Screenprinted Gig & Alt-Movie Poster

• Print by hand in a short, numbered edition: lay down flat inks one stencil at a time, opaque for solid shapes and transparent where two layers should overprint into a third colour, and reach for speciality inks: fluorescent, metallic or glow-in-the-dark.
• Build the poster on one central idea instead of a photograph of the band or the film's stars: a visual pun, a silhouette that holds the story, or a single symbolic object.
• Draw the picture yourself, in keyline or flat cut shapes, and letter the band name or film title by hand as part of the image.
• Keep the venue, city and date readable in a smaller line of capitals, so the print still announces one show or one film.
• Quote the past knowingly, from comics and kitsch cartoons to mid-century travel and film posters, and set bright, appealing images against dark or confrontational ones for fans who get the reference.

Austin, Texas, where Frank Kozik began silkscreening posters for local bands in 1991 (Paul Grushkin and Dennis King's Art of Modern Rock traces the silkscreen movement's roots to 1980s Austin); spread through touring bands, San Francisco, Chicago, Montreal and the American Poster Institute's Flatstock fairs (from 2002), and carried into film from 2004 by Austin's Mondo, an Alamo Drafthouse offshoot until 2022

1. Wikipedia: 'Frank Kozik' (https://en.wikipedia.org/wiki/Frank_Kozik): silkscreen posters for Austin bands from 1991, touring-band commissions, Rolling Stone's 'new rock-poster genius' (December 1993), Man's Ruin Records and its silkscreened, numbered sleeves, influence on Emek, Chuck Sperry and Coop, and the iconography of Franco's regime as an influence on his art
2. Casey Ashlock, 'Frank Kozik: Concert Poster Legend', GoCollect, 5 March 2021: https://gocollect.com/blog/frank-kozik-concert-poster-legend (early-1990s work in 'bold, bright, fluorescent color' with 'seemingly innocent characters' in bizarre situations; the 1992 Soundgarden print, a 22.5 x 35 inch five-colour silkscreen limited to 450 copies)
3. Smithsonian American Art Museum, 'Frank Kozik' artist biography, after Therese Thau Heyman, Posters American Style (1998): https://americanart.si.edu/node/7620 (work that mixes bright, appealing images with dark, confrontational ones)
4. Victoria and Albert Museum, Seripop, 'All Bets Off' gig poster, Montreal, 2004, screen printed, edition copy 09/200: https://collections.vam.ac.uk/item/O1274884/poster-desranleau--yannick (gig posters in 'layers of flat, bold colour', 'experimenting with psychedelia')
5. Wikipedia: 'Mondo (American company)' (https://en.wikipedia.org/wiki/Mondo_(American_company)): founded 2004 as Mondo Tees, Rob Jones, Cinemania 2004, Quentin Tarantino Film Festival 2006, Lucasfilm and Disney licences, acquisition by Funko in 2022
6. National Film Archive of Japan, 'MONDO: The Front Runner of Film Poster Art' (7 December 2021 – 27 March 2022), Tokyo, in a series with the National Museum of Modern Art, Kyoto: https://www.nfaj.go.jp/english/exhibition/mondo2021/
7. Peter Sciretta, 'Cool Stuff: Tyler Stout's The Avengers Poster', /Film, 3 May 2012: https://slashfilm.com/cool-stuff-tyler-stouts-the-avengers-poster (Mondo, nine-colour 24 x 36 inch screenprint, hand-numbered, regular edition of 750, printed by D&L Screenprinting); Film on Paper, 'Tyler Stout on the making of his The Avengers screen print', 31 July 2014: https://www.filmonpaper.com/blog/tyler-stout-making-avengers-screen-print (a print 'featuring all of the characters'; a gold and silver metallic combination tried for the variant)
8. Jason Kauzlarich, Mondo's They Live poster by 100% Soft, Fangoria, 13 July 2022: https://www.fangoria.com/mondo-100soft-theylive-sdcc/ (36 x 24 inch screenprint whose variant uses metallic and glow-in-the-dark inks)
9. Eric Kindel, 'When 1+1=3: colour overprinting', Eye 43 (Spring 2002): https://eyemagazine.com/feature/article/when-113 (overlapping inks mix to a third colour only if the ink is transparent)
10. Adrian Curry, review of Matthew Chojnacki, Alternative Movie Posters: Film Art from the Underground (Schiffer), Film Comment, July–August 2014: https://www.filmcomment.com/book-review-alternative-movie-posters/ (designers who 'worship at the twin temples of Saul Bass and Drew Struzan'; 'The Bass homages in particular are far too plentiful'; Mondo 'spearheaded and legitimized' the movement)
11. Wikipedia: 'Olly Moss' (https://en.wikipedia.org/wiki/Olly_Moss; art director of Firewatch, 'Inspired by the iconic style of the 1960s National Park posters'), 'Jay Ryan (artist)' (https://en.wikipedia.org/wiki/Jay_Ryan_(artist)), 'American Poster Institute' (https://en.wikipedia.org/wiki/American_Poster_Institute) and 'Just Like Being There' (https://en.wikipedia.org/wiki/Just_Like_Being_There)
12. Kelsey Sidwell, 'Firewatch's design is rich with American history', Killscreen, 16 October 2014: https://www.killscreen.com/firewatchs-design-rich-american-history/ (compares the Firewatch trailer with the Federal Art Project's national-park posters)
13. 'Political clout: Australian posters', Eye (Winter 2002): https://eyemagazine.com/feature/article/political-clout-australian-posters, and Wikipedia: 'Australian poster collectives' (https://en.wikipedia.org/wiki/Australian_poster_collectives): posters for unions, marches, community groups and some bands, photo stencils, pasted up at night, fluoro inks
14. Raoul Hernandez, review of Paul Grushkin and Dennis King, Art of Modern Rock: The Poster Explosion (Chronicle Books), Austin Chronicle, 3 December 2004: https://www.austinchronicle.com/music/rock-and-roll-books-11720713/ (the silkscreen movement's roots in 1980s Austin, 'a curious mix of psychedelic and punk rock', Kozik's first silkscreen, 'I Am the King of Sleep')

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