The bold prints and strong blocks of colour used for Wavelength (1968), Biddy Peppin's Bikeboy (1968) and both of her designs for Chelsea Girls (1968) are strong examples of poster art that was circulating around the underground scene in the sixties. The Homage to Ub Iwerks (1968), uses a borrowed stencil in the tradition of re-appropriating iconic images, while the artwork for Location? Duration? (1968) has an abstracted 'filmstrip' feel.

From the same period, the image for Whitney Family Computer Films (1966) based on the Whitneys' catalogue, is less organic and samples a 'futuristic' typeface. Films by Steve Dwoskin (1974) is a clean, monochrome image that highlights aspects of his idiosyncratic style. The emphasis is on foregrounding the female eye and drawing attention to 'the look' - a recurrent theme in Dwoskin's early films.

The strong typography of Larcher (1977) at the Carnegie Institute, owes very little stylistically to the film it advertises, having been produced much later and is not his own design, whereas Malcolm LeGrice uses one of his own sketches for Emily - Third Party Speculation (1979) and a series of screenings at the LFMC at Gloucester Avenue.

The design for the film installations by David Dye and Tony Sinden (1976), showcased at the Arnolfini Gallery, is dramatic and minimal, featuring an emphasis on film projector beams. In Stansfield and Hooykaas's Sea of Light (1978) the television screen image replaces this and reveals the increasing use of the small screen as a signifier in the emergence of video/installation art. There is less of an emphasis on technology in David Critchley/Mike Leggett (1986) and more of a return to a kind of hand drawn 'lo-fi' aesthetic

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