OCC'S VISUAL IDENTITY
As part of a multifaceted collaboration with the Onasis Cultural Centre we were invited to design promotional publications, videos, catalogues and many more different digital and analog applications for a large and diverse series of events for its 2015-2106 season.The OCC’s visual identity was created using a series of visual elements and tools.
Beginning with our solid-colored shapes, “cut-out” style illustrations with which we composed a unique main graphic for each event, our illustrations gave the impression of a “hand-made” collage due to the photorealistic rendering of the shadow a piece of card casts upon another when it is place on top of it. Some of the artworks were actually hand crafted.
Theatre at the OCC: Virginia Woolf's "The Waves"
Theatre at the OCC: Odon Von Horvat's "Faith, Hope and Charity"
Theatre at the OCC: Jonathan Livingston "Seagull"
Theatre at the OCC: Rimini Protokoll "Adolf Hitler: Mein Kampf, Volumes 1 & 2"
Theatre at the OCC: Chekhov Moscow Art Theatre "The Brothers Karamazov" by Fyodor Dostoyevsky
Theatre at the OCC: Complicite "The Encounter"
Music at the OCC: Philip Glass, Franz Kafka: "The Penal Colony"
The digital visual identity was organized around three axes: live filming, animated and still graphics and sound design. Although each action was different and often addressed to different audiences, we raised a common aesthetic framework based on the identity of the current artistic period and the style of OCC generally.
The “Ηumane Type” tool was initially created for the needs of this multifaceted collaboration with the Onassis Cultural Centre and its 2015-2106 season programs and publications. In particular we agreed with the OCC to experiment with the typography of those publications in order to make the written information to sport a “captivating randomness”. It is is a useful type tool in the form of an Adobe InDesign script that modifies the strict and austere display of information in a seemingly erroneous but also organic and ultimately "humane"way, suggesting the "hand of man" behind it.
By applying those visual tools we achieved the visual homogenization of a large number of diverse events under a uniform aesthetic without losing each event’s individual character and we managed to cope with a very demanding workload due to the large number of the publications and flyers.