Music Festival Design: The Only Festival by Steven Nguyen

GRC 462 - SENI OR PR O JECT

STEVEN MAN NGUYEN

EMAIL PORTFOLIO CONNECT

STEVENMANNGUYEN@GMAIL.COM STEVENMANNGUYEN.COM LINKEDIN.COM/ IN/STEVENMANNGUYEN/

SPRING 2020

02 05 06 08 ABOUT ME

ABSTRACT

PROJECT GOALS

PROJECT PLANNING

BACKGROUND

SUMMARY

OBJECTIVES

BREAKDOWN

INTERESTS

INTRODUCTION

DELIVERABLES

TIMELINE

CAREER GOALS

DISCLAIMERS

SCOPE

CONSTRAINTS

STEVEN MAN NGUYEN S E N I O R P R O J EC T SPRING 2020

17 24 30 92 RESEARCH

BRANDING

PROCESS & RESULTS

PROJECT REFLECTION

BACKGROUND

MISSION

WEBSITE

OUTCOMES

FULL REPORT

MARKETING

APPLICATION

IMPROVEMENTS

BEST PRACTICES

VISUAL IDENTITY

TRAILER

NEXT STEPS

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T H E O N LY F E ST I VA L

ABOUT ME I’m Steven Man Nguyen, a multi-disciplinary visual designer with a knack for music and pop culture. I consider myself to be a creatively ambitious individual who is never afraid of pushing the envelope with every project.

ST E V E N M A N N G U Y E N

INTERESTS & PASSIONS

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I grew up in an age where consuming mass amounts of media at any given time is the norm. I found my love for design through the music and popular culture that I was surrounded with and obsessed over.

CAREER GOALS

I believe in forward thinking and designing to take things to new places not yet explored or familiarized in the field.

I want to bring that drive that I have to any design agency/firm to apply my skills to all different brands particularly for the entertainment industry.

INTRO & DISCLAIMERS At the conception of this project, I was seeking an idea that combined all of my professional and personal goals together. After just three music festival experiences, I observed the immersive visual identities that each one had and wondered what it would be like to design my own.

As a necessary disclaimer, all the materials presented is completely prospective and is not meant to be put into reality as a true event taking place. All assets used fall under personal/educational use and all rights are reserved to their owners.

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PROBLEM STATEMENT The intention of this project is to seize the opportunity to synthesize all that I have gained as a Graphic Communication student, expand beyond that, and advance in a direction towards the fields I am most passionate about. Bridging my two largest interests, design and music, this project would revolve around uncovering and experiencing everything it takes to design a prospective music festival with my current skillset and resources. The process will involve vast research and studies to adequately capture the most important factors in executing a successful design for music festival marketing campaigns to exercise these revealed best practices in my own creation. The advantages of studying the history of creative/art direction for these festivals will allow me to acquire evidence to reinforce my design solutions and develop a hypothesis of what the future of them can entail. In the past, I have combined music and graphic design in countless specialized courses; but I have yet to take on a project that truly challenges the extent of my creative and professional capabilities, and fully encompasses my creative ambition through a multitude of cohesive deliverables. This project would fuse all of the diverse skillsets I have obtained and allow me to simultaneously amplify and augment them. Through this process, I ultimately would be able to grow my knowledge on my intended long-term career path by honing my capabilities and applying them holistically.

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ABSTRACT Hello, my name is Steven Nguyen! I am a Design Reproduction Technology Concentration with a minor in Packaging from Sacramento California. I am a multidisciplinary visual designer who has a passion for music and pop culture. I consider this project as the synthesis of all that I have learned in my time at GRC and all that I am passionate about. I aimed to emulate as much as possible the experience it would be like for a designer to be assigned to solely create an entire music festival design and market it.

The number of deliverables is quite ambitious but I want to show employers the many values I can add in the professional design field.

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T H E O N LY F E ST I VA L

PROJECT OBJECTIVES/SCOPE With this project, I aim to achieve a level of professionalism and creativity that I have not reached before. Not only would I gain a large amount of knowledge about a sector that I am interested in for my career, but I would also be able to experience it firsthand. I would be able to achieve skills in project management for design that will surely aid me in my future as a creative in the industry. The deliverables would act as a test to my progress as a student and as a designer, and show employers my work ethic, talent, and personality as a milestone portfolio piece. The project’s overall objective is to understand the modern phenomenon of music festival design by elevating it in my own multidisciplinary creative efforts at a whole new level.

SUCCESS CRITERIA

To monitor the success of my deliverables, I would judge the quality of work on the degree of possibility of realistically being implemented and how closely the designs resemble the research’s findings about best practices for festival designs. The collection of studies will allow me to back up my design decisions throughout the project and provide a reference to show the usability, functionality, aesthetic, and more. Many of these deliverables can be taken to far extents, and I believe if I can create a realistically stable and cohesive festival design then I would have achieved my project objectives.

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DELIVERABLES Through extensive research of the successful elements of a music festival, I would generate the following marketing campaign collateral that would showcase these factors.

BRANDING & MARKETING

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Brand Scope, mission, and overall identity formation.

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Marketing strategies (target audience, logistics, etc.)

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Logo, and overall design guide for all materials.

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Promotional advertising for both print and digital campaigns.

WEBSITE & APP

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Functional informational website design for the festival to market tickets as well as tell its story.

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Functional and useful mobile application for attendees of the festival with features like a map, schedule planner, and activation screens.

EXTRAS

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Design internals such as merchandise, ticket packages, wristbands, stage mockups, and more.

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Festival trailer for digital campaigns using Adobe After Effects to bring brand elements to life.

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PROJECT PLANNING WORK BREAKDOWN MUSIC FESTIVAL

Background Research

Branding

Marketing

Brand Scope/Mission

Collateral Decision based on Research

Components of Music Festivals to Design

Title Decision

Plan launch strategy and target market

Modern relevant Design Trends & Functionality

Logo Design

Organize schedule for Marketing until Event

Major Festival Production Companies

Colors, Typefaces, Icons

Design Lineup Poster & Announcements

Music Festival History

Construct Comprehensive Branding Guide

Design Advertisements (Digital & Physical)

Successful Case Studies/ Popular Music Festivals

New Music Festival Designs

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ST E V E N M A N N G U Y E N

I utilized many new project management tools throughout this process, but the most visual tools were the Work Breakdown Structure and Timeline/Gannt Charts.

DESIGN PROJECT

Website

Application

Extras

Choose platform to create website

Plan App Features Based on Research

Plan Internal Festival Designs based on Research

Plan out Web-pages to design

Develop Various App Screens

Design Festival internal Event Designs

Design/Code Various Pages

Test functionality with Prototypes

Design Merchandise

Design Event/Ticket Purchasing pages

Preview/Mockup on Devices

Design Ticket Packaging

Publish/Display Website

Mockup Pages on Devices

Make animated commercials

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PROJECT PLANNING TIMELINE

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This timeline is a rough estimate of how the project could be executed in the time frame given. The elements include Senior Project assignments as well as the actual project tasks.

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PROJECT PLANNING GANNT CHART

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This Gannt Chart is a more progress minded version of the timeline where the progress is blocked visually to show its supposed chronological succession.

Both the Timeline and Gannt Chart are approximations to the actual progress of the project overall.

