As part of an exam, a corporate manual for a theatre in Münich was to be developed within 1 week. Nevertheless, the task was not under real circumstances, as there was no actual contact or briefing from the theatre.
The manual had to include a logo, typography, color scheme, visual language and example mockups in different variations.
As a test of my adapted design sprint process, I tried to develop the core Corporate Design within just 4 days. Additional materials like Stationary or Mockups were created after.
DasGaertner is a lively theatre in which performances are always versatile. The same applies to the dasGaertner brand as well. Accordingly, this corporate design offers enough freedom to fulfil all the requirements of the brand: In all media, at all contact points, for all customer experiences.
Expert Discussion (Customer meeting)
»How can we...?« Questions
Look & Feel
»Can we...?« Questions
We entertain young people culturally with an interesting offer of modern and exciting plays.
Look & Feels
Make different Look & Feels
maximum 10min each
minimum 5 pieces
great idea in one sentence
After your research you should be able to come up with some suitable ideas.
Just produce, don't rate them and don't dive too deep into an idea, produce at least 20 - 40 name variations don't matter if they suck.
Combine different ideas and try to think of something that mostly matches the values and general look & feel of the brand.
Vote for some Look & Feel
Logo / Design Doodling
Logo / Design concept
Make it scalable
User Tests // Day 4
Unfortunately, it was a (mostly) fictional working scenario, hence there were no real reasons and conditions for a test to say anything.
Where necessary, this concept provides clear guidelines for a corporate identity that is consistent with the brand. At the same time, it forms a platform for creativity.
dasGaertner is a lively theatre whose plays are constantly varied. Which also applies to the dasGaertner brand. This corporate design offers sufficient freedom to meet all the requirements of the brand: In all media, at every point of contact, in all customer experiences.
As a characteristic trademark there is the G-SHAPE as the heart of the corporate design. The G-SHAPE represents the dynamic entertainment formats performed by the theatre. It symbolizes the fact that, on the one hand, they are always active and flexible, and on the other hand they are also a sign of solidity to underline the history of the theatre.
In this way the structural design (of the theatre building) sets a counterpoint to the dynamics, or vice versa: the result is tension. The play of dynamics and statics is consequently expressed in the layout: the various design elements can be used freely and their expressiveness can be varied. But they are always embedded in a clear basic structure defined by the G-SHAPE and the two axes.
The G-SHAPE is as flexible as the opera, operetta, musical and dance pieces performed. It represents a window to the contents and is at the same time a stage for the plays.
This dynamic flexibility makes it possible to be individually adaptable to all possible current and future media.
In addition to the similarities with the theatre, the G-SHAPE is above all a very simple and concise form that guarantees strong recognition even from a very small distance or very close up.
The new word mark for the Gärtnerplatz Theater is striking, exciting and yet stands for quality and reliability. It creates a grammatical tension through the apparently wrongly chosen article. At second glance, after it has made the viewer think, it points to the omitted part of the old name - das Gärtnerplatztheater.
The word mark is to be used at the bottom of the right-hand corner of the grid as a discreet label.
The Neue Helvetica is used as a corporate typeface and for the word mark in order to support the simplicity of the logo on the one hand and to create a clear, calm and legible contrast to LIQUITYPE on the other. Besides the striking G-SHAPE and the LIQUITYPE designs of the pieces, the typography should serve as a clear, legible and informative source and frame the visuals.
Only two font styles of the family are actively used. Neue Helvetica Thin is used for texts, descriptions and other information. New Helvetica Bold, on the other hand, is used in headlines and important details. The result is always a strong, not drowning contrast between the typefaces and yet the appearance of the fonts in different media remains calm and orderly, so that the visuals stand out even more.
Font sizes are used, at most in two different sizes on the respective media. Emphasis or titles are set Bold.
The lowest font size is 10pt and the font size is only increased in 10pt steps.
New Helvetica Regular is used exclusively for LIQUITYPE.
The layout grid beyond the G-SHAPE is also derived from the logo.
The grid consists of only three parts, the baseline grid, a frame (border) and two crossing lines. The baseline grid is 12pt and is suitable for all planned and defined text sizes.
A horizontal line separates the area at 60% of the height measured from below. The second line separates the area vertically at 45% measured from the left edge.
To prevent contents within the grid from colliding directly with each other, there is a distance around the dividing lines. This is created by drawing a square from the intersection of the two lines to the (over)next baseline (12pt or 24pt, depending on the font size). The square is scaled parallel and evenly to create the same distance on all sides.
In this way, a uniform grid pattern can be created across a wide variety of media and formats.
For event posters and other visuals in which LIQUITYPE is used, the signet acts as a grid or layout. The G-SHAPE serves as a "window" onto the stage of the theatre by presenting the content through the form's filling.
Therefore the G-SHAPE is adapted to the respective media with a strong border in the middle. The frame must always have the thickness of the G-SHAPE section.
Adjust this distance each time by hand.