Each part of the series' brand plays a major role in how the show would be presented to the public and the types of moods, content and overall style that they would be able to draw from the brand. Before narrowing down each component of this, I researched real life examples of style guides, finding a Channel 4 guide that I found extremely helpful.
Channel 4 Identity Style Guide [1]
While the guide is for a channel as opposed to a television series, the same style and branding rules apply in a number of areas. Drawing inspiration on where to focus my branding elements from this guide, my brand is made up of fonts, a logo, colour schemes, a log-line, taglines, and how these effect marketing and the opening titles.
Fonts
The selected fonts for The Identity's package, opening titles and promotional materials are variations of the fonts Lulo Clean and DIN Next. I found these through firstly searching through a number of downloadable fonts that proved to not be the mix of modern and bold that I was looking for. I then looked through the Wix website designer fonts that were available and found two that work extremely well together and suit the themes of the series.
Lulo Clean in bold is the most commonly used font across all platforms, mostly used for key information such as cast names, headings, and most importantly, the logo. All in caps, and very sharp yet rounded, I found that this font allows for clear writing, a stand-out appearance and a modern and serious look that suits the series and its uses.
Sizes:
60pt in opening titles cast & production names
40pt in package contents headings
10pt in package contents subheadings
18pt in package page headings
12pt in package page subheadings
Colours:
Opening Titles - Black
R: 0 G: 10 B: 16
Opacity: 100%
Package - Lighter Black
R: 40 G: 47 B: 54
Opacity: 100%
Package - White
R: 255 G: 255 B: 255
Opacity: 100%
Lulo Clean regular is a lighter version of the above bold variation, that allows for stylistic contrast when using the two fonts together. For example putting a cast member's first name in regular, and their surname in bold in the opening titles.
Sizes:
60pt in opening titles cast & production names
Colours:
Opening Titles - Black
R: 0 G: 10 B: 16
Opacity: 100%
DIN Next Light is used for descriptive writing across the promotional and package platforms. This allows variation from the use of Lulo Clean, and as a font that works in upper and lower case forms, it is more suitable as a font that provides larger or more descriptive pieces of information. I think the similar mix of rounded and sharp suits the above fonts as well as the series very well, with a less intense appearance.
Sizes:
14pt in promotional posters
50pt in promotional billboard
24pt & 48pt in promotional bus ad
15pt in package page text
Colours:
Promotional Posters/Billboard/Bus Ad - White
R: 255 G: 255 B: 255
Promotional Bus Ad - Blue
R: 85 G: 120 B: 160
Package - Lighter Black
R: 40 G: 47 B: 54
Opacity: 100%
Package - White
R: 255 G: 255 B: 255
Opacity: 100%
The italic style of DIN Next is used mostly for quotes within the package platform, to clearly and conventionally indicate that the text has come from a different source. This also adds variety to the font styles.
Sizes:
15pt in package page text
Colours:
Package - Lighter Black
R: 40 G: 47 B: 54
Opacity: 100%
Package - White
R: 255 G: 255 B: 255
Opacity: 100%
The bold style of DIN Next is used in the promotional materials platform of the series, to make certain text such as taglines and schedule information stand out more so than the rest of the text that it features in, without distracting from the uses of Lulo Clean.
Sizes:
14pt & 36pt in promotional posters
40pt in promotional billboard
24pt & 48pt in promotional bus ad
Colours:
Promotional Posters/Billboard/Bus Ad - White
R: 255 G: 255 B: 255
Promotional Posters - Blue
R: 85 G: 120 B: 160
Logo
The logo of the series underwent multiple versions in order to find the right fit. But once the main font was decided, the logo naturally started to come together. The logo consists of simple text without gimmicks, this fits with the conventions of both AMC and BBC's logos such as The Missing and The Night Manager.
This was the initial logo idea that I used in a poster mock up. Using Letter Gothic font in all caps, this proved to be useful initially establishing the type of brand that I would like the create. However, it was slightly too sci-fi looking to me, and didn't have a unique look.
Once deciding to use Lulo Clean Bold as my logo font, I tested a number of different approaches. Firstly by matching my initial logo idea - however this having 'The' beside the identity didn't seem to fit right as a logo. I then placed the word above, and while this looked better, it still appeared off. I then found the right placement for the two words, with 'The' sitting in the centre above 'Identity', this looked much more like a professional logo.
