The Silence That Follows Process Book

Introduction This project was an engaging mind draining experience that opened up my eyes to learn about design in a news way. Seeing that it is not only focused on growing businesses but that design is truly everywhere we look and it is used in just about every aspect of our lives. This class made me a stronger designer, showed me that I am creative a voice with in my work and it made me realize that I can use my photography skills in combination with my designs.

It also opened up a whole new door on being a designer for events. I’m not sure where I will end up nor do I know who I will work for but I know this, that I would love to create work that is focused on selling products to women from middle upper class. Who are feminine, caring and loving to wards their families. It has been a joy designing letter heads, invitations, tickets and gifts. In my mind this project went beyond being a school assignment it became a personal assignment to see how far I could push my self and the event. As if the event was truly to take place. It has been a very difficult and energy draining class but I am glad to have learned that I would be more than happy to keep working on events for the nest several years.

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CHOOSING A DIRECTOR Visual & Conceptual Research

Research Director

WENER HERZOG

Instructions Before you choose whom to focus on, you need to introduce, justify, rationalize and explain your selection as well as have a few options should your director be taken.

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Werner Herzog started off his career as a young teenager where he worked in a steel factory to fund his first film. Since then he has become of the most prestigious director, writer and producer of our time. He is well known for his visual essays, documentaries and his fictional feature films. There is a recurring theme throughout his work on understanding the meaning of life and understanding the part that humans play in the universe. Herzog has stated that he doesn’t see much of a difference between his fictional films and his documentaries being that “fact and fiction is ever-so-miraculously blurred in most of his work.”

Herzog was born 1944, in Munich, Bavaria, Germany. His earlier years were troublesome being that he grew up during the time of WWII and was raised in a one ptarent home, with very little income. These troubling times gave him the strength, tenacity, self reliance and curiosity to be who he is today. This could be the very reason why his films are focused on human life and how its surroundings affect their journey. Most of all, his work is a constant search of finding the truth of life and

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understanding the mysteries of the world. Films like Wrath of God (1972) and Fitzcarraldo (1982) are perfect examples of such.

In Wrath of God Spanish explorers are in the search of El Dorado, the city of gold, in the Peruvian rain forest.

A story of adventure, struggles of life and the pursuit of an eternal mystery. Fitzcarraldo is a film the deals with a dreamer pursuing to build an opera house in the middle of the South American jungle. The film is filled with impossible tasks and the struggle of making a dream into a reality. It also touches base on the idea of how individuals perceive those with unique ways of thinking. Both films are out of the ordinary but hit on some human topics that are dealt with in everyday life.

Set of course in a remote part of the world. Through his direction Herzog is able to make part of the South American landscape alien and intimidating to both the main characters and the viewing audience. Something that is constantly seen in both his fictional and documentary films. Most of his documentary work allows the viewer to see a more incongruous perspective of the

planet. The work he creates goes beyond the mere beauty of an area, but rather focuses on its inhabitants including both animal and human. Small conversations are shown where the viewer can familiarize themselves with the inhabitants of the documented space. Allowing a window into the lives of these individuals even if it is just for a few minutes.

The recorded conversations are focused on what these sitters do and how they contribute to their community as well as a glimpse of their past. Through these conversations the viewer can get a better understanding of what the space is truly about. This is seen especially in Encounters at the End of the World (2007) where the film doesn’t only focus in Antarctic’s landscape and its majestic animals but it focuses on the scientist researching the area and its phenomenons. In order to create a story line and keep the pace of the film going Herzog himself narrates and guides the audience. The film doesn’t not feed into the romanticized idea of what Antartica should look like, but rather focuses on the reality of it. A small town that, is dirty and everyone works hard survive in those

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Visual Research

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extravagant conditions. There is an eeriness to this film that is also these individuals live blissfully. His topic choices and common eeriseen in his fictional features. It is created by the screeching sound ness is also seen in his artistic influences. Hercules Segher a painter of violins and cellos. Not to mention the footage includes abstract and printmaker which was seen as mad, lonely and misunderstood. views of animals that look like creatures from a horror flick.

