"Return to Sender", Final Major Project by Vilma Olsson at Marbella Design Academy

THIRD YEAR
GRAPHIC DESIGN
VILMA OLSSON
Final Major
Project
2022

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Table of
Contents
86
82 Ticket Design History
85 Then Until Now
Target Audience
112
95 My script
105 Storyboard
inspiration
88
Making a script
114
Stylescape
4
Brief
90
Inspirational short film
116
Cigarette Design
5
Start of research
94
The concept
122
The Stamp Design
6-12
4 Concept Ideas
130
Paper Bank Note Design
14
Start of Research
142
The Passport Design
16
Creating a short film
148
Book Binding
17-49
About Wes Anderson
150
Newspaper Design
30-33
Annie Atkins
158
Phone Book Design
50-55
Steven Spielberg
162
Calender Design
56-59
The Twilight Zone
168
Postage Book Design
60
How to build a story
174
Receipt Design
80
78
64
68-76
62
Cinematography
Psychology behind the Blank Page
Film/Movie Studio Analysis
Inspiration for Designs
Research within film
224
198
186 Tea Design
188 Making Envelopes
190 Book Covers
Making Of Book
Animating
242 Studio Branding
254 Brand Manual
272 Business Cards
274 Marketing
276 Music Cover
284
Movie Poster
288
Website Design
292
Conclusion
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Brief, or lack
of brief...
For the final major project
we had a very open
brief. We could create
anything we wanted to
create, something we are
passionate about and want
to create beautiful designs
out of. That’s easier said
than done...
Final Project Ideas
Let’s go through some of my ideas...
Let’s start.
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#1
“Venue Of The Past”
Have you ever seen an abandoned house or apartment and
wondered what happened to it? What history and stories
lies inside of those walls that are now empty and forgotten?
I have. When finding interesting structures and architecture
that seems to be forgotten it intrigues me, makes me
question and search for an answer. It’s fascinating not only
the stories that lies hidden inside of those walls, but also
the appearance of emptiness and abandonment that the
structure exhales. It has a beauty to it, the lived, the torn, the
worn. Something that lies within a community, an unused
resource that could be used
for something else.
This concept is about using these unused resources and
creating something new, something temporary to celebrate
the history of it all. All of this whilst creating and bringing
together a community that surrounds it. A pop-up-event.
This event would celebrate local artists, everything from
music, to art, architecture or other brands and companies
or charities. All with the same goal, to celebrate the past
and welcoming the future. The branding of this event
would be heavily inspired by the closing of a space, similar
to the crime scene tape used in blocking of an area for
investigation. But here it would be reversed and used in
the completely opposite way, to welcome guests into a
space, make them be welcomed by it. With signs that might
enhance that. “Warning, event is occurring. Please step into
the area”
Create:
Posters, Marketing materials, find sponsors?, artists and
local talents, approval to use a space and so on.
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#2
“Fill in the Blanks”
/”Lost on Set”
What if I was the main character
in a Wes Anderson movie?
Did you know that we sleep for about a third of our lives? That
it is actually physiologically vital for all of us to spend a third of
our lives unconscious.
For us to be able to heal, recharge, memorize, balance our
hormones, and clear ourselves from toxins it is vital that we do
so, if not, we will die...
You enter an unconscious state of mind where suddenly
everything is possible, stories are written and forgotten,
ideas are born, memories and thoughts resurface. For some
of us this is the place where ideas are born, we wake up in
the middle of the night to write something down before we
forget about it. When we then dream crazy things can happen,
usually the mind fills in the blanks of whatever we thought
of in the moment and draws it’s own conclusions. You can
describe it as you being the creative director of your own
movie, but unconsciously. Where every detail can be vital.
For this concept we explore the idea of us being the main
character in our own movie. With sets and decorative
elements that creates a united front. A well composed scene.
To design everything from passports, bank cards, bills, notes
and coins, cigarette packages, matchstick boxes, door bells,
receipts from our wallet containing our latest purchases, the
daily newspaper and so on. Then to create beautiful sets to
I want to be the Wes Anderson of my own movie.
And it is a beautiful one, with old school references.
Create:
Props, signs, newspapers, set design, small scale
prototypes?, motion graphics to promote, photography,
product design, sound & music production. and so on.
Wes Anderson-ize certain situations, 2 or 3 scenes from
points in your life where things are just still. Like waiting in
a cab in traffic, sitting on a plane, or train, waiting for your
order at a cafe or restaurant.
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3#
“Mind full of Music”
Something that connects many different universes into
one is music. You are usually never into only one thing
but casually flows in between genres, artists and beats,
something that fits you in the moment. If then all of these
universes unites and becomes one magical things can
happen. Beats transition into each other, songs can be put
onto other songs creating a deeper and more intriguing
experience, a musical experience.
For this concept I want to explore this idea, of creating an
experience that mixes both songs, sounds, and visuals with
genres mixing, samples and so on. I myself am obsessed
with morphing songs with each other, I unconsciously
do that every day, and become a wandering radio station
with songs overlapping. Maybe you could even control the
mixing of the songs yourself, I have a theory that there are
songs that fit together with any song depending on how its
remixed, it could be a
If I then would create and develop a type of radio station
where I mix songs, add effects, develop and animate visuals
consisting different styles and cool transitions. Photography
together with illustration(All with different styles mixing),
producing or remixing music. Visuals would change when
the music and songs change.
Jumping in and out of the world of music, musical journey
with different songs morphing into each other. Then visuals
that represents that. Which goes from set scenes that are
designed and colour coded. To animated sequences that
generates.
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4#
“The Fear
of Failure”
Sometimes it’s hard to put things into perspective, to try
and observe the bigger picture in order to move forward.
To not live in the past. There are many ways you can do
this, you can talk to others, try and find a self realisation by
just speaking out loud. But there are also small practises
you can do in order for that butterfly effect to happen. By
starting with something small.
For this concept I would create a fresh design of a bundle
of social games that would force you to be present,
accept both defeat and small wins. Something that helps
you not take everything too seriously, but instead let’s you
loosen up.
This bundle would consist of common games such as a
deck of cards, a new and creative monopoly, tic tac toe,
karaoke with a twist, a wooden maze balancer, Ludo, and
so on.
I consider failure and mishaps as different chapters that
need to happen in your life in order to move forward,
something you have to let go of. I see this “product design”
something that would be developed in a smaller size for
you to be able to bring it with you easily. The bundle would
have the appearance of a book, with very intricate details
and would be sectioned off when you open it up.
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Research
Let’s start the research by exploring some of the
masters in film...
Who is Wes Anderson?
Let’s find out!
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Creating a short film.
When trying to figure out what the first thing to do when
creating a short film would be. I wanted to learn from the
master. From amazing directors and their vision. Where they
get their inspiration and drive from.
So what kind of directors come to mind? Anyone special?
At least for me and movies I’ve seen throughout my life,
there are a few that stick out. Directors that create stunning
graphics and compositions in their scenes. Directors like
Wes Anderson, Steven Spielberg, Alfred Hitchcock, Quentin
Tarantino, Christoffer Nolan, among others. So that’s where
I begin. Let’s take a dive into directors minds.
https://www.backstage.com/magazine/article/
how-to-direct-your-first-film-67387/
Quentin Tarantino
Directing a movie.
1# The first crucial thing when directing and
producing a movie is to have a vision, to know the
feeling and story you are going to make. Many times
this is what takes the longest of times, to have a really
strong basis to build everything on. This is usually
where you can distinguish the amazing movies, from
the not so great ones.
2# I’ve read many stories where many directors
constantly meet problems and things they need to
change to make everything work. So to then create
something bigger, something solid like a movie, you
have to be able to solve every problem as they come.
Steven Spielberg
Wes Anderson
What about Wes Anderson?
Wes Andersons characteristics in movies are hard to miss.
The beautiful colour palettes, framing, and set design is
iconic, just the vision that every movie has is magical. But
how did he start?
Born 1969 in Texas, U.S.
Wes Anderson grew up in Texas and had creative forces in
his family growing up. His father worked in an advertisement
agency & the mother worked in real estate and archaeology.
He has two brothers and grew up with divorced parents,
which indeed affected his now current career in film making
but also his behaviour in school.
He realised early in his life that he had this creative force
within, which he explored with a camera and his two
brothers. Writing scripts, directing small videos. In his school
he became known for creating really elaborate and well
thought plays that all were inspired by well known stories or
movies. When he went to a University in Texas he met Owen
Wilson which now has been a part of most of his movies
that he has made., as CO director. Philosophy was one of
Wes majors in school, while being very silent and constantly
thinking about ideas and theories, many people in his class
dedicated their time to only focus on school, whilst Wes and
Owen had a harder time doing so. It took a while before they
started talking to each other, but when they did,
they never stopped.
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https://www.biography.com/filmmaker/wes-anderson