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IRB STATEMENT The project does not involve any systematic investigations, data collections from the Cal Poly student and faculty bodies and does not attempt to involve any other parties for the creation of the deliverables/research. Additionally, other federal, state, and local laws and regulations will not be an issue. With these accounted for, this project does not require a review by the California Polytechnic State University Institutional Review Board.

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MENTOR Jacqueline Nguyen, Graphic Designer, CP Alumni CO’2018 As my professional mentor for this project, I asked my close friend who is an Cal Poly Art and Design alumni, Jackie Nguyen. Jackie is a well versed graphic designer and festival goer who has a taste level that is perfect to judge my progress on this project. Having gone to many festivals and worked as ground control for some of them she understands how each design could be catered to its purpose within a music festival. I’ve also attended a music festival with her set in the same place that I decided to make the location for this festival as well!

Throughout the process, I sent her many progress shots of deliverables and she helped me with the name concept as well. It was helpful to have an external creative eye to look on my results and guide me to a better one in the final stages.

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T H E O N LY F E ST I VA L

PROJECT CONSTRAINTS The limitations for this project would not be very detrimental since it would not cost any more than the time spent on the deliverables.

Hardware and software for this project would only consist of my laptop and its design programs and the budget would not need to be highly calculated. Time management on this project would be the biggest issue with the large scope of deliverables and tasks. The limitations of the internal project itself would be the limits I put on myself for each deliverable, each one can be delved into deeper in some way, but I will limit it to the amount of work just required for functionality and attractiveness.

PROJECT ASSUMPTIONS

The resources for this project have pretty much already been procured by having adobe creative cloud and the databases to conduct research for.

More resources that can be allocated in the future are all digital and feasible through the Internet such as design tools, mockups, and website hosting/ prototyping methods.

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BACKGROUND RESEARCH Some various initial background research was conducted before going right into the meat of the project and constructing the brief research report. Some important initial sources are listed below.

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By the Time I Got to Wood Stock. Saturday Evening Post, 291(4), 38–42.http:// ezproxy.lib.calpoly.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=137105792&site=ehost-live&scope=site

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What Does it Really Mean to “Brand” a Festival? Retrieved from https://eyeondesign.aiga.org/what-does-it-really-mean-to-brand-a-festival/

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The hottest 20 music festival designs for millennials. Retrieved from https://99designs.com/blog/creative-inspiration/music-festival-design-branding

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The Evolution of Music Festivals and the Power of an Experience. Retrieved from https://medium.com/@malu_14611/the-evolution-of-music-festivals-andthe-power-of-an-experience-f98be2b9a5c1

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18 Examples of Music Festival Branding Trends in 2018. (2019, April 26). Retrieved from https://tightshipdesign.com/18-examples-music-festival-branding-trends-2018/

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Music Festival Posters: A look back at the past 60 years. Retrieved from https://99designs.com/blog/creative-inspiration/iconic-music-festival-posters/

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Behind the Branding: HOC / House of Creatives Festival. Retrieved April 29, 2020, from https://jacober.com/blog/behind-the-branding-hoc-house-of-creatives-festival/

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Pitchfork Music Festival 2018. Retrieved from https://fontsinuse.com/ uses/20556/pitchfork-music-festival-2018

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Design and Music: Evolution of Music Posters. (2018, September 1). Retrieved from https://savagethrills.com/music/design-and-music-evolution-of-music-posters/

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RESEARCH REPORT The following pages shows my original writing for a brief research report that acted as a guide for the success of the festival design. I consider this to be one of the crucial deliverables I strived to finish early in the process.

I.

Festival History

Though it has gained much popularity amongst today’s youth, music

festivals are not a new phenomena. Festivals of all kinds have been put on since the dawn of humanity and there is surely an undeniable celebration of the human spirit than they can bring about. Music festivals in particular, may be one of the most well known since they attract all different audiences and who all share their love for the universal interest of music. To understand a brief history of music festivals, we can study some of the landmark festivals that influenced them all. The power of experience is a huge aspect of the attraction of music festivals. From an article on Medium (2018), Monterey Pop Festival in 1967 held in California was, “the first festival in the US that was conscious about the experience outside of the music… its original incarnation harnessed a moment in time so perfectly that it pioneered the “you had to be there” vibe modern music festivals now strive to embody.” A few years forward, Woodstock would change the course of history showing the commercial/financial potential of music festivals. Along with that, festivals like “Burning Man” and the rise of ‘rave’ techno music culture showed how this “free-form expression of community and creativity manifested through music, art, installations, social experiments, and [etc].” (Marzarotto 2018) Audiences/consumers are more attracted to the idea that you are buying an experience, a memory, than any actual material goods, although those purchases will ensue afterward anyway.

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II. Festival Components

There are many moving and static parts of a music festival design. Es-

pecially in today’s festivals, there are so many visual stimuli going around the festival grounds. At the base level, there are the collateral that drives interest and brands the festival such as the lineup poster, marketing collateral, website, and social media. Beyond that, the many internal parts of the festival such as the stage designs, way-finding signs, booths, facilities, and more are what makes for a cohesively designed music festival. As one recorded experience at Woodstock noted, “the [program] had to be unique, memorable… trippy design combined clip art, assorted fonts, and photos of the performers.” (Dwyer, 2019) Design serves as the silent salesman and defines the character/personality of the festival itself for audiences to attach or gravitate to.

III. Major Festivals

To have a better sense going into music festival design, having a good

survey of the current players in the field will uncover what makes one successful. The major festivals today include, Coachella, Lollapalooza, South by SouthWest, Pitchfork, Electric Daisy Carnival, Austin City Limits, Governors Ball, Bonnaroo, Stagecoach, and more (“Top 20..” , 2020). Each of these festivals carries on their own identity through distinctive design choices. The aura of each of these can be extracted through their main piece of marketing collateral, the line-up poster. According to Annie Crawford for Adobe Spark, “music festival posters become collectible artifacts for the memories they evoke–and as branding assets, there’s much to learn from the best festival poster designs for their ability to balance a lot of information and capture a vibe. Ultimately, a festival poster is a flyer, conveying the who, what, where, and when, while the artful use of imagery and type turn these advertisements into hangable art.” (Crawford, 2019) The centerpiece of every poster is of course the logo and the lineup that follows. The hierarchy of the lineup is a huge marketing tool as well. Headliners or acts with a larger attraction level to the target audience is typically emphasized to contrast smaller acts. This can be through the obvious use of type size difference or color. Additionally, more versions of the poster can be made depending on

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the format of the festival. This can mean having three sections for different weekends and which headliners will be featured on each day, a la Coachella’s posters. In this way, the marketing tools can also act as the practical tools for the audience as well. Having a proper distinction of the dates and other logistics is integral for consumers to decide if they can attend or want to purchase a ticket to the festival.

IV. Case Studies

The dynamism of a lineup poster is vast but there are some common

styles that have formed the mental model or form factor that we know today. The text heavy elements of a lineup poster can be treated in many ways.

Traditionally, posters consisted of stylistic type treatments paired with a striking visual such as the posters in the history of Lollapalooza, where the use of “eye-popping illustration, color, and type” really defined that era.

Contemporarily, or the one most millennials are familiar with, Coachella’s history of lineup posters have been highly consistent and clean compared to posters of the past. Perhaps a deliberate approach, it lends itself to have enhanced readability and is easily recognizable year after year. (Bigman, 2018) In result, more festival designs created after the explosion of Coachella have veered more to the cleaner and simpler designs as we can see from Lollapalooza’s design for 2019.

