How do you design a film poster that suggests how humans come to inhabit a different body over time? This is the subject of a new documentary called “The Many Sad Fates of Mr. Toledano,” which premieres at the Tribeca Film Festival this week. The film was produced by filmmaker Joshua Seftel who has produced and directed several award-winning documentaries for television, radio and theater release. “The Many Sad Fates of Mr. Toledano” is about famed photographer Phillip Toledano’s effort to envision the ways his life would change over the next 40 years. The project is a continuation of an exploration of aging that Toledano presented in a photo journal on his father’s final years. Called “Days With My Father,” the journal visually tried to reconcile the active, handsome man his father once was with the decrepit old man plagued by severe memory loss. In this film Toledano “fast-forwarded” himself through theatrical makeup to picture how he would be at various stages of his life.
The discussion of an appropriate poster design for “The Many Sad Fates of Mr.Toledano” began between Seftel and Kit Hinrichs while they were on a long flight to Saudi Arabia. When Kit returned to the States, he developed several poster options, three of which are shown here. The top one was the final choice. The one at bottom left simply shows Toledano’s face. At bottom right, the collage of rectangular pieces shows abrupt facial changes, whereas the top image, with the thinly sliced horizontal strips, seem to vibrate Toledano’s facial features, suggesting a gradual, constant change. Read More »
In the world of TV advertising, the “Pardon me, but do you have any Grey Poupon” commercial that first aired 32 years ago is a classic. Now it is back, but expanded and embellished for Internet and interactive viewing.
The latest Grey Poupon campaign started with a traditional television ad that aired on the Oscar Awards TV broadcast last Sunday. The 30-second spot, played like a trailer for the feature-length online version. Titled “The Chase,” the commercial, created by CP&B, picks up where the original left off in 1981, with two uber-rich gentlemen dining in elegance in their separate chauffeur-driven cars. As before, one gentleman leans out his window to ask the gentleman in the passing car if he had any Grey Poupon. Once he receives it, his car speeds off and that’s when the excitement begins…and leaves off. To see where the plot goes from there, viewers are told to visit the Grey Poupon website and click on the 2-minute “lost footage” version. From there, viewers are enticed to re-run the video and find the hidden “haute” spots to win prizes such as caviar and champagne flutes.
For those of us who have been glued to the television all week watching the London 2012 Olympics, here’s a little quiz to do during commercial breaks. According to modern Olympic tradition, the host country for the Games is responsible for creating an emblem to be used on promotional materials, by sponsors of the Olympics, and on the uniforms of every Olympic competitor. Over the decades, these logos have integrated the cultural symbols and patterns, national colors and artistic styles of the host country into the design. See if you can name the year and location for each of these emblems. A bonus point if you can recite the Olympics motto. Click “Read More” for answers.
Visual tone of voice – it’s a much-discussed concept in design. How do you let the product, company or service speak for itself through choice of typography, color, pacing, and style of imagery? How do you communicate mood, energy, personality, urgency? What we liked about this video by Beth Fulton of b.fulton multimedia production in Atlanta is that you can feel the frenetic quality of the poem by screenwriter/actor Todd Alcott, even without hearing Alcott’s frantic voice. First look at the video with the sound on and then watch it again with the sound off. Consider how different the poem would have felt if the typeface was more ornate or the pacing was less erratic and staccato. Although the Fulton/Alcott video is more compelling than, say, giving expression to a brand, it does show us that when the visual tone of voice is on target, the message is far more memorable.