Poster Designs / Sixties – Stanislav Duda. The Story of Film Posters.

ByjozefSquare

Film posters in history. Sixties poster designs.

Poster Designer / Stanislav Duda

Animation / Applied Arts / Book Illustration / Graphic Art

 

1960s Vintage Movie Poster, Among Us Thieves
Movie poster Among Us Thieves / Stanislav Duda, 1963

 

  • b. 2nd July 1921, Ostrava, Czech Republic [^1]
  • 2008, Czech Republic

Education:

  • 1941 – 1947, Academy of Arts, Architecture and Design in Prague (Antonín Strnadel)

Art groups:

Exhibitions (selected):

  • 1954 – 1958 Group exhibitions, Bilance
  • 1956 – Exhibitions of Graphic Artists from Czechoslovakia. Poznan, Moscow, Warszaw [^3]
  • 1958 – EXPO. Brussels, Belgium
  • 1965 – Plakate aus der Tschechoslowakei. Munich, West Germany [^4]
  • 1959 – 1969 Ontario, Wien, Hamburg, Karlovy Vary, Bochum, Koln, Tolentino, London
  • 1967 – Contemporary Czechoslovak Poster. Olomouc, Czech Republic
  • 1964/1970/1972/1976/1980 – Brno Biennials, Czech Republic

Awards (selected):

  • 1964 − Applied Arts Prize. 1st Biennials of Czechoslovak Poster and Applied Arts. Brno, Czech Republic
  • 1968 – Prize for Installation. XVI. Triennale, Milano, Italy [^5]
  • 1985 – Jiří Trnka Prize for animation Omalovánky / Colouring Books. Czech Republic
  • 1986 − 1st Prize for animation. Chicago Film Festival, USA

Awarded posters:

  • 1964 – Honourable mention for Harold Lloyd in his best Comedies movie poster (bellow). International Film Festival, Karlovy Vary, Czech Republic [^6]
  • 1965 − 1st Prize for The Haunted Castle / Strašidla ze Spessartu movie poster. Filmplakat Wien, Austria
  • 1984 – Silver Hugo for Dead Men Don’t Wear Plaid movie poster. Chicago Film Festival, USA

 

Stanislav Duda's Movie posters
Harold Lloyd in His Best Comedies, 1963 / The King of Kings, 1963. Exhibition catalogue excerpt, Munich, 1965.

 

Welcome to the humorous world of Stanislav Duda, possibly one of the longest lasting poster designer Czechoslovakia had on offer. His poster activities are dating to late 40s, where he gained several awards for his commercial poster designs. [^7]  Stanislav Duda begins to work professionally right after his graduation as graphic designer in Centrotex company (import / export of mostly textile products) where he stayed until 1953. From then onwards he works on his own as freelancer. He takes part in several group exhibitions representing graphic art from Czechoslovakia and also participates on International Exposition in Brussels (EXPO 58), where Czechoslovakia won prize for the best pavilion.

 

By the beginning of 1960s when Stanislav Duda started designing movie posters he was already well established graphic artist. Not sure if it was just by mere coincidence or because of his personal character, but it seems that majority of his 1960s movie posters were designed mostly for grotesque comedy (most of the posters shown in the article). Parallel to his illustrated caricatures that could be seen in several popular periodicals or art magazines, one can suggest that circumstances were working in his favour.

 

When Comedy Was King Movie Poster
When Comedy Was King / Stanislav Duda, 1965. Brno Biennials catalogue excerpt, 1970.

 

It is interesting to observe artist’s development through out his career. Stanislav Duda remained faithful to drawing all the way to mid 1980s. Apart of occasional use of very simple collage (Bewitched Love, 1969 (bellow) / Dead Men Don’t Wear Plaid, 1985) or his phenomenal movie poster for Francois Truffaut’s Day for Night (great example of his graphical abilities) he was focused mainly on illustration and experimented a lot with fonts and colour. Eventually he also takes control over typography and masters everything in very unique almost childish quality of naive artist as can be seen in his later poster designs.

 

60s poster, Bewitched love, Excellent movie poster
Movie poster Bewitched Love / Stanislav Duda, 1969.