V. Trends & Functionality

The usability of a design is critical to the successful communication of

a poster or marketing material. The subjectivity of art on a poster is always going to be debatable, but the objectivity of how well the poster can be read, or if it suited for every medium is what makes it go beyond capturing an atmosphere. Besides trying to strike the perfect balance between elements, “contemporary music posters focus on efficiency and priority yet display the inspirational elements of their predecessors.” (Design and Music: Evolution of Music Posters, 2018) In an article by Tight Ship Design, Keir Dubois outlines some of the modern trends we can see in today’s music festivals.

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These trends can include saturated colors, all-caps, limited color palettes, gradients, simplicity, sans-serif, compelling photography/typography, and uses of modular elements. The synthesis of design elements with the consideration of practicality is what makes for a great design.

VI. Marketing Strategies

For ages now, music festivals have thrived by making niche target mar-

kets and centering their festivities to reflect them. This goes beyond just music genres like jazz festivals, multi-genre festivals go for a more broad approach to target markets. Most festivals today are attended by the younger generations such as millennials who are finding their footing in life and can afford and seek such excursions. With shorter attention spans, and overstimulated visual senses, marketing to the newer generations have proven to be a challenge. “From logos to merch, mobile apps, to billboard ads, it’s all about marketing to millennials.� (Ellison, 2018) Having a clear vision of the audience a festival wants to attract is key to deciding the design styles and also to the success of the overall sales for the festival.

VII. Branding Strategies

Branding for anything has to be backed with purposeful design deci-

sions to be successful in its goals. All of it stems from the identity a festival contains that can appeal and connect to the certain target audiences.

This bleeds into which headliners and acts are to be booked in the festival as well. Focusing on design, branding must evoke the aura or atmosphere and experience that they are trying to sell. Branding sets the foundation for other visual elements of the music festival such as supplemental illustrations, merchandise, and more. Anything even slightly out of brand can also alter user or consumer trust on something as well. While navigating a festival design, users want to know which visuals they can trust to be reliable in situations like purchasing a ticket or finding their way around the festival.

The branding strategies rely heavily on the personality of the festival itself, which can act alone as a strategy.

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VIII. Best Practices (To Follow) These are the number of findings that are going to act as the success criteria to monitor quality of results from the project. These are just some guidelines to refer to in later evaluation of the creative outcomes or the deliverables in the end.

• Cohesive branding across all mediums • Marketing strategies are reflected through design • Functionality of design by having proper hierarchy • Visual interest kept throughout • Selling an experience more than an event • Aesthetics are appealing, modern, and relevant

END OF RESEARCH REPORT.

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WORKS CITED •

Bigman, A. (2018, January 24). Music Festival Posters: A look back at the past 60 years. Retrieved from https://99designs.com/blog/creative-inspiration/iconic-music-festival-posters/

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Crawford, A. (2019, August 27). Famous Music Festival Posters to Inspire Your Next Design: Adobe Spark. Retrieved May 10, 2020, from https://blog.adobespark.com/2019/03/11/music-festival-posters-to-inspire-your-next-design/

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Design and Music: Evolution of Music Posters. (2018, September 1).

Retrieved from https://savagethrills.com/music/design-and-music-evolution-of-music-posters/

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Dwyer, E. (2019). By the Time I Got to Wood Stock. Saturday Evening Post, 291(4), 38–42. http://ezproxy.lib.calpoly.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=137105792&site=ehost-live&scope=site

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Ellison, K. (2018, January 24). The hottest 20 music festival designs for millennials. Retrieved from https://99designs.com/blog/creative-inspiration/music-festival-design-branding

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Marzarotto, M. (2018, November 20). The Evolution of Music Festivals and the Power of an Experience. Retrieved from https://medium. com/@malu_14611/the-evolution-of-musicfestivals-and-the-power-of-an-experience-f98be2b9a5c1

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Top 20: Music Festivals in the USA 2020 - Festicket Magazine. (2020, February 12). Retrieved May 10, 2020, from https://www.festicket.com/ magazine/discover/top-festivals-usa/

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18 Examples of Music Festival Branding Trends in 2018. (2019, April 26). Retrieved from https://tightshipdesign.com/18-examples-music-festival-branding-trends-2018/

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BRAND CONCEPTION A huge catalyst to this project had to be the conception of the festival brand and identity itself from scratch. I tried my best to gather the direction I wanted to go in and made a list of ideas from there.

FESTIVAL REFERENCES I started by gathering a list of references of festival designs I particularly felt inspired by to guide my design conception.

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Intersect Festival (https://intersect.aws/)

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Flow Festival (https://www.itsnicethat.com/ articles/tsto-flow-festival-helsinki-graphic-design-180618)

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Down the Rabbit Hole Festival (https://downtherabbithole.nl/english)

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Sundance (https://www.itsnicethat.com/ features/studio-lowrie-sundance-film-festival-2020-identity-graphic-design-240320)

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Periferia (https://www.itsnicethat.com/ articles/amateur-dot-rocks-graphic-design-091019)

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Illustrator Merijn Hos (https://www. itsnicethat.com/articles/merijn-hos-illustration-010519)

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Pitchfork (https://www.itsnicethat.com/articles/alexa-and-jessica-viscius-pitchfork-festival-chicago-identity-graphic-design-010518)

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LA Baitie (https://www.itsnicethat.com/ articles/neo-neo-la-batie-graphic-design-140917)

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François Boulo (https://www.itsnicethat. com/articles/francois-boulo-graphic-design-190917)

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Not Another FKN * Festival (https://www. behance.net/gallery/88966705/NAF-Not-Another-Fkn-Festival)

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List of Festivals (http://www.thespacelab. tv/spaceLAB/theSHOW/Spacelab-MusicFestivals.htmhttp://www.thespacelab.tv/ spaceLAB/theSHOW/Spacelab-MusicFestivals.htm)

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TITLE DECISION At the start of my scouting for a festival name, I encountered many unexpected hurdles. I knew I wanted to have a clever/intriguing name that was more abstract in connotation and visually ambiguous. However, after many attempts/drafts, there were more festival names taken than I had imagined. Nearly 80% of all my ideas were already implemented as a festival of some sort. And although this is a fully prospective project, I wanted to have the most originality as possible so that there would be no comparisons and creative conflictions along the way. Knowing the amount of festival names that have already been taken just made me want a name that stood out even more. Below is a list of the initial names that I found were not taken (to an extent) and were contenders.

INITIAL NAMES •

Moon Festival

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Lust for Life Festival

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Xanadu Festival

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Hunny Festival

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Other Festival

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24 Festival

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Ally Festival

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Kul Festival

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Akin Festival

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Official Festival

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Philia Festival

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Contempo Festival

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Bops Festival

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Neo Festival

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Made up word, Acronym,

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Better Days Festival

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Fiel Festival (faithful)

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The Only Festival

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Feel Festival

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Bassically Festival

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Lisztomania

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Branded Festival

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Abstract Festival

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Joyride

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Not Another Festival (TAKEN)

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Experia Festival

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Obsess Festival

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Gleam Festival

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Say Less Festival

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Vanishing Point

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‘THE ONLY FESTIVAL’ BRAND FORMATION

ORIGINALITY/ UNIQUENESS

Throughout the brainstorming phase for the branding, I was constantly checking if there were already festival designs made for each name I came up with. Surprisingly, there were so many festivals in existence that have already used such names. It was surely difficult to narrow the list down to a few ones that have not been used and had a strong marketing/selling potential.

