“This time, however, we are taking maximum simplification as a starting point for the next game. We transform the symbol into iconic objects from the film world and the Karlovy Vary festival. For example, brutalist concrete, Machonin armchairs, boxes for film strips or an old camera,” reports Studio Najbrt | Source: Studio Najbrt
Aleš Najbrt and Jiří Bartoška (president of the KV IFF) | Source: KVIFF
Graphic designer
How do you rate the new KVIFF visual?
The visual from “Najbrt” is a certainty, something like changing summer tires on a car or the traditional construction of a maypole – so another year is behind us! This year’s processing is lapidary, yet verbose. Jonatan Kuna’s ability to build the 56th year on detailed illustrations and this year’s 58th on economical geometric objects reveals his exceptional flexibility. When the shapes play out in animations, it is a perfect interplay of graphic resources, an interconnected whole. And finally, in the media, there is a photo of Aleš Najbrt shaking hands with the festival director and standing in front of the work that has just been approved. It’s touching, the viewer likes the small certainties of life, he doesn’t like change and separation. The studio and the audience obviously enjoy the annual KVIFF visuals – a certain customer, mutual respect, a certain joy of work. This year is one of the nicest.
Kristina Fišerová | Source: archive of Kristina Fišerová
UX, UI designer
Jakub Vaněk (left) | Source: Jakub Vaněk
How do you rate the new KVIFF visual?
A pleasant and playful container of the hotel floor plan. More hyper-realistic materials and light in 3D animations would further the intent. Nice.
Graphics designer
Jiří Mocek | Source: archive of Jiří Mock
How do you rate the new KVIFF visual?
For me, this year’s KVIFF visual was very successful. I especially like the combination of classic Najbrt minimalism (which is a certain characteristic element for the festival) and ideological maximalism represented by various variations on the main symbol. I also like the fact that you are not overwhelmed by an excess of visual material at once. At first glance, “savings design” can still surprise you with its variability and visual dynamics. The three circles and the square symbolize more than one would expect. Which, in my opinion, is a good argument for the occasional criticism of the excessive subtlety of the festival’s identities. In short, “less is more” in this case is only in quotation marks, which is close to me and the Permanent Office studio.
Digital designer
Lukáš Pilka | Source: Lukáš Pilka
How do you rate the new KVIFF visual?
The Berlinale has a bear, the Venice Film Festival is symbolized by a winged lion, and in Rotterdam they use a tiger’s head. Unlike most similar events, the Karlovy Vary parade does not have a fixed form of logo that would tie the hands of graphic designers. To some extent, the visual identity of each year starts on a green field, and that’s why the unveiling of the poster has become a moment that many fans watch carefully. Nevertheless, there is a certain convention. In the last decade, it is usually the case that the dominant motif is the formal game with the serial number of the event, and this year is no exception. At the same time, even this time, the representation of numbers reaches the very edge of legibility in such a way as to awaken the viewer’s imagination and force them to think a little about what the symbol actually represents. I think it’s great that the festival continues its well-recognizable dynamic identity, which is not based on repeating the same logo, colors or typography, but on a more sophisticated logic that leaves a lot of room for creativity and surprise.
Tags: Najbrti annual tutu visual #58th Karlovy Vary Film Festival perspective experts
-