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Developing his style
In W.Andersons early days he started creating movies called
“Bottle Rocket” & “Rushmore”, his ideas was to create
dramatic and interesting plots that had a more serious
tone to them. But he later found that this wasn’t his strong
suite. But that he had a natural inclination towards comedy,
romance and crime.
Raising the budgets was difficult in the beginning, but he
did find contacts that made everything possible, at least
for shorter versions. The first few movies was entered into
the Sundance FIlm Festival and it was received with great
enthusiasm. Many important people in the film industry
loved the concepts and how everything was created. He
won an award for the longer version of the film which had
a budget for 5 million dollars, the “Best New Filmmaker at
MTV”.
It didn’t take too long before he got a more
mainstream success with movies such as “The Royal
Tenenbaums” & The Life Aquatic”.
“Shot from The Royal Tenenbaums”
W.Anderson Details
Something that is very important in W.Anderson movies that
become more and more apparent the more movies he made.
Was the importance that the father figures had in the movies.
Wes confirms this in an interview by saying the following,
“I finally realized it’s just the opposite of what I really grew
up with, and for me there’s something exotic about it…I’m
drawn to those father-figure characters that are larger-thanlife
people, and I’ve sought out mentors who are like that, so I
relate to them.
But they’re not my father.”
“Shot from The Life Aquatic”
Concepts
“The Royal Tenenbaums”
What is very unique about Wes Anderson is his way of creating
amazingly interesting concepts, the characters that are so creative
and well thought out. The scenery and his way of shooting each
scene with such eye for details. The movie itself is based in New
York, and tells the story about a family of geniuses, how their failure
affects them and how they develop as characters throughout the
movie.
“The Life Aquatic”
This movie on the other hand is about an oceanographer (= person
that deals with the physics and properties and phenomena of the
sea) and a documentaries in wildlife who are chasing the renown
and possibly imaginary Jaguar shark.
https://www.biography.com/filmmaker/wes-anderson
(Quote from New York Magazine article)
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“The Darjeeling Limited”
In the making of his next film “The Darjeeling Limited” him
and two other producers was said to act out the movie
before it happened, in real life. The movie is based on a train
to India, where three brothers takes a train ride to visit their
mother living there, also to at the end of the day, connect
and become closer. It’s beautifully shot and has so much
detail in everything, every scene, every decorative element.
“Shot from Fantastic Fox”
Style & Characteristics
It’s very interesting that the characters are so diverse.
W.Anderson has admitted in interviews that every character
he creates could enter any movie he creates, and it would
make sense. That there is a translucent fade to them all,
everybody combines in one way or another. Because the
basis of his stories as I said earlier, all have one common
thing, that there is this comedic sadness to them.
“Fantastic Fox”
We also have the stop motion movie called “Fantastic Fox”
which is were W.Anderson explores some of his childhood
fantasies, and turn some of the stories in his mind, into a
visual movie. It’s basically about how a few animals come
together to fight an evil farmer. The film was received with
much criticism and wasn’t as enjoyed by the public as his
previous films was.
“Shot from The Darjeeling Limited”
Characters
It’s very interesting that the characters are so diverse.
W.Anderson has admitted in interviews that every
character he creates could enter any movie he
creates, and it would make sense. That there is a
translucent fade to them all, everybody combines in
one way or another. Because the basis of his stories
as I said earlier, all have one common thing, that there
is this comedic sadness to them.
“Tchotchkes” - A tchotchke
is an inexpensive souvenir/
trinket/decorative object.
What to call his style?
“Repartee” - A witty
and quick response.
There are many ways that you can describe W.Andersons
style. Some people call it a pot-pourri of vintage
tchotchkes, others call it old-school. But at the end of
the day it’s much more intricate than this. In the industry
of film, Wes is called the direct director. A very peculiar,
individual, detail oriented. His production design is out of
this world, it’s nuanced and full of visual gags and Easter
eggs. He is also one of the only director that can pull of a
total turn in storyline and style. Which is hard.
W.Andersons aesthetic is very charming in it’s nature,
the characters are very gracious, are respectful
and memorable. When you then start looking at the
composition for the frames in the different movies you
clearly see that he loves using symmetry and close up
shots of the different people. Every action starts and
ends with the other, in smooth and quick transitions. He is
not secretive in his distribution of information, but rather
up front and open about everything that goes on.
https://www.dictionary.com/browse/tchotchke
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W.Anderson
References in movies
What you can really sum everything up as, is that every
movie he creates and produces, he puts his entire heart
and soul, past and present, thoughts and imaginations into
every single detail. He is a hard working creator that put
every emotion and thought into something visual, even his
studies on psychology. Wes is in everything, the clothes, the
props, the characters, the decorations. Everything.
Something else that is very interesting in his films are that
they usually are made from scratch, the story, language,
visuals. Whilst nowadays a lot of movies also are inspired
from famous books or authors, self biographies and
documentaries, which is not a bad thing. Of course he also
draws inspiration from books and other sources but he
writes everything himself. Even the sets and productions
are usually borrowed from already existing places,
but with Wes he builds it from the ground up, or have
somewhere that seems like it’s custom build for
his specific project. You also rarely see any type of
product placement, but he instead uses things that he
has designed or created himself, something made up...
https://www.studiobinder.com/blog/
wes-anderson-style/
Sometimes you can clearly tell that he has been heavily
inspired by another director in his movies. That it almost
becomes a tribute to them, a way for him to say thank
you to them in a sense. If you look at for example “The
Grand Budapest Hotel” it almost entirely is a tribute to
Alfred HItchcock and one of his movies “Torn Curtain”.
“I think the way I think about shooting scenes and
staging scenes is influenced very much by Roman
Polanski and by his films and the way he does that,
which is very particular.”
- Wes Anderson
Influences in the Industry
Roman Polanski
He has directed movies such as “The Pianist(2002)”,
“The Ghost Writer(2010)”, “An Officer and a Spy(2019),
“Tess(1979)”, among many others.
Steven Spielberg
This guy is difficult to miss, he has directed movies
such as “Schindlers List(1993)”, “Saving Private
Ryan(1998)”, “Indiana Jones(1981)”, and many more.
Martin Scorsese
This director has made movies such as “Taxi
Driver(1976(“, “Goodfellas(1990)”, “The Age Of
Innocence(1993)”, and so much more.
Waris Hussein
I had never heard of this director, but I did recognise his
movies, “The Possessions of Joel Delaney(1972)”, “A
Touch of Love(1969)”, “Copacabana(1985)”.
https://www.imdb.com/name/
nm0000591/
https://www.imdb.com/name/
nm0000229/
https://www.imdb.com/name/
nm0000217/
https://www.imdb.com/name/
nm0404014/
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Techniques
So what are some techniques that Wes uses to create this
depth? How does he combine many areas such as games,
books and films into one put together look?
It is true that many film makers are influenced by each
other, some of the pasts DNA is always transferred to the
next, but usually interpreted differently.
One thing that is obvious and that Wes has said about his
techniques and style, is that he usually tells everything
from his younger self, that mindset and perspective.
Specifically his 12 year old self. How he viewed the world
and how he remembers it from that time. Almost like it’s a
snapshot from his childhood.
Let’s take a look at some colour palettes.
“Shot from The Darjeeling Limited”
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1980s
When observing everything in it’s style, it’s almost like
the time is stopped in the 1980s, the clothes, sets and
colours are all heavily influenced by that time. In Wes
youth and dreamy imagination.
Something very unique about Wes characters is that their
view on life is absolutist, meaning that they hold definite
principles in any area, such as politics, psychology and
so on. They are very emotionally fragile and things can
change in a matter of seconds. They are contradictory,
acting in opposite ways.
Greek Philosophy
One thing that has inspired his story structure in most of his
films are Greek Philosophy. It’s often said that “The plot is the
soul of art”. In W.Andersons stories for example everything is
planned into great detail, each act has the same amount of
chapters. There is beauty in this type of organisation, keeping
track of every little detail that can change everything.
There is a character who is a psychologist, but his wife
is depressed and has massive insecurities. There is also
a character that is a genius but is failing every test. They
are all opposites, human, and flawed. Maybe that’s why
we get so drawn into them.
More of his style...
Something he often uses in his films to create suspense
and a dramatic effect is the slow motion effect. It’s
often added towards the end of the movie. Another
interesting thing about his movies are that they are all
animated before they are shot.
Music
A guy named Randall Poster has been in charge for the
music for quite a while. Him and W.Anderson have the
same vision and help each other out. The sounds are
very particular, almost like they have their own role.
Symmetry
His way of creating symmetry is something he has
mastered, he is a pro at creating those beautiful
symmetric compositions. He does know that symmetry
to humans is something that intrigues us and that can
make us feel a type of way.
Use of colour
Depending on the context, the colours he uses represent
them amazingly. Like in “The Life Aquatic” where the
colour scheme is blue and orange. Complementary
colours that represent marine environments. Clever
move.
Typography
Something Wes loved to do when he was younger was
to watch old Italian movies, he would observe and
analyse the different sequences, typefaces. He has
even used one font that much that many recognises
him just by that, Futura.
Angles
His style is often very Art Nouveau, very dreamy
and perfectly colour graded. All to portray a certain
emotion that is needed for the story. Interesting angles
are also realistic ones, that makes everything flow well
together, filled with emotion.
https://topsheet.io/blog/wesanderson-style
Costume Designs
If you start to look at the fashion and costume designs in Wes
movies they are very old school. he has a distinct love for the
material corduroy and tells you a lot about his love for older
garments, and a deeper, richer taste in fashion from the past.
It’s also great for making the viewers curious about what is
going on, what the movie brings, if there is something different
than usual.
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Set Props
Let’s go through some of the prop design that I’ve found from a
few of Wes Anderson’s movies. The details, color and editorial
is just so beautiful. There are many designers that have worked
with Wes in designing the different props. One of them are
Annie Atkins, she is currently purely dedicated to creating film
props and really enhancing the cinematic environment.
“Box from the movie The Grand Budapest Hotel”
“Cinema tickets for the movie Wonderstruck(2017)”
“Props from the movie The Grand Budapest Hotel”
“Props from the movie The Grand Budapest Hotel”
https://www.annieatkins.com
Annie’s prop designs
What is interesting about creating and developing this
entire cinematic universe is that it really needs to come
from a crazy attention to detail. What Annie Atkins does
so amazingly is that she lives, breathes, thinks about the
movie she is helping to create, constantly. She is fully
emerged into it and that makes a huge difference.
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Annie Atkins
I’ve spoke about Annie Atkins a few times before. But she is
truly a master at creating cinematic universes. Her first job on
the movie “The Tutors” was an amazing start for her cinematic
graphic design career. That series was set in a time where
there were no graphic designers, but instead the craftsmen
created their own graphics. So naturally for Annie she returns
to that time, and tries to create graphics that they would
create, with the materials and tools they had. All to make it as
Legitimate as possible.
I watched a short talk on the AIGA Design event online that
Annie was on, and she talked about how shes made one rule
for herself when designing. That if she worked on something
that was done a long time ago, that was done by hand, she
has to make it by hand as well. And that also applies the other
way around, that if anything was made on a letter press or
by machines, she can do that as well. She also makes a lot of
different signs, in fake glass, posters for walls and so on. So
what she does is create the sketches and finally if needed she
also creates the technical drawings to make everything come
to life if you use another medium or another artist that creates
the final piece of design.
Her Tactics
She talked a short while about “The Box Trolls” which was a
movie with only handmade elements that become animated.
Annie was in charge of designing the designs on top of the
box trolls paper boxes. She finds inspiration in her research
and when she found out that this film is more or less set in
early Victorian era. So that’s where she started. Researching
packaging design from that era. The director didn’t have any
straight lines in the set design or in the characters, so she
didn’t allow herself to have any either. The designers didn’t
use any rulers or any tool to help them whilst creating the
typography, signs, and so on. Every design is inspired by real
life, real designs.
The first thing she does in her process:
- She reads through the entire scripts and marks
everything out that needs graphics.
- Scripts breakdown, a spread sheet of everything you
need to make. (quote from the scenes and
where it’s set)
- They never make only one piece of graphic design,
they always have multiple different versions.
- Action graphics are difficult though. They are
constantly changing and need backups.
Texture Techniques
Something else that I found fascinating was the many
different ways to create texture to a design. Annie for
example has so many recipes that she’s stored over
the years of different ways to age paper with different
outcomes. Such as using; tea, potassium, balsamic vinegar,
coffee, baking soda, lemon, and so on to stylize the printed
materials she is working with.
https://www.annieatkins.com
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Annie Atkins actually collaborated very closely to both the
director Steven Spielberg, as well as the set designer Adam
Stockhausen. He is responsible for much of the production,
finding the perfect spots to shoot with all of S.Spielberg’s
attributes.
Creating
It’s so interesting reading about the different steps that
Annie does when she starts to create a piece of design.
How she explores the designs. Usually finds inspiration
on flee markets and in other vintage shops to really
grasp the size of the items. She even mentions that
she can get so much inspiration from just looking in her
grandmothers attic.
Now her days all look vastly different, her designs vary
and everything can change from one minute to the next.
She can be creating Japanese hand-painted maps, then
later go into creating geometric patterned flooring for
another movie. She has worked with directors such as
Wes Anderson, Todd Haynes, Steven Spielberg, the list
goes on and on. One of her most current works are with
the newly released remake by Steven Spielberg, “West
Side Story”, as well as Wes Anderson’s “The French
Dispatch”. And wow.
https://www.architecturaldigest.com/story/insidewest-side-storys-new-york-city-sets
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https://kottke.org/22/01/the-role-of-type-in-wes-andersons-films
https://fontsinuse.com/tags/1140/wes-anderson
Typography
So how does W.Anderson use typography
and where does he find his inspiration?
First of all. Wes has a few fonts that he always tend to go
back to, many now consider them Andersonian, meaning
that they just think of him when seeing them. They are a
mixture of different fonts that he edits to fit the theme he
is currently exploring. I’ll name a few:
Münchner Fraktur
Aa Bb Cc Dd Ee Ff Gg Hh Ii
Jj Kk Ll Mm Nn Oo Pp Qq Rr
Ss Tt Uu Vv Ww Xx Yy Zz
Didot
Aa Bb Cc Dd Ee Ff Gg
Hh Ii Jj Kk Ll Mm Nn
Oo Pp Qq Rr Ss Tt Uu
Vv Ww Xx Yy Zz
Futura
Aa Bb Cc Dd Ee Ff Gg Hh
Ii Jj Kk Ll Mm Nn Oo Pp
Qq Rr Ss Tt Uu Vv Ww
Xx Yy Zz
Futura
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz
Old English
Aa Bb Cc Dd Ee
Ff Gg Hh Ii Jj
Kk Ll Mm Nn
Oo Pp Qq Rr Ss
Tt Uu Vv Ww Xx
Yy Zz
DIN Alternate
Aa Bb Cc Dd Ee Ff Gg Hh
Ii Jj Kk Ll Mm Nn Oo Pp
Qq Rr Ss Tt Uu Vv Ww Xx
Yy Zz
Bickham Script(Tilda)
Aa Bb Cc Dd Ee Ff Gg Hh Ii
Jj Kk Ll Mm Nn Oo Pp Qq
Rr Ss Tt Uu Vv Ww Xx Yy Zz
Compagnon
Aa Bb Cc Dd Ee Ff
Gg Hh Ii Jj Kk Ll
Mm Nn Oo Pp Qq Rr
Ss Tt Uu Vv Ww Xx
Yy Zz
Compendium
Aa Bb Cc Dd Ee Ff Gg
Hh Ii Jj Kk Ll Mm
Nn Oo Pp Qq Rr Ss Tt
Uu Vv Ww Xx Yy Zz
Helvetica
Aa Bb Cc Dd Ee Ff Gg
Hh Ii Jj Kk Ll Mm Nn Oo
Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz
DM Serif Display
Aa Bb Cc Dd Ee Ff Gg Hh
Ii Jj Kk Ll Mm Nn Oo Pp
Qq Rr Ss Tt Uu Vv Ww Xx
Yy Zz
Archer
Aa Bb Cc Dd Ee Ff Gg Hh
Ii Jj Kk Ll Mm Nn Oo Pp
Qq Rr Ss Tt Uu Vv Ww Xx
Yy Zz
The master of Futura.
W.Anderson has used Futura in more than 5 of his
movies, they are all vastly different, but containing similar
techniques in their execution. Marie Boulanger who is a
typographer, has said that the more recent films Wes is
creating, the more focus typography has. Especially in
movies about writers and publishing.
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page 36
“The Grand
Budapest Hotel”
Let’s take a look at a few scenes from The Grand Budapest
Hotel focusing on type.
To create this beautiful alternate reality with the massive
use of type is astounding. The more I research in it, the
deeper it goes. To create the perfect aesthetics there are
many different procedures that had to be done, at least
in Anderson’s world. Text that was written on vintage
typewriters, hand-written letters using calligraphy, screen
printed props. It all makes a huge difference, the hand
crafted parts of any sets really make things stand out.
Almost like you get this nostalgic response to it, feels
like home. Safe.
https://www.typeroom.eu/article/why-grandbudapest-hotel-s-typography-star-movie
The city Zubrowka.
In this fictional city Zubrowka where the movie is based,
everything had to be created from scratch, even the every
day things such as flags, postage stamps, bank notes and
so on. That is a massive project but seems to be one of the
most entertaining and educational ones. Doing it all, in a
particular style. Everything had a strong inspirational source
from the 1930s in Eastern Europe, the director and his
creative team had collected many items for reference from
that time. Then also of course combining everything so it
looks like it’s from a specific time, aging papers.
Why choosing these typefaces?
In this specific movie there are not too many different
typefaces, so many signs are actually hand painted. There is
beauty in designing for a period that didn’t use specifically
graphic designers, but instead used local crafts men to do
the graphics. Blacksmiths for lettering in iron and metals,
Glaziers that created lettering in glass, Sign painters,
Printers and so on. If you look at for example the main
building in the movie, the hotel, it is really inspired by an old
steel sign from 1930 in Cairo. The letters were wonky from
the years of aging and weather, when kerning was fixed by
the guys making the sign, W.Anderson told them to undo it.
page 37

page 38
“The Grand
Budapest Hotel”
What is Annie Atkins favourite piece of design for them
movie?
I read this article that asked this same question. She
answered that it has to be the Budapest Hotel book that
is her favourite design element. It opens up the entire
movie in such a beautiful, colourful way. It’s modern with
the name of the movie as the sign.
The most challenging?
They also asked this question, where Annie said that the
Newspaper for the Trans-Alpine Yodel was one of the
hardest pieces of design to create. The different articles
was hard to combine with the hierarchy in text. As well
as making sure that every date and time was correct.
Not an easy task. She even mentioned that they probably
went through 40 versions before one was good enough,
especially from the different perspectives from which
everything was shot.
Interesting facts about the movie
I really wanted to find some interesting details about
the movie itself. There is one scene where one character
slapped the other one in the face. This part of the scene
had to be re-shot 42 times... (ouch)
“The French Dispatch”
Let’s have a look at this movie.
So what is the French Dispatch about? How is it created?
What are some of W.Anderson’s words about the movie?
How is it shot?
When Wes talks about his movie, he explains it to be a
tribute to the newspaper “The New Yorker” as well as
journalists. The movie is shortly a collection of stories told
in a fictional magazine in the 20th century. Here you follow
the newspaper as well as 5 writers. everything is shot very
aggressively and carefully. Everybody’s busy and stressed
about the upcoming edition of the magazine, but it doesn’t
dive to deep into the writers themselves, they are mere
something that fills everything out, while the main event
is the paper. The movie is divided into three parts, similar
structure to a newspaper, each part is about different
things. The first one about a genius artist who is serving
life in jail for homicide. The second part is about the 1968
student protests in Paris, very playfully created. Finally the
last story is about characters profiling a chef working at the
police station. A beautiful cocktail.
W.Anderson personally wrote every single paragraph in
the newspapers that were used in the movie. They even
have one article in the beginning of the film that spoils
the entire plot of the movie.
Some details in the movie that usually are faked, weren’t.
Such as one of the character being a master at baking a
specific French cake. She although had to bake one, all to
get into her character.
Also, the entire crew and every actor stayed at the same
hotel. All to save time, daylight & for everybody to stay
close to each other.
https://www.typeroom.eu/article/why-grandbudapest-hotel-s-typography-star-movie
https://www.rogerebert.com/reviews/the-frenchdispatch-movie-review-2021
Very Andersonian
There is no doubt that there are a few things that make
Wes heart beat just a little bit faster. beautiful objects and
nostalgia in different forms. It’s his recipe for excellence,
his tone of voice, his prosaic pattern. He views every object
with passion & affection. He falls in love with every day
items that have this specific look to them. You can almost
call it obsessive. When you then combine every element
with each other you get this magical environment.
“It is only shallow people who do
not judge by appearance. The true
mystery of the world is the visible ,
not the invisible. “ - Wes Anderson.
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page 40
“The French Dispatch”
Why is then nostalgia so important?
According to Wes he believes that nostalgia is universal,
everybody experiences it to a certain degree, with different
items, places or events. It can easily separate us from each
other, what can be a happy and good type of nostalgia to
one, can be the completely opposite to another. Simple as
that. Usually when then nostalgia is portrayed it is a polished
one, something that is applied to most people. What then
W.Anderson does is play with the utterly specifics, the
things that the minority will recognise, to see what the
repercussions would be.
Wes Anderson’s childlike tendencies become more and
more apparent in his movies, many critics have seen it
as a type of immaturity that will pass. But now it become
more and more clear that it really isn’t like this at all. It
is all chosen, his youthfulness and playfulness is a part
of him, it’s how he directs. What makes him special and
stand out in a similar-minded cloud. He has admitted
that the more movies he creates, the more similar they
become to him, how he acts, how he talks.
Let’s look at some visuals from the movie.
He does sometimes get super strong reactions from people
who are watching his movies, this is very likely a reason why.
That’s exactly how he wants it. “The French Dispatch” is no
different, here he is nostalgic for the future, things far away
form his own belief systems, and also for things so far in the
past he couldn’t have possibly experienced it. Everything is
personal and not personal at the same time, just a matter
of balance.
The first thing I saw was the different posters that were
designed to promote the movie. You can almost see a bit
of a teaser for the movie with them, when the movie has
this type of animation in some parts of it. This colourful,
bright and playful aestethic that is almost child-like.
https://www.abc.net.au/news/2021-12-09/the-french-dispatchreview-wes-anderson-the-new-yorker/100679892
https://thehoya.com/wes-andersons-the-french-dispatchis-a-love-letter-to-directors-signature-voice/
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page 42
Magazine/Movie Posters
They are nostalgic
The French dispatch has a very distinct style in the movie.
When they created the logo for the publication Wes wanted
them to try to create it with inspiration from signs, as well
as adding the light bulbs inside of it, and the scaffolding.
They were also very inspired by vintage Vogue magazine
layouts from around 1975. Erica Dorn was one of the main
people that worked on the magazine, finding the right
identity. The illustrations tie everything together, developing
that nostalgic look to them all. They are created by Javi
Aznarez, 30 pieces. All of the cartoons being inspired by
the old New Yorker Cartoons that were in the last few pages
of the magazine. They all had the same concept of being
events from the post-war and how it could look and feel like.
page 43

page 44
Movie Posters
Perfect visuals for the movie.
The entire bundle of posters create a beautiful
visualisation of 12 of the main characters in the movie. It
explains the traits, characteristics, and colours. It’s very
theatrical and almost feels like a play. The backdrops vary
in colour and in texture, but usually contain a pattern.
https://www.itsnicethat.com/news/the-french-dispatch-posterssearchlight-pictures-film-graphic-design-210921
page 45