His work was mainly focused on landscapes. Yet they had a dark and Herzog chooses individuals that look like characters and have troubled feel to them and were not welcomed very well in his time. very unique backgrounds only adding to the uniqueness of the On the other hand Rembradt collected his prints and paintings. place. Two characters that come to mind are Timothy Treadwell Very little of his work survived. As Herzog states himself, and Amie Huguenard, two bear activist that lived with grizzly “visionaries that were far ahead of their time� are who influenced bears and unfortunately died because of it. Herzog allows the him most. With in those include Gesualdo a composer and his world into their lives through the film Grizzly Man (2005). A mentor Lotte Eisner a film critic as well as a writer. It was Eisner bittersweet film that questions the concept of what life is really that pushed him to never give up on film and his dreams. about and challenges the idea of what makes an individual happy.

Herzog has a fascination with life and finding a deeper meanThroughout his films a common thread is found where Herzog is ing for it all, which empowers both his fictional and documentary able to make the viewer challenge their own notions, insecurities work. I can relate to his idea of searching for a deeper meaning and fears by putting them in, out of the norm situations. This can in life and his intrigu of finding alien landscapes in our world. also be seen in films like Even Dwarfs Started Small (1970) and His work has a dark beauty to it that is rarely found in our conLand of Silence and Darkness (1971). Both dealing with physical temporary world. It is raw beauty not a fantasy that is plastered limitations that would hunt the majority of humanity and yet throughout our society. His films like Encounters at the End of the

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World (2007), Grizzly Man (2005) and Cave of Forgotten Dreams (2010) are films that inspire the human imagination. Plus they are real places and stories of real people. Individuals that I would never in counter in my journey but that I have the opportunity to learn about through Herzog’s films. He makes his audience step out of their home and out of their comfort zone through his work.

The list of films he has worked on is diverse and lengthy. Easy to find information on and enough body of work to choose from. His point of view on life is consistent and a constant theme about pursuing a dream is seen throughout his work. Plus most of his work makes the viewer a little uncomfortable at times, which is unique in itself. Most of his films can be found on Netflix, Hulu and iTunes.

This makes viewing his work a lot easier for the class and I. I still have not decided on an actual look to the festival but Herzog’s has enough work that I can focus on just his documentary work or his fictional. A visual system can definitely be design to fit his body of work. Herzog’s reputation of being an incredible film director should make this project important enough to a good amount of

individuals. What is interesting about choosing his work is that it will be a little different than the work in my portfolio because it does not pertain food but it does focus on a humanistic topic which is the pursuit of finding a deeper meaning to it all. I find that it will be different enough than the rest of my work but similar enough to not stand out like a sore thumb.

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German Director Werner Herzog

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Research Director

MIRA NAIR

Female director, Mira Nair has been nominated for 16 international awards and won 26 with both her documentary and fiction features. She was born in Bhubaneshwar, Orissa, India from a well educated family. Nair studied at the University of New Delhi and moved on to Har vard to earn a degree in Sociolog y in 1976. She started her career f ilming short independent films focused on documentaries, which won her a Best Documentary prize at the American Film Festival for India Cabaret. India Cabaret focused on Bombay’s stripper subculture. Dealing with those individuals that are seen as the outsiders in most societies. A common focus of Nair’s documentary and fictional work.

Another of her award winning films focuses on the lives of young children surviving the streets of Bombay. The film was created in quite a unique way where random children in the streets of this grand city were interviewed to both learn about their lives and to recruit them as their leading actors. Nair was intrigued by the children’s personality and only coached them on how to act in front of a

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camera. The scenes are raw, real and its mostly due to the fact that she only shoots on location. There are hidden cameras on certain scenes to be able to capture her characters as naturally as possible.

