TERMSOFSERVICE’s identity for Winter Nights harmonises the refined and the rudimentary
Thriving within the opportunity for experimentation, a foundational element at the heart of the festival itself, NYC and Perth-based design practice TERMSOFSERVICE have designed the identity for The Blue Room Theatre’s 2020 Winter Nights festival – a vibrant display of Western Australia’s contemporary theatre scene.
Successfully injecting exuberant energy and candid freedom of expression into the identity, TERMSOFSERVICE’s Simran Singh, tells us that their typographic decisions of Dinamo’s Favorit and Ginto came about as an extension of The Blue Room Theatre’s 2018 rebrand. “Blue Room was often described as ‘quirky and bold’ and we felt that this personality should come through in our typographic choices,” Singh explains, “we gravitated to the bold, playful letterforms of Ginto, which spoke to the exuberance of the Theatre,” whilst finding a utilitarian, yet personable, grounding in Favorit.
Partnered with the typographic pairing is the rudimentary but refreshing illustrative components of the identity, articulating the exploratory nature of the festival. “As designers, whenever we are trying to articulate an idea our first instinct is to sketch it down and iterate from there,” Singh explains, utilising the untethered and gestural style of preliminary, unprofessional, sketches to represent “the first stage of a bigger concept,” as well as the WIP persona of the festival. Providing a stark contrast to the crisp typographic lines of the copy, the result of the illustrative/typographic concoction is illuminating – creating an exciting and approachable identity that shows an incredible understanding of the festival, what it stands for and those involved.
In keeping with the “core and identifiable element of the existing brand,” TERMSOFSERVICE kept the brand’s external collateral monochromatic – while using the festival’s publication as a colourful counterpart. “We found the b&w was proving antithetical to the purpose of the publication,” Singh explains, “as it was homogenising the work throughout and wasn’t allowing the uniqueness of each artist to come through.” With the introduction of colour that was dictated by the photography of the artists and their home in isolation, the resulting publication comes across as an extension of the artists’ spaces, finding a unique harmony amongst the contrasting and contrary.