Vision Quest 2012 screen-printed posters by Will Thomas


We’re selling screen-printed posters to recoup some of our overhead costs. 9”x24”. Metallic yellow & pink ink (which makes a sun gold orange color when crossed) on white paper. Only $10. I took this photo using my laptop camera, so this photo doesn’t do the posters justice … they sparkle in person, especially in sunlight!

We’ll be selling these tonight and tomorrow. These make great gifts, or they are something nice to hang on your wall, or frame and hang on your wall. Do what thou wilt.

Purchasing a poster will help us continue to do to do events like this in the future viz. will help us parlay the proceeds into a designated fund for a potential Vision Quest 2013.

Click here for more information on Vision Quest 2012.

Posters designed and printed by Will Thomas.


Transformers in the Age of Drones

In Michael Bay’s 2007 film Transformers, product and person are a shared entity – consumer machines are not tied to any producer, no labor, and no market value. The Autobots and Decepticons instead act as dueling gods. The role of humans, in this late-Capitalist scenario, is completely detached from manufacturing, production, or the assembly of the machines they are in dialogue with – humans are merely third party bystanders of their own fetish interests. Even the tagline of the film, “Their War. Our World”, references a kind of out-of-control relationship with the technology we use, the objects we create, and the products we consume.
A man being attacked by his X-Box 360 (Transformers, 2007).

Michael Bay’s film places  society outside of its own consumerist agenda. By separating these manufactured products from their producers and their consumers, he exonerates society of its connection to the dubious issues relating to their production. In Transformers, people are not destroyed by their own  fetishization and consumption of these products, but rather, they are destroyed by some external force that acts on these consumer goods. In Michael Bay’s universe,  we are never faced with circumstances that we have created ourselves. Instead, we are faced with two options, a benevolent overlord in the form of a sleek, American-made car and an aggressive tyrant in the form of militaristic weapon-clad vehicles. Berlin-based artist Timur Si-Qin’s 2011 exhibition Mainstream approaches this  inherent aesthetic difference.
Mainstream, Timur Si-Qin 2011

Mainstream defines the visual economy created in this commercial franchise. The movie offers an easy choice; the clean design that we as consumers have been conditioned to enjoy, or the ominous, function-only build of military jets, tanks, and helicopters. In the accompanying text forMainstream, Si-Qin defines the viewers/consumers options:

Transformers is currently one of the largest narrative franchises in hollywood cinema, with vast amounts of capital at stake, the elements of the story are carefully crafted to communicate clearly and effectively to the broadest possible audience. The ‘good’ robot’s industrial-design features clean mechanistic cuts and bright colors whereas the evil robot’s design is organic, scaly and insect-like, reflecting an evolutionary predisposition to associate these features with snakes and bugs and by extension danger, death and disease.”

Si-Qin describes the polarizing design techniques adopted in order to conjure immediate reactions of right and wrong in the viewer. In an era of technological proliferation,  sleek and mechanical design becomes a comforting attribute of consumerism and clunky, specialized engineering becomes threatening. But as the United States carries out drone-strikes in Pakistan, and releases malware targeting uranium enrichment infrastructures in Iran, the imagery utilized in Transformers becomes less about a battle between good and evil and instead, a document of our understanding of technology in an era of constant war.

Hand Motions is a blog column on DINCA continually featuring writing from Louis DoulasWyatt Niehaus and Ria Roberts.

Notable Film Posters of 2010 Part 1

Film posters. Film promotion and marketing. Hollywood. Cinema as business. DINCA does not report box office numbers nor marketing dollars, but DINCA does know how to Google search and Wikipedia. According to Wikipedia, “Marketing budgets [for Hollywood feature films] tend to equal anywhere between half or three times the production budget.” This general statement does not apply to all of the posters hereafter, but it does apply to the Gulliver’s Travels (2010), pictured above — one hell of a poster — recently, I saw a thick stack of these posters abandoned at the local movie theatre. Jack Black looks great on the print. This film surely will be a fun ride. Why? Beacause it’s “From the studio that brought you ‘Night at the Museum.'”

The film poster is a visual object that sells its event. Through its design, we discern what the film is about, the tone of the film, the technology, and so forth. Design is a crucial element in promoting the arts; however, print promotion is not always necessary underground.