Though it would be fine in this case to use a name that has been used before, but for the sake of the project being a challenge, I wanted a name that lent itself to no other comparisons and stood on its own as a completely unique concept through and through.

BRAND VALUES

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Inclusivity

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Artistry

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Disruptive

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Original

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Immersive

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Subversive,

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BRAND SCOPE

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The idea behind, ‘The Only Festival’ is to create a festival that is so great that it should be the only one in existence or that matters. Stemming from a phrase in queer culture, the name ‘The Only’ gives the festival a light-hearted character/personality that will immediately have the viewer trying to figure it out.

Being a more general non-genre exclusive festival, the name is more just a clever descriptor of the festivities. This name also lends itself more to more avenues of creativity than something like a genre exclusive or descriptive name like ‘Electric Daisy Carnival’ or ‘Burning Man’ festivals.

BRAND MISSION

The main mission for ‘The Only Festival’ is to provide a safe, fun, immersive, subversive, and unique festival that they will cherish in their memories as one of the best experiences in their lives. The ‘Only’ Brand supports/promotes inclusivity, appreciates artistry integrity, and embraces disruptive lifestyles outside of the ordinary. Besides the inclusivity of the many different headliners in the festival, the festival itself would be about the unity of humanity by embracing differences.

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DESIGN & MARKETING STRATEGIES

T H E O N LY F E ST I VA L

Some marketing strategies that can go along with this brand mission would be to attract the desired audience through the big named headliners, but also by focusing on the different experience this festival offers than others.

This will begin with the design being uniquely different than the standard mental model of what festival design has looked like to the general audiences. This can be done by observing the trends and attributes of the studied popular/recognizable festival designs in the research portion and being sure to improve, differentiate, or reference in this new design.

TARGET MARKET

The target market for this music festival would primarily be the younger generations such as millennials and Gen Z. Since this is a general genre music festival, the scope of the markets are going to be very wide. However, the audience attraction highly relates to the lineup for a new festival like this one.

The lineup will reflect Millennial and Gen Z trends/desires at the moment in a music festival and also the artist that are currently in high demand by those markets. Design wise, having a highly modern looking design and other attributes stated in the research portion about designing for millennials will be em-

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ployed in the marketing collateral. This will be further analyzed in a later section with analyses of design decisions.

COMPETITIVE ANALYSES

See research portion about most pop-

PERSONA

To guide my marketing and design

ular/Major festival designs.

strategies, adopting a persona within my target market will help me cater every aspect to the best of its ability.

_______________________________ Eric Hughes, Age 26 Eric Lives in Southern California, specifically Anaheim and works as a graphic designer and fashion photographer for an advertising firm. Eric is motivated by his motto of living life to its fullest and is always on the lookout for new excitement. Eric is a music and pop culture lover and attends many festivals during his vacation times.

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BRAND DESIGN CONCEPTION Going into the main catalyst for the rest of the deliverables, I had a few objectives in mind. One being a simple but strong brand identity and a unique typeface to carry on throughout the designs.

MOOD BOARD

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TYPEFACES

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I noticed that many festival designs relied more on an interesting type treatment or choice rather than a symbol logo from my research. (see Coachella, Lollapalooza, etc.) Therefore, I wanted to test out a variety of display fonts.

MADE Bon Voyage MADE Bon Voyage - Thin Kobe Regular LOVE Regular Nord Regular

The Only Festival The Only Festival The Only Festival The Only Festival The Only Festival

Dida Regular

The Only Festival

Cambon

The Only Festival

Voyage - Bold Voyage - Regular Cheque Beon Medium Coupeur-Reverse

THE ONLY FESTIVAL THE ONLY FESTIVAL The Only Festival

The Only Festival The Only Festival

Les Sensations

The Only Festival

Old Block Black

THE ONLY FESTIVAL

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COLORS

I usually fall into the muted with a pop of color or very graphic color palettes so I wanted to use a more uniform and less contrastic color pallet with purples and a solid navy. This later led to the formation of the signature ‘Only’ Gradient.

Only

Luvender

Sandæ

Blanca

#4b59a7

#d0a5cc

#f8d5c1

#fdece9

Blending Mode: Multiply

GRADIENT & PAPER

Blending these together, a large aspect of the design is this signature blended but Meshed gradient. Typically set to Multiply or Screen over the Glued paper Texture.

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SPARKLE SYMBOLS

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Although, a unique typeface can suffice, I wanted to make a logo symbol to accompany it to make it a more solidifed visual identity. I was inspired by this ‘sparkle’ or star symbol but slanted to add flare and ‘other’-ness.

IMAGE TREATMENTS

A consistent color scheme even within the imagery is something I personally think makes a campaign look more finished. The grain texture and black and white filter is an integral part of the image treatments.

34

T H E O N LY F E ST I VA L

TYPE TREATMENTS

Now that I have a solid identity going forward, it was time to see what I can do to combine all the elements together, type, color, and symbols.

INITIAL IDEAS

Using ‘Voyage Bold’ Typeface and Sparkle Symbol

The Only Festival TheOnly Festival

The Only Festival

The Only Festival The Only Festival

TheOnly Festival

The The Only Only Festival Festival

TheOnly

The

Festival

Only

TheOnly

the

The

Festival

Only

TheOnly

Only

the

The

Festival

the

Festival.

Festival.

Festival.

Only

Festival.

Only

Festival.

Only

Festival.

35

ST E V E N M A N N G U Y E N

FINAL VISUAL IDENTITY

I chose the left aligned type treatment and especially liked using the star symbol within the ‘O’ which became a logo in itself that can be recognizable.

M A I N LO G O

SY M B O L LO G O

G R A D I E N T K N O C KO U T LO G O

36

T H E O N LY F E ST I VA L

LINEUP POSTER The centerpiece of every music festival design is the Lineup poster.

It is the most important informational and promotional marketing piece and sets the tone for the rest of the festival.

LINEUP

The main selling point that the lineup poster is trying to convey to the target market is the headliners/performers themselves and how they are listed in a hierarchal manner.

37

ST E V E N M A N N G U Y E N

DRAFT

To test out hierarchy and design elements, this poster was made to just plainly display the information that I wanted to incorporate using all original copy/text and no placeholder information going forward. These include the festival dates, location, sponsors, and links.