 

Stanislav Duda was author of several animated films and illustrated a good number of books for both children and adults. His work brought him a world recognition in pretty much everything he has touched. He has designed around thirty movie posters all with genuine signature and obtained some important movie poster awards.

Note: this showcase is part of our ongoing article Film posters / Made in Czechoslovakia. The story of film posters.

Many other magnificent posters by Stanislav Duda can be observed in our movie poster archive.

***

The Haunted Castle, Award Winning Movie Poster,
The Haunted Castle movie poster designed by Stanislav Duda, 1961.

***

Resources:

Literature:

  • II. Bienále Užité Grafiky Brno ’66, Medzinárodní Výstava Knižní Grafiky a Ilustrace, Moravská Galerie v Brně. / 2nd Biennale of Graphic Design Brno ’66, The International Exhibition of Book Graphics and Illustrations, Moravian Gallery Brno, 1966
  • [^3]:[^5]: IV. Bienále Užité Grafiky Brno 1970, Medzinárodní Přehlídka Plakátu a Propagační Grafiky, Moravská Galerie v Brně. / 4th Biennale of Graphic Design Brno 1970, The International Exhibition of Poster and Promotional Graphics, Moravian Gallery Brno, 1970 (p.41)
  • V. Bienále Užité Grafiky Brno 1972, Medzinárodní Výstava Ilustrace a Knižní Grafiky, Moravská Galerie v Brně. / 5th Biennale of Graphic Design Brno 1972, The International Exhibition of Illustrations and Book Graphics, Moravian Gallery Brno, 1972
  • VII. Bienále Užité Grafiky Brno 1976, Mezinárodní výstava ilustrace a knižní grafiky, Moravská Galerie v Brně. / 7th Biennale of Graphic Design Brno 1976, The International Exhibition of Illustrations and Book Graphics, Moravian Gallery Brno, 1976
  • IX. Bienále Užité Grafiky Brno 1980, Medzinárodní Výstava Ilustrace a Knižní Grafiky, Moravská Galerie v Brně. / 9th Biennale of Graphic Design 1980, The International Exhibition of Illustrations and Book Graphics, Moravian Gallery Brno, 1980
  • [^6]:Současná světová grafika, Deset brněnských bienále / The World Graphic Design at the Ten Brno Biennials, Jiří Hlušička. Odeon, Praha, 1985 (p.272)
  • [^7]: 1948, 1949, 1955 – 1st, 2nd & 3rd Prize for commercial poster design. IV. Bienále Užité Grafiky Brno 1970, Medzinárodní Přehlídka Plakátu a Propagační Grafiky, Moravská Galerie v Brně. / 4th Biennale of Graphic Design Brno 1970, The International Exhibition of Poster and Promotional Graphics, Moravian Gallery Brno, 1970 (p.41)
  • [^4]: Exhibition Catalogue: Plakate aus der Tschechoslowakei / Posters from the Czechoslovakia. Münchner Stadstmuseum, Munich, West Germany, 16.2 − 20.3. 1965. Texts: Alena Adlerová & Johanna von Herzogenberg.

Online:

  • [^1]: abArt / Stanislav Duda / Most of the biographical details are coming from AbArt’s archive unless otherwise referred.
  • [^2]:  AbArt  / Group of Artists and Graphic Designers established in Prague between 1957 − 1968. Main activities were exhibitions of group members in Czechoslovakia and abroad.
  • Article about exhibition Plakate aus der Tschechoslowakei / Posters from the Czechoslovakia, Munich, West Germany (1965) was printed in Gebrauchsgraphik Magazine, January/1965 and is available thanks to International Advertising & Design DataBase (pages 46-60).
  • Centrotex / cs.wikipedia.org

Images used:

  • Harold Lloyd in His Best Comedies, 1963 / The King of Kings, 1963. Exhibition Catalogue: Plakate aus der Tschechoslowakei / Posters from the Czechoslovakia. Münchner Stadstmuseum, Munich, West Germany, 16.2 − 20.3. 1965. Texts: Alena Adlerová & Johanna von Herzogenberg
  • When Comedy Was King / Stanislav Duda, 1965.Exhibition Catalogue: IV. Bienále Užité Grafiky Brno 1970, Medzinárodní Přehlídka Plakátu a Propagační Grafiky, Moravská Galerie v Brně. / 4th Biennale of Graphic Design Brno 1970, The International Exhibition of Poster and Promotional Graphics, Moravian Gallery Brno, 1970 (p. 145)

***

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  • Poster Art / Made in Czechoslovakia. The story of film posters. Take 2.

