1 00:00:03,560 --> 00:00:05,180 And now we get to our final project. 2 00:00:05,580 --> 00:00:05,680 First, 3 00:00:06,800 --> 00:00:09,140 you'll choose three titles from this list. 4 00:00:10,080 --> 00:00:17,980 The poster that you will design will be 22 inches by 36 inches or 55 centimeters by 92 centimeters. 5 00:00:18,700 --> 00:00:19,960 There are no color restrictions. 6 00:00:21,160 --> 00:00:22,240 Feel free to explore. 7 00:00:23,020 --> 00:00:24,920 Look at alternatives beyond the expected. 8 00:00:25,860 --> 00:00:27,280 Feel free to use fluorescent colors, 9 00:00:27,520 --> 00:00:28,720 change the color of paper, 10 00:00:29,300 --> 00:00:30,120 use metallics. 11 00:00:30,280 --> 00:00:34,060 Remember, you're applying color, not running a nuclear power plant. 12 00:00:35,328 --> 00:00:39,040 Attached, you can find a template in the right format with the correct text. 13 00:00:40,330 --> 00:00:44,940 You can use the template as is and focus on the solution in the black area, 14 00:00:45,420 --> 00:00:48,760 or ignore the template entirely and make your own solution, 15 00:00:48,900 --> 00:00:50,180 but use the text here. 16 00:00:51,808 --> 00:00:55,520 Watch some of the films suggested for the title that you choose on 17 00:00:56,096 --> 00:00:57,020 the attached document. 18 00:00:58,272 --> 00:00:59,460 Research the theme of the festival. 19 00:00:59,640 --> 00:01:02,180 For example, what is French New Wave cinema? 20 00:01:02,580 --> 00:01:02,680 How 21 00:01:03,328 --> 00:01:05,400 does Pedro Almodovar use color? 22 00:01:05,760 --> 00:01:08,120 Take the time and enjoy this research. 23 00:01:09,480 --> 00:01:11,180 Make a list of words and ideas, 24 00:01:11,400 --> 00:01:12,620 then start sketching. 25 00:01:12,660 --> 00:01:14,660 Again, my sketches are awful, 26 00:01:14,780 --> 00:01:17,980 so don't worry if you aren't a master illustrator. 27 00:01:20,440 --> 00:01:23,800 Select your favorite sketches and work on refining their composition. 28 00:01:24,320 --> 00:01:26,020 To simplify the process, 29 00:01:26,240 --> 00:01:28,240 use black and white at this stage, 30 00:01:28,400 --> 00:01:30,320 allowing you to focus on the idea, 31 00:01:30,520 --> 00:01:36,500 the overall layout, and the structure without being distracted by a specific color. 32 00:01:38,040 --> 00:01:41,888 After watching the films and creating a library of images to reference, create 33 00:01:42,496 --> 00:01:45,380 a different color palette for each festival poster. 34 00:01:46,620 --> 00:01:49,440 Now, apply the color palette to your poster studies. 35 00:01:50,420 --> 00:01:53,920 In the end, each poster should have its own tone and message, 36 00:01:54,100 --> 00:01:56,420 using color as a communication device. 37 00:01:57,200 --> 00:02:00,520 Place your poster in an environment, 38 00:02:00,620 --> 00:02:05,360 digitally or physically, to have a better sense of the color in the real world. 39 00:02:06,280 --> 00:02:11,200 After you've completed the design process and made any final adjustments, 40 00:02:12,160 --> 00:02:19,060 save your work in different formats to ensure it can be used for various purposes following the process we covered earlier. 41 00:02:20,992 --> 00:02:25,420 Archive the files properly to have a backup when you need to access them in the future. 42 00:02:25,620 --> 00:02:25,760 Save 43 00:02:26,340 --> 00:02:29,840 the files on an external hard drive and cloud storage platform. 44 00:02:30,140 --> 00:02:31,780 Hard drives have a limited lifespan. 45 00:02:32,490 --> 00:02:35,760 Next, post your design on your portfolio website. 46 00:02:36,160 --> 00:02:36,384 Add 47 00:02:36,940 --> 00:02:37,820 it to social media. 48 00:02:38,140 --> 00:02:38,304 Feel 49 00:02:38,900 --> 00:02:40,620 free to tag me and Domestika. 50 00:02:40,820 --> 00:02:41,024 Finally, 51 00:02:42,140 --> 00:02:44,080 enjoy the compliments that come your way. 52 00:02:44,180 --> 00:02:45,460 Bask in your glory. 