Graphic design
Interactive media
Strategic communication
CV • mail@carlospi.com
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Graphic design |
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Carlos Pi • About me • CV • mail@carlospi.com
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Relabel graphic identity Barcelona, 2003 |
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Relabel is one of Spain's leading film & TV PR and Communications agency. The name comes from mixing 'Anabel' (the founder's first name) and 'Relations' (as in Public Relations). Anabel Mateo is a lively, very sociable and a shrewd spirit. A former actress herself, she has handled PR activity for some of the most significant Spanish actors and actresses, film premieres and festivals. In 2003, I was asked to design their logo and develop a graphic identity that reflected the personality of the agency, inextricably linked with that of its founder and owner. I honed in on one of the graphic design trends that was fully developing at the time, and which I thought captured Anabel's spirit quite well. Vector-based and nature inspired with a bit of fantasy, it was appearing everywhere:     Inspired by this, we started working on the logo, an example of which is shown below.  Developing a unique graphic identity needs to move beyond the logo. I decided to go on a short creative journey that started with typography, took me through animation and programming, and ended up with an infinitely varied identity which retained a unique graphic personality. |
Anabel Mateo Director and founder Relabel Comunicación |
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≡ Step 1: Typographical basis Starting off with an analysis of all kinds of typographical renditions of the letter 'R' (a good enough place to start as any), I settlled on three typefaces that I thought displayed the type of curves and ink fills I was interested in. I then modified these three letters to convert them into purely graphical elements, moving them away from typography altogether. It was when I combined and superimposed the three elements that I thought I had arrived somewhere useful. |
Several dozen typefaces were analysed, of which I show only a few here. The resulting single element had the graphical personality I was after. |
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≡ Step 2: Simple animation I them proceeded to convert the static element into an animated one. This would start to reveal an interaction between the shapes that encouraged me to follow this path. |
Clicking on the image, you will notice that it always starts from the same position. The next step was to add more variety to the movement and an element of randomness. |
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≡ Step 3: Random position, size and rotation Adding more variety to each of the three elements' movement, plus some programming to introduce randomness, gave me the kind of animation I was after. |
This time, the animation will always produce an inifinitely varied curves pattern. |
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≡ Step 4: Back to static graphics Having reached this point, I could go back to static images by simply freezing the animation. I now had a simple system that captured the graphic personality of the kind of shaps I was after and generated an infinite number unique patterns. |
Without animation, these patterns could now be exported for print and other static uses. |
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≡ Application: stationery and media sleeves Business cards, letters, CD and DVD sleeves and other print material could now be produced that retains the Relabel identity, while never repeating itself. |
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Integrating the programmability of this graphic identity to the printing process was the last step to make this a reality. |
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≡ Application: office environment I decided to go a few steps further and propose additional applications of the graphic identity. Its extension to a physical environment can have a real impact. |
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≡ Application: office environment Closing the creative circle, I went back to animation to show how movement itself can also be part of the agency's identity. |
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