Docfest research & development by Tom Doherty

SHEFFIELD DOCUMENTARY FILM FESTIVAL 2012 RESEARCH & DEVELOPMENT

CONTENTS /THE BRIEF /RESEARCH /MIND MAPPING & INITIAL IDEAS /MARQUE DEVELOPMENT / P O S T E R D E V E L O P M E N T / E N V I R O N M E N TA L /COVER & INTRO BOOKLET / C O M M E M O R AT I V E P R O G R A M M E / E VA L U AT I O N

BRIEF

Background

Brief

The Sheffield Documentary Film Festival (Sheffield Doc/fest)

You have been commissioned to conceive and develop ideas and visual elements for a design campaign to promote the Sheffield Doc/Fest 2012 (Without Compromise).

The annual Sheffield Doc/Fest brings the international documentary family together to celebrate the art and business of documentary making for five intense days in June. Sheffield is fast becoming known as one of the top places in the world for people from the documentary and digital industries to get together - to meet, to screen their work, share knowledge, do business, make new contacts and discuss innovations and challenges they are facing in the ever changing media landscape. Over the past four years Sheffield Doc/Fest has massively expanded its marketplace activity, as well as its cross platform, interactive and digital programme. These developments and the stunning film programme and often controversial conference sessions are what attract over 2000 delegates from around the globe and thousands of general public. Sheffield Doc/Fest is famous for its fabulous parties and endless networking opportunities. The festival programme includes 120 films from dozens of countries, 300 speakers from the digital and docs sector and over 150 buyers and decision makers from 20 countries participate in the marketplace. Millions of pounds of deals are done during the festival.

Initially this will involve the ‘branding’ of the overall festival and applying this to a range on contexts including literature, ad-shells, posters, flyers, banners, web banners etc. You are then required to conceive and produce a commemorative programme for one of the documentary films selected from the list below. This should include information on the film-maker, the background context to the documentary subject and the team involved in the making. This brief is deliberately wide to give you the opportunity to do some ‘blue sky thinking’ and to conceive a powerful and effective campaign both to inform about and to raise the perception of the Sheffield Doc/fest as a major national and international event. At this stage don’t worry about budget or production constraints – The Doc/Fest team require a powerful, imaginative, memorable concept as a design proposal. The practicalities will be considered thereafter.

Sheffield Doc/Fest 2012 (strapline: Without Compromise) will take place between13-17 June 2012.

BRIEF

Specific Outcomes Required:

3 Design Development Sheets – your ‘Journey’

1 Client Presentation Visuals You are required to present high quality client presentation visuals to convey your concept / solution for the following: These should be presented as prints and, additionally, digitally as press-quality print PDF’s.

On completion, it is essential that ‘design development’ sheets produced throughout the duration of the project accompany your outcomes. These sheets must visually show your ‘journey’ from initial exploratory ideas and investigations, through evaluation and analysis to the final solutions. You are expected to annotate these visuals with personal comments etc. These should be collated together in a suitable folder or sketchbook for assessment.

1. The Doc/Fest in general • A marque/logo ‘brand’ for the Sheffield Doc/ Fest 2012 (Without Compromise)

4 Evaluation • A cover and sample introductory section for a programme for the Festival (copy for intro provided) • A ‘Call for Entries’ Poster (copy provided) • Environmental promotional material which can include: – ad-shells – lamp-post banners – bus graphics 2. A commemorative programme for one of the documentary films. • Minimum of a cover and 3 spreads (copy and content to be determined by you) You must establish and utilise a typographic grid to structure all titles, text, folios etc.

Conclude your submission with a detailed evaluation of the project – why you feel your solution is successful / what you have gained from the experience / what you feel you could develop further etc. Considerations for assessment: • Quality and depth of research • Clarity of understanding of the assignment’s requirements • Creative Risk-taking • Appropriateness of visual concepts to the client’s business and needs • Time & Project Management • Degree of motivation and application • Effectiveness of the communication of ideas/ concepts in the context of the themes addressed • Safe work practice, both in studio and computersuite • Competent use of computer-based hard and software • Quality and depth of presentation

RESEARCH

Here a a few examples of film festival posters that caught my attention for various reasons. They’re all communicating a similar thing, in different ways. The French film festival for example is playing on the ‘French kiss’ to get people to identify with it being about French film. I think this is an excellent means of advertising itself, It’s challenging its audience, and it’s strayed from the obvious.

RESEARCH

The Tribeca Film Festival is a film festival founded in 2002 by Jane Rosenthal, Robert De Niro and Craig Hatkoff in a response to the September 11, 2001 attacks on the World Trade Center and the consequent loss of vitality in the TriBeCa neighborhood in Lower Manhattan. The mission of the festival is “to enable the international film community and the general public to experience the power of film by redefining the film festival experience.” The Tribeca Film Festival was founded to celebrate New York City as a major filmmaking center and to contribute to the long-term recovery of lower Manhattan. In 2006 and 2007, the Festival had over 8600 film submissions and 1,500 screenings. The Festival’s program line-up includes a variety of independent films including documentaries, narrative features and shorts, as well as a program of family-friendly films. The Festival also features panel discussions with personalities in the entertainment world and a music lounge produced with ASCAP to showcase artists. One of the more distinctive components of the Festival is its Artists Awards program in which emerging and renowned artists celebrate filmmakers by providing original works of art that are given to the filmmakers’ competition winners. Past artists of the Artists Awards program have included Chuck Close, Alex Katz, and Julian Schnabel. Their branding is simple, classy and memorable.

