DAY FOR NIGHT
Concept, creative direction and branding of our visually immersive festival.
2016 LINEUP RELEASE
Day for Night returns to Houston this December 17-18 with the most eclectic and bold lineup yet.
LIGHT + SOUND COLLIDE
The motivation was simple: to make a better festival. Fundamentally change the experience and raise the calibre by stimulating all of the senses. Spanning a six-acre industrial campus, the two-day event was so powerful critics deemed Day for Night “The Festival of the Future.”
We set out to make sound as visual as possible, and in return, make visual art sonic.
What happens when you book poet, rapper Kendrick Lamar and the harmonic vocabulary of Philip Glass’s Ensemble next to new media artists Casey Reas and Zach Lieberman? The eclectic line-up combined with interactive art heightens the experience and enriches the senses.
Giant site-specific art installations activated the 6-acre campus indoors and out. Projections illuminated the sides of warehouses reacting to ambient sounds and movements, cell phones generated impromptu symphonies, and 2 miles of scaffolding became the canvas for 50 synchronized strobes.
After researching, vetting and testing over 300 names, we landed on the cinematic term "Day for Night" for its transpositional connotation (one thing becoming another) and its evocative reference to the planetary transition of time. (runner up: Sample & Hold).
We created a mark with a two-fold system working with and without the name. Without the name the symbol sits shrouded in mystery. With the name Day for Night, it becomes a clear, bold brand mark. The symbol was used in a pre-launch teaser campaign to get people asking questions. For launch, the brand mark was revealed through an animated rotating logo.
The wayfinding and stage screens became interactive, living things. We custom built software to pull live from social media feeds, countdowns, footage playback, and festival messaging, which we used to interact with the crowd in real-time. In all, there were over 2,000 editable parameters, as well as the ability to program a queue so the system could run itself.
A MASSIVE JIGSAW PUZZLE
The building of Day for Night involved a three-dimensional logistical undertaking multiplied by time. Dozens of artists from around the globe collaborated with hundreds of lighting, rigging, and technical crews, and 47 pizzas at 2am.
Working with the ideas of day/night and lunar data, Joel Pickard used time based elements to create 24 pieces of music for the breaks in between musical acts. Each "track" had 8 or more components that could be turned on and off and manipulated in real time depending on the size and mood of the audience .
Even the screen shapes were a well considered branding element. Rather than the expected rectangular screens, we created custom shaped LED half-circles to flank the main stage. With every projected image of the musicians, live messaging and way finding, the impact of the brand became indelible.