Solution
I developed a bold, confident type based brand for Briight with a flexible set of assets to allow the team to build an expansive set of visuals as the business develops.
Growing from a successful video marketing agency, Future Proof Film (FPF) where the team were keen to leverage the skills and talents they have developed during the practice of their core business to offer a full range of creative and marketing services to their customers across the UK and wider. The new brand name Briight had been chosen. It offers an experienced marketing firm with a proven track record that features, somewhat uniquely, a specialist in house video production services. The Briight visual brand needed to support the wider Briight brand voice and the ambitious desire of the Briight team to explore more inventive, more interesting more impactful solutions to clients briefs. Briight worked up some logo ideas internally but approached me to work alongside the team to bring a fresh outside eye on the process, a case of the super talented hairdresser not quite being able to get their own hair the way they want.
Animated Briight
“We wanted to bring in someone external to help unlock our new brand. Kieran was the obvious choice as we love his work. He challenged us, gave us designs that excited and scared us (in the best possible way), and ultimately helped us arrive at the brand we love, giving us the tools to continue to evolve and grow our new visual identity.” – Rob Dawes, Briight
The final solution is centred around the stocky Briight text set in a modified Konsole Wide, a super confident font by Icelandic designer Elena Schneider. This text is then purposefully set to fill spaces, from sticking to a vertical mode to bleeding off of the edge of a graphic. This text is not just bright, but also confident to stand visually front and centre. With two striking ii’s, modified to feel like exclamation marks, the text can stack, and slide around to sit in different shapes, wide, tall or square. The ii’s also find themselves flipping, either together or alone, to underline the expressive nature of the business. I then pushed the colour preferences of the team by selecting almost obnoxiously bright RGB colours, magenta, yellow, cyan and green. These purposely begin to create difficult artifice edges when sat next to each other, further underlining just how bright they are. Care is needed in print to ensure colours can attempt to reproduce this bright quality, but the team at Briight are more than capable of overcoming this (as you will see in some of the real applications below). Where space is limited an ii motif can be used on its own or with a circle. When inside this circle the ii can be used to dictate a secondary “dot” element within any given graphic. The final element also grew from the ii motifs, using the shapes within the letters to create some custom “Briights”, or emoji-like faces that could offer character and charm to the brand.
Alongside the director team at Briight, we undertook a series of brand exploration exercises to discover the core ethos of the new business and how my work on visual branding can support this and enable it to flourish. This resulted in creating a focus on 5 key aspects before building a brand that met these goals and fitted with the look and feel the Briight team were after.
With a name like Briight and with the defined brand voice, there’s no escaping that the visual brand should have boldness and confidence. It shouldn’t be corporate or a shrinking violet.
Either play with the ii or ignore it completely? I chose not to make the “ii” not the “logo mark” or even just the social icon, but explore ways to make the ii the soul of the bold brand! Not creating some sort of icon within the text, but perhaps creating supporting assets with the ii in some way.
It’s sometimes tempting to go pretty conservative with the type and make everything else the “jazzy” stuff. But I dug a little wider than Adobe Fonts, to find a typeface with some delightful touches and characterful features that could represent Briight. I wasn’t looking for anything tacky or crass and avoiding the “1970’s” trend that’s been appearing in brands since Chobani in 2017.
The one thing everyone liked from the in-house drafts were the colours. I chose to push on this a little and find some less conservative ways to be colourfully Briight. I didn’t dislike the colours, but I knew we could explore this more.
Deferring to the teams filmic and after effects skills, this is a brand that should get moving! I kept this in mind whilst putting the brand together.
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