53 00:02:45,740 --> 00:02:46,112 Now, 54 00:02:48,096 --> 00:02:49,120 here are my solutions. 55 00:02:49,400 --> 00:02:51,040 I can show you what I did, 56 00:02:51,160 --> 00:02:52,640 but please do your own thing. 57 00:02:52,740 --> 00:02:54,460 You're far better at that than I am. 58 00:02:54,600 --> 00:02:54,784 I 59 00:02:55,744 --> 00:02:57,580 chose these three festival titles. 60 00:03:00,080 --> 00:03:01,888 Cinema in the 1970s, The 61 00:03:02,900 --> 00:03:04,160 French New Wave, and 62 00:03:05,240 --> 00:03:06,200 the films of Almodovar. 63 00:03:06,940 --> 00:03:07,072 I 64 00:03:09,300 --> 00:03:11,660 went through the same process as we discussed earlier, 65 00:03:11,840 --> 00:03:13,820 such as sketching and exploring ideas. 66 00:03:14,280 --> 00:03:14,592 For 67 00:03:18,460 --> 00:03:19,780 cinema in the 1970s, 68 00:03:19,780 --> 00:03:23,420 I made a color palette based on the content of the films. 69 00:03:23,744 --> 00:03:23,936 Cinema 70 00:03:24,740 --> 00:03:27,120 in the 1970s had a realistic and urban feel. 71 00:03:27,320 --> 00:03:30,300 Colors were natural and more muted than bright. 72 00:03:31,420 --> 00:03:32,600 Filmmakers rejected the glossy, 73 00:03:32,820 --> 00:03:37,040 big-budget productions of the past in favor of a more realistic, 74 00:03:37,160 --> 00:03:41,480 gritty style that reflected the social and political issues of the time. 75 00:03:42,100 --> 00:03:44,260 On this study, I used a color palette based on the content of the films. 76 00:03:44,280 --> 00:03:47,400 I liked the combination of the zero and a reel of film. 77 00:03:47,860 --> 00:03:50,060 The typography is minimal and Swiss, 78 00:03:50,280 --> 00:03:53,080 which is similar to the dominant style of that time. 79 00:03:53,640 --> 00:03:57,000 I added color to the type to differentiate the information. 80 00:03:57,380 --> 00:03:57,600 But 81 00:03:58,120 --> 00:04:00,720 in the end, this looks a little like a book cover to me. 82 00:04:01,220 --> 00:04:07,300 Next, I went all out with a ton of visual tropes from the 1970s. 83 00:04:08,120 --> 00:04:10,020 Rounded corners, multiple frame colors, 84 00:04:10,340 --> 00:04:12,120 extreme headline typography, 85 00:04:14,280 --> 00:04:14,540 and a groovy poster. 86 00:04:14,900 --> 00:04:16,120 Is it groovy? 87 00:04:16,260 --> 00:04:16,640 Yes. 88 00:04:16,920 --> 00:04:17,920 Is it my favorite? 89 00:04:18,080 --> 00:04:18,400 No. 90 00:04:18,760 --> 00:04:19,040 It 91 00:04:19,700 --> 00:04:20,460 seems a little expected. 92 00:04:21,040 --> 00:04:21,152 This 93 00:04:23,424 --> 00:04:27,960 version followed the religion of Helvetica that was dominant in the 1970s. 94 00:04:28,020 --> 00:04:28,320 Now, 95 00:04:28,620 --> 00:04:29,320 if it were authentic, 96 00:04:29,580 --> 00:04:31,100 the type would be black and serious. 97 00:04:31,500 --> 00:04:36,540 But I couldn't resist using the palette to give the poster a little bit more life and energy, 98 00:04:36,760 --> 00:04:41,160 borrowing the color from the image of John Travolta in Saturday Night Fever. 99 00:04:44,330 --> 00:04:45,100 Now, 100 00:04:45,800 --> 00:04:50,560 using the theater cards that might have been in a lobby tells a story of documentation, 101 00:04:50,920 --> 00:04:52,760 not a staged photo shoot. 102 00:04:52,980 --> 00:04:56,820 These are the cards with their flaws and imperfections obvious. 103 00:04:57,180 --> 00:04:59,100 The colors are natural and raw. 104 00:04:59,340 --> 00:04:59,648 My 105 00:05:00,288 --> 00:05:04,576 job, as the designer, was, like Robert Altman, the director, to 106 00:05:05,760 --> 00:05:09,060 seemingly step back and document that narrative with no tricks. 107 00:05:09,360 --> 00:05:09,888 I 108 00:05:11,380 --> 00:05:14,940 inherited a large library of books from both my mother and father. 