As well as providing space, Storyline - Norway’s largest film studio – offers a wide range of services which include, but are not limited to, set building, lighting, VFX, audio and video post production as well as costume and equipment rental. Developed by Work In Progress, Storyline’s visual identity brings together the classic flourish of a script, the humanist qualities of hand drawn detail, a sense of practicality in the choice of secondary typeface and interior colour, and the spacial consideration and practical effects of the photography. Bound by the energy of a bright colour palette, the identity manages to deliver a multi-faceted but cohesive solution that is distinctive and communicative.
Multidisciplinary design studio Maud recently developed a new visual identity for screenwriter Belinda Nowell’s new publishing venture Boabel. Based around an open book / B monogram, a business card that uses orientation to draw out this duality and a weighty, ‘book-bound’, triplex material combination the solution places storytelling at the very centre of communication with a contemporary simplicity.
Newscope Films is an independent, UK-based producer of feature films, television programmes and micro-budget movies for an international market. United by their mission to develop innovative, highly conceptual and original genre films, multi-disciplinary design agency Karoshi created a ‘progressive new identity solution which would capture this brand spirit whilst remaining accessible to a broad audience’.
The Cannonball is a Spanish production studio that develops ‘creative and sophisticated audio-visual narratives’ within the fields of broadcast television, photography, social media, fashion films and motion graphics. Their visual identity, developed by Barcelona-based brand and graphic design agency Lo Siento working in collaboration with Dave Sedgwick, utilises a ball bearing, grid-based concept to give the associated force of the name a precision and a practical sense of creativity.
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 stationery solution that references film and a deep green color palette designed to convey depth and reliability, was recently developed by independent design agency Anagrama.
Filmfaktisk is a Norwegian team of film producers – with a strong focus on locations – that produces both commercial and fictional pieces work. Their visual identity, created by Oslo-based design agency Heydays, cleverly appropriates the physical realities and limitations of sign making and turns it into a positive and distinctive asset that visualises – through a simple line detail that connects the stems and the tittles of the i’s and a stylised single colour finish to the texture and detail of on-site, sign photography – a practical but creative approach to on-location shooting. It is a very simple treatment but one that brings a proprietary quality to a familiar sans-serif typeface that cohesively binds print, film and digital touch-points.
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.
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.
Musical Theatre Network is a London-based organisation created to support and champion the development of new British musical theatre. The organisation’s visual identity, created by brand and design agency Glad, ‘expresses the essence of the network; connecting individuals or groups to create something new and exciting’ through an identity solution that cleverly leverages the length of the name to build a series of simple but communicative anagrams. These are appropriately drawn from a grid-structured sans-serif logo-type built from wide and slim humanist, geometric letterforms, consistent diagonals, a contemporary single line weight and square terminals – similar to 19th century London transport signage achieving a sense pure information and communication which resonates well with theatrical expression – contained within a blackboard reminiscent of classic illuminated theatre and cinema hoardings. The result delivers conceptual and expanding richness with subtle modernistic sensibilities through smart observation and a visually straightforward combination of letter-forms.