When we decided to set up a studio in Brighton, we had some clear objectives for how we wanted the space to feel and run.
Communicating those ideas through a brand logo is a task best left to the professionals, so it's a good job we found one in Gray Simpson - the Creative Director at Brighton based design studio If Destroyed Still True.
Gray delivered four initial concepts based on the core principles of the company; a welcoming base for lens-based creatives, a fresh thinking brand, Brighton based and importantly - not a sterile space, but a place where things happen.
We were very much in love with two of the concepts and it was a tough call, but the clincher was a clever little detail in the second proposal. That as a provider of space and services rather than products, we should work to emphasise the idea of the studios being a home and starting point for many different things. Enter, the forward slash!
“Everyone’s now educated through its usage in URLs to understand that the forward slash is a precursor to a smaller part or component of the parent identified immediately before the slash. So we can play with this idea to create a family of logos which effectively promote each service but which still exist as part of a unified identity." The idea sang to us as a good representation of our desire to make the space a base, or home for Members and a starting place for visiting productions, collaborations and working relationships.
We decided on a largely texture based pallet - concrete, wood, plants, metal and we wanted to keep the space open and neutral so we knew the base colours would be few. As it happens, they were absent all together. We started at white, picked up grey along the way and eventually added in a gorgeous inky blue to take the weight that black would traditionally hold. All well and good, but it's a bit... boring? Which is where the key colour comes in and some sage guidance from Gray.
“As the identity will largely be seen on screens I thought it would be a great opportunity to take advantage of that colour space and introduce a bright non-print-friendly hue. This would obviously mean having to use specialist paints and processes to replicate it in the real world. But we all agreed that having such an amazing unnatural colour contrasting with the monochromatic and materials based palette of the physical space would be striking and worth the effort.”