Her story focuses on those individuals, in this case kids, that are separated from society and live life as outsiders. Nair’s visual presentation makes them look and feel a lot more human than those that are part of the society norm.

Mississippi Masala and Perez Family deals with foreign families having to learn new traditions because of their new residing cou ntr y. The t wo fa m i l ies str ug g le to keep thei r identit y and their customs in a new place, where they a re seen as aliens. In this f ilm the outsiders are immig rant families that are also trying to find their way home in a new environment, something that coincides with Salaam Bombay! The main characters are looking to find a place to call home and be able to live at ease in a place that is hard to adjust to. Themes that have dominated Nair’s work are issues of class, generational difference and championing the underprivileged and exiled.

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Throughout her films both documentary and fiction she has a visual trademark that consists of lavish colors, busy scenes filled with movement and heavy downpours of intense sunlight. A prominent yellow, orange and red are seen throughout her work. Her environments usually have a rustic, and earthy feel that only embellishes the story line. Nair’s use of color represents her focus on the energy of life, the human experience and her attention to intense emotion driven by her characters.

Monsoon Wedding and In Kama Sutra: A Tale of Love are a great example of her color usage and attention to the surrounding location. Infact most of Monsoon Wedding was filmed in her home and some of her family members where actors on the film. This lavished film focused on a young bride that is in preparations for her wedding but she is in love with someone else. Her family has chosen a husband for her as is the norm in Indian tradition but as most of Nairs work. The film deals with the idea of not conforming to the norms of society. In Kama Sutra: A Tale of Love (1996) the main character is also creating her own destiny by becoming a strong women fighting

for the man she loves and surviving the hatred of a lonely queen. The main character fights her way to wealth and comfort even though she came from a very humble origin. Most of Nair’s features have strong female leads that show various sides of how a female life. For example It is refreshing to see a director take a feminine approach to tough subject like prostitution, in film like India Cabaret (1985).

Especially since she contradicts the inherent attitudes the world have towards Indian women. This powerful character and yet tortured soul can also be seen in Kama Sutra with the main character.

As it is seen in Nair’s career she has focused on Indian subjects for her movies and stuck to her roots. It is no different when it comes to her influences. While she was in Harvard Nair viewed films from Saytajit Ray, Ritwik Ghatak, and Guru Dutt which made a profound impression on her. In fact she sate that she watches Guru Dutt’s work every time she is about to start a new project. Her work does have a freewheeling use of music and unabashed emotional directness that is seen in many Indian films. Which is funny, being that she ignored Bollywood films all throughout her time in India but

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as soon as she left home she began to learn about Indian directors and became more involved in their vision. Nair’s work is filled with emotion from passion to desprate heartache. Throughout her work her use of color, environment and lighting sucks the viewer into, not only witness her story, but live it as well.

Most of her movies have characters that are trying to live life a different way from the norm. Standing out and yet being able to live with in a society and keeping that balance. I admire how she chooses to depict characters that are less fortunate and makes them standout. Nair is always questioning the true meaning of home, where its located and what it consists of. It is seen in Salaam Bombay!, Perez Family, In Kama Sutra: A Tale of Love and a few more. Another common topic is the increase focus on the issues surrounding social and cultural representations of women, indian women to be more specific. It is seen in Mississippi Masala, Kama Sutra: A Tale of Love and Monsoon Wedding. Her point of view on women is what draws me to her work. Questioning the idea of why women should act a certain way or have to follow certain roles society has given them. I believe

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that her multiple concepts that link her work would make a good case for the film festival. Being that they all have an Indian influence to them also helps create aesthetics. Another good factor is that Nair already has a chosen color palette that I can work with. So that the deliverables of the film festival go well with her actual films.

When I watch her features there is a genuine familiarity to them because of her humanistic topics and her ability to portray her characters emotions. When her characters suffer the audience suffers with them. Its much more than a window to a different culture and lifestyle, it is an invitation. It is seen especially in her film The Namesake. It could be her close up views of the individual characters or the fact that there is a lot of orange in the film which creates a welcoming feeling. The goal would be to bring that same welcoming, intimate feeling to the film festival I am creating. Most of all be able to integrate that same look and feel she has to her films. They are rustic, tangible but most of all filled with human emotion.

