Exploring the legacy of a typographic design,
The above image, from Tintin, comes from the current site / launch of Spielberg and Jackson’s pre-launch strategy of the storytelling of Tintin. Working with Nancy Goliger, former EVP Theatrical Advertising (an amazing woman and friend, now retired) and her team (then) at Paramount Studios.
For the Girvin team, the idea of examining Tintin as a titling treatment — a pre-design study, which is often part of our role, as identity strategists for the visual positioning of logos for films — is as much historical and fact finding as it is creative. There’s an art to identity, and there’s a science in getting there. Past, present, future: where from, where to — our journey? The point to the study — like Iron Man, Benjamin Button, other developments is about understanding the legacy of what might be in place, and what evolutions might be considered for marketing the future. Any degree of design thinking is iterative, evolutionary, inspirational and implementation driven — you’re designing to go someplace new. To think, and to get there. Identity can become the body for how that happens.
Our reach is always about moving back in time, examining where things — where design has lived — and where, in the future, it could move to. In the nature of identity, logo design programming, the idea can be to consider those foundations — tune, and move anew.
We did that — a study for what was (well recalled from my childhood) and where to consider solutions, for an international positioning.
Some ideations and gatherings (ours, early, with the Secret of the Unicorn added descriptor) for that process:
And where to:
I believe in finding the meaning, the what — the mystery of what lies beneath, going back to the beginning — and finding the thread that takes us, and the audience, to the future.
TIM | 49th Street | NYC
GIRVIN | IMAGINATION + PLACE
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