S T E V E N M A N N G U Y E N P R O D U C T I O N S ® & G R A P H I C C O M M U N I C AT I O N ™ P R E S E N T S

L A S V E G A S F E S T I VA L G R O U N D S • J U N E 1 3 - 1 4 , 2 0 2 0

Lady Gaga

Destiny’s Child

Frank Ocean

Ariana Grande

Lana Del Rey • Janelle Monaé • Lorde • Grimes • Kevin Abstract Charli XCX • Kacey Musgraves • BLACKPINK • Sky Ferreira • FKA Twigs Dua Lipa • Troye Sivan • Doja Cat • Kim Petras • Megan Thee Stallion Carly Rae Jepsen • Little Mix • Marina • Poppy • Kyary Pamyu Pamyu Saweetie • Normani • King Princes • Banks • Allie X • Conan Gray • Ava Max • Rich Brian Hannah Diamond • Cashmere Cat • Caroline Polachek • Mitski • Foxes • Blood Orange • Clairo Aqua • Natalia Kills • Tei Shi • Wet • Pabllo Vittar • Trixie Mattel • Tove Styrke • LIZ • Alex Chapman

T I C K E T S AVA I L A B L E N O W AT T H E O N LY F E S T I VA L . C O M

FO L LOW @ T h e O n l y Fe s t i va l + D O W N L O A D T H E ‘ O N LY F E S T ’ A P P

38

T H E O N LY F E ST I VA L

FINAL LINEUP POSTER - VERSION ONE Lady Destiny’s Frank Ariana Gaga Child Ocean Grande Lana Del Rey • Janelle Monaé • Lorde Grimes • Kevin Abstract • Charli XCX • Rupaul Kacey Musgraves • BLACKPINK • Sky Ferreira • FKA Twigs Dua Lipa • Troye Sivan • Doja Cat • Kim Petras • Marina Megan Thee Stallion • Carly Rae Jepsen • Little Mix • Poppy Kyary Pamyu Pamyu • Saweetie • Normani • Banks King Princess • Allie X • Conan Gray • Ava Max • Rich Brian Hannah Diamond • Cashmere Cat • Caroline Polachek • Mitski Foxes • Blood Orange • Clairo • Aqua • Natalia Kills • Tei Shi • Wet Pabllo Vittar • Trixie Mattel • Tove Styrke • LIZ • Alex Chapman + Various Artist Exhibitions & Experiences

T I C K E T S AVA I L A B L E N O W AT T H E O N LY F E S T I VA L . C O M

L A S V E G A S F E S T I VA L G R O U N D S • J U N E 1 3 - 1 4 , 2 0 2 0 @TheOnlyFestival + T H E ‘ O N LY F E S T ’ A P P

39

ST E V E N M A N N G U Y E N

FINAL LINEUP POSTER - VERSION TWO Lady Destiny’s Frank Ariana Gaga Child Ocean Grande Lana Del Rey • Janelle Monaé • Lorde Grimes • Kevin Abstract • Charli XCX • Rupaul Kacey Musgraves • BLACKPINK • Sky Ferreira • FKA Twigs Dua Lipa • Troye Sivan • Doja Cat • Kim Petras • Marina Megan Thee Stallion • Carly Rae Jepsen • Little Mix • Poppy Kyary Pamyu Pamyu • Saweetie • Normani • Banks • HANA King Princess • Allie X • Conan Gray • Ava Max • Rich Brian Hannah Diamond • Cashmere Cat • Caroline Polachek • Mitski Foxes • Blood Orange • Clairo • Aqua • Natalia Kills • Tei Shi • Wet Pabllo Vittar • Trixie Mattel • Tove Styrke • LIZ • Alex Chapman T I C K E T S AVA I L A B L E N O W AT T H E O N LY F E S T I VA L . C O M

L A S V E G A S F E S T I VA L G R O U N D S • J U N E 1 3 - 1 4 , 2 0 2 0

@TheOnlyFestival + T H E ‘ O N LY F E S T ’ A P P

40

T H E O N LY F E ST I VA L

FINAL LINEUP WEEKENDS POSTER - VERSION ONE Lady Frank Saturday J U N E Gaga Ocean

13

Lana Del Rey • Lorde • Grimes • Rupaul BLACKPINK • Troye Sivan • Kim Petras • Carly Rae Jepsen Poppy • Kyary Pamyu Pamyu • Normani • Banks • Allie X • Ava Max Hannah Diamond • Cashmere Cat • Mitski • Foxes • Clairo Natalia Kills • Wet • Pabllo Vittar • Tove Styrke

Sunday J U N E

14

Ariana Destiny’s Grande Child

Janelle Monaé • Charli XCX • Dua Lipa Kevin Abstract • Kacey Musgraves • Sky Ferreira • FKA Twigs Doja Cat • Marina • Megan Thee Stallion • Little Mix Saweetie • HANA • King Princess • Conan Gray Rich Brian • Caroline Polachek • Blood Orange • Aqua Tei Shi • Trixie Mattel • LIZ • Alex Chapman T I C K E T S AVA I L A B L E N O W AT T H E O N LY F E S T I VA L . C O M

L A S V E G A S F E S T I VA L G R O U N D S • J U N E 1 3 - 1 4 , 2 0 2 0 @TheOnlyFestival + T H E ‘ O N LY F E S T ’ A P P

41

ST E V E N M A N N G U Y E N

FINAL LINEUP WEEKENDS POSTER - VERSION TWO Lady Frank Saturday J U N E Gaga Ocean

13

Lana Del Rey • Lorde • Grimes • Rupaul BLACKPINK • Troye Sivan • Kim Petras • Carly Rae Jepsen Poppy • Kyary Pamyu Pamyu • Normani • Banks • Allie X • Ava Max Hannah Diamond • Cashmere Cat • Mitski • Foxes • Clairo Natalia Kills • Wet • Pabllo Vittar • Tove Styrke

Sunday J U N E

14

Ariana Destiny’s Grande Child

Janelle Monaé • Charli XCX • Dua Lipa Kevin Absract • Kacey Musgraves • Sky Ferreira • FKA Twigs Doja Cat • Marina • Megan Thee Stallion • Little Mix Saweetie • HANA • King Princess • Conan Gray • Rich Brian Caroline Polachek • Foxes • Blood Orange • Aqua Tei Shi • Trixie Mattel • LIZ • Alex Chapman T I C K E T S AVA I L A B L E N O W AT T H E O N LY F E S T I VA L . C O M

L A S V E G A S F E S T I VA L G R O U N D S • J U N E 1 3 - 1 4 , 2 0 2 0

@TheOnlyFestival + T H E ‘ O N LY F E S T ’ A P P

42

T H E O N LY F E ST I VA L

MARKETING CAMPAIGN Now that the lineup poster has been designed, the rest of the print and digital campaign can be made into many different mediums to reach the target market.

PHYSICAL CAMPAIGN

Starting with the more traditional promotional materials, these would catch the attention of the passerby-ers in the sample cities/groups that the marketing team would choose strategically. This would most likely be implemented in high traffic areas of millennial filled cities like Los Angeles and New York City.

ST E V E N M A N N G U Y E N

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Large Street Level Construction Billboard

Side of building billboard

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T H E O N LY F E ST I VA L

DIGITAL/SOCIAL MEDIA CAMPAIGN Another strong avenue of marketing for this music festival would have to be through social media.

Mainly on platforms like Instagram, these assets can be translated to any social media format such as facebook, twitter, and etc. sizes.