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Indian Film Maker

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Research Director

STEPHEN DALDRY

Stephen Daldry is originally from Dorset, England. Focused on theater as a young child he enrolled in an acting clubs and was part of his communities drama groups. Daldry graduated from Sheffield University where he focused on drama and was known throughout his school as someone to watch for. His reputation showed that many great things were to follow in his career. After college he apprenticed for three years in the prestigious Crucible Theater.

Where he directed a few productions. Clair Veneable was one of his great influence as a young theater director. Which he worked with the three years he was there.

In 1989 he moved on to work as an Artistic Director of Dublin’s Gate theater. Daldry’s time in theater was well accepted. In the early 90’s he was known for his positive reviews and award winning plays.

His production J.B. Priestley An Inspector Calls won him a London Critic’s Circle Award and a Laurence Olivier Award for Best Director.

That same production won a Tony Award for Best Direction of a Play for the Broadway adaptation. Throughout his career he has worked in both the United States and in the UK. Eight was his very first short

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film focused on the life of a young boy that is forced to adapt to a new place and come in terms with the loss of his father. A theme that will be seen throughout Daldry’s work. It is interesting to see how this first film was shot through the protagonist point of view and that his frames are pretty close to the character.

This intimate look into the lives of his characters is seen throughout his work. It allows that viewer to really understand the character and to see their point of view of life. Being that Daldry produces films that are carried on by multiple powerful characters at a time, he turns the camera into a tool that allows the viewer to see the world in different perspectives. Depending on which character is on screen the view of life can be quite dramatically different. A distinctive color palette can be seen in both Eight and Billy Elliot.

Its as if Eight was his warm up film for Billy Elliot a spectacular film about a young boy whose father wants him to be a boxer, but the young boy wants to dance. Both films have an overpowering use of blue tones used through out the film. It is usually seen used in environments. Billy is seen wearing yellow in the first scene as

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this bright, energetic child that glows like the color itself. While his home and most of his surroundings are all in various shades of blue. The saturated blue in his home is meant to show the coldness emotion surrounding his family life. Like in most of Daldry’s features there is a stamp of time that is essential to the film. Billy Elliot takes place in a time where Northeastern England where miners are on strike fighting for a better life. A time of course of tension and much desperation which coincides with the use of cold tones. Then comes Billy the boy who wears yellow and wants to dance in a time of silence. There is a major factor that unites both films which is the loss of a father figure. In a literal sense with Eight but with Billy his father is cold, repressive and unyielding.

This repetitive story of a young boy growing up without a father figure is later on seen in Extremely Loud & Incredibly close. Another film that is carried out in an important time in history but the difference is that it is American History. It is about a young boy that loses his father in the terrorist attack on the world trade center in New York city, on 911. The main character embarks on a journey in

search of his father. This boy is also different and it seems that he has a flair of autistic spectrum. Daldry made the character seem a little more fearful of like than most children. It references back to Billy Elliot another character that was not necessarily normal. In this film Daldry also uses cool tones, films in cloudy days in order to push that tragic emotional feeling seen in most of his films.

Daldry has made an art out of depicting emotionally distressed characters dealing with the loss of a parent, loss of innocence or the loss of hope. In his featured film The Reader takes place in 1939 at the time of the outbreak of war, that dealt with Nazis, concentration camps and the Holocaust. While this is going on a young man and an older women have an affair. The young boy reads to the women several sophisticated novels while she teaches him the art of love making. Early in the film the woman disappears and leaves the young man in love and lonely. Similar to the famous film The Graduate. The older women is first seen dressed in uniform making her character seem very serious and dominating. There are hints throughout the film that hint the woman holds a secret. She seems

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Visual Research

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tense, and distrustful. An emotional turmoil film that is captured with beautiful lighting which only emphasized the actresses beauty and seductiveness. The film shows how the director moved on from focusing on the lives of children to a more mature character. This feature has both a young teen boy as a lead and a strong female. It seems to be a accumulation of the directors work. Moving on from Billy Elliot to The Hours which is focused on three very strong female characters.

