Hello, could you please edit your design brief to separate instructions into paragraphs? At the moment with how it is in a single long paragraph, it's difficult to know which text is an instruction for a separate design/content element and which isn't, plus it's difficult to follow.

It was suggested that the instructions written as a single paragraph are difficult to follow. I am reposting them here in hopes of making them easier to understand.
Additionally, I really like the logo used eight years ago by a Phoenix, Arizona, theatre group--especially, I like the style of the artwork in the middle and have given some instructions to make the island twin peaks and separate from the island we are viewing from. If you read the synopsis, that island is the forbidden Bali Hai. Besides seeing someone replicate that design, but not enough to cause a copyright claim, I would like to see a poster with some original artwork. In the note at the end, I would like to select a design done by an artist who can replicate the poster style of the example, so that I can work with the artist to do a series of backdrops for projection that carry through that same style.

Here is the reformatted set of instructions:

Requirements
Must have
1. Recognition of the Will Rogers Stage Foundation (logo versions provided).
2. All seats reserved. Tickets available on-line at www.WillRogersStage.com and at box office on day of performance.
3. Note: This is must-have from our license agreement –
a. 2.1 Concord Theatricals Credit. All programs, web pages, publicity, and advertising in connection with performances of the Property, in all media (including print and electronic), shall carry a program note as follows (unless an additional or different notice is specified in writing by Concord Theatricals) in not less than 10-point type: SOUTH PACIFIC: IN CONCERT is presented by arrangement with Concord Theatricals on behalf of The Rodgers & Hammerstein Organization. www.concordtheatricals.com
b. 2.2 Author(s) Credit. The Author(s)’s name (including, as applicable, composer(s), lyricist(s) and/or translator/adaptor’s name) will appear in all instances in which the title of the Property appears, including all programs, web pages, house boards, and publicity and advertising in all media (including all print and electronic media) within the control of Licensee. Except as otherwise specified below, the name of the Author(s) will appear on a separate line on which no other name appears as set forth below immediately following the title of the Property and will appear in size of type not less than fifty percent (50%) of the size of the title type, as follows: You agree to set forth the following credits on the title page in all programs, and on all house boards, displays, heralds, posters, fliers, and on all other advertising and promotion in connection with your production of the Play:
i. Rodgers & Hammerstein’s 75%
ii. SOUTH PACIFIC: IN CONCERT 100%
iii. Music by RICHARD RODGERS 75% * Lyrics by OSCAR HAMMERSTEIN II 75%
iv. * Book by OSCAR HAMMERSTEIN II and JOSHUA LOGAN 45%
v. Adapted from the Pulitzer Prizewinning novel "Tales of the South Pacific" by James A. Michener 45% Concert Adaptation by David Ives 45% *Immediately following the title and in no event less than that of the largest, most prominent credit given any other person.
4. Professional cast, orchestra, and chorus.
Nice to have
While the artists may be inspired by some of the ideas in these illustrations, as I have been inspired by one of them, please do not directly copy any idea to the extent that it could result in a claim of copyright infringement:
1. I tracked down the source of the logo that I really like. PHX Stages: SOUTH PACIFIC - Arizona Broadway Theatre - Nov 24 - Dec 30, 2017. It was used eight years ago in Phoenix to announce the cast for their production. I believe we can make a transformation of this idea, enough to legitimately avoid a copyright claim.
a. Twin peaks; different lettering; different arrangement of elements; etc. The silhouette of an island, palms, and bombers in poster style are appealing. However, the images should be an island not attached to the viewer’s position. The original production used a backdrop showing two peaks. This is a volcanic atoll in the South Pacific.
b. I like the palm frond border. But not necessary to incorporate.
c. The lettering representing stenciling is appropriate, and I have seen it in other logos for South Pacific. Everything military was stenciled in that era.
I very much like the posterizing treatment but would not rule out anything else proposed.
I have attached a synopsis of the story and some other background. I have also attached some other iconic images from other South Pacific productions. The poster could have sailors in gob hats singing “Nothing Like a Dame.” Emile and Nellie ia a love duet. Bloody Mary. Luther’s shower and laundry, Emil’s seaside plantation setting. Sailors, nurses, Marines set to deploy into combat.
NOTE: This project is for the poster only. From Jenna Sayson of DesignCrowd: Just wanted to resend my previous explanation for your project budget: Our services only deliver one design per project, which means that you have to post or launch a project depending on its design category and quantity. You can launch a contest with only one design requirement. Once you have selected a winner, kindly discuss with them the additional designs you still need. It is upon your discussion and agreement on how much the additional payment would be as well. I plan to do this. Once I select a design and its graphic artist, I will negotiate for a set of scenery backdrops to be projected onto an upstage cyclorama covering the whole back wall. I am attaching a list of the scenes (some scenes will be used more than once). The scenery art should carry out the same style as the winning poster design.

Thank you, that helps a lot!

I forgot to specify the need to include the location: Will Rogers Auditorium, 3909 East 5th Place, Tulsa, OK 74112.