    ByjozefSquare Film Poster in History

    Poster art in the history. Story of the Czechoslovak film poster in few takes.

    When the Cat Comes / directed by Vojtěch Jasný, 1963
    When the Cat Comes, directed by Vojtěch Jasný, 1963

    ••

    The ideas of cultural revolution of the Sixties were gently spreading across the Czechoslovakia. The death of Stalin resulted in major positive cultural and political changes. Revealing political crimes of the 1950s helped many to react. Cultural institutions were breathing in fresh air and for almost whole new decade possibilities were gradually becoming reality. Country was getting back in bloom and ready for the new era that would bring many significant names in literature, film and art in general.

    ••

    ••

    Film poster and its visual quality was always present, however “Brussels style” brought in some vitality to poster art. Bright pastel colours and curvy shapes were welcoming cinema enthusiasts on the way to see the films. There was a special platform dedicated to film posters with 6 posters always on display.[^1] Poster art gallery on the street, if one wants to think. Understanding of newly approaching contemporary cinema also made huge impact on the look of the future poster art. After all photography and film were both sharing so much, not to mention the film frame. Photography was drastically changing its status in poster art and was very often becoming part of the collages, or similar innovative techniques developed by new thinkers.

    ••

     

    • Foreign films were filling up the cinemas, however the choice was very limited. Films criticising western society made by the controversial film directors were the most preferable.

    ••

    Film festivals, International reputation, Good bye Stalin!

    Sixties brought in various alternative films from behind the Iron Curtain. Visually diverse films were screened in the cinemas across the country and have been admired by many. Culture was adopting new ways of expression and started to imply them further more in daily practise. Names such as Jean Luc-Godard, Luis Bunuel, Michelangelo Antonioni or Federico Fellini were resonating in freshly introduced film magazines, that were not lacking the visual quality of those printed in the West. Rich content was provided by healthy criticism, something unheard of in the past.

    ••

    Cinema Magazines from Sixties. Cinema Art.
    Good looking magazines with great content appeared in 1960s.

    ••

    Appearance of the Czechoslovak films on International film festivals didn’t wait for long. In 1961 first Slovak film A Song About the Grey Pigeon / Stanislav Barabáš enters the Cannes Film Festival.[^2] Followed by the colourful award winning musical When the Cat Comes / Vojtěch Jasný (Cannes, 1963) and The Shop on Main Street / Ján Kadár and Elmar Klos (Academy Award for Best Foreign Language Film, 1965). Together with directors as Otakar Vávra or Evald Schorm they were paving up beautiful path for forthcoming generation.

    ••

    ••

    Czechoslovak New Wave. Sun in the net.

    [quote]”We had a feeling that literature is far ahead of the film, mean Slovak film, you know. That it is necessary to find the contact with writers and involve them in Slovak film production. Albert Marenčín”[^3][/quote]

    Light was getting green also for the young film graduates at FAMU (Film faculty, Prague). Immense visual response to the current state of the country was phenomenal. In some cases maybe mere innocent poetic experiments, but the “real film” could not overlook the situation and reality seemed pure irony at the time. Great source of motivation was coming from the literature, many “lost authors” like Alfonz Bednár, Bohumil Hrabal, Jan Johanides, Milan Kundera, Dominik Tatarka and others were giving young film makers valuable hints. By the mid sixties Czechoslovak New Wave was already established. Young directors were influenced by everything worth of observation and wanted to add it to their art. Although the work of Czechoslovak New Wave was praised by international critics, at home with Communist power and their “relevant values” behind the back they were finding great difficulties. Majority of their films were banned right after the premiere and most of those films would not see the screening room until 1989. In many cases their activity was completely stopped, some of them emigrated (Miloš Forman, Jan Němec). Very similar destiny was following the poster art and its creators. Among few of many representatives of New Wave Cinema in Czechoslovakia belongs Věra Chytilová, Dušan Hanák, Elo Havetta, Juraj Herz, Juraj Jakubisko, Jaromil Jireš, Pavel Juráček, Jiří Menzel, Ivan Passer, Štefan Uher, Věra Vihanová, František Vláčil.