The three characters are portrayed as if they were suffocating by the lives they lead. Two of them unhappy with their own misery feeling stuck in a life they did not chose for themselves. While the third wants to desperately wants to free her self from life and the relationship she is in. Even though these women are different and living in different times they are bound by their tragic way of looking at life. Virginia Woolf’s character has attempted suicide a couple of times on the film and is being watched by her husband.

This takes place in 1923 while the second character is living in 1951, Julianne Moore. Moore is depressed with the way her life has

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turned out. She has a loving family but yet she is still missing something. The women are connected because Moore is reading Woolf ’s novel being written while Moore reads it. Both timelines are being shown parallel to one another. The third character meanwhile in present day, New York is also living a hectic life. All three women dealing with internal pain and yet connected by the written word of Woofe and their tragic lives. Daldry does a fascinating job of keeping the viewer captivated and connecting to all three women.

I am interested in creating a film festival of Daldry’s work because of his visual way of storytelling. His attention and use of color will help create a color palette for the festival that links with his films. The common feeling of melancholy is expressed through blue hues in both wardrobe and interiors. There is a very unique way that he captures his stories and documents the lives of his characters that is constant in all six of his films. Daldry’s features are also interconnected because of the chosen story lines that deal with the feeling of loss. Being that his films are focused on an actual time line and in many ways affected because of the time they take place.

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LOOKING FOR VISUALS Creating Buckets With Design Options

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FILLING THE BUCKETS

Instructions Before you get too far, it’s best to chart your goals and define the project within a certain number of parameters. The Design Brief will serve as a guide for your project.

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A series of buckets were designed to find what would visually best fit our film festival. The buckets consisted of typography, imagery, illustration, language, textures and graphics. All of this composed on to grids to see how they would work together.

For example on the bucket that dealt with typography we looked for type that would fit the look and feel the films we had chosen.

This affected whether we would look for a contemporary sanserif or a classic serif. Being that I was dealing with films that where linked to time and history. I decided to look for a classic serif which would also add to the feminine and delicate quality of my films. As the example shown on the right ti is seen that images with texture and are aged were chosen. There are also some hand written letter because my films had a very human quality to them. That could have been pushed forward through hand written typography.

Now that I look back at my title I can see where I got the idea of broken and torn apart. It comes from my early research of these broken up objects affected by time. Rather than making my title torn i broke it apart with small triangles. It reminded me about the feeling of dust or ashes.

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Typography Bucket

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Format & Graphics

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Language

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Photography

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Style

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GIVING IT AN IDENTITY Finding A Visual & Personal Voice

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Shoot, draw, & Experiment

PERSONAL TOUCH

Instructions The creation of the overall look and feel of your festival to consist of name/subtitle, identity mark and graphic elements.

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Now that I had chosen a look for my festival it was time to take my own imagery, begin narrowing down on typefaces and begin to produce some work. I began looking through my portfolio of photographs I accumulated on my adventures to historical landmarks.

In the past I would travel to many ghost towns and small county museums that were homes kept the way their original honers use have them. These include Victorian homes in San Fransisco. I also manipulated all the images used in the project by desaturated them and making them f lat. It created a melancholia mood to them and made everything look cohesive.

When it came to choosing a type face I was looking into Baskerville, Bodoni, and Bell but they didn’t have enough weights or they just didn’t have the voice I was looking for. While researching type faces and seeing how they looked. I cam across Kepler std.

I fell in love with the type face. This serif was delicate, feminine and all around beautiful. Kepler was the voice I was looking for. It works great for body and for titles.