RESEARCH

This is a poster of the Globians Doc/Fest. A completely typographical response to advertising the festival. Personally I donâ&#x20AC;&#x2122;t think it works all too well, it doesnt provoke me into feeling anything, Its colours are bland, and reminiscant of a hazard sign, or something along those lines. I think a typographical approach to creating a poster is an excellent idea, but It needs to be executed in the correct way.

RESEARCH

This is the poster for the Nineteenth Hot Springs Doc Fest. Itâ&#x20AC;&#x2122;s using the idea of the cinema front of get across the message, which is a little to obvious for my liking. I think its fit for purpose, and communicates effectively but isnt particularly challenging, something that I think people interested in documentaries might respond to/enjoy more.

RESEARCH

Here are two more examples of past documentary film festival posters/flyers/advertising. The NYDFF is very simple, but cold and doesnt leave with any intrigue to learn more, whereas the IDFA poster is much more interesting. Whilst it is using film reels, which may be considered as an â&#x20AC;&#x2DC;easy way outâ&#x20AC;&#x2122; when dealing with something film related, I think its been done tastefully, and in a why that I probably wouldnt expect to see. I think for this reason it works well, and has a nice flow to it, linking the reels to the circles of information is a nice touch.

RESEARCH

This is last years San Francisco Doc/Fest identity. It is simple, stylised and reasonably effective. The background to it is blurred and our of focus, as if looking through lights through a camera. I think it works well, and hasnt taken the obvious route of showing something overtly film orientated. I think it could do with having a little bit more to it though, in my own opinion as it doesnt really stir any emotions, or really leave me with any desire to find out more.

RESEARCH

Catalonia’s Fantastic Film Festival has it all: a great line-up of genre films, a sun-drenched setting, parties on the beach, even a zombie walk... The Sitges Film Festival began life in 1968 and hasn’t looked back, making it one of the best festivals in Spain and perhaps the best fantastic film fest in the world. This year they have two, very simple portraits, one male, one female. The photography is striking yet incredibly straightforward. There’s something intense and vaguely unsettling about these portraits, as if the models weren’t entirely human. At the same time, it’s hard to point to the exact cause of this visual disconnect. As a result, you want to know these characters’ stories, you yearn to find out who they are and where they come from. You have to admire a festival able to elicit that sense of curiosity and that desire to be told a story just through its poster... Edit: a friend has kindly pointed out that the models are in fact robots, Geminoids to be exact.

RESEARCH

The Czech Republicâ&#x20AC;&#x2122;s illustrious Karlovy Vary Film Festival is one of the most well-respected showcases in Europe. The festival often plays with typography in its posters, and this is one of the more successful attempts. Projections of light onto the body of woman, at night, spell out the festival name and dates. The photographic fragments of the contact sheet combine to give the illusion of moving image.

RESEARCH

A small festival dedicated to the films of Woody Allen is blessed with this fun, tongue-in-cheek poster by Californian graphic designer Elizabeth Chiu. Simple, memorable.

RESEARCH

Well-executed typography gives a poster impact. While itâ&#x20AC;&#x2122;s harder to communicate specific ideas about cinema through typography, let alone to describe the event itself, it does align the festival with a very contemporary aesthetic which can strike a chord with new audiences. It also puts the emphasis on the text, and therefore drives home the identity of the festival and its remit. Here are two good examples: the 7th Twin Cities Arab Film Festival, and the 12th Newport Beach Film Festival.

RESEARCH

The Dutch are design-savvy and this piece of marketing collateral is no exception. Traditional Japanese imagery fuses with pop art to create the arresting poster designs for Camera Japan, Rotterdam’s 6th Japanese Film Festival. The tagline, “Made in Japan?” invites us to ponder the global cycles of influence which shape world cinema. The event itself focuses on the intersections between film and other art forms, from architecture to music and dance. Many of the screenings are interactive or enhanced with live performances. Looks pretty awesome, if you ask me.

RESEARCH

The poster for the 24th Helsinki International Film Festival grabs your attention and holds it: bright colours, strange visual, gorgeous type. A childishly drawn character in a suit, holding an ax and what looks like a can of petrol. “Olen Valmis”. “I’m ready”. The “title” of the festival - in beautiful exotic red script - is “Rakkautta & Anarkiaa” which means “Love & Anarchy”. How cool is that? Incidentally, the festival opens with Almodovar’s baroque & grotesque queer noir The Skin I Live In, and the design feels somewhat appropriate. There’s no reason this should work, but it does. I’m ready too.

Sam Smith is one of my favourite graphic designers. He’s known for his re-imagined, film poster screenprints for the Belcourt Theatre, in his home town of Nashville, one-sheets for arthouse distributors and a string of ace Criterion covers. When he’s not creating awesome designs, he tours the world playing drums with Ben Folds, as you do. For the Nashville Film Festival he designed this clever poster, clearly inspired by Palme D’Or winner Uncle Boonmee Who Can Recall His Past Lives.

