Heading for Spain

Like an international symbol, the highly representational, ‘Hat Icon’ for Hatquarters has created instant recognition for the Barcelona hat retailers. Name-recognition, however, is merely part of the story. In today’s media-driven marketplace, the ability of a brand’s image to applicably traverse varying platforms and applications is also vital.  From online banner ads to point-of -sale, mobile phone icons to printed collateral– how does the brand resonate and effectively ‘speak’ to its audience?

By diligently maintaining the primary brand identity, a strong market presence for Hatquarters has been established, creating a solid foundation upon which the brand narrative can then be more efficiently and swiftly constructed. While the cogent and managed primary logo (Corporate Brand ID) for Hatquarters creates an incontrovertible brand presence, the experience of the brand is revealed when a bit of nuance is applied.

The Chef of Baldwin Hills

A new home for famed chef Govind Armstrong in Baldwin Hills takes its name very architecturally. Post & Beam framing, though an ancient method of building, was revived most ardently during the mid-twentieth century in order to provide the openness and transparency that largely defined Modern architecture. The method allowed architects to eliminate the need for thick supporting walls and to allow for greater space between structural systems.

Modern architects embraced simplicity and straightforwardness, with the consistent goal of incorporating natural light into each interior. The Modern space avoids superfluous ornamentation or period styling and focuses on intelligent use of materials.

Colorola believes that Post & Beam, as a concept, can provide an excellent metaphor for a modern culinary style that is based on a similar ethos of simplicity and an intelligent use of ingredients.
It is important to emphasize: simplicity does not mean plain. The elaborate structures and furnishings of Modern virtuosos like Le Corbusier or the Eames’, Saarinen or Bertoia, were ‘simple’ in their relationship to nature. Fervent attention to material and construction, to form and function: these are the tenets of Modernism.

Likewise, a Modern cuisine is in fact the sum of its parts. We propose a brand program for Post & Beam that is inspired and informed by the axioms of Modernism. By creating a comprehensive visual system that is both accessible and elegant, we can move beyond the mere pastiche of trendy mid-century revival, and create a functional yet sexy brand story that compliments and equally enlightened menu.

The details are not the details. They make the design.
– Charles Eames

An instantly discernible title like ‘Coffee Bar’, or more precisely, ‘CoffeeBar’, can be a persuasive means to attract a local audience to a well-designed and otherwise completely original cafe venue.  The name, CoffeeBar, is not necessarily unusual, but it is intuitive and no-nonsense– and visually, we believe that the branding should be the same.  A superbly crafted, pragmatic, yet sensual identity is the key.  A precise yet approachable brand should look simple; the success of such a brand system depends not on ‘clever’ embellishments, but on an attention to detail, and an intricate negotiation of typography, material, color, and space.

Like the Library Bar, CoffeeBar says what it is.  But it differs in that what it is is not so much a theme but rather the product itself.  ‘Library’ refers, literally, to the theme of the lounge (it’s not a place to check out books), and suggests a comfortably sultry setting where one can enjoy an inspired beverage.  As a concept, it’s quite unique – one doesn’t find libations librarius on every corner of every major city.

Metaphorically, however, ‘coffee’ is indeed ubiquitous, as coffee shops are a quintessential urban phenomenon – Downtown Los Angeles being no exception.  Whether it’s graphic interpretations of beans, cups, or steam, the ‘Coffee’ image-repertoire is heavily laden.  We therefore recommend eschewing the product symbols and instead, creating a meticulous interpretation of the principals of taste, quality, detail, elegance, purity, style and competence: these are essential values that are served with every cup of CoffeeBar coffee.

Colorola recommended an up-front corporate ID composed of carefully designed type, with minimal ornamentation– a refined logo that seamlessly complements the interior design of CoffeeBar, and enhances the cosmopolitan vibe.

Dramatic Changes

The Latino Theater Company’s impressive home is located in downtown Los Angeles at the center of a burgeoning new art scene.  This company, under the creative direction of Jose Luis Valenzuela, operates the Los Angeles Theatre Center, and is one of 3 preeminent theater companies residing there. Together with the Robey Theatre Co and the Playwrights Arena, the LTC create 2 dramatic seasons annually: Face of the World in the fall, and a spring festival, East of Broadway.  Many of the productions are original, fostered by in house programs and resources like the Playwrights Initiative.  Colorola was enlisted to manage the branding of the LATC in 2009.  We completely overhauled all visual communications, and established a branding guide and extensive set of brand assets which permit the LATC to continue on their own, in house.

