A chat with Robert Evans | Schulberg Building | Paramount Studios
A walk-around hello, on the Lot, Summer, 2007 When I was working on the Paramount lot on Melrose—with the executive team in the theatrical advertising office—I frequently worked onsite in hand-drawing and tuning, improving logo art for various projects, including, for...The Kimber Script Logo
Classical lettercraft meets a precision draft, engraved in steel. In the spring cleaning of our moves to GIRVIN’s 16th office location, in the West Queen Anne Elementary School, in Seattle I was sorting through a grouping of files—like a large grouping, dozens of...Blandism and the Detailing of Typographic Design Linguistics
What sways to blandishment? A lot of discussions around last week’s blog— and the notion of brand blandism, and some asked, “wait, so you’re saying that san serif is too bland, too plain, not… ‘exciting’ enough?” No, that’s not the point. As I’d mentioned before, in a...Celebrity Brand Development | Legendary Stories about GIRVIN Logo Work
Everyone has stories about logo projects. What’s yours? Speaking of recognizable brand relationships, working with Doug Osborn, an Oregon photographer and designer, and Cameron Healy—the founder of Kettle Brands. And there’s a story about a logo for new type of potato...Theatrical Branding and Type Design | Logo Workshops in LA
For motion picture studio teams, agencies and theatrical producers, I’ve been giving these workshop presentations as a proposition to linking marketing strategy, brand storytelling and narrative illustration. In a manner, thinking of movie logos, the identity offers a...
Mary, Queen of Scots Movie Titling: It’s No Hatchet Job
March 24th marks the 416th anniversary of Elizabeth I of England’s death. Because of this, we thought it would be an opportune time to look back on how we researched and developed the title design for Mary Queen of Scots. When working on film branding, we believe it’s...
Protected: DESIGNING THE IMPOSSIBLE: MISSIONS IN GRAPHIC IDENTITY
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