I know it's late on to be throwing in my ideas but here's one of the designs I did for the poster. It's separated and print-ready.

This is ready to screen print or put on to film, we can play around with colour when screen printing it.

This is my poster design, its gone a bit funny as i've dragged it from illustrator to photoshop, but in real life it is a crisp image.

Sorry Rosie just deleted your post with my stupidity, you said that we could print lots of the tickets as flyers and hand them out. cool idea, something a bit different.
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I am trying to apply the type treatment to the poster to see what its like, going with the title 'Unreserved' - as seen on the tickets. I prefer 1, 2, 3, & 7. Do they even work at all? Any thought/idea to add on them? jase
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Just found this photo, (nice ticket structure and type).

I might try using the ticket as a template for an alternative poster idea – if not to be used to see what it would look like... (probably just like the ticket with our exhibition info on I suppose)...
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The ticket reads ‘Unreserved’ – our exhibition title maybe?
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It’s nice because the info on the tickets can be changed to suit or needs without compromising its structure.

Day/Date/Year/Time
Exhibition Title – Unreserved.
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I like the idea of playing with the information that we have from the original tickets, also it’s a nice signifier of our exhibition content I think. I will have a browse on the net for the typeface they use or the closest I can get.

Or ideally… not much time though:

Ask the cinema if we could print a ticket with the new information on then scan it and screen print? Interesting to try it and will keep those nice serrated edges and quality of printed ticket, (folds, creases, etc) – which give it individuality and character…
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I know that we are rolling on with the blueprint idea and with time, however I will try this idea out Thursday (print modified ticket then scan it). to see where it goes;

perhaps we could use the ticket as typographical inspiration for the blueprint poster? Anyway I will talk later. Jase.

For some reason the image is not displaying properly- type missing and the wrong colour. I will try uploading it to the course website instead.

Rosie

Did you get anything done after the lecture? I have added some type onto the layout we were working on earlier today. Have we made any plans of when we are going to get the posters screen printed?

Rosie.

Deadlines:

Mon, 4th Dec-
A3 posters= 5 in total
1 poster on 8th floor (black board)
1 poster on board in H917
3 other posters elsewhere

Mon, 11th Dec-
Deadline for Exhibition
Deadline for Booklet
Deadline for Web Page

Tue, 12th Dec-
11am, Crit of show
3pm, Exhibition opening
4pm, Films shown

Prelude

When we first set foot inside the building, we already had expectations. As the doors were unlocked, those expectations were immediately realised as team 18 moved directly to the main theatre and started a systematic photographic documentation of 73 Brudenell Road. Later, after much research and analysis, those expectations and ideas mutated and diverged, augmented by an underlying meaning that autonomously permeated through the visual work and research we had accumulated during this documentation period. This new perspective affected the perceptions of the group members with unanimous effect and it’s this new perspective that has shaped our collective work.

Layer 2

The interior of 73 Brudenell Rd is a cinema, that cinema is a space, and the perceptions of that space are where the focus of our now altered efforts lie. As you enter the Hyde Park Cinema, as we did, as analysts, with the view to looking for new ways to exploit and exhibit one of the last Edwardian picture houses surviving in the UK, we searched for new visual angles, looking for that something less obvious about this particular movie house that we could show in exhibition. Soon after, we began to see the divide between our perceptions of the smaller, less obvious artefacts that reside in the dark cracks of the architecture and the linear, pre-constructed visual path that the delivers regularly and readily to the paying consumer.

As a consumer or viewer, Hyde Park Cinema is a space you encounter as an immediate aesthetic. Clean and prepared for your consumption the viewer is instantly enveloped in everything they have exchanged money for, popcorn, posters of new and classic films, portraits of movie stars leading into restrooms, red carpets and rows and rows of unified seating, exuding to the viewer the air of everything they already know, want and expect from the experience of cinema.
So typically, Hyde Park Cinema represents to the analyst a whole space devoted to facilitating the preconceived need for the ‘traditional’ cinematic ephemera that creates a specific experience with authenticity and delivers it in a persistent, consistent and inoffensive way. And it’s authenticity is predominantly Characterised by Hyde Park’s long history and it’s transition from a contemporary, large establishment by 1900’s standards to it’s present place, standing out as a more fashionably appealing, small, art house theatre; in amongst the competition of huge, faceless multi-screen displays this picture house appears to both viewer and analyst to contain special validity of it’s cinema experience over most contemporary cinema’s which are created with much shorter term goals in mind.
As we consider it, a contemporary cinema is a disposable space, cleaned and refilled every few hours to accommodate hundreds of cinemagoers whose marks will be scrubbed and wiped away with the next set of patrons. A modern cinema is huge, often supporting over a thousand consumers at a time, having the capacity requirements of these buildings needing large ground space to use as foundation for temporary, prefabricated structures designed for functionality and profitability rather than comfort or beauty. Often, modern cinemas are placed and situated as the nexus of a retail park or shopping centre, and must seem to the consumer like a homely respite from the harsh whites of the shops and vendors surrounding it. But with it, modern cinema is a space in which the only memory, history for the viewer is of the media they have come to absorb.