    ••

    • Surreal nudity. Very few film posters involved images of naked body.

    • Witchhammer / dir. Otakar Vávra. Different poster designs for the same film.

    ••

    No matter how miraculous they were, pretty much all of the above Czechoslovak films were banned in the late 1960s and onwards. Communists made the shame out of them and they would soon moved all of them to the special archive named “TREZOR” (Communist party safe-deposit box for disturbing material, in this case it was film deposit).

    ••

    Film poster and poster artists. Variety in poster art.

    One of the main reason why Czechoslovak film poster art became so noticeable was the fact that the surrounding of poster making was made up of rich resource. The sixties has given away the opportunity to try out more courageous and innovative forms. Those were adopted by the groups of painters, sculptors, illustrators and graphic designers who used and mixed them in their own fashion. With strong individual approach rather than uniformed style or tendency, poster design became the playground for all. Extensive use of collage, illustration, photography or typography was applied. They all played important role in poster art and would often encounter on the same film poster. The playful and courageous approach was used by many significant poster designers such as Rudolf Altrichter, Zdeněk Chotěnovský, Zdeněk Kaplan, Zdeněk Palcr, Karel Teissig, Karel Vaca or Zdeněk Ziegler. Having been schooled as sculptors, painters, book illustrators, architects or sometimes self-taughts, poster designs were handled in all possible manners. From the dominating titles set across the poster to decomposing the subject into reduced forms.

    ••

    ••

    21.8.1968. Invasion of Czechoslovakia

    The strongest and the most critical films of Czechoslovak cinema emerged in the second half of the sixties. As we know there is no place for criticism in any political regime. Sixties remained a myth for next twenty years and were systematically erased by Socialist invention called “Normalization”. That did not however stop poster designers from carrying on, as Zdeněk Ziegler puts it “all of us had the same enemy, after all”. [^4]

    Before we enter poster art of 1970s, we thought that you might enjoy a little visual intermezzo. Sixties poster artists and detailed description about their studies, exhibitions and related informations are getting together for the next part.

    ••

    • Master Executioner / dir. Paľo Bielik, test print of unrealised version of the 1966 film, with Slovak version of The Seventh Seal / dir. Ingmar Bergman that have possible never seen the light either, printed at the back.

    ••

    [quote]”It is getting even worst. It’s hard to say, where is the end of the road we have not chosen. Somewhere has been decided, that this generation must remain forgotten. Whole army of chief executives and referees gathered together and they all came up with strictly planned programme. Instead of Poledňák there came Purš, instead of Harnach – Šťastný, instead of Kunc – Toman. Common sense refuses to believe it, but for several months, these three gentlemen have been working hard on the disposal of Czechoslovak film. 19.2.1971 / Pavel Juráček”[^5][/quote]

    ••

    Poster art by Jan Meisner, 60s poster
    322 / Dušan Hanák, Jan Meisner, 1969.

    •••

    [^1]:Vratislav Hlavatý for the Czech Radio Interview / 29.3.2013
    [^2]: https://en.wikipedia.org/wiki/Cannes_Film_Festival
    [^3]:Albert Marenčín / Golden Sixties, TV document, dir. Martin Šulík, 2009. (Albert Marenčín / artist, writer, surrealist and former director of one of the artistic group of film producers in Slovakia (Produced also Sun in the Net). He was very much responsible for pulling Slovak young film directors to studios in Bratislava)
    [^4]:Zdeněk Ziegler for the Czech Radio Interview / 15.5.2013.
    [^5]:The Key for Determining Dwarfs or The Last Travel of Lemuel Gulliver, dir. Martin Šulík, 2002.

    ••

    Additional research:

    Literature:

    • Flashback / Czech and Slovak Film Posters 1959-1989, ed. Libor Gronský, Marek Perůtka, Michal Soukup,  Olomouc Museum of Art, 2004.
    • Elo Havetta (1938-1975) / Václav Macek, SFÚ, 1990.