109 00:05:15,440 --> 00:05:22,160 My mother had a magnificent collection of sensational 1970s blockbuster fiction books like Hollywood Wives. 110 00:05:22,880 --> 00:05:26,400 I had to try one approach that incorporated the layout concept, 111 00:05:26,600 --> 00:05:29,320 color use, and spectacular headline typeface, 112 00:05:29,480 --> 00:05:31,040 Fat Face Cyrillic. 113 00:05:31,200 --> 00:05:31,616 And 114 00:05:33,760 --> 00:05:36,500 finally, by utilizing just two colors from my palette, 115 00:05:36,620 --> 00:05:42,040 I conveyed the intended mood and tone without overwhelming the viewer with an abundance of colors. 116 00:05:42,320 --> 00:05:46,700 The final version followed the focus on realism and gritty authenticity. 117 00:05:47,320 --> 00:05:49,720 It maintained a dynamic point of interest, 118 00:05:49,980 --> 00:05:54,040 Jack Nicholson's face, and had enough contrast to stand out. 119 00:05:54,280 --> 00:05:54,752 By 120 00:05:55,740 --> 00:05:57,460 keeping the design simple and minimal, 121 00:05:57,900 --> 00:06:04,860 the focus was able to remain on the overall mood and atmosphere rather than being distracted by a complex or busy composition. 122 00:06:05,500 --> 00:06:09,120 In this case, the idea of less is more was true. 123 00:06:11,230 --> 00:06:15,280 French new wave films are famous for their black and white cinematography, 124 00:06:15,460 --> 00:06:17,820 but there are certainly nuances to that palette. 125 00:06:18,176 --> 00:06:22,336 The use of gray tones can convey a sense of melancholy or ambiguity, 126 00:06:23,020 --> 00:06:27,320 while color can be used to signify specific ideas or emotions. 127 00:06:28,128 --> 00:06:28,288 On 128 00:06:28,980 --> 00:06:35,860 this version, I used an image of Jean Seberg from her performance in Jean-Luc Godard's film Breathless. 129 00:06:36,040 --> 00:06:42,580 Treating the image as a film strip adds to the sense of existential distance from the subject, 130 00:06:42,820 --> 00:06:44,420 like French new wave cinema. 131 00:06:44,660 --> 00:06:46,440 It's not Jean Seberg. 132 00:06:46,640 --> 00:06:50,260 It's only a poster using a film of Jean Seberg. 133 00:06:50,500 --> 00:06:50,976 This 134 00:06:51,740 --> 00:06:54,000 is an image from Play-O from 5 to 7. 135 00:06:54,240 --> 00:06:56,720 The film handles several themes, 136 00:06:56,840 --> 00:07:01,184 such as existentialism, including discussions of mortality and despair, 137 00:07:01,600 --> 00:07:04,140 and raises questions about how women are perceived, 138 00:07:04,420 --> 00:07:06,060 especially in French society. 139 00:07:06,580 --> 00:07:09,980 The color red, specific to many French new wave films, 140 00:07:10,120 --> 00:07:11,440 covers the entire poster. 141 00:07:11,770 --> 00:07:13,360 The image is sideways. 142 00:07:13,760 --> 00:07:20,980 Both of these talk to the themes of being outside of the mainstream society and life covered with an emotional overlay. 143 00:07:22,960 --> 00:07:30,680 On this poster, I use shades of black and white as a subtle communication that every viewer experiences the content differently. 144 00:07:31,480 --> 00:07:33,840 The image is from the film La Jetée, 145 00:07:34,000 --> 00:07:36,720 and it includes the English subtitle Empty. 146 00:07:37,024 --> 00:07:37,472 99 147 00:07:38,432 --> 00:07:42,500 % of the entire film is constructed by black and white still photos. 148 00:07:42,820 --> 00:07:47,280 The film takes place out of time and is disconnected from reality. 149 00:07:48,080 --> 00:07:52,740 The empty jetty at an airport is a liminal space with no people. 150 00:07:53,344 --> 00:07:56,440 Adding more color might convey something more cheerful. 151 00:07:56,720 --> 00:07:57,600 It's not. 152 00:07:58,180 --> 00:07:58,464 And 153 00:07:59,680 --> 00:08:01,700 one other version of the La Jetée image. 