Chronologically, the lineup posters would be posted first followed by some

Download TOF App

New Merch

Explore the Lineup + M a ke a S e t T i m e S c h e d u l e !

ticket packages and deals with

lineup

announce-

Vist Offical Website

TheOnlyFestival.com

T H E O N LY F E S T I VA L . C O M / S H O P

ments

sandwiched

be-

Single Day Passes N O W AVA I L A B L E !

tween. Later in the time-

S U N D AY O N LY

$170

line, the website, app, and

VIP WEEKEND

$450

merch would be promot-

W I T H L A N YA R D

The Only Package

Lady Frank Saturday J U N E Gaga Ocean

13

Lana Del Rey • Lorde • Grimes • Rupaul BLACKPINK • Troye Sivan • Kim Petras • Carly Rae Jepsen

date a countdown post

Poppy • Kyary Pamyu Pamyu • Normani • Banks • Allie X • Ava Max Hannah Diamond • Cashmere Cat • Mitski • Foxes • Clairo Natalia Kills • Wet • Pabllo Vittar • Tove Styrke

Sunday J U N E

would be posted to bring

14

WEEKEND

ed as well. Closer to the

+ VIP Passes

Ariana Destiny’s Grande Child

Janelle Monaé • Charli XCX • Dua Lipa Kevin Absract • Kacey Musgraves • Sky Ferreira • FKA Twigs

$400

Kacey Musgraves • BLACKPINK • Sky Ferreira • FKA Twigs Dua Lipa • Troye Sivan • Doja Cat • Kim Petras • Marina Megan Thee Stallion • Carly Rae Jepsen • Little Mix • Poppy Kyary Pamyu Pamyu • Saweetie • Normani • Banks King Princess • Allie X • Conan Gray • Ava Max • Rich Brian Hannah Diamond • Cashmere Cat • Caroline Polachek • Mitski

Doja Cat • Marina • Megan Thee Stallion • Little Mix

Foxes • Blood Orange • Clairo • Aqua • Natalia Kills • Tei Shi • Wet

Saweetie • HANA • King Princess • Conan Gray • Rich Brian

Pabllo Vittar • Trixie Mattel • Tove Styrke • LIZ • Alex Chapman

Caroline Polachek • Foxes • Blood Orange • Aqua

anticipation.

Lady Destiny’s Frank Ariana Gaga Child Ocean Grande Lana Del Rey • Janelle Monaé • Lorde Grimes • Kevin Abstract • Charli XCX • Rupaul

Tei Shi • Trixie Mattel • LIZ • Alex Chapman

+ Various Artist Exhibitions & Experiences

T I C K E T S AVA I L A B L E N O W AT T H E O N LY F E S T I VA L . C O M

W E E K E N D PA S S + E X C L U S I V E PA C K A G E + S H I R T

Includes all GA Benefits

T I C K E T S AVA I L A B L E N O W AT T H E O N LY F E S T I VA L . C O M

L A S V E G A S F E S T I VA L G R O U N D S • J U N E 1 3 - 1 4 , 2 0 2 0

@TheOnlyFestival + T H E ‘ O N LY F E S T ’ A P P

L A S V E G A S F E S T I VA L G R O U N D S • J U N E 1 3 - 1 4 , 2 0 2 0 @TheOnlyFestival + T H E ‘ O N LY F E S T ’ A P P

INSTAGRAM MOCKUP

45

Lady Frank Saturday J U N E Gaga Ocean

13

Lana Del Rey • Lorde • Grimes • Rupaul BLACKPINK • Troye Sivan • Kim Petras • Carly Rae Jepsen Poppy • Kyary Pamyu Pamyu • Normani • Banks • Allie X • Ava Max Hannah Diamond • Cashmere Cat • Mitski • Foxes • Clairo Natalia Kills • Wet • Pabllo Vittar • Tove Styrke

Sunday J U N E

14

WEEKEND

VARIOUS POSTS

LINEUP POSTS

ST E V E N M A N N G U Y E N

The Only Package

Ariana Destiny’s Grande Child

Janelle Monaé • Charli XCX • Dua Lipa Kevin Absract • Kacey Musgraves • Sky Ferreira • FKA Twigs Doja Cat • Marina • Megan Thee Stallion • Little Mix

$400

Saweetie • HANA • King Princess • Conan Gray • Rich Brian Caroline Polachek • Foxes • Blood Orange • Aqua Tei Shi • Trixie Mattel • LIZ • Alex Chapman T I C K E T S AVA I L A B L E N O W AT T H E O N LY F E S T I VA L . C O M

L A S V E G A S F E S T I VA L G R O U N D S • J U N E 1 3 - 1 4 , 2 0 2 0

Single Day Passes N O W AVA I L A B L E !

S U N D AY O N LY

$170

@TheOnlyFestival + T H E ‘ O N LY F E S T ’ A P P

New Merch

W E E K E N D PA S S + E X C L U S I V E PA C K A G E + S H I R T

Includes all GA Benefits

Download TOF App Explore the Lineup + M a ke a S e t T i m e S c h e d u l e !

VIP WEEKEND

$450

+ VIP Passes

Vist Offical Website

W I T H L A N YA R D

TheOnlyFestival.com

T H E O N LY F E S T I VA L . C O M / S H O P

46

INSTAGRAM POST/FEED PREVIEW

T H E O N LY F E ST I VA L

ST E V E N M A N N G U Y E N

INSTAGRAM STORIES + REMAINING COUNTDOWN

47

48

T H E O N LY F E ST I VA L

INTERNAL FESTIVAL DESIGNS The latter part of the deliverables for this project included the various internal designs that are required for a fully designed music festival. All of these assets are introduced to be merged in the promotional materials, website, and mobile application.

MERCHANDISE

Besides being sold within the festival itself when it occurs, merchandise being sold prior will also be profitable to convey the brand and also spark interest amongst the target market with modern and attractive designs for millennial appeal.

ST E V E N M A N N G U Y E N

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50

TICKET PACKAGING

T H E O N LY F E ST I VA L

The tickets to the festival themselves has been a hot topic among any festival. Fans or festival goers have grown to look forward to seeing how the packaging will turn out for their expensive tickets that they have purchased. Great packaging will build excitement and also drive users to share on social media as well, making more buzz.

ST E V E N M A N N G U Y E N

LANYARD PASSES

WRISTBANDS Weekend Wristbands are more valuable and are meant to make the customer feel more special and so a more striking or starkly different design makes it stand out and also be easily recognizable for festival staff as well.

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52

LINEUP SCHEDULE

T H E O N LY F E ST I VA L

The next asset that would come after the lineup poster would be the schedule the lineup would appear itself. This schedule is more suited for people who are already planning to attend/bought a ticket to the festival. This form of the schedule reveals the stages and the set times for each headliner so that they can plan accordingly.

ST E V E N M A N N G U Y E N

SET TIMES & PLANNING

53

Any festival go-er will argue that deciding set times to go to and organizing the most optimized concert experience for them personally is one of the hardest things about attending a festival.

Having it laid out as simply and as concise as possible helps that planning. Later in the process, the mobile application features a schedule planner to help this as well.

54

T H E O N LY F E ST I VA L

FESTIVAL MAP

The festival itself being held in Las Veg as Festival Grounds has to be laid out in a way that allows for everything that the festival designs promises for as well as other obligatory and legal facilities to make it functional.

ST E V E N M A N N G U Y E N

55

In the map design, the brand elements are still heavily featured with the gradient as the main stages and the knockout colors over the navy. Modeled after my own festival experience in the Las Vegas Festival Grounds, I placed everything strategically to allow for plenty of necessary break spaces, restrooms, food booths, hydration stations, merch booths, wristband activation, security, informational booths, and organizing parking and VIP areas.

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EXTRA INTERNAL DESIGNS

T H E O N LY F E ST I VA L

Some of the extra branded content is used as assets in the website and application to make the prospective festival look more and more realistic and immersive.

Influencer Backdrop for Photo Ops

Adult Ball Pit Space

ST E V E N M A N N G U Y E N

BABYLON TOWER, LORDE PERFORMING

THE ONLY STAGE, GRIMES PERFORMING

57

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T H E O N LY F E ST I VA L

WEBSITE The culmination of all the assets thus far comes in the form of the official prospective website. The website is one of the first destinations people would go to now to learn more about anything, and is especially the important avenue for the customer to potentially buy a ticket to the festival itself. The goals of the website is to inform the user more about what they can experience at the festival and have them one step closer to committing to buy a ticket.