page 46
Nostalgia
Why is then nostalgia so important?
According to Wes he believes that nostalgia is universal,
everybody experiences it to a certain degree, with
different items, places or events. It can easily separate
us from each other, what can be a happy and good type
of nostalgia to one, can be the completely opposite to
another. Simple as that. Usually when then nostalgia is
portrayed it is a polished one, something that is applied
to most people. What then W.Anderson does is play with
the utterly specifics, the things that the minority will
recognise, to see what the repercussions would be.
Historic Nostalgia
Something that Wes does amazingly is using historic
nostalgia when telling his stories. usually the settings
in where the movies are recorded are very nostalgic
and have a enormous inspiration from the past. But of
course also in terms of props and everything surrounding
the film. It’s as if he is creating this longing for the past,
both physically, mentally, aesthetically and in terms
of memories we have. He loves to romanticize the
environment and all of these areas in order to create his
beloved fictional worlds.
“Wes Anderson’s films are
nostalgic for the present.”
Childhood Memories
To romanticise what it feels like to be young is a great source
of nostalgia, which Wes uses in all of his films. The feeling of
being invincible and that you have all of the time in the world.
When you are younger, time moves so much slower. You
anticipate every single second, always longing for something
else. So while time is moving very fast, in the heads of youth,
everything is much slower, much more adventurous, much
more free. Life is really just filled of firsts, first love, first job,
first kiss. This is what being young, being a kid is. Going through
so many of our firsts. And that is exactly what W.Anderson
portrays, that type of nostalgia.
https://thedailyfandom.org/the-whimsical-nostalgia-ofwes-andersons-filmography/
Make things personal
When you see a movie you will be nostalgic with your own
experiences, what has happened in you own story. To use
certain shots, certain colour palettes that evoke just that. A
type of personal twist that most can feel. If you can make
some type of connect to the content, what happens, the
storyline, the shots, then you succeed. You can shorty explain
his style as a “Return to Sender note”, something you’ve had
in possession, but now gets reminded of, something familiar,
something true.
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page 48
Wes Music Choices
Breakdown of his decisions
Something you can’t forget to mention about Wes is
his choice in music and sound effects that elevated his
direction to the next level. Let’s go through a few examples.
“The Life Aquatic” uses the song “Life On Mars by David
Bowie” in an important scene.
“Bottle Rocket” uses the song “2000 Man by The Rolling
Stones” in an important scene.
“Rushmore” uses the song “Judy is a Punk by Ramones.”
https://filmschoolrejects.com/pop-music-in-wesanderson-films/
“Rushmore” uses the song “Alone Again by Love” in
another scene of great importance.
“The Royal Tennenbaums” uses the song “She Smiled
Sweetly by The Rolling Stones.”
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page 50
What About
Steven Spielberg?
Let’s look at his story
Steven Allan Spielberg(S.A.P.) was born in Ohio in the US.
He was as many other passionate directors of today,
very interested in film making when he was younger. He
directed a shorter movie called “Escape To Nowhere”
that won first prize at a film festival. This became the
start of his long career of directing and production
movies. A few movies after this he was discovered by an
executive at Universal Studios that saw huge potential
in the young and driven director. So what he got was a
contract short after his graduation at the California State
College. Here he was working in the studio’s television
department, working with great passions and success.
Steven Spielberg
“The turning point in my
career was Jaws. I was a
director-for-hire before Jaws.
Because it was such a big
hit, I could create any movie
I wanted and Hollywood
would write me a check.”
- Steven Spielberg
He directed many various films before reaching real
commercial success with one of his movies. The movie
that would break the ice and secure his future as a
director was the movie “Jaws”(1975).
“Jaws” became such a sensational hit, it became one of
the highest grossing movies ever and secured Steven
as a director for the foreseeable future. The movie
received an Academy Award nomination for the Best
Picture as well as for the iconic soundtrack from which
they received an Oscar. As said, great success, but it
didn’t stop there. Many series of block-buster movies
were created after this, high in action and excitement.
You can clearly see one of his directorial styles from
the beginning. The big main character that is gradually
challenged by a bigger force.
After “Jaws” he worked on many different movies,
everything from “Raiders of the lost Arc” in the Indiana
Jones series. To “E.T:Extra Terrestrial(1982)”, “Indiana
Jones and the Temple of Doom(1984)”, “The Color
Purple(1985)”, “Empire of the Sun(1987)”, “Indiana
Jones and the Last Crusade(1989)”, “Always(1989)”
and many more. Steven Spielberg has a broad and wide
storytelling which doesn’t allow him to make anything
too complicated and complex, he still keeps a distance
to his creations. Many critics sometimes say that his
movies tend to lack emotional depth or insights, but it
is very commercial and easy to enjoy and like. I can go
on an tell you many more of his famors movies, because
there are a lot of them. Many great movies that he has
had some creative insights in, amazing ones.
https://www.britannica.com/biography/
Steven-Spielberg
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page 52
Steven Spielberg
Hook (1991) - A retold story about Peter Pan and his
adventure when meeting other characters.
Jurrasic Park(1990) - A movie based on the novel about
dinosaurs that starts to run out of control at an Island.
Schindler’s List(1993) - About a group of Polish Jews that
avoided the Nazi extermination, based on a true story.
Antz(1998) - A story about a family of ants, literally.
Shrek(2001-2010) - A re-known story about A swamp troll,
finding love, friendships, and being adventurous.
page 53
https://www.britannica.com/biography/
Steven-Spielberg/The-1990s

page 54
Steven Spielberg’s
Cinematography
What is his directional style?
Many have a hard time saying exactly what Steven’s style is,
he uses many different factors to create his broad ranged
style. I came across this article that explains it in a great
way. How did Steven direct 36 movies to this date, as well as
getting around 131 Oscars nominations for them.
Let’s break it down and see...
Designed Elements
He has many production design elements in his movies,
that help establish the environment before focusing
on anything else. To make it feel as real as possible. The
energy is right for the specific scenes, as well as the tone
and purpose, helping the actors as well as the audience
feel. It’s specially important in the opening scenes when
first establishing all of these rules that are going to
continue throughout the movie. The where, what who,
and how is told by this.
Performance Blocking
This is also something that S.Spielberg uses to move the
actors throughout the scenes. He has said that it helps
with the kinetic energy, which means that it helps build
and amplify the energy that the actors have in a positive
manner. It also helps the viewers read between the lines,
and understand subconscious changes easily.
What is Spielbergs inspirational sources?
Well there are a few. To name a few directors, we can
start off with Michael Curtiz(1886-1962), who was
a director originally from Hungary. He made films for
Warner Bros and created many amazing movies, such as
“Casablanca”, “The Adventure of Robin Hood”,” Mildred
Pierce”, among many others. We also have Stanley
Kubrik(1928-1999) from New York who directed movies
such as “Clockwork Orange”, “Marlon Brando” and had
great success in many of his movies.
“Steven Spielberg - The
man without a style.”
Something that Spielberg does very often is trying
new techniques that he haven’t tried before, he liked
exploring the unknown, it helps him in his creative
process. Many call him a cinematic chameleon, that he
changes his style in terms of atmosphere, rhythm and
pacing more often that you might think. He has a natural
ability to imitate other directors in a convincing way,
The music in all of his movies are all perfect to the
structure of the movies, as well as the flow and pacing.
It matches perfectly. So to conclude his vision. I can
confidently say that yes, Steven Spielberg doesn’t really
have a distinct style, instead he had many various styles,
and is a great adapter to the different movies that he
directs. They are not alike, but just as powerful.
Multi-compositions in Shots
This meaning that you build many different shots in
one scene, making everything more natural and easy to
understand. Steven is a great example of this, changing
both the perspective but also the position of it, making it
closer or further apart. It’s said to evoke emotion, direct
your attention, as well as keep things interesting. It
creates this important suspension needed.
https://medium.com/swlh/steven-spielbergthe-man-without-a-style-e190adfcf885
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page 56
Rod Serling
https://www.thenewatlantis.com/publications/theenduring-legacy-of-the-twilight-zone
The Twilight Zone
This is a series that had it’s premier in 1956 and has inspired
many movies and series after that. Before the series started
to get produced many people thought that Television was
starting to become a wasteland, filled with programs and
movies that had no deeper meaning. Rod Serling who was
the director of this series was acclaimed as one of the most
innovative writers and producers during his time. This series
was described as “dramatic and moving”, which was a good
sign for the future of tv productions. Rod Serling himself
describes the series as “a series of imaginative tales that
are not bound by time or space or the established laws of
nature.” The fame wasn’t as great as many people expected
it to be though. This was probably because of exhaustion, he
mentioned that he worked around 12-14 hours per day.
A fun fact for you.
Rod Serling’s dad was a butcher who on his spare
time invented interesting ideas, such as the
“Frankburger” which is a hamburger-shaped hot dog.
About
The series is a Sci-Fi anthology and has influenced series such
as “Black Mirror” which is a modern and prominent series. It
told stories in a way that made a bigger impact, it introduced a
different type of cinematic language and structure that would
come to influence many movies to come.
They presented new protagonists and characters each
episode, The series tackled everything from anxiety to nuclear
threats, anti-intellectualism, racism, bigotry and much else.
They built a lot of tensions and strategic twists that would
make everything flow well together. Many have said that it’s an
immortal series that is as relevant today as it was many years
ago. Especially when you think of the technological advances
that we have today giving us more anxiety than we think.
And as I said previously every episode tells a new story with
new moral lessons meant to be taught. Wishes are granted at
terrible costs and there are plenty of monsters lurking in the
dark. So why is it called “The Twilight Zone”?.
This phrase was borrowed from astronomy and is the small
part of the planets surface that always hovers between
night and day. Rod interpreted this small part as where fables
happened, where an alternate universe was shown.
“There is a fifth dimension
beyond that which is known
to man.”
- This is how the director introduced the series, peaking at how
it’s something different, other-worldly.
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page 58
Up-To-Date-Problems
Let’s go through some of the most analysed episodes.
Starting with the episode “Maple Street”, it does read
as some type of Cold War paranoia but it does go much
deeper than that. In a broad description the episode is
about how citizens become worried when a loud shadow
passes them from above. The power cuts of and rumours
about monsters start to spread. People get paranoid and
start to accuse other of being aliens.
The twist in this episode is that there really are aliens,
but that they know that humans will themselves make
things spiral out of control.
“If you mess with comfort
and convenience, chaos
will arise in one way or
the other.”
“The Twilight Zone” is full of surprises, full of contrast.
The thing that matters in terms of context is that it’s
simple, it’s straight to the point with a strong concept.
When looking at the production designs there are a few
elements that make it very special. They have these
small sequences when the style changes, almost like
flashes that turn the scene into something else.
The series uses simple obstacles that has a much deeper
level to it, that draws in humanity, psychology & morals.
That we as humans will sacrifice so much before we
jeopardise our own comfort and life. It’s also so easy
to make others seem like they are demons to avoid
analysing yourself and your own behaviour. How it’s so
easy to believe in rumours and what others say, instead
of yourself figuring out what is wrong & right.
https://www.vox.com/culture/2019/4/3/18290709/
twilight-zone-review-recap-jordan-peeleexplained-cbs-all-access
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page 60
How to build a great story
There are a few things you should take into
consideration when creating a short film. Of course you
can start in many different directions, but I found a few
good pointers that seems like a good starting point.
Story Circle
What is a story Circle?
A guy named Dan Harmon further developed the
fundamental structure of storytelling but in a more simple
and shorter way. He constructed it as 8 simple steps.
The storytelling is usually divided into different parts.
1. Introduction.
Here wee introduce the main character and how he
fits into the story.
2. Building Trust.
There is always a drama or flaw that is introduced, a
dilemma of some sorts. (weakness/desire)
3. Turn of Events.
Something breaks the routine, causes a shift.
4. Call to action.
A reaction has to be added, maybe the main character
seeks help to sort out what is going on.
5. The Quest.
A goal is being pursued, often there are challenges or
things making it much more complicated.
6. The Crisis.
The lowest of lows are being hit.
7. Personal Growth.
Learning a lesson, sometimes the problem or flaw
helps the overall story in the end.
8. Showdown.
The final challenge.
9. The Resolution.
Everything gets solved, in one way or the other.
1. You, a character in comfort. 2. Need, but the want something else.
3. Go, a different situation is entered.
5. Find, they find what they wanted.
7. Return, they go back to their comfort.
The concept for creating a strong and interesting short film
is really the most important. You can have a movie that
looks very professional, but if the story lacks, the interest in
continuing to watch the movie will be very minimal. There
has to be some kind of philosophical conflict that enhances
the story. If there are many characters they have to be
fully thought out in all kinds of aspects. That as well as the
different narratives and the fundamental elements.
4. Search, they start to adapt to it.
6. Take, a heavy prize is payed.
8. Change, they change their behaviour.
https://www.cgdirector.com/shortfilm-structure/
https://www.studiobinder.com/blog/
dan-harmon-story-circle/
page 61

It
page 62
Cinematic Colour Design
Colours are super important when thinking of how
to create a harmonic composition and a consistency
between different scenes and shots. It could also be
used if you want to create the other effects, building
tension or wanting the viewer to sense that something
is wrong or out of place for a specific reason.
What are some shots that could be useful?
“Shots can always heavily
change the story.”
Cinematography Styles
When looking at all of the greats, the directors, producers,
they all have so many different types of shots, different
perspectives and so on. Let’s name a few.
Cinematography is within the art of storytelling, it’s
something that can really enhance your project and
take it to the next level. It’s about controlling what the
viewer sees, and what you want them to feel by showing
just that. We have different shots such as “the Extreme
Long shot”, meaning you capture a wide area in order to
add more of the surrounding, creating a mood, a feeling.
“Birds Eye Shot”, “Long Shot”, “Medium Shot”, “Closeup
Shot”, “Dutch Angle Shot”, “Tilt Shot”, I could go on
for a long time. All of these different shots help convey
messages in different forms and depending on how you
use them they can really influence the kind of content
that you are working with.
All different departments such as the producer, the
colourist, production designer, art department have a
say in this discussion. They usually help each other out
to create their desired effect. Let’s think of colour in a
psychological & physical manner.
For example, if we look at the colour RED, it’s proven
that it raises the blood pressure and is used in scenes
that contain more drama and excitement. Whilst the
colour BLUE has much more calming qualities and is
associated with a place or state of mind. If we then look
at a simple colour wheel you can see the the opposite
colours in the colour wheel have opposed meanings.
When you then start to combine different colours
you can create many beautiful harmonic creations.
Warm colours are energetic, bright and fun. They feel
alive. Whilst cool colour have a tendency to be more
soothing, calm and cold. Often used in
more simple scenarios.
https://www.cined.com/film-colorschemes-cinematic-color-design/
https://www.adorama.com/alc/14-basiccinematography-techniques-for-bettercinematic-shots/
So what are some common film combinations?
1# We have the Complementary colours that probably is
the most used combination in film and design. It provides
a rich and high contrast as well as help make things stay
consistent, of course with a varying saturation. A great
example is orange and blue, which could be used in terms
of internal and external conflicts, just as an example.
2# Analogue colours are neighbours on the colour
wheel, they match very well and can create beautiful
compositions that feels just that, analogue. Warm or cold.
3# Triadic colour schemes are colours that are evenly
spaced out in a composition. As if you would divide it into
three parts. One colours is always the dominant one, and
the others adds to it. This type of colourisation is one of
the hardest one to pull of, but is very striking when you do
4# Split complementary colours are vastly similar to
the complementary colours, only that you use the 2
neighbours of the opposite colour, instead of the colour
itself. Making it a bit more human like. Less tension.
5# Tetradic colour schemes is based on two pairs of
complementary colours that co-exist. Keeping the
warmer tones in the highlights, and the colder shades in
the background to make it less over whelming.
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page 64
Psychology behind the
tabula rasa / blank page
Yes, this is a thing.
When looking at psychology terms and different
studies, there is such a term called “the blank page /
tabula rasa” syndrome. There are a few different ways
you can interpret it. One way you can interpret it is
that most people are born with the ability to become
anyone, or anything. It downplays the different effects
of genetics and biology within the human personality.
The second definition is a technique that was used
within psychoanalysis and is still used in some ways
today. Using this technique it’s important to not reveal
anything of your personality to the other part.
In psychology if you then want to change your
behavioural patterns you have to unlearn things that
you grew up doing. There are many different ways of
doing that as well. “Systematic Desesitazion”, “Aversion
Therapy”, “Flooding Therapy”, “Exposure Therapy”,
“Behavioural Rehersal” and many others.
According to psychologists...
Most psychologists act like a blank page, so that the
client then can project their feelings and experiences
onto them. It helps in self realisations as well as
when you go deeper into your own concious. This
professional relationship could then be compared to
others you’ve had in the past, such as the one between
a family member or a friend.
“Tabula Rasa” meaning “Blank
Slate”, refers to the idea or that
we are the product of our own
upbringing and experience. It’s
when the therapists act like a
blank page allowing the other to
reflects their beliefs & desires.
“Blank Slate”, “Noble Savage”, & “Ghost in the machine”.
We’ve gone through the Blank Slate. “The Noble Savage”
in reality means that you have this goodness inside of
you when you are not exposed to your surroundings.
The idea that people from a society without industry or
technological advances are the most noble of human
beings, they are untouched, uncontaminated.
The idea that humans are born with a completely blank
slate is questioned a lot of times. Meaning that many
believe that the genetics and biology does actually hold
a bigger role than you think. Everyone has to anticipate
the acts of others, that has been like this for a long
time. we can all understand certain aspects of why
people do the things they do, say what they say, act
how they act. Certain researchers divide it into three
separate parts, three alternatives.
“The Ghost Machine” on the other hand means that
you really carry your own conscious mind in how
you physically carry yourself in your everyday life.
The human mind is not shown physically, but it’s
independent on the human brain, like if you would
sometimes act as if your body has a mind of it’s own.
https://www.verywellmind.com/blankslate-definition-2671563
page 65
https://dictionary.apa.org/noble-savage

page 66
My Interpretation of a
Blank Page...
What does it mean to me?
A blank page have many meanings.
You can interpret it as something that is waiting to
happen, a story that has not been told.
Many people long for a blank page, for new beginnings
and to start all over. Mistakes in your past gets deleted
and you get a new chance to do something better. New
possibilities arise.
This blank page could also be the silence before you
say what’s on you mind, that second before you break
the silence with your voice, your mind, your thoughts.
All conversations start with a blank page. A clean
slate, more or less. You can yourself control what you
want to say, and how you want to say it. Just like if
you are writing a letter, but this time the response is
immediate, the preparation short.
Let’s also take a
look at a few film
companies in their visual
communication & style.
How do they look? Feel? Stand out?
A blank page can be very over whelming. You can
compare it to how an artist react to an empty canvas,
so much potential that you become overwhelmed by
all of your options, so you just stare. Usually what helps
is to make a mess, make the cleanliness of the white
space much more inviting. The same thing applies to
a blank paper on which you intend to write. A much
easier task is to write on something messy where not
everything has the need to be perfect. Because then
when you do start, you will continue, then you need to
have things settled in order to continue.
page 67