Let us take a look at the good, the bad, and the absurd film posters of 2010.

Read more

«Der fjellfrås-Weihnachtsbaum» / «fjellfrås-christmas-tree» 2010

«Der fjellfrås-Weihnachtsbaum» / «fjellfrås-christmas-tree» 2010 from fjellfrås on Vimeo.

“Den fjellfrås-Bastelbogen für den Tisch-Weihnachtsbaum schon heruntergeladen und ausgedruckt ( – Na, dann kann’s ja losgehen: Clip anschauen, Nachbasteln, Baum aufstellen, zurücklehnen & freuen … und den Baum fotografieren. Foto an schicken und vielleicht schon bald in der fjellfrås-Weihnachtsbaum-Galerie auf bewundern.


Have you already download the table christmas tree ( Here you go: Watch the movie clip, follow the instructions and put it together.  Then build your own tree, lay back and enjoy. Take a picture and send it to and maybe your tree will join the fjellfras-christmas-tree-gallery on”

iPhone not included.

Free Download: Jean-Luc typeface by Atelier Carvalho Bernau

Jean-Luc typeface

by Atelier Carvalho Bernau

Here is a great Christmas goody — the Jean-Luc typeface — a free download from Atelier Carvalho Bernau, an independent practice for graphic design, typography and typeface design, based in The Hague, The Netherlands. This font comes in multiple formats, including webfonts! Yes indeed, the .zip folder contains the font in the .otf, .svg, .eot, and .woff formats. So if you like getting sexy with your .css3 font embedding, you can use the Jean-Luc font on your next website. Better yet, use it in your own film titles in your next Jean-Luc rip-off or Breathless spoof. Be sure to read the .pdf license documentation in the .zip folder before doing any radical commercial/corporate work and branding, i.e., think twice if you’re planning on incorporating this font in your Pepsi re-branding strategy project.

Bon Anniversaire, Jean-Luc!

Our favourite director turns EIGHTY, and we want to celebrate (with) him, with everyone.

We were always in love with the title sequence lettering to Godard’smovies Made in U.S.A. and2 ou 3 choses que je sais d’elle. So as an hommage toJean-Luc, to the Nouvelle Vague, to Seberg, Karina,Faithfull & Cie., we present you our Jean-Luc typeface, as a birthday gift for everyone. Voilà!

We didn’t find out who originally made the lettering for these two movies. Some speculate it could have been Godard himself – Godard’s interest in graphic design and typography is clear, with many of his other films employing such strong typography-only titles and intertitles. They are almost a self-sufficient entity, another character in the movie, another comment.

This style of lettering is so interesting to us because it is such a clear renunciation of the “pretty”, classical title screens that were common in that time’s more conservative films. It has a more vernacular and brutishly low-brow character; this lettering comes from the street. — Atelier Carvalho Bernau

Download the typefaceDownload .pdf


The fonts can be embedded in other software files, such as Portable Document Format (PDF) or Flash files, but you will take all reasonable care to embed the fonts in such a way that they cannot be extracted from the files you create. Web-embedding is allowed under this licence with Cufon and sIFR, and with @font-face and CSS it is permitted using the .woff, .eot, the special version of the .otf and .svg fonts we provide (not with the normal .otf fonts), under the condition that following immediately under the @font-face declaration block of the CSS file, or under the javascript call statements of your web pages, or equivalent, you append this text as a comment in the source code:

“The Jean-Luc typeface was designed and made by Atelier Carvalho Bernau on the occasion of the 80th birthday of Jean-Luc Godard. It is available free of charge from”

Jean-Luc typeface Copyright © 2010 Atelier Carvalho Bernau

Introduction from Jean Jullien

This is a neat hand-drawn time-lapse animation from French graphic designer, Jean Jullien. He lives and works in London. “He comes from Nantes and did a graphic design degree in Quimper before coming to London. He graduated from Central Saint Martins in 2008 and from the Royal College of Art in 2010. He works closely with the musician Niwouinwouin. His practice ranges from Illustration to photography, video, costumes, installations, books, posters and clothing to create a coherent yet eclectic body of work.”

Visit his website here.

Music by Niwouinwouin
Directed by Plastic Horse