To make this website prototype, I used Adobe XD instead of hosting the website on an actual publishing site such as squarespace or wix. I believe it would be better to exercise more of the Adobe Creative Suite rather than publishing this website that would not make any actual traction in the real world.

FINAL WEBSITE PREVIEW VIDEO LINK Ado be XD Prototy p e https://tiny u rl .com/T heOnly Festi val- S i te https://tiny u rl .com/T heOnly Festi val

h t t ps : // youtu.be/OT l - LQj O8 tU (A lte rna tive Link)

ST E V E N M A N N G U Y E N

59

WEBSITE PLANNING

To being formulating the website, I first sketched out some of the initial page ideas I had after researching other music festival applications. I narrowed down the amount of pages to the list that follows the sketches.

FINAL PAGES

• Home/Landing Screen • Story (About Page) • Lineup (interactive) • Experience (Festival Features) • Shop (Merch) • Tickets

60

T H E O N LY F E ST I VA L

For the home/landing page, I wanted to convey all the important information upfront such as the location, dates, and the external links to the social media, mobile application, and the tickets link.

HOME

HOME PAGE + MENU

SLIDE IN MENU - FROM SANDWICH BUTTON

ST E V E N M A N N G U Y E N

STORY PAGE Instead of a traditional ‘about’ page I wanted to explain the story about how the festival came about from a story from the founder, myself. A constant theme I wanted to have throughout the website design is to have fluidity while scrolling so the elements are large and lead into one another.

61

62

T H E O N LY F E ST I VA L

STORY PAGE instead of a traditional ‘about’ page I wanted to explain the story about how the festival came about from a story from the founder, myself. A constant theme I wanted to have throughout the website design is to have fluidity while scrolling so the elements are large and lead into one another.

ST E V E N M A N N G U Y E N

EXPANDING LINEUP

63

Every festival website features a unique and functional lineup page where the user can learn more about each performer in attendance. This flyout feature makes learning about the artists visually similar to the poster and presents the info simply and upfront.

64

T H E O N LY F E ST I VA L

EXPERIENCE PAGE For this page, I wanted to include information about what the user can experience at the festival. These include featured reviews from sponsors, a photo gallery, and important blurbs about food, drinks, and security in the festival.

ST E V E N M A N N G U Y E N

GALLERY

65

To display multiple photos of what the user can experience at the festival, I adopted this carousel gallery to display them. In the prototype, you click the individual dots to toggle a new image to view.

• Adult Ball Pit Photo • Stage Preview • City Scape • Influencer Backdrop

66

T H E O N LY F E ST I VA L

SHOP/MERCH I opted for a simple approach to display the merchandise.

Similar to many other apparel websites, the merchandise mockups are displayed with their prices below them. This is all prospective and not truly meant to be added to a cart.

ST E V E N M A N N G U Y E N

TICKETS PAGE For the most important page to make the sale, I wanted to make a very compelling and visually appealing tickets page. The fluidity of the page brings the user through all the ticket packages from largest to small. The tickets themselves would be purchased from a third party event hosting service like FrontGate which works with Coachella and other larger festivals.

67

68

T H E O N LY F E ST I VA L

MOBILE APPLICATION Another digital avenue I think is an integral part in a successful festival design in today’s age would be the accompanying mobile application. Basically a condensed version of the website with some extra features, the app plays many roles to the users. There are additional features that are especially useful for attendees of the festival such as the map, wristband activation, and a schedule planner.

The prototype of the mobile application is similar to the website. You can view the working prototype with the Adobe XD link below.

I began this process by sketching out which pages I wanted to have translated in a mobile version from the website as well as some new screens to add in the mix.

FINAL APP PREVIEW + VIDEO LINK Ado be XD Prototy p e https://tiny u rl .com/T heOnly Fest- App

Video h t t ps : // youtu.be/ 2 AXYtqVEaAI

ST E V E N M A N N G U Y E N

69

HOME SCREEN PREVIEW

70

HOME PAGE + MENU

T H E O N LY F E ST I VA L

Similar to the website, the application features a slide in menu when the sandwich menu is clicked. this motion can be seen on the prototype video.

ST E V E N M A N N G U Y E N

STORY PAGE

71

72

T H E O N LY F E ST I VA L

LINEUP PAGE This page displays the lineup in a more list type of view than the website which is more typical for mobile applications than on websites. The main headliners are highlighted at the top as well as with their names being lavender in the list. The performers are sorted in alphabetical order for ease.

ST E V E N M A N N G U Y E N

ARTIST PAGE

73

The user would land to an individual artist page from the lineup list if they clicked on their name.

This would give information similar to the website and would feature a ‘favorite’ or add to your schedule button to link to the following feature.

74

T H E O N LY F E ST I VA L

SCHEDULE The schedule is an important feature of the application. This is where the user can plan out their weekend at the festival by highlighting the acts they want to see and where according to the set times/schedules. This is can be hard to do since a lot of acts set times can conflict with one another.

This visual way would aid in that decision process and also make sure their itinerary is possible and not conflicting.

Moreover, they can make these highlights by clicking the ‘add to schedule’ button shown on the artist page screen.

You can see that ‘Carly Rae Jepsen’ has been added is shown as an alert in the beginning after the action from the artists page.

ST E V E N M A N N G U Y E N

SET TIMES

75

The set times screen is simply just the translated version of the set time social media posts. The user can zoom in if needed.

76

T H E O N LY F E ST I VA L

EXPERIENCE Similar to the experience page in the website, this page consists mostly of just the carousel gallery. The circle toggle buttons act similar to the website as well with small descriptions that change.

ST E V E N M A N N G U Y E N

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T H E O N LY F E ST I VA L

MAP SCREEN The map page is made a little differently than the rest. The page comprises of the map itself that the user drags across the screen to view the rest of the map. It is an image so in theory, the user can save the image itself to their camera roll to see the map in its entirety.

ST E V E N M A N N G U Y E N

SHOP SCREEN The shop screen is another simple translation from the website to mobile version. The items are displayed slightly larger now that it is a longer page as well.

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TICKETS PAGE

T H E O N LY F E ST I VA L

This is another condensed version of the website’s tickets page. The information is presented in the same fluid manner with a hierarchy breakdown from largest package to the single day deal.

ST E V E N M A N N G U Y E N

ACTIVATE PAGE

81

A required thing for any festival entry is to activate their newly purchased wristband. The screen depends on the type of wristband they have to be activated using the code.

82

T H E O N LY F E ST I VA L

FESTIVAL TRAILER As the first ‘extra’ deliverable of the project, I knew I wanted to make something that took the project to the next level. Using Adobe After Effects, I wanted to challenge myself to make a fully prospective commercial or trailer that could play as an ad on social media or even on televisions/mega-screens. Using stock footage and clips from other festivals I wanted to emulate a documentary/anticipation video that excites viewers and presents the festival designs translated into video format.

Learning new features on AfterEffects was a bonus learning experience throughout this process. This was my second completely After Effects project and I feel that I was able to translate the branded elements into the video well.