page 68
NA Productions
Branding & Design
I found this beautiful branding on Behance that intrigued
me because of the typography and editorial aspects that
they used. They put the logo inside of a box cropping
the edges and making it heavily inspired by the camera
shutter. They wanted the entire branding to be very
visual with a dynamic aura, an adaptiveness.
They wanted the branding to keep a beautiful balance
between elements, making it very sophisticated yet
playful and modern. It’s not a very traditional approach to
a branding but instead focuses on the new the fresh.
https://www.behance.net/gallery/124803669/NA-
Productions?tracking_source=search_projects_
recommended%7Cfilm%20studio%20branding
page 69

page 70
Line Studio in Lebanon
Graphics and Communication
Then we also have this branding that is a full service
media production company. This example is also
from Behance and displays a beautiful balance. Their
main inspiration was to create something simple &
minimalistic lines, lines in different forms such as
glitched lines, lines from the camera. They are also very
type heavy and focuses on the linear work flow in film,
how it usually follows certain steps.
https://www.behance.net/gallery/84580441/Line-Studio-
Branding-Visual-Identity?tracking_source=search_projects_
recommended%7Cfilm%20studio%20branding
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page 72
Ulju Mountain
Film Festival
Graphic Design Branding
This is a film festival that is located in South Korea. I
added this to my inspiration because of the unique and
playful branding that they have. With some parts being
more clean and commercial, and others being something
completely different. Their design is completely based
around making something traditional into something
much more contemporary and different. The logo itself
is inspired by something called “Irworobongdo” which is
a traditional landscape painting of a sun, moon, and other
elements. It’s alleged to be a visual representation of
balance. It’s great in terms of contrast, the straight lines
together with the smooth and rounded corners.
https://bpando.org/2015/05/21/logoulju-mountain-film-festival/
page 73

page 74
Newscope Films
Graphic Design Branding
Newscope Films is a studio based in England, it’s
independent and produces feature films, and other types
of programmes that has a smaller budget. The logo is
directly playing with the word itself. They are using a
perspective that creates a very dynamic and fluid logo. It
seems as though it is 3D but in reality is just playing with
perspective and forms of different sorts.
The branding is clean, concise and minimalistic. Still
showing personality and a playfulness. The application
of the logo can also be used in many fun and interesting
ways such as for decoration and interior purposes. Like
how they for example bent the logo on a window to
create and enhance the 3D effect.
https://bpando.org/2013/03/15/logonewscope-films/
page 75

page 76
BIFAN 2016
Visual Communication
This design studio is based in South Korea, it’s a Film
Festival with a beautiful designs that really feels some
what nostalgic, almost as if it’s something older and
experienced, something you can trust. It’s just about
celebrating cinema in it’s purest form, all kinds of movies
are presented here from all over the world. It’s the largest
film festival to date and has been around for almost 20
years. The logo is heavily inspired by the concept “The
Cell of Fantasy”. They are very imaginative and wants to
only inspire and stimulate the audience eyes. It’s very
organic and plays with the positive and negative space.
page 77
https://bpando.org/2016/09/19/
branding-bifan-20/

page 78
Inspiration for branding
a Film Studio
For the branding I found these small details that I feel
would make the branding very interesting. One designer
for example on behance created a business card that
came as a stamp. Where he would stamp anything
that then became the card. I loved this idea of re-using
something you already have at hand.
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page 80
Research within film...
So, before we start to design an identity within a brand,
I want to go back to the roots of film, as well as how wit
has developed into the industry we have today.
For the branding I found these small details that I feel
would make the branding very interesting. One designer
for example on Behance created a business card that
came as a stamp. Where he would stamp anything
that then became the card. I loved this idea of re-using
something you already posses.
What is the Phi Phenomenon?
It is a type of visual illusion that makes non moving
pictures or stable items look like they are moving by
playing with speed between images. You start to loose
the way of seeing them separately but instead fill in the
blanks, which make them look like motion. This is also
very similar to the Gestalt Syndrome. All based on how
you retain imagery on the retina of the eye.
The illusion of film is really just based on the
phenomenon known as “Persistence of Vision”.
1891 1914 1930
1882 1906
1927 2000s
1882
A French psychologist took the first photographs using
only one specific instrument. Revolutionary.
1927
This was the year when “The Jazz Singer” movie was
released, the first long film that had sound in it.
1891
The Kinetoscope was developed, a box prototype where
you could see moving pictures.
1906
After this period more and more films became colourful,
instead of being purely black and white.
1914
At around this time the cinema industry was more
established, many film industries that had grown.
1930s
Can be described by saying “The Golden Age” in
cinema. Especially when taking looking at Hollywood.
2000s
Since the 2000s film and cinema has exploded all
throughout the world, it’s an important part of our
culture today and only keeps on growing.
https://www.scienceandmediamuseum.org.uk/objectsand-stories/very-short-history-of-cinema
https://www.britannica.com/art/history-of-
the-motion-picture/Edison-and-the-
Lumiere-brothers
To use many different angles and ways of using the camera
could be essential when creating a movie with great impact.
When you then look at many movies and their composition
throughout the years you can clearly see how they play with
more angles, more lights and interesting ways of enhancing
the scenes. You can see what works and what doesn’t.
https://www.britannica.com/topic/phiphenomenon
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page 82
History in Ticket Design
“Presidential document from 1868”
Something that I was really intrigued by was the design
of tickets throughout time. As well as receipts and other
small printed material. Let’s take a look at a few.
The first type of tickets that we know about are found in
Ancient Greece, used in different theatres and events.
There is also the Roman Era in which they constructed
tickets out of clay, with different impressions on them.
At some point around 1730s they really didn’t issue out
any tickets, but only hoped that there would be enough
room, examples from London has proven this.
“Printed ballots from 1868”
“Late 1800 paper ticket”
“Ancient event token “
A specific style started to develop during the 1860s
where the techniques to create these “tickets” evolved,
The material was made out of bone, as well as rock,
stone and wood. The tickets was personalized with
names and dates, as well as signed by the manager.
After this of course the paper ticket was introduced, you
would pierce the paper to visually represent that it was
used, as well as decorational designs started to appear.
page 83
https://www.oldvictheatre.com/news/2018/01/abrief-history-of-ticketing

page 84
Then until now
1900 and forward
This ticket sheet in the top left corner is a great example
of creating many beautiful layouts that have this specific
aesthetic. I love that they used that many types of
typography and only focused on colour combinations
as well as the function of the ticket. Sometimes they
even wanted to use different shapes of the ticket to
make a seemingly small change that would make a huge
difference. These types of tickets are now very sought
after and could have a lot of value to collectors.
After then the ticketing system called Tessitura (which
was a developed ticketing system) was released,
everything was so much easier to create, in bigger
quantities too. This system is used in al types of
organisations, performing arts, and other activities. It’s
also been updated many times to the better, in 2017
they even wanted to create e-tickets using the same
system to reduce the amount of littering and create
a green alternative. So if you compare this to the first
ticket designs, they were very minimal, only created to
serve a purpose. After that they became more intricate,
decorative, and editorial.Until now when they are
becoming more minimal, back to serving a purpose.
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page 86
Target Audience
For this specific project
When trying to figure out my target audience for this
project I had to take many things into consideration.
Because it would be a film created very playful but
with a deeper meaning the target audience could be
big. Anything from younger although it might be hard
to understand the full complexity of the plot. But of
course also the older generation. I want to use nostalgic
key points to have the audience recognise parts of my
concept. Therefore the target will be from 18 years to 30.
To make sure that the message is understood.
Understanding Audiences
The key to a really successful film is always to have a
strong idea of your target audience. You need to be able
to answer the Who, What, How, When, Why.
Cinema and films are important to all ages, more or less.
The different ages are split like this:
- Children (5-11 years)
- Family Groups
- Teenagers, youths and students
- Adults
- Older generation
We can also divide it into interests, why you want to go to the
movies and with whom. Similar to this:
- Enthusiastics for film
- “Bored, have nothing else to do”
- The non-goers.
- “The going with friends”
We can also ask ourselves the reason why we want a certain
target audience, or if we want to expand it, somehow:
- Do we want to keep the current audience?
- Do we want to ad value, enhance the cinema experience?
- Do we want our targets to go more frequent?
- How do we expand our audience?
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page 88
How to make a script?
I was completely lost when I wanted to start writing on
my script, making everything make sense. So how do
you create one? where do you start?
1# Before you start writing you should know a few
things. What and who is you main character in your
specific story?
2# Figure out the main conflict in which your story basis
itself around, so that everything is crystal clear.
Other things you have to think about when writing a
screenplay is how it’s layout is composed. There are a
few steps that most of the screenplays follow:
- 12 point Courier typeface size.
- 1.5 inch margin to the left, 1 inch to the right.
- 1 inch on bottom and top.
- Each page should consist of a minimum of 55 lines.
- Dialogues are 2.5 inches from left side.
- Character names all in ALL CAPS, 3.5 inches from left.
- Page number is on top right, 0.5 inch from corner.
3# Lastly, structure the story in a good way, where it
flows in a natural way, keeping the excitement.
Every world that is explained or created for a movie
needs to be processed. When adding creativity and a
playfulness to your story, it gets enriched. Answer a few
questions, like How does the world look?, How do people
communicate? What history lies here?
You then also have to develop the main character, who
is he? How can we make it relate able and comforting?
How about the past? If you are writing a story based on
the viewer making him the main character, that works in
the same way only that you try and show everything you
want to show in a universal way. That means figuring out
the wants and needs in the story.
https://www.independentcinemaoffice.org.uk/
advice-support/how-to-start-a-cinema/
understanding-audiences/
page 89

page 90
The House of Small Cubes
I completely fell in love with one short film that I found
whilst doing my research on how to create a compelling
and touching script.
This short film is 12 minutes long, it’s beautifully
illustrated. The narration and storytelling is impeccable
and I’m so impressed on how the story is followed so
naturally with only sounds and music.
The movie is called “The House Of Small Cubes” and is
written by a man called Kunio Katô. (2008)
This story is told through the life of a man, he sits alone
in his small kitchen this is where the entire story is built.
He lives in a town flooded with water, every once in a
while the water rises, and he needs to solve his room
flooding with water, so he builds a new part on the roof of
his old home. There are so much symbolism in this story
where the house symbolises his life, his people around
him and social life. The water that rises symbolise time,
and you changing with it as time goes on.
I love how the story began with a look at his present
life, how he was content but you could clearly see that
something was missing. Something important that
changed him into who he is today.
Then the rest of this story being glimpses of his past,
how he goes deeper and deeper into his past. (literally by
going deeper into the water) Having beautiful glimpses
from even before the water was there, when he was
young and ran around on the meadow with a girl he liked.
What I also love is that its so easy to relate to him, what
he is going through, even though his environment is
fictional. You come to think about your parents or grand
parents that are in the same position. Them having to
deal everyday with things they have lost, people that
have come and gone in their life. Forming them into the
people they are today. Beautiful.
One day this old man drops his beloved pipe down in the
water, it floating down to the bottom of his house that
has been rebuilt his entire life, with all of the levels being
intact under water. He decided to go down and search
for it. He then discovers and unlocks his memory and
past life the more levels he continue to go down, until he
finally reaches the bottom.
https://www.youtube.com/
watch?v=j0YSFvPTm2A
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page 92
If Anything Happens
I Love You...
Another beautiful short film that I love.
This short film I was introduced to on Netflix. I had seen
the trailer before but never really taken the time to
actually see it, even though it’s only 12 minutes long and
many friends had recommended it to me.
This movie is a it different from what I’ve seen before.
It follows the same structure as the movie I presented
before this. It’s called “If Anything Happens I Love You”.
It starts with an introduction of the after, you don’t
know yet what after, but you understand that something
has happened. There is a couple avoiding eye contact,
sitting far away from each other, avoiding a special room,
then breaking down when one of them finds a small
sweater. Throughout the movie you see glimpses from
the past, happy memories, laughter, sorrow, hugs and
tears. Everything that finally leads to their child, walking
towards school, then loud gun shots. The only things you
then see is the start of a text conversation, that says
“If Anything Happens I love You.”
Frames from the movie itself.
After you see the desperation, the wanting to make
something different to change what happened. While
this plot is going on you can see the ghosts of the future
trying to keep everything together, trying to change the
fate that is destined to happen. With no luck.
It’s style is very simple, shapes and composition within
the illustrative style, but touching nonetheless.
https://www.youtube.com/
watch?v=j0YSFvPTm2A
page 93

page 94
My concept
My idea for this short film.
I wanted to create a story based on connections, it
could be connections with your family, your friends.
Connecting with people is so important for your mental
health, for our mind to function. We are social creatures
and need that sense of belonging.
It’s even more apparent when you move away from
people you have a strong connection with, people you
are used to meet every single day. If you live abroad it’s
common that you in the beginning reach out to people
more frequent. But then as time passes it’s a natural
thing for thing to become less and less frequent. Even
though it might be your intention to stay in contact.
I wanted to play with this idea of loosing connection and
wanting to reach out to people, but you being unable to.
Letters are a perfect metaphor for this connection. Of
you having to put effort in, preparation into writing your
letter, and then sending it to where you want it to go. To
play with the waiting game of not knowing when you will
get an answer, or when. This is an interesting conflict.
Especially if you compare it to nowadays when you have
such an easy time to contact whoever you would want.
It doesn’t matter where on earth you are located, as long
as you have a phone. But even though it’s so easy, we still
find a way to reach out less and less, for relationships to
fade away into something else.
Script for “Return to Sender” #2
AFTER THE BEFORE 1
The desk is messy, full of character, old and torn. So many
days have started just like this, with only you, a few
papers in different colours, and your favourite pens. For a
long time have you been close to writing something, express
what’s on your mind, reach out to someone. Someone you
miss, someone close to you. *pen tapping to the table
[BIRD VIEW PERSPECTIVE. On the table lies half-empty
coffee cups, crumbs from the cookies you ate at noon,
an old and worn phone book with all of the important
phone numbers to everybody you know. You have it
there, if you ever need it, even though you haven’t
touched a phone in many months now. Next to it there
is a full sheet of postage stamps, missing one, the
light from the lamp is warm, and is making the letter
you still haven’t sent at the end of table very
visible. A reminder of what you haven’t done.]
You have done this many times before, written to people.
It’s been your way of communicating since you were very
young. Whilst being in the comfort of your own home.
You save everything. Every note, every letter you’ve ever
received. It’s a part of you. Like physical evidence of
your past, your memories. Stored safely within different
papers and letters. All of them time marked, with
addresses, from who, and what it was about. You have been
so close to writing something for a while now. But the
white paper terrifies you. A blank slate creates so much
suspense, so many expectations. You always pick up the pen,
remove the cap, but always end up putting it back after
a while. Forgetting what you wanted to write in the first
place.
*SOUNDS. In the background you hear a subtle radio
playing songs filled with nostalgia, it reminds you of
before. There is sometimes screeching and crackling
from the radio, but that doesn’t bother you at all.
You start to remember your first note that you ever wrote.
How hard it was to just form the letters. Just like it
is for you now. You search for it, the note you wrote to
your parents, a long time ago. It’s deep down in the box
where you store them all. Letters from the past. Under
many layers of papers, and specifically under a vibrant and
colourful letter you finally find it. THE letter.
(COLOUR SCHEME in present : COLD)
page 95

