was set.

mirko wanted us to design a poster and some film titles for the film. we were entranced by the images in the film and moved greatly by the story of these often forgotten people. we presented a range of ideas and mirko went with this handmade, rather more experimental design you see here. it's a poster we feel talks about generations of sindhi people flowing like a river through time; a river like the great indus river upon the bank of which the sindhis first appeared.

we presented a series of concepts for the poster. dean immediately went for the idea you see here as he felt it captured the feeling of his film best. caspar took the photograph used for the poster in his bedroom in new york city.

the second poster was a more direct and obvious interpretation of the film, offering a slightly altered mise-en-scene still as a way of tackling the film's psychological themes.

for the closing titles trey had some unusual, abstract b-roll footage he'd shot in pre-production and we suggested we scroll black type through it so that at times the words literally got lost in the darker colours. this was one of those rare projects where everything we did both the director and A24 (the film's production company) loved straight off the bat.

the film had its world premiere at the 2020 berlinale.

in this case tim suggested using a caravaggio painting and we took it from there. caspar's father thomas newbolt then suggested we use caravaggio's painting of salome with the head of john the baptist. tim agreed and sent the funny face mask used in the film to caspar in berlin. caspar then lit the mask with similar lighting to the caravaggio painting and photographed it. the rest of the work from there on out is self-evident. 

caspar made the poster in the new york studio. it was inspired by david hockney's photographic collages. 

jeff photographed the film's lead actress claire coffee at one end of our studio, whilst caspar photographed wet blocks of lego in a tub at the other end. not long after the two were combined.

caspar and stevie experimented with a few approaches before settling on the one you see here. the idea that made the most sense was using repetitive animated type and photo sequences to speak both obliquely and directly about scrolling, following, stalking and the heat that can come from that.

when the images arrived of this beautiful boy in lipstick we applied a typographic treatment to them, and then had them printed very large on waterproof paper. we then bought a huge plastic tub, took it back to the studio and filled it with water. then, with the assistance of photographer and long-time collaborator jeff brown, we shot photographs of the photographs, literally underwater, whilst splashing around with our hands in order to distort the image and the text. the result is perhaps the most organic piece of design work we've ever produced.

the film's titles and poster were also designed by caspar.

the second poster included here is based on an idea that tim had, and is an image that - whilst not wanting to spoil the story for anyone - will resonate particularly well with those that have seen the film. 

caspar made the poster in the new york studio using a laser printer and a flatbed scanner. 

sharing a mutual admiration for each other's work we contacted our friend charlotte gosch in germany and asked her if she'd like to collaborate with us on the project. the whole magazine including the logo was redesigned over the space of about a month and a half. we hope the design speaks for itself as you move from page to page, but in short it represents an attempt to breathe new life into a word-heavy film journal and talk about the importance of the image in that context.

wonderfully the poster ended up winning the SXSW excellence in poster design award.

we collaborated once again with john delucca on the poster design.

the first task was to screen-record a sequence where the film's protagonist plans a trip through town using google maps. into this sequence caspar then composited photographs he'd taken on set of two cast members on skateboards.

the second task was the printing and placing into a cinema lightbox on set of the film's actual poster. this meta sequence can be seen in the film's startling denouement. 

we also handled website and title sequence design duties on the film.

the song was called traveling eyes and willis described to tim and caspar the video he imagined in his head when listening. caspar asked that chris dapkins might be the cinematographer for the music video. chris had been the cinematographer on memphis, and he and caspar had also made friends during that time.

soon it was agreed that caspar and chris would co-direct the video, and they shot the film in upstate new york with a small cast and crew over 2-3 days and nights. once the edit was locked, caspar then proceeded to work on the post-production and frame-by-frame compositing work. josiah newbolt then added some finishing touches to the overall picture quality, and the piece was done.

the film, starring james franco, ed harris, amber heard, christian slater and timothee chalamet, had various clear themes that made it a relatively easy one to create a poster for. we presented a series of ideas to pamela and joseph and they went with the idea you see here.

the film was sold to A24 films after the tribeca film festival premiere. 

if you have the means we recommend watching the film. it really has its moments. 

you can read more about the making of the film on our blog here.

you can read more about the making of the posters here.

what you see here is the sleeve artwork we created to support the release. the record is available now for preorder here.

you can purchase a physical copy of this poster here.

fortunately MAVS then had the idea to do a parallel release in the form of a limited edition VHS cassette and poster. this would then come out later than the official film artwork, and give the original pieces we created a place to live. a tangent universe if you will.

you can see photos of the VHS tape here.