In Hyde Park meanwhile, it would be easy to consider on the surface, it’s Edwardian visual composition as a hook or novelty to maintain its individuality and hold some niche appeal against technologically superior competitors. Certainly, from an architectural view, Hyde Park’s heritage could be viewed with contempt by a casual observer as even a cursory look around the building reveals the clumsy scars of modernity layered heavily on top of it’s old, classical frame. Security cameras and fire alarms now hang openly over long maintained murals and modern concessions contrast sharply with the organic carved forms occasionally tearing the viewers illusion of an authentic cinema experience.

But, as we found through documentation and research, the cracks lying underneath Hyde Park’s modern hybridisation reveal the sincere struggle of historical architecture begrudging its mutilation through modernisation and it is these conflicting interests of modern temporary space and preserved historical space which is the inspiration for the exhibit.

On one hand you have the first space or top layer, where you see cinema as temporary, consumer and what is normally considered to be cinema. And on the underside, you have a second layer, of history and memory, what has happened and what is happening. Meeting in the centre in an awkward clash unique to Hyde Park’s geography. As a listed building with a long celebrated history, the meaning of this second space today feels swamped inside of the Cinema’s modern role maintaining an illusion of authentic cinema. And the history of a building considered now as only cinema lost. So, our group wished to exhibit and explore specifically this second, historical space siphoning out the first space, dissolving all the overt marks normally associated with Cinema and concentrating on what is not seen or heard by the cinema viewer, but what is hidden and obscured.

James Williams
Sorry it's a bit epic, I'll trim it down over the next couple of days

Yeh, I did it on illustrator, I'll show you how I did it tomorrow, I will also bring it in on a memory stick so you can get a copy of it and adapt it to your design if you like.

Rosie.

I have tryed experimenting with adding type over the plan, wasn't sure what title we were using so just used Hyde Park Picture House as an example. I have just looked at James Willis ideas for poster, i like the idea of extending the lines to turn the plan into more of an abstract image.

Rosie.

leaflet desing mock-ups and ideas
James Willis

that would be amazing , thank-you very much

James Willis

Word UP! team18 check the course web-site there infomation in your message boxs which is very important!

Thank-you JAmes Willis

Thank-you rosie, how did you get the image so neat is it hand drawn or done on illustrator, if it was done on illustrator would you be able to show me how you weave your digital magic.

A mock up sketch of poster design and also flyer design.

James Willis

We have a presentation of final ideas for our group project at 10:30 tomorrow, so could all please attend. After the presentation we are pitching our ideas for posters and flyers to each other on the 8th floor in our space. This needs to be done by the end of this week as we're running out of time. (if you do not attend we will go head with peoples desgnis and ideas who have turned up).

So be there or be square people

James Willis

These are some quick sketches and ideas for the poster design.

> I have used the blue print of cinema layout plan, as I found when you take away the text/information it loses its meaning and becomes an abstract shape.

> To make the image a little more abstract, I have carried each line which leads out of the blue print to the edge of the page.

> This hides the cinema plan within pattern and lines and is not apparent that it is a cinema plan at first glance.

> I feel this links in well with what we're doing with the imagery within the exhibition (not show the obvious and not giving everything away to the viewer).

> I have not thought about text yet but I'm in the process of!

> I have come up with a few titles for our exhibition (I want wanted to keep it short and uncomplicated/or in hynesite they could be just shit!)

JUST A SCREEN ?

PICTURE THIS (as in picture house, cinema etc etc,blah blah blah)

PICTURE this HOUSE (as in picture house)

BEHIND A SCREEN

ONE

UNO SCREENO

AROUND A PICTURE

JONNY CINEMA

PETER PICTURE HOUSE

(any other thought would be more than welcome!)

Thank-you ...James Willis sorry about the spelling and grammer

The type could be connected to the line drawing maybe?
its not immediately apparent so it's kind of suggesting the style of photography/approach we have taken. Jase. Example:
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I have used the cinema plan to create a shape that we could use on the poster. I am going to start experimenting with the type we can use over it. Any ideas very welcome.
Rosie

Seating plan - two floors. jase.
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This i think is maybe to obvious, but here is the link anyway.
The seating plan at the start is ok. every frame is a view from a different seat.
http://www.youtube.com/watch?v=Yyh3IpP7c8U
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P.S i'm finding internet video quality underwhelming. jase
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I have always liked the look of buttons/levers/switches etc.
info near them are good clues. jase
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Here are a few snaps from our visit.
One - the two longest walls side by side.
two - (sample) view of screen from every seat and arranged as seating plan. jase.
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Cinema plan

Cinema plan

Notes from group meeting today:

LEAFLET
- synopsis
- research, advertisement in newspaper
- photos, if we only use one image in the final exhibition we could put more of our images into the leaflet. 4 photos?

POSTER
- title
- image
- date
- place
- team 18
- A4, use Indesign for type so we can make it larger if we want to.

Rosie.

Continuing on the
theme of removing
the 'overt signs of cinema'.
james williams

Not just a screen. James Willis