page 96
A TRIGGERING SWEEP 3
REMINISCING 2 WE OPEN this sequence with you picking up the pen once
again. You start to think about what you want to say. You
BIRD VIEW PERSPECTIVE. *Pen tapping in a beat
sweep your hand across the paper to subtly remove any dust
As soon as you touch the letter, your perspective changes.
The paper transforms into a SKETCH STYLE, and flies away.
Almost like it shows you the memories it was withholding.
or possibly remove parts of the coffee stain on the paper
before you start writing. You recognise the hand motion.
You have done that many times before. You recall a specific
instance where you were about to write your first love letter
to someone you adored in school. (making the movement again)
Everything turns white and you only see the note flying away,
making volts and interacting with the wind. It floats very
gracefully past beautiful landscapes, large areas of forest,
through a sky full of clouds. You finally spot an open
window in the distance that the letters fly through. Finally
it lands on the outside of a fridge. It fits just perfect.
Surrounding it are other memories, photos, drawings. They
are all upheld by magnets in various colours. They start
moving and shaking, so filled with life. Each one playing
out a different memory as you remember it, core memories.
Memories of your first time riding a bike, falling more
times than you can count, but still getting back up.
[THE CAMERA flies into the frame of certain
memories, where you can see how it’s played out.
You observe them from the perspective of being above.
The colour is very selective, and focuses on one
specific colour that highlights important details. Such
as the bright red bike with a matching helmet.]
It’s a beautiful thing to remember. To be joyful of your
past. To remember that sense of freedom that now feel so
much more distant. THE PERSPECTIVE finally zooms in on a
photo of a meadow.
[You see a young person running around on the wide and
open field, laying down in the grass. You feel how the
freedom makes everything so much lighter & easier.]
THE PERSPECTIVE slowly starts to tilt downwards. This
transitions to you seeing how the magnets on the fridge
starts to become less magnetic, pulling everything down.
The letter that started this entire sequence falls down,
OUT OF FRAME. Lands on the floor, and the perspective is now
where we started. IN THE PRESENT. Us staring at the letter
that is sitting on the table. The letter holds so many
memories for you. You put it back in the box. Pick up your
coffee cup that is resting on the side of the blank paper.
It left a mark shaped as a ring on it. The coffee is cold,
but that doesn’t matter. Maybe now you can finally start to
write something. You have nothing to loose.
(WARM TO SKETCH TO COLD COLOURS)
[The hand sweeping motion changes the time from the
PRESENT, you being older (COLD COLOURS) to a sequence
of you sitting in your school bench. THE PERSPECTIVE
being in bird view. Your desk is messy, filled with
different kinds of nicks, papers, books, pens, erasers
that you’ve scribbled on. As well as one colourful
note. A special note. (WARM COLOURS)] *pen tapping
*THE SOUND in the background is very hectic. Young
people talking, screaming, slamming things, papers
being torn. ( But as soon as you start to write on the
colourful note, the surroundings become silenced.
Almost like a vacuum is developed where nothing can
penetrate it.)
You continue to write, slowly and carefully. Taking extra
precaution to every single word being correct. While you
are writing you sometimes stop, hide the note, to make sure
that no-one sees it. Then continues to finalise the note.
Ending with the phrase “Will you be mine? YES, MAYBE; NO.”
[THE PERSPECTIVE starts from far away, and sloowly
zooms in as the story progresses]
You then carefully fold it, and plan on how to give it
away. You practice the hand motion a few times before. It’s
time. You drop the note on the table and the perspective
changes once again. This time it’s you fantasising about
how it will be received. The note turns into a SKETCH
STYLE. Carefully flies away, like it was hit by a breeze of
air. It floats and swirls to the desk of the one you adore
so much. “What’s going to be said?”. You see the siluette
of the person unfolding the letter, reading it, pausing
for a short second, to then follow up by starting to write
something. Finally. Maybe this will change everything, you
patiently wait for the response and can’t wait until you
read what it says. The note is thrown into the air, ready to
circle back to you. But it doesn’t. There is an open window
in the room, and the wind takes control of the letter. It
flies right through it.
[The flying note action transisitons to you accidentally
tearing up the blank, coffee stained paper. Same direction.]
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page 98
TO REALISE THE FLASHES 4
NOW you just look down at your hands, the table, the halfdestroyed
paper you have been preparing yourself to write
on for a long time now. You find some transparent tape and
try to repair it, puzzle the pieces together. Things can’t
possibly become more diffuse then what they are now. You
have made so many excuses now. You of one used to be able
to make so many decisions, quick and easy. You never used
to overthink anything. You have sent countless letters
throughout your life. It’s been a big part of your life and
has documented about every single important thing that has
happened to you. (PRESENT TIME)
[You quietly observe the box containing all of your
memories, you don’t even remember half of it anymore,
it’s been so long. You push them around and suddenly
it’s like all of the memories hit you at once. Like
they all rewind similar to a tape recorder in your
mind, with one memory after the other getting replayed]
The flashes are quick, dramatic and colourful. You observe
the flashes of the past. (PAST TIME) All of the sequences of
you opening the letters, one by one, in different situations.
All of the designs co-existing with the place in which they
are opened. You open them in the kitchen, whilst cooking,
sitting by the kitchen table when going through your bank
papers. Whilst reading the daily newspaper and drinking
your morning cup of coffee. Sitting outside in the grass
reading one of your favourite books hanging out with one of
your dearest friends, and so on.
(The letters are colour coordinated, and fits
perfectly within every single scene.)
[All of the letter openings follow the same motion.
Whilst one is being aggressively opened, another
scene follows the same ripping motion. The placement
of the hand and the letter is always in the same spot.
Making the transisitons flawless and very easy to
follow through. 4 or 5 different scenarios are followed,
from ripping open the envelope. To reading and placing
the letter on a flat surface.]
*THE SOUNDS are with a nostalgic foundation, they
remind you of memories, happy ones. A violin, harmoica
or a guitar helps with the feeling. The frames and
letters changing with the help of the beat.
This sequence ends with you placing down one of the letters
abruptly, that transistioning with you roughly smashing
your hand onto the table. BACK TO REALITY.
THE YOUTHFUL LONGING 5
WHEN YOU abruptly smash the fist down into the table, your
coffee cup gets turnt over, making a huge mess, with coffee
running through all of your papers and tools that you keep
on the table. It colours your coffee-stained and half-ripped
blank piece of paper. You start cleaning it up, trying
to dry it with the help of paper tissues and a dishrag.
Carefully using them to not destroy anything more, you look
at the paper and starts to think about why it’s so hard.
On this paper your imagination starts to play out. The
PERSPECTIVE changes from a PRESENT to a SKETCH STYLE.
Recalling a time in your life that you think was the
tipping point in where you stopped sending letters. Where
you changed, and why.
You fly into the sketch on the paper, it’s constructed and
fits perfectly with the ripped part and the coffee stains.
You see yourself from a distance, walking on a road. You
are holding a bright blue letter in your hand. You cross
big and empty roads, walk through a forest, past a rustic
and industrial city. To finally seeing your destination. You
walk over to a mail box, put the letter inside, with no
hesitation, and start your waiting game.
[You can see the day turning into night, night into
day. You switch between feeling cold, to warm. You
see the postman a few times delivering mail, but it’s
never the one you are waiting for. You are waiting
for a reply that never comes. The anticipation builds,
but nothing. No letter. You start pacing back and
forth, and finally decides to walk back.]
You walk past the rustic and industrial city, the beautiful
and intricate forest, the big and empty road. When you
are walking you never notice that the letter you wanted a
response from is following your path. The wind is taking
it to you, but you are too deep inside of your head to
notice. When you left the mailbox the postman handed it to
you, threw it in the air so you could receive it. The blue
letter. You got a response. Unknowingly.
[You open your front door, (the viewers seeing the
siluette), close it. The letter swirling and finally
hitting the door in a swift motion. Landing on the
porch. Here it sits for a short while, before the wind
takes control of the letter once again, and it flies
away into the void, the open air. With you never
knowing what happened, that you got a response. At
least that’s how you hope it ended. ]
(WARM COLOUR SCHEME)
(WARM COLOURS)
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page 100
STARTS TO FADE 6
PRESENT.
The SKETCH STYLE melts away, and slowly transitions to you
writing your letter, it’s going slow and you are taking
every detail into consideration. You have visitors, but you
keep on writing. Your visitor is younger, typing a message
on the phone, receiving a response only a minute after it’s
sent. When you see that a response have come, you stop for
a short second, look, to then keep on writing.
[The visitor is sitting right in front of you, when
you are cautiously writing your letter, explaining,
talking about how you know that you haven’t reached
out in a while. It’s almost poetic, like you are
writing everything that’s been on your mind lately.
The lens zooms in just as you are about to write the
last sentence of your letter, where it says:
“I hope for new beginnings, or a continuation of
what was”
You then put the cap back on, place the pen to
the side, remove one of your books that are sitting
on the table, to find your stamp. You have used this
stamp throughout all of your letters that you have
written. You fold the letter three times]
You put a small sticker to keep it together, bring out your
thin paper you wrap it around, to then finally bring out
your envelope that you have carefully selected. Placing the
letter inside of it. After this you light a small candle.
Pick out your wax that you haven’t used in so long. Melt
the wax very carefully, to then slowly drip it to seal the
envelope. Now you can do no more changes, now it’s set,
it’s done. After such a long time of not sending anything,
staying alone, not communicating. To finally deciding to do
so. You stamp it to create your signature pattern. Write to
and from, add the time stamp, and finally. Carefully removing
one of the postage stamps from the sheet, and placing
that as the final detail. A small string binds everything
together. You are done.
*In the background you hear the phone typing, they
sent at least 30 messages in the time that you have
perfected one of yours. All of the sound effects enhance
the crafitng of this very important letter. The patience
it took for you to write it can’t compare to anything
else. The suspense is building up.
You carefully place the letter up-side-down onto your desk,
ready to send it away. You touch it once, to make sure that
the stamp is on correctly. Which it is. (CALENDER GLANCE)
(COLOUR SCHEME IS COLD)
SHIPPING THE LETTER 7
SHIPPING
WHEN YOU TOUCH the letter this transitions to a shot of
the postal service handling the letter. Quickly turning
the letter up-side-down stamping it with a stamp of
approval. Feel the letter so that there is nothing that
needs inspection. To then keep the band moving with other
shipments that have to be approved. After one bigger package
is inspected and stamped, many other letters go through
this same process, letters that are being sent to family,
friends, siblings, everything. All of them going through
the same process, they have all had a form of planning,
development stage, and care put into the design of it. All
of them containing different stories, and different reasonings
behind why they are sent in the first place.
*The sound is very direct. It reminds you of a building
specifically for industrial work. You can hear the
machines working, making sounds when they clash with
each other. There is puffs and clanks, with workers
breathing heavily in the background. It’s almost like
an orchestra with everything making it’s own specific
sound. All with the same message. Same goal.
[The table consists of a black rubber band that brings
all of the letters and packages forward. You can only
see a more zoomed in part of it, together with the
hands that are doing the controlling. You can clearly
tell that the hands have been through a lot of
pressure, they are workers hands. They are used to
working in tough conditions and have endured tearing
for a while now. Expert-hands.]
The next sequence of this shipping is the collecting of
letters, where you can see steps of them being poured into a
bag, placed in different areas before they are finally close
to their destination. Everything is shown very quickly,
like glances, small peaks of the bigger transportation.
The last part of it is to check the sent shippings. You
fill in a list and just stamp the date and place. When the
page is being turnt you go back to the view over your desk
where you are patiently waiting for reply. You turn the
page of your calender where you have marked an estimation
of how long it’s gonna take before the letter is received,
possibly answered, and sent back. All of this to not forget
that you sent it, but also for you to keep track of it.
But you have to wait, patiently, silently.
(COLOUR SCHEME IS COLD)
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page 102
WAITING GAME ACTIVATED 8
DAYS TURN INTO NIGHTS, nights into days, everyday you mark
an X in the calender, calculating how long it’s going to
take before you FINALLY receive the letter. The anxiousness
building up the more days you wait, you long for an answer.
[Each small shot of you putting an X in the calender
has a transistion of everything turning black, then
getting bright again for the viewer to know that it’s
a new day.]
[You think to yourself that the shipment should
probably take approximately 3 days. 1 for the shipment
to be placed into the system, with it heading to the
first stop, the control center. The 2nd day would be
for the first day of shipping, it going up and down the
country until it reaches the second stop, halfway
there. The 3rd day would be where it finds it’s
destination, with just someone having to pick it up,
or it get’s delivered to the correct adress, if nothing
goes wrong on the way that is. So let’s add another
day. Total of 4 days. Then it might take a few days
before they have written an answer, for it to then
be sent back. More or less, you would have to wait for
at least 10 days.]
The more time passes, the more anxious you become. It took
so much effort for you to write it all, for you to put
yourself out there, reach out to someone you have been
wanting to contact for a while now. Everyday of waiting
feels like a week, 2 days feel like two weeks. You need
some type of distraction, to make time go faster.
Music has always worked, listening to songs from the past.
The memories that music withholds is one of the functions
that dissapears last, it usually remains your whole life snd
you can connect so many things to music, so many memories.
Another way to distract yourself could be by lighting
candles and use different aromas to calm your senses, that
only work for a short while, you become restless so easily.
You start scribbling onto some of the pages that you have,
you used to be so talented in sketching and drawing. Now a
lot of it has dissapeared but you still remember parts of
it. The joy that it brought you.
[NEXT to you on the table lies some of your old
sketches, they bring you joy, you have so many talents
hiding inside of you, that gives you comfort.]
*IN THE BACKGROUND is lots of nostalgic music, but
it’s much more intense, faster, almost stressful.
Enhancing the restlessness you are feeling.
TOOO LONG... 9
NOW 12 days has passed, then 13, 14. Today is the day the
letter will come, you know it will. It has to.
You prepare your tools to open it in an efficiant way, you
bring out a small paper knife, a pen, and a small box to
put the opened letter in. You tap your pen into the table,
patiently waiting.
*Pen tapping in a beat, slowly getting quicker.
You draw the last X into the calender, scribble a litte
bit, then realise how late it is, it never came. You become
aggitated and make a mess. You sweep your hand across the
table, many things tilting over, causing en even bigger
mess, you used to be so clean and tidy, not anymore. But
even though things are scattered everywhere, there is
still somehow some symmetry going on. That has always been
something you needed, symmetry. For things to make sense,
to calm your mind. You sweep your hand across the table
once again, and suddenly the PERSPECTIVE changes. It turns
into a SKETCH STYLE. It’s all white, just like the paper
was in the beginning, the clean slate. In comes a yellow
postage truck, travelling from left to right, you fantasise
about how close it has to be, that you are overthinking it.
Maybe it’s almost here.
[YOU SEE the yellow postage truck travelling through
open farming areas, highly populated cities, with all
of the scenes flowing into the next. All symmetric]
*IN THE BACKGROUND you hear a small melody that feels
like the postage service, as well as the sounds of a
vehicle travelling in a great speed.
After hills, valleys, and travelling through day and night
it finally reaches it’s destination. The truck stops outside
of a housing complex, right next to a yellow mailbox. It’s
empty, worn and torn, filled with rust.
[The perspective is from the side, you see the
siluette of the letter being put inside of the
mailbox, for the truck to then drive away.]
The mailbox is semi-open, making the letter poke out, a
strong wind hits it and makes the letter escape from the
entrapment. Circulating in the wind, making volts and
turns. Luckily enough the letter flies into the open window
where you are sitting, and ends up directly on the table.
With the back facing upwards. It’s here!
(COLOURSCEHEM SELECTIVE)
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page 104
DELUSION 10
FINALLY, you see the letter on the table, what you have been
waiting for, it’s finally here. You carefully nudge it, you
recognise the paper and binding, it almost looks untouched
from travelling that far and long. (PRESENT TIME)
*The music in the background is nostalgic and hectic,
almost like you are stressing yourself and can’t open
it fast enough.
Storyboard
The start and structure of it.
Now i had my story, I had my flow, how I wanted the story
to develop from start to finish. That meant that it was
time to create the actual rough sketches of how it was
going to look like. Animations, music, live footage, all of it.
You carefully turn the letter around and notice that
it looks exactly like when you sent it, all of the
charactersitics that you put into it, the placement of the
text, the name and adress is all the same. All except from
one thing.
The back of the letter had a stamp from the postal office,
that it’s approved to continue to the final destination. But
the front on the other hand had an even bigger stamp, that
crossed all of the letters and details put on the letter.
It’s a big and vibrant stamp that contain three words,
words that cut deeper than any letter you’ve ever received.
The PERSPECTIVE is no longer in a sketch style, it’s
returned to a PRESENT and realistic style as soon as you
turned the letter over and noticed that the postage stamp
said, the three powerful words:
“RETURN TO SENDER”
[In your hand you are holding a paper knife, as soon
as you see the front of the envelope, you drop it.]
You take out a mirror and look at yourself, the perspective
is no longer in BIRDVIEW, but is now faced upward. You
slowly observe your appearance, you feel empty.
*Suddenly the radio plays your favourite song, the
song that was playing when you first sent out the
letter. You smile. Put down the mirror, start opening
the letter, you place it on the table.
The structure is as simple as it gets. A frame together
with some small notes on the sides, all to easily show
what I had in mind for everything.
You take a deep breath, remove the cap from a pen, and
start writing.
CUT SCENE.
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page 106
Storyboard
I wanted the beginning to be very smooth and calming.
With a simple illustration that would introduce the
movie, as well as the Do Not Disturb introduction.
The scenes needed to have a certain balance to them,
almost like every animated scene, smoothly transitioned
to the next. The hardest part would be to make all of the
animations smooth and natural in their movements.
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page 108
Storyboard
The rest would be more or less the same. Focusing on
the paper animations that would go together with the
live footage from scene to scene.
Some of the scenes that I was intended to create
never ended up in the final product. Whilst that was the
intention, I might use them in the future if I would ever
do a newer version of it.
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page 110
Storyboard
I wanted to find a nice way of putting the letter in the
same frame when those scenes came around. To have
short and quick takes where action would be highlighted.
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page 112
Defining the inspiration
What style & what colours do I want?
When all of the research had been skimmed through,
and I had started working on the script for the short film
itself. The first half of it was fairly easy to create, but it
was the last half that was much more challenging. To
really nail the end and make it make sense.
“Cigarette packaging, 1930s”
My short film will be divided into three different stages.
The PAST, PRESENT, and the IMAGINATION.
For them I want to specify colour palettes that helps
distinguish between the parts.
The PAST will be warmer in colours, more red. This
because usually older photos that have been around for
a longer period of time fades in blue.
The PRESENT will then be more blue, have a colder
colour scheme. this to indicate that we are going
forward, but also because the main characters mood
is very lonely.
“Bank paper from China, 1930s”
The IMAGINATION will then have a more sepia colour
scheme, browns, black and white. Sepia toning is usually
used when developing photos. It’s often associated with
antiques. The sepia also sometimes happen to photos
when they fade over time, become sun-damaged.
“Magazines from the 1930s in Sweden & the U.S.”
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page 114
Stylescape
This was an early stage of my first styelscapes, before
logos or anything was completely set. Even colours
wasn’t completely there yet. I do like the handcrafted
feeling that it gives off and hope to pursue that further in
the better upgraded stylescape right after.
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page 116
Inspiration Cigarettes
Non-Brand: “Bellmans Siesta” - Outdated Swedish brand
I want all of my set-pieces to be heavily influenced by the
1930s and forward. Even though the plot is going to be
played out both in a modern and past society. The main
character still saves and stores everything from the past.
Different Packaging
The packaging are all very type-heavy. They use bright
and inviting colours, even sometimes drawings and
sketches. And a LOT of contrast.
Inspiration
Creating a dieline
The first thing I did was to measure out a cigarette
package that I got from a friend for educational
purposes;). It was a Marlboro Gold Package which had
similar measurements as to the outdated “Bellmans
Siesta”. 9 cm wide, and 27 cm high altogether.
Then I had to start thinking about the design, how I
wanted it to be, clean or decorative? What colour?
This set is going to have a lot of cold colours. So I wanted
to go for either a beige, blue or green package., I also
wanted it to be very type heavy.
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page 118
Designing Cigarettes
Non-Brand: “Bellmans Siesta” - Outdated Swedish brand
I want all of my set-pieces to be heavily influenced by the
1930s and forward. Even though the plot is going to be
played out both in a modern and past society. The main
character still saves and stores everything from the past.
I started off with just developing an idea that I had in
my head. I did although quickly realise that it was a very
modern approach and doesn’t really fit with my set.
Another variation, more muddy in colours
with even more open space. A very popular
approach to cigarette designs during this time.
First drafts
Next one was a more traditional approach
heavily inspired by the “John Silver Cigarette”
designs in the 40s. They used a lot of red and
negative space.
This one had much more intricate details that you also
could find on many cigar packages during this time. I
wanted to go for a more green look, which also would fit
my cold set design much better.
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page 120
“Bellmans Siesta”
Development
“The final Design”
When consulting with a few people, I decided to go with
the green version, it had a more instant impression and
is a more playful and colorful design, which fits better to
the set design over all. The non symmetrical curve on the
cigarette package is very common in a lot of different
designs. I saw this in the newer version of Marlboro Gold
and therefor went for the non symmetrical curve.
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page 122
Inspiring Stamps
A big part of this movie is letters. So for that I needed to
create a few different designs of stamps.
Inspired by the 40s.
Starting to design.
I wanted to include some personal easter eggs in the
graphics, the imagery would be very type heavy.
Something that I also wanted to include was the
different ink stamps that the postal service uses when
handling letters and packages. I wanted to design a few.
But what differs them?
Let me tell you. These ink stamps are called “Postage
Evidence Systems” , if it’s located at the top right corner,
this means that it has been bought. The most basic ink
stamps show at least where and when it has been sent.
Then there is of course the ink stamps used when a
package or letter is sent back, is returned, or damaged.
Sometimes they even tell you how they have travelled, if
it’s by train, car, truck, flight, and so on.
I had a few ideas for the stamp in mind. All of my
inspirations were combined into this simple but
efficient design. A type heavy design.
I outlined the first design to have a better idea of the
balance between elements, then continued to add
colour and texture where it was needed. I played
around with different colour combinations, all to see
what would fit the best to that specific scene.
https://www.mentalfloss.com/article/72086/
what-do-ink-stamps-your-mail-mean
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page 124
1940s Stamps
Development
Because this scene will contain a lot of cold elements
I decided to keep the design of the stamp in warmer
tones, specifically this desaturated orange colour. All to
then continue to add some details to make it fuller.
I had some difficulties resolving the typography, how
I would place the text and where, all caps or not. But i
ended up also realising that I couldn’t spend too much
time on this matter. Part because of the time, but also
because It wasn’t going to be super visible in the shots
themselves. Hence why my final result is this.
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page 126
Ink Stamps
Lastly I created these physical stamps for stamping
letters and adding information to them. Simple.
Finished Ink Stamps.
I’ve worked for a few years in the shipping and postage
business and know how much they are used. The marks
are a part of the Postage Evidencing Systems and are
always used in the shipping and processing. They have
meanings such as that they are paid for, included in
shipping. That they are controlled, and shows they flow
of the shipping, what it has passed. It can tell you about
time and when it was sent. All of this and more.
So when wanting to design the ink stamps for this
project I had a more fictional approach, I took all of my
research into consideration but implemented some
personal tweaks that wouldn’t necessary work in real life.
Not that it had to. I simplified them and then that was it.
inspiration
https://www.mentalfloss.com/article/72086/
what-do-ink-stamps-your-mail-mean
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page 128
Ink Stamps Implementation
Lastly I created these physical stamps for stamping
letters and adding information to them. Simple.
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page 130
Inspiration for Paper Bill Note
Researching
No matter what country you travel to, there is paper bills.
Maybe the country has their own design and currency? or
it’s the ones we all are more familiar with, such as EURO
& DOLLARS. No matter the currency, the design remains
intricate and highly detailed.
I looked at a few different ones, such as bills in Japan, the
U.S., Sweden, everywhere through different times. They all
inspired me towards the final result in one way or the other.
Currency Design
Bank Notes are often described as a glimpse into the
society they are used in. They are essential. It is one of the
most challenging objects to design and I had no idea that
it originated (probably) in ancient China. Called “flying
money”. There are much to learn about the history of
money, but what is also very interesting is the meaning of
colours and other details on bank notes.
- The green colour on many notes for example are a symbol
of growth and a stable economy.
- The sizes usually has an indication on the value of the bill
itself. Which will vary depending on the country. (good for
the visually impaired to distinguish the notes.)
- Usually a lot of the history is portrayed in the note itself.
Everything from famous stories, anecdotes, and imagery
that the country is famous for. (or person)
- Usually the colour is only in one main colour to make it
easier to print, whilst of course having colours that are rare
and using watermarks to make it difficult to recreate.
https://www.mentalfloss.com/article/72086/
what-do-ink-stamps-your-mail-mean
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page 132
Designing the Paper Bill
Development
Something that I’ve always wanted to try and design is
a paper bill of any currency. I’ve always been fascinated
about how intricate and beautifully detailed they are. No
matter what currency or where, they have so many details
and elements. So when I got the chance to do so in my
script, I did it.
I needed to have a lot of details in the entire layout of the bill.
To add both details from around the 1940s, but also to add
personal elements that would make sense for the short film
that I was making it for. To start with this guy down here is the
Swedish Prime minister i the 1940s, Albin was there during
my grandfathers time and he heavily influenced the Swedish
Politics at this time.
I started by sketching out a potential layout. Very roughly.
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page 134
Designing the Paper Bill
Development
I chose what sketch I wanted to continue with, to the start
adding, one detail after the other. Front firt, back second.
Using typefaces that were commonly used in the older
bills. I added the neighbourhood that my grandpa grew up
in, the older coins as a stamp, and so on.
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page 136
Finalising the bill
Development
Choosing what colour to use depending on how high the
currency was, was one of the more fun creative choices. To
play around with the colour that would eventually match
the set. Hopefully.
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page 138
Final Design
Development
I chose what sketch I wanted to continue with, to the start
adding, one detail after the other. Front firt, back second.
Using typefaces that were commonly used in the older
bills. I added the neighbourhood that my grandpa grew up
in, the older coins as a stamp, and so on.
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page 140
“5 KRONOR Bank Note”
page 141