    Online web:

    Note: First take on history of Poster art in Czechoslovakia. For shop and blog highlights SUBSCRIBE to our weekly newsletter.

  • Poster Designs – Anonymous Artists / Sixties. The story of film posters.

    ByjozefSquare Poster Designer | INdEX

    Movie posters in history. Showcase of 1960s poster designs.

    Poster Designer / Anonymous Artists

    It would be very hard to define a common practice or visual language of Anonymous poster designers in Czechoslovakia. Even harder with Sixties, as the period offered so much surprises and unpredictable twists in both politics and culture. It seems like one can never live without the other (somehow never in successful harmony). Specially politicians were always dependant on cultural demagogy, using visual propaganda to their needs.

    ***

    Careful and very modern selection of colours was used for both parts of Knights of the Black Cross, 1961.

    War movies were always highlights, particularly those showing war heroes in Socialist sort of way. Ongoing currency, no matter what’s the weather.

    Symbols, hints and playful thoughts were always around poster making.

    ***

    There is nothing unusual about Anonymous artists (if own decision), but being unknown artist in the discipline, where displaying signature is relevant/appropriate (n. Karel Vaca, Dobroslav Foll, Karel Teissig and others) raises several questions.

    Earlier in the second part of our article on history of poster art  in Czechoslovakia we have mentioned censorship as the part / instrument of the Communist doctrine. Communist party was  the one and only expert on art, which might sound funny but the reality was not so much, Social Realism did exist, after all. In addition to films ÚPF (Ústřední Půjčovna Filmů/ Formal state distribution 1957 – 1991) was also commissioning movie posters. Both were deciding what could be shown in the cinemas. Were they somehow responsible for hiding artists identity?

    ***

    From Switzerland to Vietnam, poster designs made by Unknown Artists covered all sorts of spectacular, if not even controversial movies.

    ***

    We know that the film poster committee always consisted of few graphic artists (2-3). They would constantly try to give green light to the proposed poster designs. Were they also turning the blind eye to help fellow artists (obstacle/potential traitors and pests[^1]) in getting at least some sort of a commission? We believe it could be possible as the demand for the movies was quite high and each movie had to have its own poster. Still, for some reasons several artists had to remain unknown.

    ***

    By the end of Sixties photography techniques were commonly used in various poster designs. Above another example of photograph overtaking the space.

    The Sweet Games of Last Summer (1970), based on Guy de Maupassant’s novel was premiered in Czechoslovakia only once. Film directed by Juraj Herz (The Cremator) came back to distribution again in 1988[^2].

    ***

    Looking at their movie posters many years later, we can observe some fascinating poster designs. They do not lack any of the visual qualities of other Czechoslovak poster artists. The pity is, they could never take part in any of the ongoing poster exhibitions of the time. We will possibly never be able to find out who were the authors of those magnificent movie posters, or how many artists were creating anonymously, but they surely deserve our appreciation. Until 1989 hundreds of poster designs were created by Unknown artists. There was no one to hide from after that.

    ***

    Literature:

    • [^1]:  Toto čudesné 21.Storočie / This peculiar 21st century (unofficial translation), Tomáš Štrauss, Kalligram 2009. (Book is not so much about the movie posters, but Tomáš Štrauss, expert on Totalitarian, art critic/historian, said it to the point)
    • [^2]: https://sk.wikipedia.org/

    Note on previous articles:

    Other posters designs by Unknown artists on jozefSquare.

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  • Poster Designs / Sixties – Adolf Born. The Story of Film Posters.

    ByjozefSquare Poster Designer | INdEX

    Film posters in history. Sixties poster designs.

    Poster Designer / Adolf Born

    Painting / Stage Design / Illustration / Graphic Art / Caricature / Animation

    Film poster, Adolf Born, 60s poster design
    Virgin Soil Upturned – Adolf Born, 1960.

