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Harry Bennett
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Forth + Back develop a contemporary interpretation of gothic script in their identity for Possible


Forth + Back develop a contemporary interpretation of gothic script in their identity for Possible
Forth + Back develop a contemporary interpretation of gothic script in their identity for Possible
Forth + Back develop a contemporary interpretation of gothic script in their identity for Possible
Forth + Back develop a contemporary interpretation of gothic script in their identity for Possible
Forth + Back develop a contemporary interpretation of gothic script in their identity for Possible
Forth + Back develop a contemporary interpretation of gothic script in their identity for Possible
Forth + Back develop a contemporary interpretation of gothic script in their identity for Possible
Forth + Back develop a contemporary interpretation of gothic script in their identity for Possible
Forth + Back develop a contemporary interpretation of gothic script in their identity for Possible
Forth + Back develop a contemporary interpretation of gothic script in their identity for Possible

We often forget that the amazing visuals of live shows we see (or used to!) were produced by someone, in favour of ogling at the performer we are watching, but the production can help elevate the performance to new levels. This is the case for the live performance and event design consultancy agency Possible, based in LA, who have worked with some of the most popular artists and for some of the most important events over the past few years – including the DNC, Childish Gambino, Paul McCartney and Ariana Grande.

In need of a rebrand to pull together the many arms of the agency under one consistent, recognisable umbrella, they called upon fellow Angelenos Forth + Back; a multidisciplinary design studio who have brought Possible’s sophistication and technical expertise to the forefront of their identity.

In collaboration with Utah-based Evan Jolley from Tenant Studio, after following his typography work for many years, Forth + Back developed a powerful and comprehensive custom typeface for Possible, with multiple weights and styles to be used across the brand. Tanner Woodbury, Creative Director at Forth + Back, tells us “the typeface was built from scratch, with our intention being a contemporary take on blackletter and gothic script characters.” This was achieved through the contrasting calligraphic line weights, that keeps a classical typographic charm to a streamlined contemporary typeface, resulting in a strikingly dynamic typeface that is applied with a confident reservation across the identity.

Starting off as an evolution from Possible’s previous wordmark, Forth + Back’s replacement solved the existing issues of legibility that it faced, leading to the production of the typeface’s three weights: Line, Regular and Stencil. Intending to be quite the workhorse, Jolley’s Regular weight provides a sturdy backbone to the identity, modified for the Stencil variation that is designed to reflect “the industrial environments and aspects of Possible as a studio,” Woodbury explains – allowing the custom typeface to be used in DIY situations at events, such as road cases and equipment. A further stylised ‘P’ was also created in the Line weight, and a special solid weight, to become Possible’s new logomark.

Along with the custom typeface and fresh logomark, Forth + Back developed a new colour palette in a further evolution of the previous identity. “Possible’s original palette was heavily neutral with black, white, and grey, which we retained in the current identity,” Woodbury tells us, implementing a yellow to help translate this elegance in a physical space and, more importantly, a digital space. Yellow was chosen as a homage to the gold foiling found in the previous identity’s printed ephemera, as well as a reference to the sparks flying in the industrial event setting – both from the spaces’ construction and within the show.

Graphic Design

Forth + Back

3D

Render Weekly

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