page 142
Passport Inspiration
Research & Development
Making the Emblem
For one of my scenes I wanted to have a designed and
bookbinded passport. With an old school design. It would
be a part of the characters story of being well travelled and
used to be much more outgoing.
What to think about when designing a passport?
The covers, the insides, layout on different passport all vary
depending on where you are from. Every element and every
detail has a purpose, a reason. I researched a bit regarding
passports and the thoughts behind them, and it’s very
interesting. The pass ports purpose is to mostly use it for
travel, as a document of your identification.
Passports are very valuable, usually people hide them away,
keep them at a safe place to prevent it for getting lost.
It has many pages that the majority of time doesn’t get
explored. Have you ever looked at all of your pages in your
own passport? Don’t think so.
The passport is meant to tell others about your
nationality, as well as your identity. The passport heavily
relies on history and artefacts from your origin. Their
colours and emblems on the front all signify different
things. Usually passports with a burgundy outside is for
countries within the European Union, and so on.
Anyway. I needed to make something taking all of these
things into consideration. So I started looking at a few
old passports for inspiration, then started sketching on
my own. Very fun indeed.
I already had an idea for the emblem, for it to be very
inspired by the Swedish crown on the current passport.
Also to combine this emblem design with many other
countries that I found. But making it simple.
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page 144
Passport Design
Research & Development
I then started to find my elements, I wanted to do make
this fictional passport for my grandpa which most of the
story is inspired by. So I found some images for that. Old
photos, old passports, old hand writings and so on. I then
started to compose the main page, how it would look, feel.
I added a few elements that are common, some numbers,
symbols, stamps, and so on. And of course a faked
signature in a playful and handwritten way.
Passport Cover Design
I tweaked a few things, and finally added some texture to
the cover to make it even more real. My idea for the next
step was to create the inner pages and also arrange it in a
way to that I could book bind the inner pages. To then glue
to cover on the outside of it. Book binding proved to be so
fun and entertaining, I fell in love with the entire process
of measuring out the holes, poking it with a needle, and
then finding waxed thread to bind it with. I’ll show you the
process on the next page.
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page 146
Passport Inside Pages
Making all of the insides.
When creating the inside pages, I was really just taking
some parts from my hometown, re-used an illustration
that I had over it, and used it to cover certain parts. Many
pages in passports are just that, zoomed in parts of maps
from the country you represent. Simple.
The white dotted background is based on a fabric that my
grandmother has on her curtains in her house back home
in Sweden. Other details I added to the passport is stamps
made out of the old Swedish coin, we have references of
the fridge magnets that is used in the house he lived in.
And so on, many other small details.
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page 148
Book Binding
Learning & practising
I looked up a few Youtube videos so I could practise a few
different ways to book bind. It’s fairly easy when you get
into it, a bit time consuming to start and prepare, but as
soon as you start sewing, it flows by fast. Love it.
I made a couple of versions, one bigger one, one
asymmetrical one, a few smaller ones, but finally ended
up with one really nice one. Where I glued the cover.
I roughened it up by spraying fixing spray onto the cover
of it for a rougher feel, which really made
a huge difference.
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page 150
Old & Worn Newspaper Design
Collecting Inspiration
I was very excited for the newspaper design, to create a
very old school look and compose a beautiful and balanced
layout. I wanted to start with a Swedish brand to fit the
movie. A brand called “Svenska Dagbladet”.
I found a few photos that I could use, and the text inside of
the newspaper is really just nonsense, some parts are lyrics
of different artists such as Rihanna. While some are only
facts from the web that I found.
“Inspiration from Google”
I once again used this photo of my grandparent as
elements in the newspaper, to keep some personal Easter
eggs that most people won’t notice. Just for me.
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page 152
My Design
Editorial fixes and Layout
I already had an idea in mind of how I wanted to create this
newspaper, how i wanted to make blocks of text almost
like a Tetris to form a nice and stable layout.
B.E.F HEAD QUARTERS TELLS ALL...
BLACK OUT 8PM TO 4AM
Sun rises 6.40 a.m.
sets 7.58 p.m.
Moon rises 5.45 a.m.
sets 8.30 p.m.
SVENSKA
DAGBLADET
No. 9,655 Wednesday 1941 5 Kronor
WHY THIS PAPER?
JUST TRY IT & SEE.
PAGE
FOUR
FANS ARE...
Med in 1940 that made
newspaper headlines?
Find out fans are what
happened in 1940 that
capture history is full
of promises and love.
MORE OF WHAT YOU
REALLY, REALLY NEED
DIFFERENT RALLIES START TO SIMMER
When I started adding all of the elements I started
to think about how to print it and make it look real. I
decided to only design the front, and make a really nice,
sleek and long newspaper. The scene it was going to be
in would be fairly short, so I didn’t need to put too much
detail into all of the pages, but focus on the first one.
I then, with the help of my classmate and friend Ellen,
started to age-ify it. Making a cocktail of the following:
- Cold Coffee (instant)
- Lemon Juice
- Water
I then dipped it, all of the pages a few times, then hung
it up to dry, this made everything much more realistic
and romantic. As well as added some natural shrinks. To
finish it off, i sew the pages together.
LATEST NEWS
What were the most significant events in 1940 that took over
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grips of the most deadly and destructive war that the world
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Germany invaded Denmark, Norway, France, Luxembourg,
Belgium, and the Netherlands. It was also the year Germany
began its terrible bombing crusade over London in what
would become known as The Blitz, as they attempted to
weaken the British Air Force. Roosevelt was elected for a
third term of presidency and Walt Disney’s second feature
length film “Pinocchio” premiered in New York City. Find
out more about this exciting year in history with an original
newspaper which was printed at the time. Wondering what
happened in 1940 that made newspaper headlines? Find
out what happened in 1940 that captured the attention of
the nation through our collection of historic newspapers.
At Historic Newspapers we have the largest. World has
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but it can also be used
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MORE ABOUTAt Historic
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THE 1ST
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FOUR
Muhammad’s favorite color),
so many Muslim countries
choose to use it. This includes
Azerbaijan,Indonesia, Pakistan,
and Saudi Arabia, among
others. There for there is a lot of
people wondering what could
happen if nothing does. Maybe?
WESTERN FRONT While the 15 Caricom
(“Caribbean community”) states such as Antigua,
Bahamas, Barbados, Belize, Grenada, Haiti,Jamaica,
and St. Lucia use blue. The “New World” in general
— North America, South America, Oceania, etccolor.
out during this year that health Spanish. ...
EASTERN FRONT If for a little while the 15
Caricom (“Caribbean community”) is in states such
as Antigua, Bahamas, Barbados, Belize, Grenada,
Haiti,Jamaica, and so this color. But health Swedish.
MORE POWER
More power to the people. but
it can also be used to reflect
other parts of a nation’s identity.
Switzerland uses it for obvious
reasons, but Turkey, for instance,
changed to burgundy in 2010 .
said to be Prophet Muhammad’s
favorite color), so many Muslim
countries choose to use it. This
includes Azerbaijan,Indonesia,
Pakistan, and Saudi Arabia,
among others. There for there is
a lot of people wondering what
could happen if nothing does.
TO
DO
IT!
BUY IT
NOW
page 153

page 154
/Finished Product/
page 155

page 156
/Photo of thread from book binding/
page 157

page 158
Phone Book (Yellow Pages)
Inspiration
For the main scenes in the movie I wanted to have a “Yellow
Pages Book” that would indicate that the main character
wanted to contact people, having it open and ready to be
used. But that he just hasn’t. I was inspired by older phone
books that I found online, and decided to make my own.
Making the design
I took all of my inspiration into consideration when creating
this layout. I wanted to include both imagery in term of simple
illustrations, but also of course playing with typography. I
added the stains and that afterwards as a Photoshop layer. But
also an extra dimension of dipping it in the coffee mix.
page 159

page 160
Making the
Phone Book
Layout & Cover Design.
After doing a bit of research and asking some friends, I
realised that most of these books were actually yellow.
That’s why it was called the yellow pages, also because
some sections in the phone book had yellow pages.
That’s what was distinct for the telephone directory.
TELEPHONE
NUMBERS
T
Final Inside Design Part 1
IN THE COUNTRY
of Sweden
Swedish directory Collection. Containing all
of the phone numbers from the year of 1933.
R E S T R I C T E D
Final Inside Design Part 2
Final design, (yellow cover)
page 161

page 162
Vintage Calender Design
Inspired from my grandpas old calender.
Another important scene in the story is where the
main character finally sends his letter that he has been
preparing himself to write for so long. The waiting game
and how he carefully calculates how long he would have
to wait by marking in the calender.
Process...
I looked deeper into the Liberty magazine and their
monthly calender. It had a very simple layout, and my
grandparents used to use this one when I was younger.
The layout is very simple, it consists of a woman in
different environments on the cover. Simply illustrated
with a secluded colorscheme.
This is very sentimental cover for me, I used one of my
grandfathers children for the cover. She died 2 years ago
and It was completely devastating. Even though people
might not know why and details like that in the movie, it
makes it more personal and “makes sense” for me.
I drew this illustration in a similar way that the
illustrations were drawn. Tried keeping the same colour
scheme and so on, to keep consistency.
page 163

page 164
Process...
When I simplified the illustration and started to add it to
the layout it was just a matter of tweaking some details.
I wanted it to be very similar to the original inspiration
but with some minor tweaks.
After going back and forth with different colours, I
finally decided on the blue, that would fit the scene
much better, as well as make it a little different from the
original inspiration that I found.
page 165