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Photography

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Moving Forward

FESTIVAL TITLE DESIGN

Finding a title was very easy, I just thought of what happened when someone died or left and it hit me that the hardest part is the silence that follows after the fact. My parents use to tell me that when I left for college the house was so much more quite than when I use to live there. Then while I was creating this film festival my parents had left me and my boyfriend had too. The hardest part of it all was feeling lonely and dealing with the silence.

When I started designing my logo I began by typing the name with different type faces on the computer. I collected all of the type settings that I liked most printed them out traced them and then manipulated them in Photoshop and illustrator. Since the look of the title was looking to mechanical I began to experiment by cutting the name out with scissors or moving it around while I photographed it. I even photocopied it and interrupted the scan by moving it while it was being exposed.

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That Fallows

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Moving Forward

POSTER PRODUCTION

Instructions You’ll design a poster announcing the film festival (title/sub-title, director, date/times, location, films, website). This will be in the form of a vertical poster. This poster will arrive rolled or in a tube and the “roll” should be considered from a design point of view. One 30x40in and one 12x16in (or 15X20in) will be submitted.

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The design of the poster was one of the most challenging aspects of the project because I was trying to give my title a voice through creative/experimental type treatment. Then after I was done designing the logo I would place it on my poster (over an image) and both would create a vary different mood than what I was looking for. Being able to create a logo to work with the films I was presenting and to work with my imagery with out making it seem like horror film was extremely difficult.

By establishing the look of the title and the look of the imagery for the festival. I was able to finally produce various posters that could be move forward for the final piece. The final poster has the titles of the films being featured, the date, location and website. It also has the conceptual thread that connects all of the featured films. I learned that the less information the poster had the better the design and the more successful it became.

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The art of coping in the films of Stephen Daldry.

Extremely Loud & Incredibly Close The Hours The Reader Eight (short) Billy Elliot Trash

Boston Public Librar y 05.01–03

Silence.com

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DESIGNING THE CATALOG A Narrative Designed Piece For The Festival

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Limited Edition

FILM FESTIVAL CATALOG

Instructions This is a narrative piece designed to showcase the films in the festival along with information about the director, location and a viewing schedule. The catalog would/should/could also include information about the venue, feature imagery and stills from the films, include review from other critics, and have lots of other informational bits included. Think: “What will get me excited about going to and what will I need to know about this festival?� and include this information in the catalog. This will feature culled, edited content; original written content generated by the student; self-generated photography; appropriated imagery; and other design, material and format elements. This should be beautifully designed and bound in a cove table fashion and should be conceived as a limited-edition run.

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The catalog is very clean in design, simple and to the point. It contains the schedule of the show, description of the location and information about each film. There is a filmography and directors biography included. A plot description for each film and all the leading actors have a small biography included. Being that the festival has a strong tie to literature all the screen writers and novel authors also have a dedicated page to their biographies.

In order to make the book interesting and balanced. All the information is paired with imagery I shot or still frames from the movies and some behind the scenes shots found on-line. The biggest problem I found when creating this book was keeping it consistent and making sure the information was relevant. It was very important for me to have the book be a good carrying size in case the paying customers wanted to have it with them while at the festival. All of the images have been manipulated to be a little darker, desaturated and f lat in contrast to go with the melancholy mood that the films carry through. I focused on using imagery that was also quite. The visual story consists of imagery shot inside a home and looking through windows. Windows and doors are seen a lot through out the book with the idea that they can be seen as transitional objects.

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Festival Catalog

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The art of coping in the films of Stephen Daldry.

STEPHE

Stephen Dald mother who

was very you theatre and into the dire stomach can

Daldry and he may have ing a career

Films By Stephen Daldry

his father’s discovered t shock. In a w fi lms deal wi

ures and dea main charact their strategy traumas have

MAY 1ST - 3RD BOSTON PUBLIC LIBRARY TheSilenceThatFollows.com

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The director challenges th it well.“ He is

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ADVERTISEMENTS Festival Promotion

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Festival Promotion

ADVERTISEMENTS

Instructions To be used to promote the festival — each featured in a different format/scale (formats could include, billboards, bus shelter posters, magazine ads, guerilla posters, etc.). These should be virtually (yet flawlessly) comped in the environment and printed at least 8X10 in size. The ads should be (purposefully) similar to your film posters.