RESEARCH

This poster doubles as a “Real Life Media Player” with a die-cut window in the poster’s center that allows viewers to experience their environment as if they are watching a YouTube video. The poster also incorporates usage instructions and encourages viewers to upload their own videos to the festival website, all relating back to the festival’s 2011 theme of film and video embedded in everyday life. The John Hopkins Film Festival was established in 1997 and is run out of John Hopkins University in Baltimore, Maryland.

RESEARCH

The poster of the 64th edition of Cannes is a stunning, minimal black-and-white shot of Faye Dunaway photographed by director Jerry Schatzberg in 1970 for his film Puzzle of a Downfall Child. The number â&#x20AC;&#x153;64â&#x20AC;? is both huge and in type so thin as to be nearly invisible. The result is pure elegance, movie glamour without hint of red carpet.

RESEARCH

These are posters for the Columbia University Film Festival. I think theyâ&#x20AC;&#x2122;re beautifully constructed, and I find every aspect of them to be excellently thought out. I think the accompanying typopgraphy works well within the poster, and I think the design of the images gives a really strong identity to the festival.

RESEARCH

This year’s poster for the Raindance independent film festival in London has been designed by the fashion and celebrity photographer Rankin. The image shows Rankin’s wife, Tuuli Shipster – whom he uses as a model whenever he can – holding up a camera over one eye, with shadows falling over the left side of her face so that only a triangular space taking in her eye and half her mouth is lit. A reflected circle of light in the camera lens replaces her right pupil. The image is overlaid and repeated at least three times, a device that makes the lens of the camera into a series of interlocking circles, something that can be seen more clearly in the portrait version, and produces interesting framing effects throughout. Shipster’s eye make-up, cherry-red lips and swept-back hair, as well as the icy background colours, locate the picture firmly in the present day, but the old Super 8-style camera she is holding and Raindance’s usual Saul Bass-like bouncing typography create a pleasingly jarring effect. Elliot Grove, the founder and director of the festival, said he had given Rankin an “open brief”. “When he came back with the idea of a lens for the eye, we were thrilled, and that actually helped us develop the tagline for this year’s festival: ‘The World through a Different Lens’,” he said. Grove said Rankin had recognised that Raindance wanted “something edgy and alternative to complement the independent films showcased by the festival”, and said he was “delighted” with the poster.

RESEARCH

Here is a peice of design that I found interesting whilst looking for posters. Its not film-related but I love the use of colour and layout. This is a style that I think would translate well to what iâ&#x20AC;&#x2122;m trying to achieve, and well definately be inspiratation within whichever route I take.

RESEARCH

I absolutely love these images, especially the two that feature eyes. Eyes could be something to look into, afterall films and documentaries are visual and I could be an interesting route to take.

RESEARCH

A very simple poster at first glance, but the layers are there behind this poster for Markus Schleinzer’s Cannes film “Michael”. The film deals with the very confronting subject of paedophelia and you can choose to take this poster in a multitude of ways. Is it a mere representation of childhood innocence, is it a physical representation of the way a child’s memory can be easily picked apart and put back together? Or is it even a test to viewers, as if saying “if you think this jigsaw is hard to finish, wait until you see Michael!” Whist not being a film festival poster, I definately like the fact has more to it than may initially meet the eye.

RESEARCH

Here are some more examples of poster work that I found interesting. Each of them are very different in style, but equally effective in their communicaton.

RESEARCH

Optical illusions can get you noticed and this one, for Athina Rachel Tsangariâ&#x20AC;&#x2122;s Greek film, is a great example. Itâ&#x20AC;&#x2122;s a twisted and contorted examination of a human body in such close-up that you can see the hairs sticking up on end, and one that probably represents Attenberg quite well. Its angular lines, abrupt typeface and colour, as well as its cryptic appearance make for a hypnotic and mesmerising poster.

RESEARCH

Here are some examples of minimalist poster design. I really like this style of design, I think it asks more of the consumer, and that is something that I like to do in my design work. This will be a style that Iâ&#x20AC;&#x2122;ll try to utilise within this brief as I think it could be used to great effect.

RESEARCH

These are two pieces that show the branding of Sheffield Doc/Fest this year. There is a strong typographic feel across both the images that is clearly the style that the designers where trying to achieve. The colours are simple, Magenta, black and white, with various shades of gray used too. I think the pink brings the work to life. The typography is intentionally “grungy” as it trying to emulate the feel of what a documentary is. By analysising what we see in their work we can understand what they believe documentaries to be; edgy, patched together, budget to name just a few. I personally think its well constructed, and although not particulary original I think it’s been made memorable.

RESEARCH

These are two past pieces of advertising for the Sheffield Doc/Fest. I think they look pretty good, especially 2008â&#x20AC;&#x2122;s where it is overlayed over a stange image. I think it has a really strong theme and feel behind it.

RESEARCH

These are a collection of images from my chosen documentary ‘‘To Hell & Back Again’’. They show the main two people involved within the documentary, aswell as an overview of what the film looks like, and the way that it was shot.