       ***

    • b. 12th of June 1930, České Velenice, Czech Republic
    • lives and works in Prague, Czech Republic

    Education:

    • 1949−1950, Charles University, Prague (Faculty of Pedagogy / Art?)
    • 1950−1953, Academy of Arts, Architecture and Design in Prague (Pelc Antonín)
    • 1953−1955, Academy of Fine Arts, Prague (Pelc Antonín)

    Awards:

    • many, mostly for his animated films and book illustration (few shown bellow)
    • 1974, caricaturist of the year, Montreal
    • 1979, Golden Apple, Book Illustration Biennials, Bratislava
    • 1985(?), Gold Medal, IBA, Leipzig
    • 1988, Honorary Artist

    Film posters designed: 19 (1959-1989)[^1]

    ***

    FIlm poster, Adolf Born 60s poster artThe Smallest Show on Earth – Adolf Born / Oldřich Jelínek, 1960.

    ***

    To meet with the fantastic world of Czech artist Adolf Born in former Czechoslovakia was not as complicated. One only had to get born there and the ticket for his show was lying in front of you. His visual presence was absolutely everywhere. Book illustrations and television programme was provided for the smallest audience and for those older ones there were magazines covered with his caricatures. He has also made the older population interested into watching animated films for the children.

    Adolf Born’s work is well known also to international spectator. His book illustrations (over 400 books) and animated films (by the 1980 he produced 45 of them)[^2] visited many countries and have taken part in many exhibitions. Humorous depiction is very characteristic in his work. Adolf Born is here to make you smile.

    His film poster portfolio extends from early 1960s all the way to mid 1990s, with limited number designed. Adolf Born was preoccupied with other things. Film posters were possibly only other commission he was getting from the art union, where every illustrator/graphic had to be a member. Very few, but all very impressive. If the film poster was not made for the World War II film, it would definitely leave one with the grin on the face.

    ***

    Burning Daylight, J.London, cover by Adolf Born
    Front cover for the Burning Daylight / Jack London, illustrated by Adolf Born, 1970.

    [^3]

    ***

    Note: this showcase is part of our ongoing article Film posters / Made in Czechoslovakia. The story of film posters.

    Available posters by Adolf Born or other interesting film posters designed in Sixties.

    ***

    Resources:

    Literature:

    • [^1]: Flashback / Czech and Slovak Film Posters 1959-1989, ed. Libor Gronský, Marek Perůtka, Michal Soukup, Olomouc Museum of Art, 2004. (p.45)
    • [^2]: BIB, Bienále Ilustrácií / Biennale of Illustration ’79 ’81, Bratislava; Anna Horváthová, Mladé Letá, 1983 (p.60)
    • [^3]: Burning Daylight / Jack London; Lidová knihovna, 1970

    Online resources:

    • abArt / Adolf Born
    • Český Rozhlas / Czech Radio Broadcast (archive full of interviews with Adolf Born)

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  • Movie posters by Jaroslav Fišer and his collaboration with Věra Chytilová

    ByjozefSquare Poster Designer | INdEX

    Poster art by Jaroslav Fišer for Věra Chytilová’s films.

    We can hardly hide our excitement about BFI’s wonderful retrospective of one of the most innovative Czech filmmakers Věra Chytilová. It is also a very good opportunity to introduce the work of Jaroslav Fišer, prolific graphic designer and author of several posters for her films.

    Jaroslav Fišer studied at the Technical University in Prague and at the Academy of Arts, Architecture and Design, Prague, former Czechoslovakia. During 1959 – 1987 Jaroslav Fišer designed 104 movie posters and his poster for film The Apple Game won a Silver Hugo at the International Film Festival in Chicago, USA.

    BFI’s tribute to the director is organised in collaboration with Czech Centre, London and Czech National Film Archive and is on from 1st March – 17th March 2015.

    Movie posters designed for Věra Chytilová’s films:

    Selection of movie posters by Jaroslav Fišer:

  • Poster Designs / Sixties – Naděžda Bláhová. The Story of Film Posters.

    ByjozefSquare Poster Designer | INdEX

    Film posters in history. Sixties poster designs.

    Poster Designer / Naděžda Bláhová

    Book Illustration / Graphic Art / Photography

     

    Duel movie poster, 1970s minimalist poster
    Duel movie poster by Naděžda Bláhová, 1975.

