• Caitlin Kennedy

Alex Revell

How did you get involved with the Mountain Film Awards?

I’ve been friends with the legend that is Mickey Fitz for around 8 years now. We’ve worked on a number of projects in the past, from the release of mobile apps to events around the Alps. It’s been a lot of fun to watch the Mountain Film Awards grow and continue to grow, and I feel super lucky to be a part of it. Mickey has some awesome visions and it’s always fun to see these ideas come to life.

Is graphic design your main creative outlet?

It is a great way to actually visualise what’s going on in my head. But I’d like to think I put a bit of creative in to everything I do.

Have you been involved with making any of the films?

Have you seen ’Shredpool’? If you haven’t, definitely give it a watch. I play the idiot Francis that takes a decent beating at the end (spoiler alert).

Do you have a favourite of the films made for the competition in past years?

GNARMAGEDDON has got to be up there with the best. The last scene is outrageous, emotional and just down right EPIC!

Talk us through the process of designing the cover.

Mpora described the Film Awards as ‘rowdy’. I figured this needed to be portrayed through the artwork whilst keeping in line with the same style of branding as the Tignes Film Awards. Having done four seasons in Tignes and seeing a fair few of The Echo covers, I also wanted to keep in touch with the ’sketched’ kind of vibe that’s been used on many occasions.

Your cover looks as though it is quite graffiti influenced. Is that something you’ve been inspired by?

Definitely. When I think of graffiti I think rowdy, which is exactly what I wanted from this piece.

What design briefs do you enjoy the most?

This can go one way or another for me. I love it when a client comes to me with a full, descriptive brief, that’s concise and simple to follow. They know what they want and it’s always good to deliver. On the other hand when a client comes to you and says “you’ve got full creative freedom on this”, it’s a lot of fun, and in some ways more challenging to achieve what they want.

Does your work tend to reflect where you physically are at the time of making?

I was laid horizontal on the sofa in my slippers with Masterchef on the TV in the background when I did this piece. That being said I’ve travelled a fair bit and I’d like to think the places I’ve been have inspired a lot of work for me.

Where do your ideas for a particular creative project stem from?

I’ll always put some research in to a project before starting it, and I like to keep up to date with current design trends. Quite a lot of the time it’s just wanting to try something new.

How does humour play into your work?

That would have to depend on the project. I’m not sure humour was needed for a project I did on water softeners, but for this piece I wanted to convey how fun the event is. I’ve done the week filming, and been to the awards and I can safely say it was one of the best, most fun weeks of the season.

What rules do you try and follow when designing to a brief?

If the client has set a lot of boundaries I will try to stick to them as much as possible, but it’s also always good to give a professional opinion on some aspects. If I’ve been given freedom to be as creative as I like, then there really are no rules.

How does your personal art differ from what you design for a company/brand?

As well as working as a freelance graphic designer, working on all sorts of projects, I’m also the Lead Designer for a company based in the UK who distribute power tool accessories, where we have brand guidelines to adhere to. My personal work tends to be done using Photoshop, I’m a big fan of putting creative ideas on a screen, some more out there than others. Here’s a plug for you; check out @alexrevelldesigns on Instagram and you’ll see what I mean (and why its kind of hard to describe).

Thanks Alex!

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