RESEARCH

There have been plenty of combat documentaries over the last 10 years, but photojournalist Danfung Dennis’ “Hell and Back Again” adopts an original conceit. Dennis follows Marine Sgt. Nathan Harris, a gruff 25-year-old who was stationed in Afghanistan, during two seminal moments in his life. During an assault on a Taliban stronghold, Harris received a bullet wound in his rear that prematurely sent him home. Back in North Carolina with his wife, temporarily unable to walk and unsure of his military future, Harris drifts through his mundane life dealing with echoes of the past. Rather than letting his subject attempt to explain the trauma, Dennis shows it, repeatedly cutting between the two periods. The events speak for themselves. The flashback has become a cliché in fictional cinema and when Dennis applies the same technique to reality, it initially comes across as presumptuous. No matter what his subject approved, the idea of combining footage from two periods of Harris’ life assumes an outside observer can get inside the ex-marine’s head. However, Dennis doesn’t overplay each transition and the bold concept eventually plays off. In the field, negotiating with local Afghanis and barking orders in the heat of battle, Harris looks much older and assertive than the withered young adult who returns to North Carolina. Wheeling around town -- overmedicated, depressed and in constant pain -- he struggles to maintain the assertiveness of his former life. By cutting back to the rough masculine environment he dominated overseas, the film shows just how remote he feels from his current life. The battlefield imagery grows increasingly unsettling, building toward the incident that sent Harris home. With its finetuned approach, “Hell and Back Again” is possibly the best war movie of the year (unless Steven Spielberg’s “War Horse” pulls off a miracle), but it’s certainly the one that gets closest to the heat of the battle. Dennis’ revealing access to the Echo Company’s second platoon in Afghanistan places “Hell and Back Again” alongside a spate of recent documentaries that show the Afghanistan war in detail. These include “Restrepo,” “Severe Clear” and “Armadillo,” where the camera gets intimate with the combat but rarely shows the aggressors, leading to the appearance of a one-sided action movie in which the soldiers are really at war with themselves. However, “Hell and Back Again” does show another side of the story. While not showing the enemy on the battlefield, it examines the damage to Harris’ psyche. Dennis uses several effective transitions between the now and then: The sight of Harris, on the hunt for new real estate and wandering through an empty house with his wife, abruptly shifts to a scene of Harris bursting through the door of an occupied Afghani home. On his couch, Harris lazily plays military shooting game “Call of Duty 4,” a moment that segues into scenes of his actual run-and-gun tactics in the field. Some juxtapositions are obvious, but Dennis doesn’t ruin them with extended or overly sentimental montages. The story moves swiftly forward. While sympathetic to Harris’ plight, “Hell and Back Again” doesn’t avoid passing judgement. The former marine’s sense of heroism runs counter to the document of his platoon’s experience, which largely involves placating angry Afghani villagers or yelling at them when they withhold information. “We can’t resist against you or the Taliban,” one of them says. In an opening speech to the troops, the platoon leader announces that the soldiers must “force the Taliban to react to us rather than us reacting to them.” But that perspective fails to take into account the soldiers’ eventual reaction to themselves. “Hell and Back Again” dwells in that uncomfortable purgatory and finds no easy escape.

MINDMAPPING & INITIAL IDEAS

MARQUE DEVELOPMENT

These marque ideas are based around the eye, to emphasise the Docfestâ&#x20AC;&#x2122;s visual side. With work I think they could be a potentially strong marques. Both could work in a variety of orientations, and a variety of colours. The marque on the left is designed to be rigid and geometrical, whereas the marque on the right is more organic and human-like.

MARQUE DEVELOPMENT

This idea is based around a circle (lense shape or O) that is cut in half diagonally to create the S shape, made up of D’s to form the Sheff-Doc aspect behind it. Alternatively you can view it as a S shape, made up of a C, D and what would be a O, forming DOC. I really like this concept, I think its simple, and works well. It is a marque that can easily translate across multiple media in a variety of colours.

This marque concept is a D and an F bound within a circle (the eye/lense etc) The D and F work together in such a way that they’re interlinked, giving the design a nice flow to it. They fit together to mean DOCFEST - Accompanying typeography would state Sheffield and 2012. Because of its simplicity I believe it works well as a marque for the docfest, and i’m eager to see what it looks like once rendered on mac. The marque could easily be used as a sticker or stamp giving it’s circular design.

MARQUE DEVELOPMENT

The Sheffield Documentary Film Festival 2012

This is a mockup of the DF marque. I think it works pretty well, but is perhaps a little too angular and corporate for Sheffieldâ&#x20AC;&#x2122;s Docfest. My choice of colour is by no means final, as I think this marque could work in pretty much any colour given its simplicity.

MARQUE DEVELOPMENT

I revisited the DF marque and made some changes.The changes include lightening the stroke width, so it seems less clumsy, aswell as removing one of the circles so there is just one singular circle surrounding the marque. The changes definately make the marque work better. The accompanying type would probably be set in upper case, as shown with the Docfest’s strap line ‘‘Without Compromise’’. At this point none of the typefaces, kerning and orientation are final, and are all very much a work in progress.

MARQUE DEVELOPMENT

Here is a sample of the marque working over an image, just to see if it was strong enough. I think it stands out enough. Its memorable and attractive, but way too corporate and looks too much like an electronics company or something along those lines. It lacks any real meaning and humanism to it, which is why iâ&#x20AC;&#x2122;m going to explore my other concepts before I made a decision on which marque to go with.

MARQUE DEVELOPMENT

This visual marks a return to my eye concept. I opted to mac-up the more geometric-shaped version to see what It looked like, and I was pleasantly surprised. It is a strong, bold marque, but unfortunately its something that has been done one too many times, and is strongly linked with programmes and companies such as big brother, and CBS.

