I was responsible for the identity aspect of our design campaign for Super Image. The identity of the existing film production company was choppy. A lot of work was needed in order to amp up the product so it would leave a little something with the viewer after interaction. My friend was in advertising in Chicago for a solid twenty years, so I asked for his help with creating a new look for Super Image.
Originally the logo was Super Image Ltd in a bland, bold text style. And you could text a couple kids created it. The colors were red and black with not much going on artistically.
While brainstorming the new Super Image logo, I thought about what I feel film looks like.
A classic black and white pays homage to the beginning of the art of filmmaking, so we went with black and white as the logos colors. Plus, black and white is the simplest, cheapest and easiest to reproduce.
We incorporated a film reel within the letter "S" for Super. Rather than risking confusion with SI being recognizable for Sports Illustrated, we made the "I" an eye, paying respect to the organ that allows us to take film in.
While coming up with new ideas, I thought we should incorporate a few tributes to film gurus my group and I love and respect. Wes Anderson is brilliant when it comes to color. His movies are a constant stream of paintings, for me. We chose a color scheme from the film, Rushmore.
For the typestyle, we chose type writer. Not only does type writer look bad ass, but we also liked the independent feel of the font. The typestyle is intentionally "off" on the logo for a fews reasons. The biggest reason being the company is called Super Image, hinting towards the brilliance and perfection of an image, there's something ironic and tongue and cheek about the way the type writer is broken, creating this off, smudged lettering that's interesting and adds character.
While assessing this logo, there is much to appreciate about it.
Although it's chopped off on the bottom, the motion of the film reel brings you around and up the "S" and to the eye and immediately down to the messy lettered "Super image." The black and white is bold and classy and clean. While brainstorming ideas for the logo, we wanted the lettering to be edgy. The type writer font adds edge and funk, while the film reel and eye are clean and pristine with a hint of attitude.
The law of proximity plays a part in the logo. Each of the elements of the logo are close enough to one another that we, as the viewer, can see them as a whole.
The law of continuity is obvious in the way the "S" draws you from the bottom part of the reel, around the small block of nothingness, up the rest of the reel, through the eye into the pupil and down to the text.
I believe law of closure would also apply here. There's a slice out of the bottom of the "S" creating a small void but that void is filled with the rest of the solid and dotted lines from the "S."