Though we’ll happily take credit for the over-all rebranding of the LATC, one of our greatest accomplishments was the resuscitation the long-ignored and woefully abandoned original logotype, created in 1985, and in our opinion, one of the coolest design artifacts of LA’s 80’s zeitgeist.  Nearly every vestige of this logo had been removed from the LATC brand; however, the rigorously amalgamated iron lettering on building’s facade and portico remained, and when we saw, we had to have it.

With 4 state-of-the-art auditoriums, this elaborate facility is one of the top performance spaces in the country. It’s an architectural  The unique edifice is actually a hybrid of two distinct structures, a 1920’s Beaux-Artes bank building designed by John Parkinson, and a strikingly modern addition, designed by LA’s John Sergion Fischer & Associates.

A Renaissance in Tenseltown

Thanks to a jaw-dropping interior restoration and redesign, spearheaded by artist/designer, Roy Nachum, the Music Box has recaptured its original grandeur.  It has also been re-equipped with state-of-the-art light and sound, and is now irrefutably one of the most extraordinary live venues in the world.

Originally constructed in 1926 by vaudeville impresario, Carter DeHaven, the Music Box has a remarkable past.  We explored a wealth of historical references which accordingly inspired our rebranding of the legendary Hollywood landmark.  Our objective was to revive some of the building’s historic charm and mystique, without overplaying the elements or settling for mere pastiche.

Hollywood Regal Matters

The owners were adamant about retaining a crest, some form of which had been utilized at the theater since the 1920’s.  We were reluctant to go this route because of the ubiquitous use of heraldic imagery for the last 10 years, from local nightclubs to the epitome of all things overused, Ed Hardy.  So it was important to avoid anything that looked like vector clip-art, or tattoo filigree.  The only way to ensure uniqueness was to draw it ourselves.  There were other considerations as well: the logo had to be simplified to enable embroidery applications to the backs of several 100 theater seats; it had to work in a digital format, as well as print; and ultimately it had to function in different markets, from live rock concerts, to club nights, to private events.  Through several incarnations, we managed to create an icon that reflected some of the ornate Victorian features of the venue’s architecture, with a customized font that evoked classic movie titles.  We also devised a variety of treatments that could be applied across numerous production and promotional platforms.  In addition to the ‘Classic Crest’, we created an auxiliary volume of historic style logotypes that can be used as an alternative, adding diversification to the overall brand, but keeping the core values of the Music Box at the forefront.

Sensis Working Overtime

Focus Multimedia, founded in 1998, was a fast-growing online advertising agency, whose 20th century moniker had become superannuated. They first approached Colorola to create a new logo design, using only the initials, FM, thus disposing of the rather dated ‘multimedia’ component. After presenting the first round of logotype directions, it became evident that the streamlined  ‘FM’ icon begged the question: ‘what does it stand for?’ Colorola suggested a complete overhaul of the brand.  We worked closely with FM’s creative group to refine the agency’s core values, positioning, and new name. After extensive market research, we presented 7 distinct directions, each a unique expression of the brand’s attributes.

(re)Name Brand. Phase 2

After extensive deliberation (and a serious flirtation with ‘Tactico’), a consensus was reached (ish): Sensis. Of course, there was some legitimate concern about the ‘bureau’ element. Was it potentially confusing, implying some sort of research service?  Was it potentially taboo for libertarian-type clients? And most consequentially, was it a pun that would become tiresome after awhile (as most puns do)? So the decision was made to go with ‘Sensis’, with the peripheral title being, ‘Sensis Agency’. (‘Sensis’ as a url had been taken by a defense radar contractor.) So the project sifted from naming, to designing the new Sensis logo.  Back to the drawing board, where we compiled just over a dozen different schematics.