FINAL TRAILER + VIDEO LINK Th e Only Festival Trail er https://you tu .be/ c8zsIRvmV V 8

ST E V E N M A N N G U Y E N

STORYBOARDING

83

Like all my other deliverables, I started this process by planning out how I wanted this trailer to go. I sketched out some quick rough storyboards of shots I wanted to use, what text I wanted it to say, and the flow/sequence of the information being portrayed. Some parts of the storyboard were cut due to time constraints (the extra artists being featured outside of the big headliners).

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INTRO

T H E O N LY F E ST I VA L

At the start of the video, you are greeted with a realistic street with my personal logo superimposed onto the pavement. This is just a creative way to introduce the video with the ‘company’ or owner behind the work itself. The black and white footage and glitch effect allow for a transition to the actual trailer. The black and white accompanies the build up or anticipation clips that show ‘A NEW FESTIVAL IS HERE.’ The clips are meant to be kept darker so that the brighter clips pop out more in the main part of the video. The branding is strongly apparent with the signature Voyage Font from the logo, the colors, and the subtle grain effect with the low contrast colors.

ST E V E N M A N N G U Y E N

TITLE DISPLAY

85

The clips used throughout are meant to show the context of the festival. People having fun, big crowds in front of a stage, and time-lapses of Las Vegas are used to build a background going into the main act. the bursts that happen introducing the title of the festival with the logo is meant to fall into beat ( just like the beginning as well) and introduce the next part of the video which is much brighter and more colorful to give the exuberant energy release.

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LINEUP CLIPS

T H E O N LY F E ST I VA L

At the middle of the video, after the context and background have been established with the audience, the main headliners are presented with performance clips to grab the viewer’s attention to these big name artists to get excited. Each clip is smoothly and quickly transitioned with a flood of branded colors in different combinations. The last names of each artist are larger for style and for the viewer to instantly recognize their stage names quicker. The song ends suddenly to introduce the featured act, Destiny’s Child. Having a grandiose entrance is only right for a iconic reunion that his festival is offering.

ST E V E N M A N N G U Y E N

FESTIVAL INFO

87

After the song transitions to the Destiny’s child drum-line, the clips transition abruptly (with the music) to display important information for the viewer to learn more now that their attention is gripped after the lineup. This being the city, date, and location of the festival. The festival grounds clip shows the actual grounds itself in the background to give more context as well.

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WEB AND APP

T H E O N LY F E ST I VA L

After the important information and intentionally large dates are shown, the viewer is prompted to buy the tickets on the website or download the mobile application. This is to have a call back to the previous deliverables to further connect them all together as a cohesive campaign. The devices shown itself are actual videos of the prototypes of the website and application as well to show a main workflow.

ST E V E N M A N N G U Y E N

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END OF TRAILER END CREDITS

As for the ending, one last credit is made to show the creator once again. This is introduced as an animated sparkle logo that grows and shrinks to reveal my personal designer logo just like the beginning featured. At the bottom, a copyright line and ‘for educational purposes only’ line is featured as well to cover any rights from the clips and music used throughout the video.

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AUGMENTED REALITY As an additional extra deliverable of the project, I wanted to push the envelope even further and use a new Augmented Reality program that I just gained experience on this quarter through another course. Augmented reality is basically a scanned feature that creates a new immersive experience to typically 2D things. The functionality of this AR experience is done through the program, Reality BLU or BLU airspace.

For users to actually use this feature of the festival campaign, viewers must use the BLU airspace mobile application where you scan the lineup poster and initiate the experience which plays the video and shows the ticket packages.

VIEW FINAL AR EXPERIENCE RECORDING A R EX PERIENCE RECORDIN G https://you tu .be/ RjqBZgZtbTs

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IMPROVEMENTS Overall, I am very happy with how this project has turned out overall. I believe I fulfilled the success criteria well with every deliverable.

I think the main improvements that I could have included would be more festival displays to make the festival event itself more realistic.

This can include booth designs that I initially wanted to make to show how the food, drink, and hydration stations were meant to look like and more. Here is a list of things I still can do with the deliverables to really take them to that even higher level of completion:

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Longer After Effects video with more (and maybe even original) clips of festivals. More dynamic effects rather than just color and element overlays (color splash).

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More merchandise that are more cohesive in mockup designs.

Actually print out the merchandise to display in person.

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Publish the website itself to a hosting website such as netlify, squarespace, or wix.

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Incorporate video elements into the website more and implement the AR experience encouragements in the promotional materials rather than it being a hidden feature.

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Create a truly animated logo with 3D Modeling involved.

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NEXT STEPS There are a lot of extents I could have stretched this project to even going into 3D modeling and more, but for what I planned in the beginning I believe that this project was suffice to be considered a completed design project. The next steps for this project would be to show these deliverables to employers and talk about the entire process from start to finish. I want to give this project exposure on social media, and other platforms to really show how far I went to try to reach the highest degree of realism as possible for this project. I am happy that this project will forever live in the archives of California Polytechnic State University’s Graphic Communication department and that it is my last large project of my undergraduate college career!

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PROJECT REFLECTION

Going into this project, I knew that it would not be an easy

feat to achieve. Now at the tail-end of the process, it has surely been a beneficial and learning experience. There are so many project managements tools that can be learned and I am glad that I was able to apply them to this project and really see the impact each one has on the outcomes.

A strength of this project was surely my determination and

high interest level in the subject matter of this project. I was lucky to have the drive to carry myself through this project entirely. I know that it could have been done faster possibly with other group members, but it was my own personal challenge and capstone portfolio piece that I am excited to present in the future.

A huge change that occurred this quarter was of course

everything being on lockdown and the sudden adjustments to the ‘new normal’ really did affect this project more than I thought it would. On top of my other courses and job duties, I found it a lot harder to motivate myself throughout this process due to the lack of variety in my day to day life. When everything feels like the same day, the work that I would do felt more meaningless and unchanging compared to if I were to be able to experience a proper last quarter in college. I would be able to surround myself in the right environments and people to help me finish stronger than I feel like I can now, but I still feel like all my efforts are worthwhile. On top of adjusting to ‘the new normal’ my last quarter classes being virtual did not seem like it would be this much harder to manage my time. I knew that taking online classes meant a lot of self-motivation and self-discipline to

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get things done on my own, but I did not think it would be so much scheduled work that made every day feel like there was a new deadline. When I started to realize how bad it was getting for me to handle everything, I was able to make more mitigation plans and strive for harder deadlines.

Another aspect of this project that really made some set-

backs and dragged some processes on for longer than it needed to was my own decision making. It is always the hardest thing to start a project even with all the clarity I thought I had on it going into it. I wish I had settled with a name for my brand faster than it actually took me and that was because I was weighing too many options at once and could not make a decision quick enough to go forward to stay on track. In the future I will ensure that these more important decisions that really jumpstarts the progress of a project are more concretely decided upon than freely waited upon until landing on the most comfortable one.

At the end of this process, including the process book, I am

very proud of what I am able to execute and present in a short period of time. I knew that it was an ambitious project going into it and I was not ready for the amount of change I was going to face in my environment around me with Covid-19 and tons of media being unearthed in the United States. I set this festival’s date to my graduation dates because I wanted to remember these dates despite how much of it that has changed that can make it less memorable. I am very glad to have had this experience and although I wish I could express this excitement to my peers and friends more so in person, I know that I am ready for anything the world puts forth to me now.

Steven Man Nguyen Š 2020 For educational purposes only