Czech film posters are a curious, beguiling piece of graphic design history. These posters for Alien and Oh! What a Lovely War are pretty cryptic and perhaps you're thinking that they don’t really represent the product they're selling? That’s because largely, they weren’t meant to. Well, of course they were meant to, but the designers who created these posters in Soviet Czechoslovakia had no intention of hard selling the films they depicted. Then Behind the Iron Curtain between 1945 and 1991, the state suppressed private enterprise, including the exhibition and sale of artists work. However, officially sanctioned by the Central Film Distribution Centre and unbound by the constraints of a commercial distributer, like-minded designers such as Zdeněk Ziegler, Karel Vaca and Wolfgang A. Schlosser used their professional influence to collectively pry open the gates to complete creative freedom. The result, these wonderfully avant garde and often unintelligibly surreal posters. Even posters seen as cultural icons in the west like Jaws and Breakfast at Tiffany’s were treated as any other, offering a glimpse of an alternative history in pop culture. While the west used schmaltzy celebrity-centric adverts, the Eastern Bloc was far more evocative. Using styles derived from post-expressionism, neo-constructivism, dadaism and pop psychedelia, Czech designers created a subversive vehicle for free expression that, in the eyes of the state, was just an anti-West fuck you. It’s easy to pour scorn on these posters, but we have to remember a couple of things. Often, the designer may only have had a handful of stills and a film title before starting work. Secondly, Western movies were seen as inherently interesting events that could guarantee a full house; the poster was merely a way of signalling it’s release, rather than trying to convince the public it was better than the next film. Now In 2015, the wall is down, Czechoslovakia is two countries and their era of enigmatic, thought provoking film posters has all but disappeared. In a largely capitalist world, highly focused advertising has become standard practice for the studios of Hollywood. Often, current poster design is so explicit about the themes and ambience, it inhibits the films ability to shock, surprise or delight (Yes, Transformers: Age of Extinction we’re talking about you) and perhaps that’s the point. In a post-recession culture of high accountability this may just be an aggressive form of brand management; PR and marketing departments shy away from advertising that is highly creative as it may be seen as high risk. Hell, it is risky. There's still hope Smaller independent film makers are relying on more sophisticated and creative ways to represent their work. As a notable and recent example, check out Faser Muggerage Studio’s arresting posters for Daniel & Matthew Wolfe’s 2015 film; Catch Me Daddy featuring dark, jagged typography intertwined with surreal artwork by New York-based artist Mu Pan. Perhaps a more harmonious balance struck between creatives and the strategists could create an environment where a marketing campaign gains momentum through intrigue and mystique. The results could be astonishing, delightful and new. Posters featured above Alien/Vetřelec – Zdeněk Ziegler 1982 Oh! What a Lovely War/Jaká to Rozkošná Válka– Rudolf Altrichter, 1969 Posters featured below Breakfast at Tiffany’s/Snídaně u Tiffanyho – Zdeněk Ziegler 1972 Jaws/Čelisti – Zdeněk Ziegler, 1987 Short Circuit/číslo 5 zije – Zdeněk Vlach, 1989 The Pink Panther Strikes Again/Růžový Panter Znovu Zasahuje – Zdenek Ziegler, 1978 Marathon Man/Maratónec – Milan Grygar, 1977 Crocodile Dundee/Krokodýl Dundee – Jan Tománek, 1984 You can also find more Czech posters here.
Made You Look, a film about creativity in the digital age. Special screening and panel discussion, 14th October 2015 If you care about the graphic arts, are interested in the tensions between the analogue and digital worlds – or are simply looking for an antidote to an industry in a constant and accelerated state of redefinition and recalibration, this event promises to be a real treat. Made You Look is a documentary about the UK DIY graphic arts scene in the 21st Century. A few months ago, while researching the current space inhabited by illustrators and graphic artists in today’s creative landscape, we stumbled across an article in the design press about this excellent film by the Look and Yes collective. Made You Look features contributions from a top British creatives, publishers and agency owners – including Anthony Burrill, Pete Fowler, Kate Moross, Fred Deakin of Airside, Jon Burgerman and Hattie Stewart – exploring the idea that more graphic artists than ever seem to be turning to analogue means of creating despite living in a highly digital world. Made You Look premiered at Soho House as part of the Pick Me Up festival in spring 2015 and is currently doing a tour of selected design events and festivals. The West of England Design Forum and Thirteen are thrilled to present this very special screening and Q&A session with the film's makers, Ant Peters and Paul O'Connor from the Look and Yes collective plus illustrators Ed Cheverton and Ben O'Brien (AKA Ben the Illustrator). Why is the Bristol screening special? Well, in addition to showing the film and hosting a panel discussion, there will be limited edition artworks, zines and prints available and special event poster by Thirteen for sale at our pop-up stall – so come along a little early, have a drink, meet the makers and pick up a piece of super-nice and exclusive graphic art before enjoying the film. Arnolfini Theatre 14th October 19:00 – 21:00 Tickets are £12 (£10 for concessions) Buy tickets here or call the box office on 0117 917 2300 Look and Yes West of England Design Forum Ben O'Brien Ed Cheverton
Our limited edition print is the first in a series celebrating the lowly sandwich board – a popular form of advertising born in the 19th century – which seems to be making a bit of a comeback in shopping centres and high streets across the country. Perhaps, like the graphic artist, it never really went away. Whatever, the sandwich board certainly makes a refreshing and human change from annoying banner ads. This image was created as an unofficial promotional ‘gig’ poster for our Bristol screening of Made You Look, a film about a revolution in graphic art in the 21st Century. A limited number of prints were for sold from our pop-up stand on the night of the event, with proceeds going to the West of England Design Forum. If you couldn't get along to the event and pick up your own print – fear not: the remainder are available to buy here in a choice of two versions. No two prints are alike; all feature their own unique ‘split fountain’ colour blend (many thanks to our friends Otto and Sarah at Marshfield Print who did a masterful job of the editions).
9 June 2017, 2000 hours: In an effort to cure a bad case of UK Election jitters, Thirteen's Danny Jenkins started drawing a portait of British politician Jeremy Corbyn as the election results trickled in. By the early hours of the following morning the portrait was complete and the finished image posted on his Facebook page had received an amazing stream of likes, comments and shares. Now this portait is available as high quality giclée print, limited to an edition of 100, for Corbynistas everywhere to enjoy. Danny will be donating £2 from the sale of each print to The Labour party. Well, they didn't do too badly either did they?