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I wanted the location where the festival would be promoted to have some sort of movement being tha the title has the word follow and the concept is about losing someone and coping with it.

It seemed appropriate for the festical to be promoted in area that there was movement. On the other hand I also wanted to focus on locations that where art or literature related being that the concept is also tied in with coping through a creative way.

The event has a home but hinting on the elegant side and for that reason I wanted the places to have a hint of history and time.

It had to look like something that would go with the festival. It couldn’t just be a regular bilboard it had to be connected to the thread and have a purpose behind it.

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DVD PACKAGING Gift Set Of DVDs & Booklets

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DVD Packaging Fort

FEATURED FILMS

Instructions Multiple DVD packaging for the films of your director. This will include a booklet (minimum 8 pages/ film) as part of the packaging. Again, think limited edition — this should not be something you could buy at Best Buy, but instead be something that would yield high-dollar bids in a collector’s auction. Use materials and formats to your advantage.

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The DVD collection had to look handmade and human. My goal was for it to look like small gift. Something that could have been made by your grandmother or lover. Being that the thread is about coping with the loss of loved ones. People that lose their parents keep things that remind them and they are usually handmade crafts that have more of an emotional value than an economical.

I designed the DVD set accordion style made of fabric where on the top there would be a button and a small thin rope that would tie up to a small bow. Giving it a tactile feeling with the cloth and a feminine delicate look with the bow and the button. It is a rustic piece but its meant to look like that.

The characters that Daldry has on his films are mostly delicate women with profound inner demons and ways to deal with them are by throwing a party, baking a cake or learning to read. They are very down to earth characters that deserve something that is hand made that is just as delicate and imperfect as them.

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INFORMATIVE WEBSITE A Fully Functioning Live Site

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Online Presence

LIVE WEBSITE

Instructions Students will create a functioning, complete website for your film festival. Site should include: a homepage (not splash page), three (3) secondary pages and three (3) tertiary pages and be created in pixels (not vectors) and sized to fit a 1024X768 monitor.

This site will be hosted at a live URL of your choosing. “Functional� could mean a lot of things here.

Ask questions.

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TheSilenceThatFollows.com is fully functional page where clients can learn see what is going on each day. From events to featured films and even what special guests will be there.

All the readings and book signings are described in detail which includes dates, time and special appearances, The whole event is taking place at the Boston Public library because of its historical context and because it is large enough to hold a festival of this size. Being that the festival takes places with in the whole library and many rooms. The site specifically states the room and the time the featured films and events take place.

The site is also designed to be seen on a phone in case the user misplaces their schedule and forget whats their next stop. Before the event users can purchase tickets learn about the plots of the featured films. They will also be able to preview the location with photographs of the inside and out side plus have a brief introduction to the area. Being that Stephen Daldry is the one being honored his biography can also be found on the site.

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BUSINESS SYSTEM The Face Of The Festival

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Letterheads, Tickets, Business cards

BUSINESS SYSTEM

Instructions Stemming from the above aesthetic, but tackled later in the project. Card, letterhead and envelope are minimum requirements.

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In order to communicate with special guests and clients there needs to be a business system that represents the festival. It should feel and look just like the films and the festival it self but not overwhelming it is a business first and foremost.

There are elements added to the letterhead, business cards and envelopes that are seen through out the festival. They are dried flowers, grass, rocks and seeds. To show the delicacy for the characters being portrayed. The visual story is being balanced between images of nature and home interiors. The tickets also have photographs of trees, the ocean and dried out leaves. Done on purpose to have them connect with the envelopes they are going to be sent in.