Big Brother UK

CBS

MARQUE DEVELOPMENT

This was an idea for a poster using the eye marque overlayed and placed at random to create a surreal looking image. I actually think its quite a cool looking poster, one that could work well with any of my marques.

MARQUE DEVELOPMENT

sheffdocfest.com/

OCFST This is the SD marque macced up. I love it’s simplicity and meaning, It is the kind of marque that I could imagine being animated at the beginning of documentaries, perhaps a lense front that slides appart revealing the SD shape. This is going to be the marque I’m going to use once i’ve added the additional typography as I think it communicates the message most effectively and most attractively.

DOCFEST The Sheffield Documentary I had this idea whilst looking at a television remote, that the logo could be a play button, or a Film Festival 2012 fast-forward button, perhaps making a statement about what documentaries are; fast, relentless, uncompromising etc. I think it works pretty well, although there is maybe some slight legibilty problems with the D, I think the F is pretty obvious though.

Without Compromise

MARQUE DEVELOPMENT

SHEFFIELD DOCUMENTARY FILM FESTIVAL 2012 It took a while to get here but this is my final marque concept. I experimented with different typefaces, colours, textures, gradients, orientations and this is what I personally feel works best. I’ve deliberately tried to keep it simple because I don’t think it needs complication. The Typeography is in AVENIR LT STD MEDIUM - in caps, loosely kerned and leaded to open it out. I am confident this marque could be reduced or enlarged to pretty much any size and would remain recognisable, and would be very easy to replicate. The marque can be a variety of colours and textures and it doesnt compromise its strength in communication, this is why I’ve chosen to submit this as my Sheffield Doc/Fest 2012 marque.

SHEFFIELD DOCUMENTARY FILM FESTIVAL 2012

SHEFFIELD DOCUMENTARY FILM FESTIVAL 2012 49

POSTER DEVELOPMENT

After experimenting with various differnent styles of poster, most of them prominantly featuring my marque I came up with this idea - having the marque as the main feature again, but with typography overlaying it. The image I chose was a camera lense, and although the image works pretty well as a piece of communication and has a nice feel, the lense probably isnâ&#x20AC;&#x2122;t obvious and looks more like a swirl shape.

POSTER DEVELOPMENT

Eyeball cut-out

I took the camera lense idea and combined it with the idea I had for one of my marques - the eye. I found a suitable image, enlarged it and cut it out as shown above. I then cut the eye into the shape of my marque and then overlayed it over a film textured background to give it a grungy, gritty feel - something that the typography could potentionally work off/with. The eyeâ&#x20AC;&#x2122;s visibility isnt too clear, but I think the piece is stylised in such a way that it isnâ&#x20AC;&#x2122;t that important. If the person sees it, and recognises it then it adds another layer to the poster, if not then the overall look of the poster should still leave an impression.

POSTER DEVELOPMENT

Here are some layout sketches for my poster. My preferred orientation is the one marked by the arrow.

POSTER DEVELOPMENT

This is my first mac-up of my new poster idea. I think it works really well, I like the way the eye/marque is working in the background, and the way the typography sits over it. It combines a grungy/gritty background with the very modern, sans-serif typeface (Avenir).

POSTER DEVELOPMENT

These are two variations of my initial poster. The first is the same, except with magenta coloured type, which I think gives the peice more vibrance and noticablity. The second has had a pattern overlayed to give the impression of warped scan-lines on a TV, or perhaps a fingerprint that denotes the hands on approach that documentaries use.

POSTER DEVELOPMENT

This is another poster idea with the pattern overlayed, except this time I tried it with a green, aswell and the magenta. I think this one gives across a very strange feel to it, its quite mesmirising. Personally I think the overlayed pattern is a little too much, and will experiement further without.

POSTER DEVELOPMENT

Here are some colour variants for the poster, after some experimentation with different hueâ&#x20AC;&#x2122;s and levels, I am happer with the darker looking image.

POSTER DEVELOPMENT

SH E F FIELD D O C F E S T 2 0 1 2 After further thought, iâ&#x20AC;&#x2122;ve decided to make an ammendment to the scructure of the typography on the poster, and have omitted the hyphenation after the Shef. I found it to be unnessesary and awkward looking, and it didnt really aid legibility. The the right is the corrected version of the typography.

POSTER DEVELOPMENT

This is my final poster concept. I editted the colour of the type, to white, as it stands out from the background better, and aids legiblity alot. Iâ&#x20AC;&#x2122;m happy with how it looks, and believe it communicates the Docfest appropriately and effectively.

POSTER DEVELOPMENT

SHEF FIELD D O C FEST 2012 CALL

SHEF FIELD D O C FEST 2012

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SHEF FIELD D O C FEST 2012

Here are two of my ‘‘Call For Entries” concepts. The idea behind them both was to have the cal for entries section put on at an angle to soften the very vertical feel the poster has. one is much smaller, and probably doesnt work all too well, although the one on the right definately communicates well, and is distinguishable from the normal poster. The typography is applied as if it’s a stamp, or perhaps been pasted on, adding to the grungy/gritty feel i’ve tried to create behind it.

