Constructivism

A poster that has to work from across the street, built out of parts.

Every frame should look assembled rather than composed. Put the diagonal in first and let everything else obey it. Type appears only as abstract shapes; the moment a word becomes legible the image turns into a period pastiche, so keep the letters fragmentary or turned away. No flags, no slogans, no faces from history.

Director's note

Leave with every frame on this list.

Shot list

1. 01Frontal shot of a cream wall pasted with layered posters made only of red and black diagonals, bars and circles, no readable words, the paper edges torn and overlapping
2. 02Low-angle shot of a worker in a black coat against a red-painted steel gantry, the diagonal of the structure cutting the frame corner to corner
3. 03Close detail of letterpress ink on rough cream stock, a single heavy black bar bitten into the paper, red registration slightly off
4. 04Overhead shot of a table with cut cardboard shapes, a circle, wedges and rules, arranged into a composition mid-assembly, a hand holding one piece in place
5. 05Wide shot of a printing floor with stacked posters, all red and black on cream, a single cobalt sheet breaking the run

Hard, single-source daylight or one bare tungsten lamp raking across the surface so paper texture and ink relief read. Deep, clean shadows that act as compositional bars in their own right. No fill that softens an edge.

Light

Scout these before anything else.

Locations

1. 01A print works or letterpress studio with stacked stock and a proofing press
2. 02A steel bridge or gantry with strong diagonal members
3. 03A plain cream or whitewashed wall large enough to paste over
4. 04A workshop bench with cutting mats, rules and card offcuts

Work clothing in black, grey and undyed canvas. One garment or accessory in signal red per frame at most. Nothing patterned, nothing branded, nothing that reads as costume or period re-enactment.

Wardrobe