       ***

    • b. 14th of November 1926, Prague-Hostivice, Czech Republic

    Education:

    • 1942−1945, State Graphic School, Prague (Karel Muller)
    • 1945−1950, Academy of Arts, Architecture and Design in Prague (Karel Svolinský)

    Awards, Exhibitions:

    • Exhibition of Czechoslovak Graphic Art, Poland & Soviet Union, 1955
    • 2nd International Exhibition of Film Posters, Versailles, 1961
    • Honorary Artist, ÚPF (Ústřední Půjčovna Filmů / State Film distribution), 1961
    • Czechoslovak Poster, Havana, 1962
    • Biennale Brno 1964, 1966, 1970, 1972 (dated only until 1972)

    ***

    Czechoslovakia Liberated movie Poster, 1970s Poster
    Czechoslovakia Liberated movie poster by Naděžda Bláhová, 1975.

    ***

    Moving ahead in alphabet we would almost missed on one of the very important Czech women graphic artist of the Sixties poster design. Incident could occur easily, there is no evidence of movie poster of Naděžda Bláhová in our poster archive that would point to Sixties. On our research through the history of Czechoslovak film poster we are finding out that we should stop and do a little rewind. Naděžda Bláhová has exhibited since the Fifties!

    ***

    Hold-up Movie Poster, 70s Poster Art
    Hold-up movie poster by Naděžda Bláhová, 1975.

    ***

    Small appearance of Naděžda Bláhová’s movie posters in our collection is not accidental. She created possibly not more than thirty movie posters and some of them are real rarities. Editor for publishers of children books for some time, paradoxically to the movie posters shown in this article Naděžda Bláhová was mostly illustrating books for kids.

    Her poster designs as can be seen on the images still owe some to illustration,  but are evolved into rapid graphics and strong typography. Total opposite to that kid’s story. Minimalist movie posters with excellent lettering overtaking almost one third of the poster. Her beautiful typography layout is also worth noting.

    ***

    Magazine Cover, Typografia, 1960s Design
    Magazine Cover – Typografia, Naděžda Bláhová, 1969

    ***

    On the image above we can see Naděžda Bláhová talked graphics respectively. It is the snippet of her work from The International Exhibition of Poster and Promotional Graphics 1970’s catalogue[^1] . It shows the cover of the magazine called Typografia published in 1960’s Czechoslovakia. (You can also see some other Biennale participants from the movie poster section – Rudolf Altrichter, Robert Brož or Josef Flejšar) Cover did not need to be necessarily in black and white, catalogue photographs were usually printed as such. We will leave filling the colours to you.

    ***

    Note: this showcase is part of our ongoing article Film posters / Made in Czechoslovakia. The story of film posters.

    Available posters by Naděžda Bláhová or other fascinating film posters designed by women poster designers.

    ***

    Resources:

    Literature:

    • II. Bienále Užité Grafiky Brno ’66, Medzinárodní Výstava Knižní Grafiky a Ilustrace, Moravská Galerie v Brně. / 2nd Biennale of Graphic Design Brno ’66, The International Exhibition of Book Graphics and Illustrations, Moravian Gallery Brno, 1966
    • IV. Bienále Užité Grafiky Brno 1970, Medzinárodní Přehlídka Plakátu a Propagační Grafiky, Moravská Galerie v Brně. / 4th Biennale of Graphic Design Brno 1970, The International Exhibition of Poster and Promotianal Graphics, Moravian Gallery Brno, 1970
    • V. Bienále Užité Grafiky Brno 1972, Medzinárodní Výstava Ilustrace a Knižní Grafiky, Moravská Galerie v Brně. / 5th Biennale of Graphic Design Brno 1972, The International Exhibition of Illustrations and Book Graphics, Moravian Gallery Brno, 1972

    Online:

    abArt / Naděžda Bláhová

    Images used:

    [^1]: Typography, magazine cover, pen drawing, 31 x 23.4, 1969 – IV. Bienále Užité Grafiky Brno 1970, Medzinárodní Přehlídka Plakátu a Propagační Grafiky, Moravská Galerie v Brně. / 4th Biennale of Graphic Design Brno 1970, The International Exhibition of Poster and Promotional Graphics, Moravian Gallery Brno, 1970 (p.138)

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