page 166
Final Calender
page 167

page 168
Postage Check
Book Design
For Post man scene
One of the later scenes in my head, was going to be a
scene where you see a post man’s hands. You see him
turning the page of a post check book and putting some
notes into it. I’ve worked within the post so I know more
or less how the modern version looks like. But of course
the vintage version is much more clean & cool.
Process & Development
So I started to figure out a lkayout heavily inspired by
this book right down here. The different layers and
textures that would be needed for the design to work.
Name:
value title is described as the co-operation with other knowledgable conflicts of interests such as frightful memories of the past. the co-operation
with other knowledgable conflicts of in such as frightful memories of the past. the co world that we currently live in. Copyright.
Adress:
vote:
payment:
Account
This description
must be quoted
with inquiries.
FASTNORD
NO. 111
fee:
author:
value title is described as the co-operation with other knowledgable conflicts of interests such as frightful memories of the past. the co-operation
with other knowledgable conflicts of in such as frightful memories of the past. the co world that we currently live in. Copyright full of. Hendi id qui
dolum quunt re conse nonseratus esed molo iundi quas debitis alitaep eriatio remquuntia ni quae illuptate quo eicia cum que si con pa quature
aute net renisi non pelenih iciam, cus maionse quatibust, offcit estotatinis accuptatur, incia volorit eari de dunt experaturera volorrumquia
doluptatios sunt faccat.
Feria venesendiam voluptatur? Lorerspis re volent offcie nimus, cullabora consequam eatur ad ma doluptiori nos derspe nempos experch
icipsandebis sectiorem dolecto expel molupta spisqua sperit haribusapel maio dicia sernatis enias volest, quunt quosand itatquam re, sin pos
simi, que ni occatiam estruptissed qui optatur molupta tiatem autas explam, et volorerrovit esciate landae quiat re repraeceptat magnisti dolorem
oloressequas moluptat plaborum de rem as ex eum quis millo cullique qui utempor asim fugit vit exerum cupit, offcia tiatem consed eturepr
aerrum sit, eosa dolorereici doluptatur?
Agnia corent pliquatia de volesti nusdam qui bea imolupitati sanditatur?
Ucilla am quo con esequae es exped earumqui quundebis vitas pla voluptatem que nam, odis dolorrum aut ventis enihici mporem nempore,
vendior ionseque estrum facil ipsaeribus vendis molupitam inciminctae vid et quatur? Recat.
Epel in coremperum rento quam quiamet eatusciene qui odiam rem nonsequid elique sincipit, ulpa dolores derum, serist, aditaes reperovide
voluptatet rem experfe remquo offcium conseri beribeatium doluptam aut demporia conseri tatur, velenis as rentem. Ant apienimod quam,
volupiet aut vellore rorion reptae susto invel ium re voloritium quibus minus volupta tiatur? Itae sintin cumet andende mporia dolestia voluptatur
asi to ma iminctota vit quistruptur?
Nis maion nonseque la simaio omnis moloris eaque dolorecte vellent eos eum dunti ab ini offcto dolorem il ipitius, apicium facea qui tem et
autempos asit, siminimpor si dolorem dendestem expero volorest, sus, et qui nem reperum qui dolorem quibus re, ullabore maionsed quia veliqui
Inspiration
delivery:
I added a few sections such as payment methods, fee, author,
deliverer, places for stamping and so on. The though was to
then add some textures and roughen it up in Photoshop as
well as to dip it in my secret cocktail of coffee & lemon juice.
And then of course to make a cover for it that would be bookbinded
to fit all of the other set props that I created.
page 169

page 170
Development
For Post man scene
Name:
value title is described as the co-operation with other knowledgable conflicts of interests such as frightful memories of the past. the co-operation
with other knowledgable conflicts of in such as frightful memories of the past. the co world that we currently live in. Copyright.
Adress:
Account
This description
must be quoted
with inquiries.
FASTNORD
NO. 16
Date of deposit,
Deposit number
or Warrant nr.
BALANCE.
(set exceeding)
Amount of Deposit in Words. Methods
of withdrawals and other facts.
(pounds)
DEPOSITS. WITHDRAWALS. Initials. Date Stamp. [Page 3]
I wanted to have a shorter and longer version so that the
papers could intertwine with each other. And by that I
mean to just play with different levels of papers. Just like
they do in the books that I used when working with it.
When I added the textures it would turn out something
like the two images to the right. Clean and simple.
page 171

page 172
Final Touches
For the cover and insides.
page 173

page 174
Inspiration Receipts
For an office scene
After the postage book I decided to start with the
receipts that I wanted to design. They were meant for
a scene where the character is working on accounting
but then receives a letter that he opens instead. So even
though it was meant for a short scene I needed it to be a
lot of different variations to fill out the space.
I researched a few beautiful receipts and bank papers
that I found. They are all made during the 1940s and
have a very distinct look that I wanted to pursue. SO I did.
One receipt at a time.
page 175

page 176
CUSTOMER’S COPY
Development
& process
Without texture & manual treatment
FARMING SUPPLIES
chef de mang no.
table no.
ventilation & storage will be negotiated within.
date:
service 10% P.7
total income:
327
no.522111
Sölvesborgs Bank Limited List
APPLICATION FOR MAGNIFIED LOAN
For Value of MAXIMUM LANDS
For
To.
MAXI LANDS SECURITY COMPANY
UNI INC SCANDS
Magnified loan within this sector.
The statement is final and cannot under any circumstances be changed into something else.
You cannot copy or (in certain instances) do anything to compromise the paper quality or the
possibility of this being needed for insurance or other uses.
I hereby agree with the following terms:
Day:
Signature:
Month:
Year:
For Officer Signature:
& to up-keep documents.
52228801-11
The statement is final and cannot under any circumstances be changed into something else.
You cannot copy or (in certain instances) do anything to compromise the paper quality or the
possibility of this being needed for insurance or other uses. You can run into my arms
It’s okay, don’t be alarmed. Come into me. There’s no distance in between our love. So gon’
and let the rain pour. I’ll be all you need and more. Because, When the sun shines, we shine
together told you I’ll be here forever said I’ll always be your friend took an oath, I’ma
stick it out ‘til the end now that it’s raining more than ever know that we’ll still have
each other you can stand under my umbrella. The statement is final and cannot under any
circumstances be changed into something else. You cannot copy or (in certain instances)
do anything to compromise the paper quality or the possibility of this being needed for
insurance or other uses. Magnified loan within this sector.
THE D. J. ROBERT INC.
03221
Telephone
COAL - COKE - OIL
535 VIKGATAN
43426 HALMSTAD
SOLD TO.
Adress
EUROS
DESCRIPTION
insurance
advisement
marketing
3D printed i.
coal shares
IVU. obst.
carnegie
oil produc.
No.
M.
Prize of Ticket $
Date.
Route.
Cash,Rec’$
,194
THE SWEDISH MEAT BOARD
GRADE
027039
DELIVERED QUESTIONS DATE AMOUNT
DELIVERY COMPANY STAMP LOS CURRENCY DAY/MONTH/YEAR DOLLAR CENT
Weightmaster:
1941
License
NO:
No.
M.
TO.
Prize of Ticket $
CUSTOMERS COPY
Date.
Route.
Cash,Rec’$
,194
,DR.
BS.
CROWD DELIV.
B- 461 55€
5 80
6006 5 7003 12/08/1942 5 80
REQUESTIONS NO. STATION NO. SPECIFICS.
AMOUNT.
STATEMENT OF FINAL PAYMENT IN SETTLEMENT OF 5,80€
WHEAT CROP PRODUCER’S CERTIFICATES
THIS STATEMENT IS NOT NEGOTIABLE!
52228801-11
In remitting. Please attach this coupon in
order to get the full advantage in a plan.
D19FC copyright services provided.
Signed.
DETACH BEFORE PRESENTING THIS DOCUMENT TO A LAWYER
one plnt one plnt one plnt one plnt one plnt one plnt
GOOD FOR
ONE QUART OF MILK
GOOD FOR
ONE QUART OF MILK
GOOD FOR
ONE QUART OF MILK
GOOD FOR
ONE QUART OF MILK
GOOD FOR
ONE QUART OF MILK
GOOD FOR
ONE QUART OF MILK
one plnt one plnt one plnt one plnt one plnt one plnt
one plnt one plnt one plnt one plnt one plnt one plnt
GOOD FOR
ONE QUART OF MILK
GOOD FOR
ONE QUART OF MILK
GOOD FOR
ONE QUART OF MILK
GOOD FOR
ONE QUART OF MILK
GOOD FOR
ONE QUART OF MILK
GOOD FOR
ONE QUART OF MILK
one plnt one plnt one plnt one plnt one plnt one plnt
6006 5
7003 12/08/1942 5 80
REQUESTIONS NO. STATION NO. SPECIFICS.
AMOUNT.
STATEMENT OF FINAL PAYMENT IN SETTLEMENT OF 5,80€
WHEAT CROP PRODUCER’S CERTIFICATES
THIS STATEMENT IS NOT NEGOTIABLE!
DETACH BEFORE PRESENTING THIS DOCUMENT TO A LAWYER
Without thinking too much I created many different
receipts depending on what I had seen before, normal
receipts that I found in my wallet, as well as older ones
I saw online that I showed in the pages before this. Very
satisfying to create something you see almost everyday
but never would think twice about designing.
Maximun Certificate of Class “A” Shares
APPLICATION FOR CLASS “A” SHARES
For Value of MAXIMUM LANDS
To.
MAXI LANDS SECURITY COMPANY
I hereby apply
APPLICATION FOR MAGNIFIED LOAN
UNI INC SCANDS
For
52228801-11
class “A” shares in this F.2.
The statement is final and cannot under any circumstances be changed into something else.
You cannot copy or (in certain instances) do anything to compromise the paper quality or the
possibility of this being needed for insurance or other uses.
I hereby agree with the following terms:
Day:
Signature:
Month:
Year:
For Officer Signature:
& to up-keep documents.
Numbers of Class “A” Shares
52228801-11
page 177

page 178
Added textures &
Dipped in coffee...
With all treatment possible.
Lemon +
Coffee +
Water +
Bicarbonate
= Aged
page 179

page 180
And even more..
With all treatment possible.
Before
After
Before
page 181

page 182
And even more..
Before Treatment
After Treatment
page 183

page 184
And even more..
With all treatment possible.
page 185

page 186
Designing the Tea
Simple detail
Something that I wanted to add to the foreground is also
the tea, this character is obsessed with tea and I wanted
to have just this small blue detail to fill up the set design.
I chose a Swedish tea brand called Clipper as inspiration.
I was heavily inspired by the 1940s “Tetley” packaging that
uses different typefaces and patterns to create this very
vintage look. Of course this was designed in the 40s so this
was the modern style. But still. It’s very fitting for this scene.
So I did, I put in my chosen information, and tried to make
it as simple and efficient as possible. Not thinking too much
about it since i only am using it for a short scene.
page 187

page 188
Making Envelopes
Learning how to fold envelopes
A big part of my story is to create and develop a couple
of intricate letters and folded envelopes. I had a colour
scheme in mind when doing this. I wanted them to look a
certain way, to feel a certain type of way. I had a bunch of
different papers at home meant for my art, but some of
them fitted perfectly for this assignment. So I started...
I looked up a few different Youtube tutorials on how
to fold them properly, and then just made about 30
different coloured and textured envelopes. That I also
later dipper in the coffee & lemon mixture.
Finished Letters.
page 189

page 190
Inspiring old Book Covers
For a school scene
There are so ma y beautiful school books designed in the
early 1940s. They are simple, and more text based. For
one of the scenes I needed books to make a fuller school
scene, a vibrant one.
So, keeping it simple.
In the movie I wanted to have two books on the school
table that had two different subjects. Math and English.
So I started to look for those kinds of books that were
used in the 40s. And I found so many, they were most
of the time designed very simple and focused heavily
on the typography and the title. So that is exactly what I
decided to do. Lets look how that went.
page 191

page 192
My English Book
Math & English Books
I took some pictures of my original sketches, some of
the covers that I wanted to try out. I didn’t have to try too
many things before finding my way.
Finished English book.
page 193

page 194
My Math Book
Math & English Books
After the English book cover I decided to start working
on my Math Book. I found a style that I wanted from the
beginning and just went with it.
Finished Math book.
page 195

page 196
More Process Pics
Learning how to fold envelopes
A big part of my story is to create and develop a couple
of intricate letters and folded envelopes. I had a colour
page 197

page 198
Creating The “Making of Book”
Elements I could use
I along this journey I took a bunch of polaroid pictures
of my development, which I really want to use in my
“Making of Book for the short film”.
page 199

page 200
“Making of Book”
Process
I was heavily inspired by Annie Atkins book about
Graphic Design in filmmaking, and based my design very
heavily on how she constructed her design. It’s simple,
clean and focused on just the designs. Letting them
breathe and be very visible.
Finding a layout
What I now needed to do was to find a layout that would
work to display all of the designs that I created, as well
as some of the illustrations to go with it. In a beautiful
well composed way. What I knew from the start was that
I needed at least to dedicated one entire page for some
works to display them properly, so that would be one big
part of it. But the rest was to play around with.
Annie Atkins Inspiration.
page 201

page 202
Front & Back Cover
When tweaking the layout and the cover I wanted the
visuals to be very simple and clean, to then focus on the
creative parts on the inside. This mockup I made from
scratch in photohoshop using a few textures.
2022
Cover & Back design.
Making of the
short-film called
“RETURN TO
SENDER”
2022
VILMA OLSSON
That is how we
created a short film
Contact us here
@donotdisturb
Do Not Disturb
donotdisturb@gmail.com
“Making of Return
To Sender”
page 203

page 204
All of the pages
As said the inside is simple, focusing on the elements
that I created, so that they are seen and showed off.
THE SET LIST.
“RETURN TO SENDER”
When compiling the list of graphics I would need to
design for the movie, there were a few... Reading through
the script, more things came to mind, even the days
before filming I found new things that would add to the
mood around the sets.
Polariods from the day of
the shoot for the movie.
So, what is this movie about?
Short & sweet, this movie is about the
connections you gather through the course of
your life. How much they impact you, shape you,
form you to the person you are today. As you
get older, things change, people enter and
exit your life, sometimes the end part of your life
can become lonesome, you end up searching for
those connections that you used to have in excess.
- All of this is displayed with the help of letters, giving and
receiving them in different times in your life. How you start
daydreaming about finally receiving one, connecting with
someone, what happens if you don’t.
4th of April, 2022.
6
7
2
3
Newspaper
The newspaper would only be seen for a short
sequence in the movie, where only the front
would be shown. So the focus here would be
to create a 1940s inspired layout that would be
simple, strong & vintage. But with a modern
touch to it.
BEGINNING...
The images on the newspaper are old photos
of my grandparents that the story is heavily
inspired by & helped build it.
(and btw, I binded the magazine because
of the delicate and thin papers used.)
8
9
4
5
page 205

page 206
1#
I wanted to vary between full shots of the sets, to how
I built them, the tools I used, sketches, and so on. All to
make it much more interesting to read and look through.
Passport
When doing research on how passports are constructed
I came across many interesting facts, about the meaning
of every single detail in and outside of the passport. I
used the hometown that my grandfather grew up in as
parts of the inside. I then continued to book bind the
book to make it look more handcrafted with a visible
and thick thread.
10
11
14
15
Passport
Cigarr Box
This passport would be for one of the
main scenes in the movie, located on a
desk filled with the past. This character
would have seen many things, travelled
everywhere, but is now limited.
This cigarr packaging was heavily inspired
by an old Swedish brand that my grandfather
used to smoke in his younger years. It had a
very distinct style .
12
13
16
17
page 207

page 208
This consistency in layout keeps going throughout all of
the pages, to vary between empty and full, showing tools
and sketches, a beautiful mix.
Calendar
Cigarr Box
The calender would be a more important part
later in the movie, a place for the character to
keep his days in check.
“Bellmans Siesta Cigarrs”
22
23
18
19
5 Kronor Bill
School Books
This 5 Kronor Biill was also created for the
main scenes. This design is heavily inspired
by the U.S. Dollar bill, the 1940s Swedish
bills, as well as bills in Japan & Spain. The
guy in the middle of the bill was the Swedish
prime minister in the 40s.
These books were meant for a scene filmed
in a school bench in the 50s. I ended up
removing this scene from the script but
really enjoed the designs created for it.
24
The border is inspired by fielda of crops,
how they shape dotted lines if looked
at from above. The stamp to the right is
developed from an old Swedish coin.
25
20
21
page 209

page 210
Sketches
Stamps & Marks
During this process I created countless
of sketches, for smaller things such as tea
designs, receipts, to something bigger like
newspapers and book covers.
26
27 30
31
Stamps & Marks
Studio Logo Sketches
Letters are a big part of this story, it compiles
everything, saves every memory, feeling. the
goal was to create a really balanced design
that would enhance the scenes they were in.
Originally the colour was blue, but when it
came to the entity of the scene, the final product
resulted in a rusty orange.
The ink stamps that went with the postage
stamps were added into the design when
everything was created, as a final touch. Similar
marks are used in the shipping profession, but
here they are modernized.
Many many logo sketches were developed before
finding one that had more of the qualities and
elements that I was aiming for. But before finding
that it is necessary to explore all of those ideas
that you are thinking of. Even if the might seem
stupid or unnecessary.
28
29
32
33
page 211