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Business Card

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The Silence That Follows

The Silence That Follows Rachel Allen, Festival Director 700 Boylston Street, Copley Square, Boston, MA 02116

VIP Invited Guest Stephen Daldry 42 West, 220 W. 42nd St. 12th Floor New York, NY 10036-7200

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The Silence That Follows Rachel Allen, Festival Director 700 Boylston Street, Copley Square, Boston, MA 02116

VIP Invited Guest Stephen Daldry 42 West, 220 W. 42nd St. 12th Floor New York, NY 10036-7200

Business Envelope

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The Silence That Follows 700 Boylston Street, Copley Square, Boston, MA 02116

Welcomed Guest Lydia Johnson Miers 623 N Maple Dr Beverly Hills, CA 90210

Ticket Envelope

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Letterhead The Silence That Follows

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FESTIVAL CONTAINER Everything Inside The Basket

The Silence That Follows

Letterheads, Tickets, Business cards

A PICNIC BASKET

Instructions All of your materials should be presented in some sort of container/housing This does not have to be an elaborate construction but more robust and specific than a grocery bag. This can be a customized off-the-shelf item or an entirely custom creation.

Be careful of surfing f lea-markets for these items (i.e.: a dusty suitcase is appropriate for only a few directors). All items except the poster should be contained in this housing.

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The container is a small English picnic basket with fabric on the inside and twig on the outside. It is white with hints of green which go with the rest of the festivals color palette. The container is appropriate because it has a feeling a human connection and a common family event. In the festival there is tea time and brunch offered. In side the baster the fabric has little flowers and leaves which goes with the visuals on the business system and the photographs used throughout the rest of the deliverables.

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FESTIVAL PRODUCTS Three Gift Ideas To Sell At The Festival

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Products for sell

FESTIVAL GIFT SETS

Instructions Appropriate souvenir items from the film festival... not simply logoware, but a relevant extension of your ideas. 3 (different) pieces/formats minimum. Two of the three must have a strong ties to your thread — the third can be more irreverent.

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There are a total of three gift sets created for the festival. There is a small stationary set inside a box. The stationary consists of a calligraphy pen, a ballpoint pen, ink, an ink bottle, blank letters and envelopes. Everything that a person my need to send a creative letter to a loved one that is far away. A perfect way to cope with the loss of a loved one.

The second gift is five set of books which the featured films are based on. They have all been revamped in a manner that they have new covers and the layouts have changed from their original books.

The set comes in a small wooden box. The third gift set consists of a table cloth and napkins that can be used with the basket for a picnic out side in the park. They are both antic cloths with rough but beautiful texture. The colors are neutral and pastel like the rest of the festival. Everything is packaged and labeled.

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FESTIVAL SCHEDULE Guiding Guests The Days Activities

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Getting Around With The

FESTIVAL SCHEDULE

Instructions A smaller, folded, unbound piece that will include the times and dates as well as ancillary information about the festival and director — but not simply a spreadsheet. Format could get interesting here. No size or format restrictions.

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The schedule contains information about the Boston Public Library including history, location, plus times and addresses.

Every day has a description on the events of the day. From start to end with room assignments, and hours. It is small and easy to carry. The design matches the tickets being mailed to the clients. It is all done purposefully to create a visual system.

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FESTIVAL SOUNDTRACK Guiding Guests The Days Activities

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Film Festival

SOUNDTRACK

Instructions The soundtrack design should be conceived as a limited run but could take on any number of forms — from a vinyl record to a USB-drive. Appropriate songs, liner notes and trivia should be included in booklet form

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There is a small gift box that contains the soundtrack for the festival. Each individual movie has a little booklet that is placed in a box with a USB containing all the songs. The USB is also a little bottle that can contain pills, little flowers and any little things that a person might want to store.

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GR 612 INTEGRATED COMM. Taught by Hunter Wimmer Taken During Spring 2015 Student: Esmeralda Ruiz

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