In terms of inspiration i feel that i can gain most of this from the most famous and successful film directors as shown below. I have looked at a range of examples that show some key features that i have interpreted and analysed. I feel that by doing this i will give me a greater understanding of what areas i should look into within my design direction when developing ideas.
I am now going to move onto look at some designs that have been created in relation to the subject and look at designs that are coming into the new era of film.
Guy Bauer is a Chicago-based video production company ‘committed to creating stories that elicit feelings’. Their new visual identity, based around a quill logo-mark – conveying their story-telling philosophy – a stationary solution that references film and a deep green color palette designed to convey depth and reliability, was recently developed by independent design agency Anagrama.
Although the logo-mark sits at the head of Anagrama’s project page, it is the layout and logo-type that really resonate with me. The typographical weight, uppercase characters and slab serif detail – neatly referencing public communication of the early 19th century – executed with the contemporary twist of a single, consistent stroke width, some solid character and line spacing, has a weighty authority and a subtle conceptual depth.
The logo-mark shares similar qualities in its more recent, reductionist resolution of a historic reference and adds a personal and story-telling relevance. It however feels a little superfluous and perhaps a touch abstract compared to the more compelling, communicative and distinctive elements of the business card’s clapperboard layout and the screenplay-like sensibilities of the letterhead.
The colour palette is a smart mix of a single spot green, uncoated, embossed material texture, what looks like a gold block foil and ample white space. Again a smart juxtaposition of past and present that comfortably unites a sense of knowledge, experience and the perception of high quality with a modernistic restraint.
Calabuch is a Spanish-based agency that provides management and representative services to international actors, actresses and directors. The agency’s visual identity, developed by multidisciplinary design studio Tres Tipos Graficos, builds on a name created to evoke the Spanish and ‘golden age’ of fifties cinema through modernistic typography across the etched illustrative detail of a classic, hand-wound camera, a tactile collection of uncoated substrates and a bright but restrained two-tone colour-palette.
Built from the bold, consistent weight and geometric, uppercase, sans-serif characters of Gotham – a typeface that captures the functionality of mid 19th century American signage – the logo-type, set over the hand illustrated dimensionality, fine lines, shading and accurate depiction of a classic camera, delivers a distinctive contrast that neatly resolves both a sense of formality and technical skill. The leveraging of the current typographical popularity of Gotham within movie poster design – see the Dark Knight, Prometheus and Inception – and its reference to 1950′s American introduces a subtle but appropriate contemporary/retrospective duality that, intentional or not, adds a conceptual weight to its selection. The identity is consistent rather than diverse and coherent across a collateral design that utilises a couple of uncoated material choices, stamps, an overlay treatment that has a screen-printed quality and light emboss to further the period aesthetic of the graphic design with tactile, traditional and humanistic touches.
It is smart but simple juxtaposition of fine and classic detail, bold and contemporary typography with conceptual relevance across communicative material choices that resolved work well to represent professional and experienced artists who value and understand the history of their industry.
Revolver is an Australian film production company with a string of awards and a diverse collection of directors and producers. Their visual identity, refreshed by Sydney-based independent design agency Toko, is a simple, clean and coherent expanding logo-type solution – built from the single, well spaced, all uppercase sans serif Helvetica – that utilises a ‘This Is’ prefix to bind, through typographical consistency, a variety of communication and the directors. Its over-sized application alongside finer details, full bleed, bright neon spot highlights and the juxtaposition of both vertical and horizontal layouts across the collaterals introduce a creative and multi-perspective sensibility that keeps the solution from appearing too corporate
Tin Can is a Dutch production company that specialises in the ‘development and production of formats in the field of television, branding, online and events’. This on-screen and environmental multi-disciplinary ‘bridge’ is reflected through an identity solution, created by editorial and visual identity design studio COOEE., that pairs a simple sans serif logo-type with four horizontal lines which move across and consistently wrap both digital and physical surfaces.
The logo-type is pretty simple, a well spaced combination of uppercase sans-serif characters built from Avant Garde Gothic conveys a professionalism, functionality and to some degree a neutrality needed to serve multiple sectors. Underlined four times, a simple conceptual idea drawn from the company’s multi-disciplinary approach, adds a sense of authority, confidence and corporate consistency. These four strokes, while not massively unique (see Adidas and Pentagram’s work for Republic Records), achieves a cross-platform distinctiveness through their wrapping of both three dimensional digital and physical environments. Animated and as stills these deliver both a dynamism and a sense of multiple perspectives across various collaterals that resonates well with the theme of format which is enhanced by a monochromatic colour palette that delivers a more abstract, experimental and creative quality alongside the conventions of the logo-type.
The visual identity’s relevance and relationship to the Tin Can name and its four-fold proposition is not immediate but like the weight of the logo-type it is incredibly bold and confident in its simplicity, and original in its dimensional application.
No comments:
Post a Comment