2020

KINO



Client— University project.
Collaborators— None.
Discipline— Strategy, Identity, Motion.

Once loved cinemas.
Loved once more.

This is a brand identity for Kino, a non-profit initiative to revitalise struggling or abandoned cinemas for a new generation of fans of the art of film.





Dynamic Logo

The identity takes inspiriation for its physical shape from the phenakistoscope and the zoetrope, the very earliest techniques for creating moving pictures.

Instead of a just a 2D symbol, the Kino logo is best thought of as a 3D object, which can be captured and displayed from different perspectives.





















Colour Strategy

The KINO brand relies heavily on a monochrome colour palette, which allows for the differentiation of special KINO events with their own unique colours.

The KINO brand is built as a platform for its special events to capture the imagination. This case study focusses on two such events; a regularly scheduled screening of David Lynch’s cult phenomenon series Twin Peaks, and a week celebrating Stanley Kubrick’s iconic catalogue of films.























Ticket Sketches

The development of the cinema tickets was informed by a visual analysis of historical cinema tickets [1].



















Ticket Strips

Going to the pictures used to be a special occasion. These ticket designs are conceived as tiny souvenirs of the experience.

A visual language of technical details is established here, which intends to bring filmgoers closer to the production.


Each pair of tickets completes a larger image of the 3D KINO Zoetrope logo in their collective background.




























Type

Toshi Omagari’s faithful Pegasus revival defies the codes of propriety that dominate serif typefaces. Consistent inconsistency speaks to the artistic spirit that drives auteur filmmaking.

Pegasus is paired with Grilli Type’s Flexa, with its Super Compressed cut evoking the iconic small print from movie typefaces.

A flexible type layout system was devised to accomodate any length of film title. The cascading type sizes use Flexa’s variable weight as a way of balancing the optical size of the type’s thin stroke.



















Screening Intro

Glowing light bleeding through the copy, visible crop marks, and a fuzzy, grainy texture all serve to recall film titles of a bygone era. 




















Posters

Candid photography of directors at work offers a peek into the process, celebrating them as auteur filmmakers. Meanwhile, iconic quotes appeal to enthusiasts.






























Social Media

A selection of three instagram stories. The familiarity of iconic quotes could be used to generate interest (right).