Hello, Waiting for my submission. Thanks.

To: Silverfox

This supersedes prior communications for this project. It is a request for a proposal to create a set of scenery “backdrops” that will be projected on a white cyclorama to fill the back of our stage for a live performance. The would replace the traditional canvas backdrops that are lowered from the grid above the stage. At the end of this discussion is a list of possible scenes needed. However, as we get into the design of each scene, it is likely that we will not need as many scenes as listed.

I suggest that your bid be for the individual cost of each scene. We would set a minimum number of scenes, but the final number could be more than the minimum.

Our production is a “semi-staged concert version” of the full-scale Broadway musical, Rodgers & Hammerstein’s South Pacific. (Note that our license requires “In Concert” to appear with the show’s title.) This means the show is presented in a simplified, often stripped-down format compared to a full theatrical production. Concert performances usually have very basic sets. Our set will be comprised entirely of the projected backdrops being requested. The primary focus is on the musical numbers, with less emphasis on acting and elaborate choreography. Despite the minimal staging, performers still act out the emotions of the script. Our principal cast members will be in costume. Singers and actors will enter and exit the stage throughout the show. Our plan is that they will have their lines and songs memorized.

We will define our scenes with artwork projected onto a cyclorama. Tentatively, we plan to put the live orchestra in front of the stage, level with the audience, leaving the stage empty so all of the acting and singing will be performed on the stage. I doubt that we will use props, such as a table and chairs, a desk, a radio room, a Rube Goldberg washing machine, an outdoor shower, a makeshift stage for a Thanksgiving show for the troops, the back of the makeshift stage, another island as scene arriving in a boat, a jungle hut where a tryst between a Marine and a young Tonkinese woman takes place.

The props would be integrated into the scenery. The actors would not interact with the props.

We plan to use an Epson ultra-short throw 4,000 lumen laser 4K 9:16 ratio projector, thrown onto a white cyclorama curtain.

I like your style and would like you to submit a proposal to design a package of scenery backdrops for projection. This would not be a contest. If you make a proposal for the entire set of scenery and we accept your proposal, you would be the only artist working on the project.

I am providing general background information on South Pacific from various sources. Additionally, for each scene, I am providing a description of that set taken from the original libretto by Oscar Hammerstein and Joshua Logan, plus screen shots from the movie set and other assorted ideas for that scene including some photos or drawings from older productions. It would be up to your imagination and might involve at least a couple of revisions for each scene after we have seen your partial sketch. The theme would be consistent, taking place on two islands in the Pacific during World War II. Your artistic style would be carried throughout the scenes.

I believe it is very helpful for the artist to be immersed in the story. For general information on South Pacific, here are some links:

Explore the show South Pacific - History and More | Rodgers & Hammerstein
(This link provides access to still photos of historic productions of this show, including the 1949 original one. It also links to the 1958 movie.)

South Pacific - Synopsis - Rodgers & Hammerstein
(This link will tell the story, scene by scene, giving you the flavor for the scenery.)

South Pacific - 2005 Carnegie Hall Concert - Rodgers & Hammerstein
(This is a concert version, typical “park and bark,” where the actors are seated onstage and get up before a microphone to deliver their lines and songs. We plan a more animated production, with interaction between the characters and possibly some choreography.)

SCENES AS DESCRIBED BY THE AUTHORS:

Don’t be intimidated by the notes to follow. These are meant only to be helpful. I would like to follow the original descriptions as much as practical, but we do not need to copy what was done in previous stage productions, the 1958 movie, or subsequent productions.

Not all of these notes will make sense and not every scene requires a new backdrop. They were written for a 1949 stage production in New York using backdrops, scenery flats and props.

I will attach (or send separately) some screenshots from the 1958 movie. Of course, they were not constrained by a stage. But we have the latitude, using projections and not relying on backdrops and props, to adapt a scene from the film. You may use several sources as inspiration for your scenes, not limited to what I am sending, including your own imagination.

By using your posterized style, which I like very much, the audience is constantly reminded that our background scenes are meant to be representative of the imagined locations but not meant to be photographic images of real scenes. I think this will be most effective.

I suggest that we communicate about each background scene before you set out to do a final. Perhaps use a rough sketch to present your idea.

Act One

1.1 Emile di Becque’s plantation home on an island in the South Pacific. On your right as you look at the stage is a one-storied residence. On your left is a teakwood pagoda at the edge of the cacao grove. House and pagoda are bordered and decked in the bright tropical colors of the flaming hibiscus, the purple bougainvillea, and the more pale and delicate frangipani. Between the house and the pagoda you can see the bay below and an island on the open sea beyond the bay. Twin volcanoes rise from the island.

1.2 The curtain depicts no specific place but represents the abstract pattern of a large tapa-cloth. In front of this, lounge a group of Seabees, sailors and Marines. As the lights come up on them and go out on the previous scene, they are singing.