I then cleaned up the appearance, making 'The' slightly bigger in order to fit directly over the 'N' and 'T' of 'Identity'. I think this makes the logo much neater and structured. I then decided on two colour options, a slightly light variation of black for when the backdrop is light (avoiding the harshness of pure black), and a white variation when the backdrop is dark.
Overall I'm extremely pleased with the end result of the logo, I think it has the modern, serious and cold feel that I was going for, in order to fit with the dramatic themes of the series. I also feel that testing a number of options supported it's development and improvements.
Sizes:
12.47 x 2.82 pixels on promotional posters
25.58 x 6.17 pixels on promotional billboard
14.53 x 1.42 & 16.33 x 3.10 pixels on promotional bus ad
2.64 x 3.02 pixels on promotional AMC website images
Unknown pixels, 69 & 100pt on opening titles cast & production names
600 x 172 pixels in package home page
Colours:
Promotional Posters/Billboard/Bus Ad - White
R: 255 G: 255 B: 255
Opacity: 85% (Posters) 95% (Billboard) 90% (Bus Ad)
Opening Titles - Black
R: 0 G: 10 B: 16
Opacity: 85%
Package - Lighter Black
R: 40 G: 47 B: 54
Opacity: 100%
Package - White
R: 255 G: 255 B: 255
Opacity: 100%
Colour Schemes
The overall colours of the series' package, opening titles and promotional materials are mostly dark colours such as greys and blacks, contrasting whites, and blue toned colours to give a more eye catching addition of colour to the palette, along with one yellow colour from the AMC logo on promotions and a slight cream from the fake BBC website layout.
Below is the colour palette that I created for The Identity's colour branding, based on my work across all platforms...
Logline
'A logline is a one- or two-line synopsis of the concept. It is an essential part of presenting or marketing your idea to the networks and is typically used in tandem with the treatment or script.
Successful loglines immediately provoke interest and make the network executives envision the show's potential. If they see potential, odds are they will consider it for development.' [2]
Tips on Writing a Logline
'1. A logline must have the following
- the protagonist
- their goal
- the antagonist/antagonistic force
2. Don’t use a character name
It has no intrinsic information and so is a useless word. Instead, tell us something about the character.
- A sous-chef
- An ex-superhero
3. Use an adjective to give a little depth to that character
This is your chance to show some character. Beware of cliche, and also of the power of irony. It's helpful if the characteristic you describe will have something to do with the plot.
- A mute sous-chef
- An alcoholic ex-superhero
4. Clearly and quickly present the protagonist’s main goal
This is what drives your story and it will drive your logline too. Make sure that the goal is present early in the script - if you don’t make good on your logline’s promise early enough the rest of the script won’t get read.
- A mute sous-chef wants to win the position of Head Chef at her boss' new restaurant
- An alcoholic ex-superhero searches for his daughter
5. Describe the Antagonist
The antagonist should be described in a similar, but preferably shorter, manner than the hero. If the hero faces a more general antagonistic force then make it clear that they are battling something, not just life’s bumps and buffets.
- A mute sous-chef must fight off an ambitious rival to win the position of Head Chef at her boss's new restaurant.
- An alcoholic ex-superhero searches for his daughter after she is kidnapped by his dementing, jealous former sidekick.
6. Make sure your protagonist is pro-active
He or she should drive the story and do so vigorously. A good logline will show the action of the story, the narrative momentum that carries you through the script. In some cases the protagonist will be reactive, but note, this is not the same as passive.
7. If you can, include stakes and/or a ticking time-bomb
These are very useful narrative devices that add urgency to your script. If they fit in easily, include them in your logline.
- To save his reputation a secretly gay frat-boy must sleep with 15 women by the end-of-semester party.
8. Setup
Some scripts operate in a world with different rules to our own and require a brief setup to explain them, e.g. most science-fiction stories. Others have a protagonist whose personal or psychological history is crucial to the story and needs to be explained. Again, be brief.
- In a world where all children are grown in vats...
- Driven to a mental breakdown by an accident at work, an aquarium manager...
9. About the ending
Do not reveal the script’s supercool twist ending, even if it is the next The Usual Suspects. The story, and thus the logline, should be good enough to hold up by itself; a surprise ending should be a lovely bonus found when reading the script. N.B. This all changes when you get to writing your treatment.
