Identity through pure shapes and colors
Design is the architecture of the visual world, and the words of a well known architect perfectly express the approach that guided me in creating the new visual image of the festival: “Less is more”. Ludwig Mies van der Rohe’s minimalist motto sticks to the philosophical principle called the “Occam’s razor”, according to which the simplest solution is to be considered the fittest. In such a manifold and diverse context as Tuscia in Jazz, finding a synthetical visual image appeared to me as an essential concern.
Anyone who has had the chance, along the festival’s ten-year life, to happen upon one of its stages knows the wonderfully chaotic crucible of settings, cultures, sounds, colors and sensations that is in the DNA of Tuscia in Jazz. All this ‘good noise’, however, decomposed by subtraction,reveals the common denominator of most elegant expression of mathematics: the notes.
It is considering the soft rigor of a melody or a rhythm that I have chosen to subtract lines and embellishments to the previous logo while harmonizing all the visual emanations of the event according to a strict approach to corporate image. The cultural richness and the devotion to freedom have remained unchanged – the Tuscia in Jazz is the same melting pot as usual – but its variety of stories and characters is now told in a sole language: that of pure form.
Luca Ciccioni
Marketing and Communication Director
Logo evolution
The identity of Tuscia in Jazz is connected to a ‘historic’ logo, an ‘identity heritage’ that within a decade has made the audience regard orange and black as the colors of the festival.
It was from that image that Luca Ciccioni set out in redesigning the symbol, with the intent to enhance and develop the existing elements without disclaiming them. The typographic features of the old logo were removed and the colors rearranged, with the black, an optically ‘heavy’ color, in the last optical quadrant of the Gutenberg diagram in order to give greater impact to the symbol. The blaze orange, defined by a wavelength between 597 and 620 nanometers and therefore apt to provoke an intense subliminal response of the autonomic system and to trigger an increased production of adrenaline in the brain of the observer, was replaced with a more ‘friendly’ amber, aimed at creating a greater sense of intimacy. The four squares were then relocated in order to create a gestalt image characterized by its uniqueness and dynamism. It was finally designed a sans serif font, extremely essential and curved in order to emphasize the quest for a neat design.