POSTER DEVELOPMENT

SHEF FIELD D O C FEST 2012 CALL FOR ENTRIES Sheffield Doc/Fest 2012 will take place between 13-17 June. Don’t miss out on the UK’s mustattend documentary event of the year. The 2011 festival attracted a record number of delegates, so get it in quick and secure your place at Sheffield Doc/Fest. Online registration for 2012 is now open. Final deadline to get your details included in the Delegate Guide is Monday 4 June 2012. Please read our Terms and Conditions before completing your registration. Early Bird Pass: £200 + VAT Concession Pass: £100 + VAT (Full time students, Senior Citizens, Claimants, Carers) Concession Pass Your proof of concession status must be valid until 18 June 2012. Please email one of the following forms of proof to registration [at] sidf.co.uk. Please note you won’t be able to register using the online form until we have seen your proof of status.

- Full time students: NUS Student Card, University Student Card, International Student Identity Card, Letter from your university verifying student status - Senior Citizens: Driver’s License, Railcard, Freedom Pass, Passport, Birth Certificate - Claimants: Letter from The Department of Work and Pensions, on headed paper, signed by a representative, verifying Job Seekers Allowance or Incapacity Benefit. Carers should send proof of their status. Organisational Discounts If you are a member of the following organisations you may be eligible for a discounted registration: Shooting People, DFG, Focal International, EDN, PACT, PMA and further to be announced. This discount is available from each organization on a first come, first served basis. Doc/Fest is unable to answer queries regarding this discount - you must refer to the relevant organisation’s website or e-news bulletins for details.

Registration includes: - Access to all film screenings in the festival programme - Access to all conference programme sessions - Access to all parties and social events - Access to key international documentary buyers - Your details published in the Delegate Guide if you register before Monday 4 June 2012 - Delegate Bag, Festival Catalogue and Delegate Guide - Access to the Delegate Centre - Exclusive Delegate Updates via email containing essential information about the Festival, and subscription to our year round e-news.

SHEF FIELD D O C FEST 2012

On this idea i’ve changed back to the magenta coloured typography, and have call for entries underneith, set across three columns. I think this setup works well, although the call for entries part isnt very noticable and could easily be overlooked.

POSTER DEVELOPMENT

SH E F FIELD D O C F E S T 2 0 1 2 CALL FOR ENTRIES Sheffield Doc/Fest 2012 will take place between 13-17 June. Don’t miss out on the UK’s mustattend documentary event of the year. The 2011 festival attracted a record number of delegates, so get it in quick and secure your place at Sheffield Doc/Fest. Online registration for 2012 is now open. Final deadline to get your details included in the Delegate Guide is Monday 4 June 2012. Please read our Terms and Conditions before completing your registration. Early Bird Pass: £200 + VAT Concession Pass: £100 + VAT (Full time students, Senior Citizens, Claimants, Carers) Concession Pass Your proof of concession status must be valid until 18 June 2012. Please email one of the following forms of proof to registration [at] sidf.co.uk. Please note you won’t be able to register using the online form until we have seen your proof of status.

SHEFFIELD DOCUMENTARY FILM FESTIVAL 2012

This is my final call for entries poster. I decided to put the call for entries section in pink to increase its noticablity and I think it works well. The block of magenta intrudes into the grungy textured background and that makes it more noticable.

POSTER DEVELOPMENT

SH E F FIELD D O C F E S T 2 0 1 2 13 - 17 JUNE W W W . S H E F F D O C F E S T. C O M @SHEFFDOCFEST

In association with SHEFFIELD DOCUMENTARY FILM FESTIVAL 2012

This is my revised poster for the Docfest. After finalising my call for entries poster, I realised that the colour usage in that was more effective. I’m really happy with both of my posters, I think they’re really stylish and give a different feel to the existing Docfest event, and its identity.

APPLICATIONS

Adshel Application

APPLICATIONS

Banner Application

APPLICATIONS

Bus Graphic Application

COVER AND INTRO BOOKLET

This is my idea for the docfest booklet / introductory section. The booklet is going to be A5, with images taking up full pages, against pages with two columns of type. Iâ&#x20AC;&#x2122;d like the booklet to be very picture orientated, as I think throught images I can really capture my vision of the Docfest.

COVER AND INTRO BOOKLET This is the cover to my booklet. I have kept very similar to my poster because I think that it gives a very strong feel.

SH E F FIELD D O C F E S T 2 0 1 2 In association with

This is the back cover to my booklet. It uses the same texture as the front/poster but without the split-eye. It features the Docfest marque in pink, aswell as the website and twitter page. SHEFFIELD D O C U M E N TA RY FILM F E S T I VA L 2012

W W W . S H E F F D O C F E S T. C O M @SHEFFDOCFEST

COVER AND INTRO BOOKLET This idea involves having a face inside an old looking tv, screaming but with static and interference. I wanted to create an image that was challenging, intimidating and really ‘‘in-your-face’’. The colour theme will be consistent across all my images for the inner pages of this booklet, and I believe that the colours work well together, and create an eerie and strange look - exactly what I’m looking for.

This idea, was similar to my crazed face idea, except I wanted the model to be attractive, yet vacant looking, almost mesmirized. I created shades, constructed from film lenses as if to show that the model is looking through the camera how a director would see the film, how the audience would potentially be seeing the Docfest films. I think its very sylistic, and fits into my vision/eye/ seeing theme pretty well.

COVER AND INTRO BOOKLET This was the first image I created. I wanted to create something weird involving eyes, so naturally I decided to mount a giant one atop of my head. The pose is reaching out, as if to come out of the picture, and has various textures overlayed to give it that worn, gritty look.

