For our bachelor’s thesis we elaborated a dynamic, fresh and highly flexible corporate design for the still in force diestaatstheaterstuttgart including a styleguide / design manual and exemplary executions like business cards, letterheads, posters, flyers, magazines, tickets, a mobile website prototype and a system on how to efficiently post on instagram or other social media channels.
Partners: Nihat Çiftçi & Alec Mijatović
In order to create a strong scheme for communicative actions, you have to have a working logo — or, as in our case, a word mark.
As the actual diestaatstheaterstuttgart consist of three different houses—ballet, opera & theater—unified under one roof, we had to create a working communication for both the unified house (for international purposes) and the separated individual houses (for national use).
The trick with this was to keep the identity for both purposes coherent.
By achieving the wanted effect of fusing the individual houses and still maintaining a certain individuality the institution needed to be renamed as well—bot stuttgart as the union and ballet stuttgart, oper stuttgart & theater stuttgart for the individual parts.
By having a fixed word mark within a highly dynamic artistic field, there has to be implemented at least one variable with which all the houses may play, experiment and adapt to their own needs.
After testing various variable systems—such as coordinates, light settings interpreted through color rays, seats and the connection of such—we ended up with the simplest imaginable foundation: letters.
Each house receives one letter—B for ballet, O for opera, T for theater—which accompanies the initial word mark in order to create both a recognizable and variable system of logos.
These letters are made to be transformed, abstracted and simply fooled around with. There are a few guidelines which have to be followed in order to stay recognizable but besides that they may do what they want to suit their communicative needs.
As the reorientation implies a new younger target audience, the colors need to be loud and fresh — but the old audience mustn’t be lost. Meaning for us: freshening up the old colors.
The PANTONE color scheme made it possible for us to both have fresh colors and save money for print because saving money in a nationally organized theater is essential for being sustainable while being able to experiment and evolve.
So we elaborated a system where every individual house prints with two colors (primary PAN + K / primary PAN + secondary PAN) most of the times and in special occasions with three colors max (primary PAN + secondary PAN + K).
Contrast colors are used seasonal, meaning every individual house picks a contrast color at the beginning of a theatrical season which is going to accompany their house color. With this they’re able to establish a highly variable color system that always suits their needs and desired communicative direction.
The subsequent color rows explain the scheme behind our idea.
The first row describes the case where every house stays separate with their own contrasting colors.
The second one is for the case in which each house wants to communicate collaboration and cohesion and therefore shares a single contrast color with the other houses.