10. Don’t tell the story, sell the story
Create a desire to see the script as well as telling them what’s in it. Loglines are like poetry, every word counts. Tinker, test, and tinker some more.' [3]
After researching the main purposes of a logline, alongside very helpful tips on how to approach a logline for my own series, I have created one for The Identity that I feel is strong and has the ability to draw in the audience without spoiling anything.
After being stolen as an unborn baby in 1989, a hidden away young woman is determined to find her birth parents, unknowing of what she could lose along the way.
Successful loglines immediately provoke interest and make the network executives envision the show's potential. If they see potential, odds are they will consider it for development.' [2]
Tips on Writing a Logline
'1. A logline must have the following
- the protagonist
- their goal
- the antagonist/antagonistic force
2. Don’t use a character name
It has no intrinsic information and so is a useless word. Instead, tell us something about the character.
- A sous-chef
- An ex-superhero
3. Use an adjective to give a little depth to that character
This is your chance to show some character. Beware of cliche, and also of the power of irony. It's helpful if the characteristic you describe will have something to do with the plot.
- A mute sous-chef
- An alcoholic ex-superhero
4. Clearly and quickly present the protagonist’s main goal
This is what drives your story and it will drive your logline too. Make sure that the goal is present early in the script - if you don’t make good on your logline’s promise early enough the rest of the script won’t get read.
- A mute sous-chef wants to win the position of Head Chef at her boss' new restaurant
- An alcoholic ex-superhero searches for his daughter
5. Describe the Antagonist
The antagonist should be described in a similar, but preferably shorter, manner than the hero. If the hero faces a more general antagonistic force then make it clear that they are battling something, not just life’s bumps and buffets.
- A mute sous-chef must fight off an ambitious rival to win the position of Head Chef at her boss's new restaurant.
- An alcoholic ex-superhero searches for his daughter after she is kidnapped by his dementing, jealous former sidekick.
6. Make sure your protagonist is pro-active
He or she should drive the story and do so vigorously. A good logline will show the action of the story, the narrative momentum that carries you through the script. In some cases the protagonist will be reactive, but note, this is not the same as passive.
7. If you can, include stakes and/or a ticking time-bomb
These are very useful narrative devices that add urgency to your script. If they fit in easily, include them in your logline.
- To save his reputation a secretly gay frat-boy must sleep with 15 women by the end-of-semester party.
8. Setup
Some scripts operate in a world with different rules to our own and require a brief setup to explain them, e.g. most science-fiction stories. Others have a protagonist whose personal or psychological history is crucial to the story and needs to be explained. Again, be brief.
- In a world where all children are grown in vats...
- Driven to a mental breakdown by an accident at work, an aquarium manager...
9. About the ending
Do not reveal the script’s supercool twist ending, even if it is the next The Usual Suspects. The story, and thus the logline, should be good enough to hold up by itself; a surprise ending should be a lovely bonus found when reading the script. N.B. This all changes when you get to writing your treatment.
10. Don’t tell the story, sell the story
Create a desire to see the script as well as telling them what’s in it. Loglines are like poetry, every word counts. Tinker, test, and tinker some more.' [3]
After researching the main purposes of a logline, alongside very helpful tips on how to approach a logline for my own series, I have created one for The Identity that I feel is strong and has the ability to draw in the audience without spoiling anything.
After being stolen as an unborn baby in 1989, a hidden away young woman is determined to find her birth parents, unknowing of what she could lose along the way.
Pitch
The Three Visible Elements Your TV Show Pitch Must Have [4]
'- Distribution channel
- Length of the show
- Time slot'
With this in mind, I have stuck roughly with my original pitch for The Identity since the beginning of the project, that I feel provides the key information of the series type and structure:
A BBC One & AMC drama miniseries consisting of three hour-long episodes, broadcasting on Wednesdays at 9pm.
Branding Thoughts
Overall, I think that the branding of the series has developed to be very clear and precise, with suitable fonts, logos, colour schemes and loglines/pitches. I also think the unique logo and font combinations make The Identity's brand very recognisable, and represent the overall style of the series.
By developing a specific, professional and modern brand for the series, my package, opening titles, and marketing has greatly benefited, giving them all continuity, themes and a stand-out approach to it's audience - as can be seen in my previous posts and within my finalised package.
No comments:
Post a Comment