This idea is simple, but creates a quite dramatic and intimidating picture. The idea is just a crazed face, with old camera film positioned over the face, almost like eyes. I tried a variety of different ways but preferred the way this way I could show inside of one of the film reels, which I think gives the picture more depth than simply positioning them in place of the eyes. I think we naturally make the comparison between the circular reels and eyes anyway, so exact positioning is unnessesary on this occasion.

This image is of a hooded figure, but with a camera that stares out of the front where the face would normally be. Whilst replacing someones head with a camera might not be particulary original, I think I created this image in such a way that iâ&#x20AC;&#x2122;ve given it my own style and feel.

COVER AND INTRO BOOKLET

For this concept I used two different images. The skull, and the female eyes are combine to give an unsettling look to the face, and the clapperboard in the top of the skull is reference to film. This is probably my favourite of all the images, and I think it really conveys my strange, abstract and challenging vision for the Docfest.

COMMEMORATIVE PROGRAMME

These are a few page layout ideas I worked on for my comemmorative brochure. The images are mainly fullscreen with the type overlayed. Iâ&#x20AC;&#x2122;ve opted for this approach because I believe as a commemorative brochure the images should be of a good size, and be the prominant feature to the pages.

COMMEMORATIVE PROGRAMME

This is my initial design for the cover of my commemorative brochure. The idea behind the cover is using the typeography which features throughout the brochure, overlayed over a revolver. The revolver represents the scene where Harris plays ‘‘make-believe’’ “Russian roulette”. The typography is manually put together to fit the shape of the gun to make the image look more cohesive, and also more stylised.

This is the back of the brochure, it features a single bullet in the middle of the page, this represents the bullet that would fit into the revolver when playing ‘‘Russian roulette”. I chose to to it this way because I think it makes the programme more interesting, and the visual pun/association with having one in the chamber says alot about the theme and tone of the documentary.

COMMEMORATIVE PROGRAMME

This is one of my initial page spread ideas. I wanted to create something quite dramatic and liked the idea of having the picture spanning the entire page. I opted for a duo-tone effect to add extra drama, and give the page a really strong emotional feeling. The typography is little lazy, and something iâ&#x20AC;&#x2122;m going to work on.

COMMEMORATIVE PROGRAMME

This is a really powerful page spread, the image of the troops carrying their comrade across the Afganistani desert give a really strong emotional appeal.

COMMEMORATIVE PROGRAMME

This images/spread shows troops landing from a helecopter and survaying the area. I selected this image because I think it lends itself well to a double page spread format. Iâ&#x20AC;&#x2122;m not too keen on the typographical element of the page and iâ&#x20AC;&#x2122;ll work on making it more attactive.

COMMEMORATIVE PROGRAMME

“a superb, violent, jarring and daring documentary about the war in Afghanistan.” This version is a departure from the style I initially started with, In this version I wanted to show the gritty nature of the documentary, and the sandy look to the picture echoes Afganistan. I opted for a change in typeface too, I wanted something edgy and angular so I selected the experimental typeface ‘‘Teardrop”.

COMMEMORATIVE PROGRAMME

direct, blunt and fearless as he shows the effect of the war on Harris’ body and soul.

In the field, negotiating with local Afghanis and barking orders in the heat of battle, Harris looks much older and assertive than the withered young adult who returns to North Carolina. Wheeling around town -- overmedicated, depressed and in constant pain -- he struggles to maintain the assertiveness of his former life. By cutting back to the rough masculine environment he dominated overseas, the film shows just how remote he feels from his current life. The battlefield imagery grows increasingly unsettling, building toward the incident that sent Harris home. With its fine-tuned approach, “Hell and Back Again” is possibly the best war movie of the year (unless Steven Spielberg’s “War Horse” pulls off a miracle), but it’s certainly the one

There have been plenty of

attempt to explain the

combat documentaries over

trauma, Dennis shows it,

the last 10 years, but

repeatedly cutting between

photojournalist Danfung

the two periods. The events

Dennis’ “Hell and Back

speak for themselves.

Again” adopts an original conceit. Dennis follows

The flashback has become a

Marine Sgt. Nathan Harris,

cliché in fictional cinema

a gruff 25-year-old who was

and when Dennis applies

stationed in Afghanistan,

the same technique to

during two seminal moments

reality, it initially comes

in his life. During an

across as presumptuous.

assault on a Taliban

No matter what his subject

stronghold, Harris received

approved, the idea of

a bullet wound in his

combining footage from two

rear that prematurely sent

periods of Harris’ life

him home. Back in North

assumes an outside observer

Carolina with his wife,

can get inside the ex-

temporarily unable to walk

marine’s head. However,

and unsure of his military

Dennis doesn’t overplay

future, Harris drifts

each transition and the

through his mundane life

bold concept eventually

dealing with echoes of the

plays off.

past. Rather than

letting his subject

that gets closest to the heat of the battle. Dennis’ revealing access to the Echo Company’s second platoon in Afghanistan places “Hell and Back Again” alongside a spate of recent documentaries that show the Afghanistan war in detail. These include “Restrepo,” “Severe Clear” and “Armadillo,” where the camera gets intimate with the combat but rarely shows the aggressors, leading to the appearance of a onesided action movie in which the soldiers are really at war with themselves. Cast: Nathan Harris; Ashley Harris; Danfung Dennis Directed by: Danfung Dennis

This is a revised version of an earlier spread I designed. I decided to have all the typography based one just one of the spreads, and have the other two spreads as being photography based. I like this layout, although I dont think it reads very well, It might possibly work as two columns as opposed to 3, and this will be something i’ll experiment with. I also opted to go back to having full colour as opposed to duotone with this image, and alter the hue to give it a slightly purple/pink colour to add drama.