1.3 The edge of a palm grove near the beach. Beyond the beach in the bay can be seen the same twin-peaked island that was evident from Emile’s hillside. On your left as you look at the stage, is Bloody Mary’s kiosk. This is made of bamboo and canvas. Her merchandise, laid out in front, comprises shells, native hats, local drass material, outrigger canoes, and hookahs. Several grass skirts are handing up around the kiosk. On the right, at first making a puzzling silhouette, then as the light comes up, revealing itself to be a contraption of weird detail, is a G.I. homemade washing machine. It looks partly like a giant ice-cream freezer, partly like a windmill. In front of them is a sign which reads:
TWISTED AIR HAND LAUNDRY
LUTHER BILLIS ENTERPRISES
SPECIAL RATES FOR SEABEES

1.4 As Cable sings, the lights fade slowly. A transparent curtain closes across him. Downstage, several G.I.’s enter carrying bales and various article of equipment. The lights dim out on Cable behind the curtain and now, illuminating the forestage, reveal the curtain depicting a company street.

1.5 Inside the Island Commander’s office. Brackett is sitting at his desk, reading some papers. Harbison stands above him. Cable sits on a chair facing the desk.

1.6 As the light fade on the Captain’s hut, the company street curtain closes in and the activity seen here before is resumed. G.I.s and natives cross, carrying various items of equipment.

1.7 The beach. Several nurses are lounging about fefore taking their swim. More enter. One of them, Dinah, is washing an evening dress in a tin tub. Upstage is a homemade shower bath, bearing a sign:
BILLIS BATH CLUB
SHOWER 15¢
USE OF SOAP 5¢
NO TOWELS SUPPLIED

1.8 This is Brackett’s office again.

1.9 As Brackett’s office recedes upstage, he tapa-cloth curtain closes and groups of French girls and native girls enter.

1.10 The music swells. A concentration of light in center of the stage reveals the interior of a Native Hut. Bloody Mary comes in. Even she has to bend low to get through the doorway. Cable, following her, finds himself in the darkness blinking.

1.11 The girls sing and hum “Bali Ha’i” softly under the scene, as Hawaiians sing “Aloha” to all departing craft. Bloody Mary and Billis are looking off, anxiously awaiting Cable.

1.12 Emile’s Terrace.

Act Two

2.1 The stage during a performance of “The Thanksgiving Follies.” On either side, in the downstage corners of the stage, G.I.s are sitting as if there had not been enough seats and the audience overflowed up onto the stage. There are no chairs. They are seated and sprawled on the floor of the stage.

2.2 In back of the stage.

2.3 The lights fade to complete darkness. Brackett’s voice is heard over the loudspeaker. During his speech the lights come up. Revealing the G.I. Stage, as before.

2.4 Now the lights come up on the scene behind the stage. After a few moments, he comes hurtling out, minus his wig. A few seconds later, the wig is thrown out by one of the girls in the dressing room.

2.5 The lights go out and almost immediately the sound of an airplane motor is heard, revving up, ready for the takeoff. The lights come up between the tapa-cloth and the dark green drop. Several Naval Aircraft mechanics are standing with their backs to the audience—They look off, watching tensely. As the plane is hears taking off they raise their hands and shout in an exultant, defiant manner. The music reaches a climax and the lights fade out on them, as they exit. Lights in center come on simultaneously, revealing:

2.6 This is the communications office or radio room. The back wall is covered with communications equipment of all sorts: boards, lights, switches. There is a speaker, a small table wth a receiing set, various telephones and sending equipment. A communications enlisted man is sitting at the table with earphones. He is working the dials in front of him. Brackett is seated on an upturned wastebasket. Brackett is listening avidly for any possible sound that might come from the loudspeaker. After a moment, there is a crackle.

2.7 Radio Shack. Emile’s voice.

2.8 Radio Shack again.

2.9 Blank stage

2.10 The beach.

2.11 The beach

2.12 Emile’s terrace. It is late afternoon. Sunset—reddish light.

END OF NOTES FROM LIBRETTO

Specific Locations:
1. The Terrace of Emile de Becque's Plantation
2. The Company Street on Another Part of the Island, but with a similar (or same) view of Bali Ha’I the twin peaks island across the water
3. The Edge of a Palm Grove Near the Beach, without the laundry, shower, trinkets for sale, etc.
4. Inside the Island Commander's Office
5. Inside a Native Hut on Bali Ha'I where Cable and Liat tryst
6. Near the Beach on Bali Ha'I, showing huts along the water, outrigger canoes, etc.
7. A Performance of 'The Thanksgiving Follies' on a makeshift stage
8. Backstage at 'The Thanksgiving Follies'
9. The Radio Shack

NOTE: We may not need nine backdrops. I suggest that we set a price for each separate backdrop and that we discuss each one individually before you design it. We would set a minimum number of backdrops. I suggest $100 USD for each finished scene.

Richard Risk, president and producer
Will Rogers Stage Foundation
dickrisk@yahoo.com
1+918-740-5470