page 212
Phone Book
The aging process...
When researching about phone books and their designs they
were all very simple, focusing on only typography, and they
were most of the time yellow. With this in mind I created a
more playful and vibrant phone book. It ended up not being
used in this short film, but maybe for a future reproduction of
it, it might come in handy.
34
35 38
39
The aging process...
Origami Envelopes
Something that became important as the shooting day came
closer and closer was to make every design and set element
believable. There are many ways of doing this, you can add
textures digitally in photoshop, but that only takes you so far.
You can also use manual methods and
different mixtures that you dip your set
designs in. To change the apperance, ageify.
I used this recipe to do so:
3 dl of cool coffee (strong)
1 lemon (the juice)
3 dl of water + a pinch of baking soda.
Something else that I needed to learn was how to fold origami
envelopes. All of the letters seen and used in the film needed
to be hand crafted and detail oriented. With a few tutorials I
got the hang of it and created around 20 origami envelopes.
36
37
40
41
page 213

page 214
Letter Designs
Postage Book
This postage booklet was created for a scene
in the movie where the postman would sign
a few documents and packages to then later
write everything up in this book. This scene was
disgarded at a later stage.
42
43 46
47
Letter Designs
Receipts
I created many variations for receipts for
one of the scenes in the movie. They all have
different characteristics and sizes to make
the scene fuller. All of them are inspired
by recepits found in the 1940s from many
different companies.
44
45
48
49
page 215

page 216
Receipts
Tea Bag
One of the first elements created for the
set designs was this 1940s inspired tea bag,
created simple and full of character.
Clipper is a famous Swedish tea brand so
using that name enhanced the movie in
terms of where it would be played out.
50
51 54
55
Hand Written Letters
Close-Up
We can’t forget the all handwritten letters
that are included in the designs, practising
letters and different lettering skills. With the
help of my dear friend Ellen Andersin we
hand wrote different letters for the purpose of
them being opened in the movie.
52
53
56
57
page 217

page 218
More Process
Tea Bag
One of the first elements created for the
set designs was this 1940s inspired tea bag,
created simple and full of character.
Clipper is a famous Swedish tea brand so
using that name enhanced the movie in
terms of where it would be played out.
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Hand Written Letters
Close-Up
We can’t forget the all handwritten letters
that are included in the designs, practising
letters and different lettering skills. With the
help of my dear friend Ellen Andersin we
hand wrote different letters for the purpose of
them being opened in the movie.
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More Process
Animations
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Animations
Animations
The animations were a big part of this
project. Focusing on the feeling and emotion
through frames. In total 1305 frames created.
Here are a few examples of how they looked.
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Animations
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Animations
2022
That is how we
created a short film
Contact us here
@donotdisturb
Do Not Disturb
donotdisturb@gmail.com
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“Making of Return
To Sender”
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Starting to Animate
For about 50% of my short film I wanted to animate and
create beautiful scenery that would blend in a nice way
to the live footage. This is something I attempted in the
last project but had a really hard time doing. That is also
why I decided to do it for this project as well. Practise
makes perfect. And I wanted it to be perfect.
Paper to Animation
34 frames long.
As soon as you touch the letter, your perspective changes.
The paper transforms into a SKETCH STYLE, and flies away.
Almost like it shows you the memories it was withholding.
Everything turns white and you only see the note flying away,
making volts and interacting with the wind. It floats very
through a sky full of clouds. You finally spot an open
window in the distance that the letters fly through. Finally
it lands on the outside of a fridge. It fits just perfect.
moving and shaking, so filled with life. Each one playing
out a different memory as you remember it, core memories.
Memories of your first time riding a bike, falling more
[THE CAMERA flies into the frame of certain
specific colour that highlights important details. Such
finally zooms in on a
open field, laying down in the grass. You feel how the
OUT OF FRAME. Lands on the floor, and the perspective is now
coffee cup that is resting on the side of the blank paper.
It left a mark shaped as a ring on it. The coffee is cold,
but that doesn’t matter. Maybe now you can finally start to
The first animation I needed was this transition between the
live footage and the first animated scene. Figuring out how to
make paper very naturally animated is difficult, in total every
animation was about 35 to 45 frames long, so can imagine
that it took a bit time to make all of them.
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30 frames long.
Landscape Animations
I made the rest of the animation in different layers, so I
could individually tweak each to the looks that I desired.
Easier said than done, but I fought through it.
, and flies away.
Everything turns white and you only see the note flying away,
making volts and interacting with the wind. It floats very
gracefully past beautiful landscapes, large areas of forest,
through a sky full of clouds. You finally spot an open
window in the distance that the letters fly through. Finally
it lands on the outside of a fridge. It fits just perfect.
moving and shaking, so filled with life. Each one playing
out a different memory as you remember it, core memories.
Memories of your first time riding a bike, falling more
[THE CAMERA flies into the frame of certain
specific colour that highlights important details. Such
finally zooms in on a
open field, laying down in the grass. You feel how the
OUT OF FRAME. Lands on the floor, and the perspective is now
coffee cup that is resting on the side of the blank paper.
It left a mark shaped as a ring on it. The coffee is cold,
but that doesn’t matter. Maybe now you can finally start to
Making the transitions between every scene was one of my
main struggles, I ended up using a lot of fade and playing with
the clouds acting as a natural transition. Making it clean.
The burnt umbra colour that I used as my main colour really
helped in making the scenes flow in a nice way.
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Car Animation
I wanted to have a few detailed animations, combined
with simpler and more specific ones to have a wide
variety and make it more interesting.
, and flies away.
Everything turns white and you only see the note flying away,
making volts and interacting with the wind. It floats very
gracefully past beautiful landscapes, large areas of forest,
through a sky full of clouds. You finally spot an open
window in the distance that the letters fly through. Finally
it lands on the outside of a fridge. It fits just perfect.
moving and shaking, so filled with life. Each one playing
out a different memory as you remember it, core memories.
Memories of your first time riding a bike, falling more
34 frames long.
[THE CAMERA flies into the frame of certain
specific colour that highlights important details. Such
finally zooms in on a
open field, laying down in the grass. You feel how the
OUT OF FRAME. Lands on the floor, and the perspective is now
coffee cup that is resting on the side of the blank paper.
It left a mark shaped as a ring on it. The coffee is cold,
but that doesn’t matter. Maybe now you can finally start to
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House Animation
37 frames long.
Fridge Scene
This house was very inspired by my grandpas childhood
home, and I wanted to create it very romantic and add
many bird noises in the background for the mood.
, and flies away.
When I was younger and even my grandpa we used to
put many memories and photos on the fridge. A way to
show everything you drew to people that came over,
something you were proud over.
Everything turns white and you only see the note flying away,
making volts and interacting with the wind. It floats very
gracefully past beautiful landscapes, large areas of forest,
through a sky full of clouds. You finally spot an open
window in the distance that the letters fly through. Finally
it lands on the outside of a fridge. It fits just perfect.
moving and shaking, so filled with life. Each one playing
out a different memory as you remember it, core memories.
Memories of your first time riding a bike, falling more
[THE CAMERA flies into the frame of certain
28 frames long.
As soon as you touch the letter, your perspective changes.
The paper transforms into a SKETCH STYLE, and flies away.
Almost like it shows you the memories it was withholding.
Everything turns white and you only see the note flying away,
making volts and interacting with the wind. It floats very
through a sky full of clouds. You finally spot an open
window in the distance that the letters fly through. Finally
it lands on the outside of a fridge. It fits just perfect.
specific colour that highlights important details. Such
moving and shaking, so filled with life. Each one playing
out a different memory as you remember it, core memories.
Memories of your first time riding a bike, falling more
finally zooms in on a
[THE CAMERA flies into the frame of certain
open field, laying down in the grass. You feel how the
specific colour that highlights important details. Such
finally zooms in on a
OUT OF FRAME. Lands on the floor, and the perspective is now
open field, laying down in the grass. You feel how the
coffee cup that is resting on the side of the blank paper.
It left a mark shaped as a ring on it. The coffee is cold,
but that doesn’t matter. Maybe now you can finally start to
OUT OF FRAME. Lands on the floor, and the perspective is now
coffee cup that is resting on the side of the blank paper.
It left a mark shaped as a ring on it. The coffee is cold,
but that doesn’t matter. Maybe now you can finally start to
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oving and shaking, so filled with life. Each one playing
ut a different memory as you remember it, core memories.
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emories of your first time riding a bike, falling more
[THE CAMERA flies into the frame of certain
specific colour that highlights important details. Such
[THE CAMERA flies into the frame of certain
Bike & Meadow Animation
specific colour that highlights important details. Such
The bike animation was very difficult to get right, have
the right movements and so on, as well as the meadow
animation were I first created a different one.
finally zooms in on a
[You see a young person running around on the wide and
open field, laying down in the grass. You feel how the
freedom makes everything so much lighter & easier.]
32 frames long. 28 frames long.
UT OF FRAME. Lands on the floor, and the perspective is now
Paper Animation
finally zooms in on a
open field, laying down in the grass. You feel how the
Here we once again have a paper animation that
transitions into the live footage. As well as a coffee
animation that transitions to another live footage scene.
starts to become less magnetic, pulling everything down.
The letter that started this entire sequence falls down,
OUT OF FRAME. Lands on the floor, and the perspective is now
where we started. IN THE PRESENT. Us staring at the letter
that is sitting on the table. The letter holds so many
coffee cup that is resting on the side of the blank paper.
It left a mark shaped as a ring on it. The coffee is cold,
but that doesn’t matter. Maybe now you can finally start to
offee cup that is resting on the side of the blank paper.
t left a mark shaped as a ring on it. The coffee is cold,
ut that doesn’t matter. Maybe now you can finally start to
30 frames long. 27 frames long.
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36 frames long.
More Animations
Here are more of the animation I did, a lamp light turning
on, leaves and text typing, walking in a suburban area,
close ups and more walks.
24 frames long.
41 frames long.
36 frames long.
38 frames long.
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38 frames long.
More Animations
Walking to mail box, mailing letter, clock, walking even
more, bike post man, and so on. These were some of the
final animations that I created. Here I got much more
confident in how I created the animations and how to
make much more natural movements, and so on.
34 frames long.
40 frames long.
38 frames long.
41 frames long.
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38 frames long.
MOOORE Animations
Walking to mail box, mailing letter, clock, walking even
more, bike post man, and so on.
42 frames long.
40 frames long.
38 frames long.
45 frames long.
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Last Animations
Here are some shots from the movie, with the live
footage and animation combined. Everything from the
same angle and same colours.
Finally we have the final scenes that are drawn and
where we see a change in perspective when the main
character looks at himself in the mirror, as well as hears
the bell from the post man on his bike.
45 frames long.
38 frames long.
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Studio Branding
Do Not Disturb Film & Production Studio.
Together with this short film I decided to create a film
studio that would go with it. I looked into other film
studios and came up with the name Do Not Disturb,
inspired by the act of going to the cinema. Looking
at movies together with total strangers in a room.
Strangers you will never see again. But you keep silent,
respect the people in the same room as you. I felt like
that was a fitting name to this studio.
So I started to sketch a logo for it...
I wanted it to have a vintage touch, but also making it a
bit more moderna and fresh.
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More Logos
Do Not Disturb Film & Production Studio.
I kept trying different things, more typographical logos,
more or less vintage, all caps, low caps, text in a frame
and without. I couldn’t really decide what route I should
take. And suddenly I found something interesting.
Digitalised a few options and suddenly found a few good
and interesting logos I wanted to use.
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Digitalized Versions
Do Not Disturb Film & Production Studio.
Here I got more of a grasp of what worked, and what
didn’t. I finally found my top 3 that I kept for the
branding of the studio. But before choosing those I
had too many options to choose from. I just had to ask
myself what would work, and what wouldn’t.
Winner of the logo choices/final choice.
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Developing the brand
Finding a style
It was difficult in the beginning to find a good style
that I could use in this branding. Something that would
symbolize both the old school approach, the tactile
feeling of using your hands, as well as taking every detail
into consideration. All of this combined.
Development
If I would use some words to describe the company, that
would be them. The main characteristics:
- Old School
- Detail Oriented
- Inviting
- Playful
- Colourful
-Established
I wanted their imagery to be very vibrant, and cool. I
tested many different version with images and elements
but nothing felt right. Not yet anyways.
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Trying different things
Finding a style
Before deciding what colours I wanted there were only
one thing that I wanted to solve. The visual language.
I tried many different photos and ways of composing the
text and finally found more of the look that I was going
for. After trials and errors.
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Trying different things
Finding a style
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Brand Manual
Developing the
LOGO VARIATION
DO NOT DISTURB LOGO
4x4cm
(smallest size)
The logo is constructed with three main
elements, they are all inspired by the cinema
& film experience.
Let’s talk about the process...
The arrows are de constructed from
the older design of cinema tickets.
This logo can be used in many
different sizes. But if it is used in
contexts where it will be smaller then
4x4 cm it will instead have a different
alternative. A smaller version.
This film clapper is a great
representation of a film studio.
Alternative if smaller
than 4x4cm.
Minimum size 1x1 cm.
The banner throughout history has
been a flag bearing a message, a
statement, or a company. Here it
creates a more old-school feeling.
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Brand Manual
LOGO ALTERNATIVES
1# 2# 3#
Vintage Blue - cae8ff
Faded White - f4f0ed
Ruby Red - ff5440
Deep Black - 060606
For specific instances other
logos can be used. 1# can be
used for stickers, merchandise
& social media channels. With
a minimum size of 4x4 cm.
2# logo can be used as an
alternative for the main logo.
On posters, merchandise, social
media channels, & events. With a
minimum size of 4x4 cm.
3# this logo can be used as an
alternative for the main logo.
On posters, merchandise, social
media channels, & events. With a
minimum size of 4x4 cm.
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Brand Manual
LOGO EXCLUSION ZONE
Keep the exclusion zone outside of the logo for
a minimum of 1/4 of itself, to allow it to breathe.
Both vertically and horizontally. Although the
corners can have a minimum of 1/8.
Archer Typeface
MAIN TYPEFACE
This is used for marketing, social media and big titles.
In a minimum size of 15pt.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj
Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt
Uu Vv Ww Xx Yy Zz Åå Ää Öö
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww
Xx Yy Zz Åå Ää Öö
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Åå Ää Öö
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Brand Manual
Secondary Typeface
Business Card Design
Futura Typeface
This is used for smaller titles or extra text in layouts.
Use no smaller than a 9pt.
One of the main collateral will be the
cinema-ticket-inspired business card. The black
one with red back is for the Creative Director.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz Åå Ää Öö
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
Vv Ww Xx Yy Zz Åå Ää Öö
Aa Bb Cc Dd Ee Ff Gg
Hh Ii Jj Kk Ll Mm Nn
Oo Pp Qq Rr Ss Tt Uu
Vv Ww Xx Yy Zz
Åå Ää Öö
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Brand Manual
Imagery Style
The images will contain grain, detail shots,
landscape & more abstract plays with light.
VISUAL ELEMENTS
For the brand identity we also include a lot of vintage
and old school designs to reflect our work that we do,
all of the set & prop designs.
Like sticky notes for employees.
(post-its9
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Brand Manual
PAPER ADS.
As part of the marketing we have a few ads similar
to this where one spread in different magazines and
newspapers show off the studios values.
STATIONARY...
The images will have graphical
elements with a thicker stroke as well
as one of the brands colours. Lines will
connect them all to make a united look.
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Brand Manual
Post-its.
MORE STATIONARY
Postcard in Green.
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Brand Manual
Storyboard layout.
Packaging tape.
ID Card Holders
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Brand Manual
POSTERS & GRAPHICS
All of the designs will have a vintage and old school
feel to them, using multiple typefaces and textures.
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Business Cards
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Marketing Offline & Online
With marketing I wanted to create type heavy posters as
well as animated ones, that would be both for the studio
but also for the movie itself.
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Music Cover
For the music that I created for the movie itself I wanted
to make a cover that would suit both streaming services
as well as physical items such as DVDs and LPs.
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Making of Book mockup
I created my own mockup of how the book would look
like and tried to play with light to make it look real.
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Instagram Adverts & Screening
Something a lot of short film studios do is advertise their
films on social media, such as Tik Tok and Instagram. So
that is what I alsp decided to do.
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TikTok, Youtube
Something a lot of short film studios do is advertise their
films on social media, such as Tik Tok and Instagram. So
that is what I alsp decided to do.
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Movie Poster
Here is some mockups of how the movie poster for the
fiml would look like. As well as more collaterals
coming your way.
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Movie Poster
Here is some mockups of how the movie poster for the
fiml would look like. As well as more collaterals
coming your way.
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Studio Website
I wanted the website to be very clean and bold. To have
the main element be the colour red and black but make
it playful. Focusing on making the titles really grand and
cineamtic, as well as the menu really big.
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Studio Website
I wanted the merch and shopping section to be very
simple but easy to navigate.
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Conclusion
This project was HEFTY. it was probably the most
demanding project i’ve ever done and wow how i tried
to make it as great as possible. I’m, very happy with the
outcome and hope that you reading this are too.
Thank you from me!