(re)Name Brand. Phase 3

The challenge of this phase proved formidable, even more so than the naming process.  Nearly all the creatives at Sensis (calling it what it is now) preferred a different direction– too much of a good thing?  We were finally able to narrow the selection to a final 3.  At this stage, Colorola positioned the 3 finalists in a variety of contexts, or typical conditions, to see how the identities would function in the real world, and how they would measure up to each other.

A decision finally had to be made, and the direction entitled, ‘Olympic’, was chosen because of it’s clean intelligibility, and it’s visually tangible depiction of ‘connectivity’.

A Hollywood Vamp, Revamped

Once owned by Charlie Chaplin, the Hillview has a star-studded, storied past.  Built by Samuel Goldwyn in 1917, the building was intended as studio housing for the Famous Players-Lasky Company, the silent studio that eventually became Paramount. Valentino ran a speakeasy in the ornate hideaway just below street level, Viola Dana was a notorious resident, as well as May West.  We wanted to create an identity that is evocative of the Hollywood landmark’s dazzling history, while conveying the charm and comfort of this particular property.

After a multi-million dollar refurbishment, the owners were looking for something that could awaken the colorful history, and yet come across as modern and luxurious – and still feel like home. Derived from the decorative iron work of the 20’s (and a subtle reference to the Hillview’s three arched porticoes), the Hillview ‘H’ logo also suggests a classic emblem or crest, with the subtle ‘H’ motif evocative of both the Hillview, and the hills that rise from its many vistas. The gate – like grid may also allude to a sense of security and refinement, yet in a manner that is approachable and friendly. The icon can be deployed by itself, or accompanied by the text; centered, flush left or distributed horizontally. The colors, PMS 484 and PMS 529 refer to the original painted colors on the Hillview’s exterior.

Brand New Dance

After a multi-million dollar transformation of the former Limelight in Manhattan, the Bostonian owners of Avalon set their sites on the west coast, and a complete renovation of the popular Palace Theater near Hollywood and Vine. The Palace, according to the many at the time, had become synonymous with the area’s ‘decline’, and a brand change was just as vital to the venue’s renewal as the remodeling of the building itself. All iniquities aside, we found the building to be absolutely stunning, as did the new owners, and great care was taken during renovation to preserve and mend its unique architectural features.

The structure’s Spanish Revival motifs consists of several features which inspired our brand design.  Moorish tile patterns combined with a rather kitsch collection of baroque appointments throughout the theater all played a part in the creation of Avalon’s logo, and more importantly how the logo was integrated into all visual aspects of the promotion and production.  The ID for the venue’s Saturday night electronic music event, Avaland, is a derivation of the parent brand, and easily  permits further application of the overall brand concept.

Nude Kid in Town

Naked Music NYC was the nom de plume for producer Jay Denes’ 1998 release on San Francisco’s Om Records. Om’s label manager at the time, Bruno Ybarra had asked Stuart Patterson (principal, Colorola) to submit an idea for the cover. The image, a graphic illustration of a ’sexy, racially-vague, young nubile, in a seductive pose’ was deemed too literal, and instead, OM’s in-house devised a more ‘cerebral’ interpretation of ‘Naked’, with a stark image of a femur.

Meanwhile, Patterson, living la vida loca in Barcelona was contacted by Jay himself, who’d arranged with Francois Kevorkian to release a new single, Sweeter Love, on Francois’ label, Wave. Jay had liked Stuart’s work for the Naked project, and thought it might be appropriate for his new single.

The single was a big hit for Wave– and the cover, featuring another illustration, this time an unequivocally nude black woman, created a sensation in its own right. Inadvertently, the Naked Music brand was born, and in 1999 Bruno and Jay teamed up with NY musician, Dave Boonshoft to create their own dance label, Naked Music. Stuart was brought on board as art director, and his first fiat was to resurrect the original illustration, that which had been previously rejected at Om, and designate it as the brand ID for the label.

The fact of the matter is, Stuart was secretly dubious about the image, as the old ‘too literal’ indictment from Om still stung.  An avid devotee of semiotics, and a huge fan of things abstract, Stuart was loath to jump head-first into naked truth (though it certainly sounded fun). So, with the encouragement of the Naked partners, he created an auxiliary logo, which was designated as the label’s Corporate ID, and was used both as a complement to the ‘Nude’ logo, and as a backup, in case the original proved inappropriate (alas, it never did).