COMMEMORATIVE PROGRAMME

“There’s no reprieve from war’s infernal clutches. Not in Afghanistan. Not in North Carolina.” This page is another one that has a full image across the spread, in the sandy afghanistani style. The typography is applied across two columns of my grid system, and slightly below the nozzle of the gun, so that it fits together with the image well. I really like this spread, I think its really powerful.

COMMEMORATIVE PROGRAMME

These are my revised covers to my commemorative programme. I changed these because I wasnt happy with how the others looked, and had to omit the ‘‘to’’ that I had mistakenly placed at the start of of the film title. I’m much happier with these, and will use the one below.

COMMEMORATIVE PROGRAMME

This idea is a departure from the pull image spreads that I had been working on previously. I wanted to create something with more typography and with a much more modern feel to it. This page is very edgy and typographically different. Iâ&#x20AC;&#x2122;m really happy with this page, Its exactly what I wanted to create and I think it communicates a specific feel really well, without taking the obvious route of sandy/khaki colours.

COMMEMORATIVE PROGRAMME

This spread is deliberately more typographical, I wanted the main bulk of the programmeâ&#x20AC;&#x2122;s copy on one page. The images are black and white, I felt this added to the feel of the programmeâ&#x20AC;&#x2122;s vintagey feel. The typography is courier, and I think that works well against the brutality and purity of Helvetica bold. I tried to create an interesting look to the typography page by increasing the point size of one of the paragraphs, and indenting it to make it visually more interesting and attractive.

COMMEMORATIVE PROGRAMME

Iâ&#x20AC;&#x2122;ve deliberately kept this page similar to how it was before. I think its a powerful shot from the film, it shows Harris clutching his gun in the car - a really imporant scene in showing how emotionally distressed he has become. The typography is intentionally bold to match the strength of the image.

COMMEMORATIVE PROGRAMME

This spread is based on one of my inital ones Iâ&#x20AC;&#x2122;d developed, I really liked the idea of having one page with full copy, and an image behind it all. I think this page works really well, and im happy with how itâ&#x20AC;&#x2122;s turned out.

COMMEMORATIVE PROGRAMME

This spread is another really powerful piece of communication. The typography on the right is in a retro 3D style, something that I really wanted to put into this programme but just ran out of time. But itâ&#x20AC;&#x2122;s definately something iâ&#x20AC;&#x2122;m going to experiment with in future projects. The text on the left is arranged across two columns, one slightly set down from the other to create an interesting typesetting.

DELIVERABLES

SHEFFIELD DOCUMENTARY FILM FESTIVAL 2012

EVALUATION

This brief has been the most challenging, and the most liberating i’ve ever worked on. I really felt we had the freedom to design in whatever style we deemed most appropriate, and because of that my creative shackles where released. I wanted to create something memorable, modern, edgy and challenging, and most importantly I wanted to take it far enough away from the existing campaign for it to really become mine. I wanted to express my vision for Sheffield’s Doc/Fest, and create an identity for it that really means something. My initial ideas where widespread, but initally I honed in on a very modern and contemporary approach. I wanted to create something very detached from the current typewriter/clippings/gritty look that the Docfest has to it. I experimented with creating a marque that echoed this vision of being modern, and I came up with the DF logo. The logo itself is beautifully constructed and works as a marque, but I felt it was a little to inhuman and too corporate for something that was very human. I moved on to try a variety of other designs, and eventually settled on my half circle idea, which I think really works well. Its very simple in form, but even more effective in communication. It’s easily memorable, it’s distinctive and appropriate. I intentionally kept the accompanying typography with it simple, as I thought the half circles didn’t need really strong looking accompaniment. Having decided on my finished marque I think pressed on with my call for entries poster and environmental applications. I think the posters are the strongest part of my outcomes for this brief, and they capture exactly what I think Docfest is about. The combination of old and new, gritty and clean, simple and complex. The posters work at all sizes, and create a really positive impact on people. They challenge people to want to know more, the hidden (or not) eye that creates the marque shape behind the typography gives further indication as to what festival is about. Seeing. I’m really happy with the posters, they look the most time out of everything, and I think once they where finished everything else fell into place because I had a strong feeling about exactly how everything else should look and feel. The intro section / booklet features a similar cover to the design of the poster, deliberate of course to keep things looking together. The inside however is where I experimented by creating a series of images that I feel challenge/freak out/shock/inspire the viewer. They’ve not too much, but challenging none the less. I wanted the images inside to make people think about what they’re seeing, and if they can discover the underlying theme behind them all, again, seeing. Finally the commemorative brochure was a chance to try a different approach, I intentionally kept the Docfest, and the Hell and Back Again designs very seperate from eachother as I was no reason why they should look the same. I wanted the pages to be memorable, special and interesting. I experimented with countless type-settings, image locations, orientations, typefaces and styles until I came up with something that I trully believe is in tune with the target market.