154 00:08:01,920 --> 00:08:02,600 It says empty, 155 00:08:03,020 --> 00:08:04,560 so I left it empty, 156 00:08:04,660 --> 00:08:06,680 except for the mysterious blue overlay. 157 00:08:07,040 --> 00:08:07,520 And 158 00:08:08,780 --> 00:08:13,120 finally, to use one of the palette's colors in a dramatic way, I 159 00:08:13,856 --> 00:08:15,560 overprinted it on an image from La Jetée, 160 00:08:15,700 --> 00:08:17,020 including the English subtitles. 161 00:08:18,020 --> 00:08:18,432 I 162 00:08:19,860 --> 00:08:23,120 used the image to align with the three blocks of typography, 163 00:08:23,360 --> 00:08:24,980 linking the two elements together. 164 00:08:25,600 --> 00:08:25,824 The 165 00:08:26,480 --> 00:08:28,640 ochre color isn't brown or yellow. 166 00:08:28,800 --> 00:08:31,840 It's slightly off, forcing the viewer to consider 167 00:08:31,920 --> 00:08:33,580 the poster a little bit longer. 168 00:08:33,960 --> 00:08:34,368 A 169 00:08:35,040 --> 00:08:39,000 big swatch of this color also stands out in a busy street environment. 170 00:08:39,560 --> 00:08:40,064 Taking 171 00:08:41,600 --> 00:08:42,840 the same minimal approach, 172 00:08:43,100 --> 00:08:46,620 I used a black and white image with a tint from the color palette, 173 00:08:46,760 --> 00:08:49,940 combined with brutal and blunt typography, 174 00:08:50,100 --> 00:08:53,360 and only the hint of color in the smaller type. 175 00:08:53,640 --> 00:08:54,144 On 176 00:08:55,480 --> 00:08:59,400 a busy street, the high contrast of black and white stands out. 177 00:09:01,920 --> 00:09:02,020 For 178 00:09:02,660 --> 00:09:08,740 the Almodovar Festival, I designed a technicolor palette based on the color symbolism of his films. 179 00:09:09,472 --> 00:09:09,600 I 180 00:09:10,600 --> 00:09:15,600 applied the palette to typography to reflect the bold cinematic language and movement. 181 00:09:16,040 --> 00:09:22,620 I considered the emotional impact of the colors I chose and whether they conveyed the mood or message I wanted to communicate. 182 00:09:22,980 --> 00:09:25,640 For instance, the warm colors, like red and orange, 183 00:09:25,760 --> 00:09:28,380 created a sense of excitement and energy. 184 00:09:29,120 --> 00:09:29,376 Next, 185 00:09:30,440 --> 00:09:31,600 I used a contrast 186 00:09:32,000 --> 00:09:37,200 halftone dot image from All About My Mother and washed it with extreme color. 187 00:09:37,580 --> 00:09:38,112 And 188 00:09:39,800 --> 00:09:45,780 I wanted to play with Almodovar's connection to classic Hollywood language and the use of Spanish tropes, 189 00:09:45,780 --> 00:09:51,080 such as Gothic-style letterforms that are overused on book covers like Don Quixote. 190 00:09:51,420 --> 00:09:52,032 I 191 00:09:53,640 --> 00:09:58,660 placed the poster in an environment which presented other options that I hadn't considered, 192 00:09:58,820 --> 00:10:01,840 such as using a suite of colors for the poster. 193 00:10:01,938 --> 00:10:02,688 In 194 00:10:04,020 --> 00:10:07,904 the end, I chose the version with a dynamic image that asked questions. 195 00:10:08,300 --> 00:10:10,100 Why does this woman have a knife? 196 00:10:10,600 --> 00:10:10,976 Stereotypical 197 00:10:11,680 --> 00:10:14,000 typography, as seen on the Spanish-themed books, 198 00:10:14,120 --> 00:10:17,760 and an intense color that mirrors Almodovar's palette. 199 00:10:18,460 --> 00:10:18,752 Three 200 00:10:20,360 --> 00:10:24,440 different palettes created unique visual identities for each film festival. 201 00:10:24,800 --> 00:10:27,460 That's the magic of color used boldly. 202 00:10:29,780 --> 00:10:33,120 And please remember to play above all else. 203 00:10:33,240 --> 00:10:37,040 Your choices should be based on content and the project requirements. 204 00:10:37,420 --> 00:10:39,040 But keep the faith, 205 00:10:39,220 --> 00:10:44,140 have fun, and love being a designer who gets to do this as a job.