A brand-new competition devoted to the artwork of movie and TV music is making its debut in London this 12 months, and with it comes a putting new identification crafted by Baxter & Bailey. The London Soundtrack Competition—based by composer and broadcaster Tommy Pearson and producer Svitlana Gunning – celebrates the function of music in movie, tv, and gaming, bringing among the most recognisable scores and their composers into the highlight.
To translate this idea into a particular visible identification, the Brighton-based design studio took inspiration from the screens the place soundtracks come to life, growing a kinetic, shape-shifting grid system that echoes the format of cinema, tv, and gaming screens. The result’s an ever-moving model system that completely displays the competition’s celebration of sound in movement.
The competition will happen throughout a few of London’s most iconic cultural venues, together with the BFI, Southbank Centre, Roundhouse, Cadogan Corridor, Wigmore Corridor, and the Barbican. It’ll supply a packed programme of performances, talks, and masterclasses that includes legends from throughout the movie and music industries.
Capturing the rhythm of sound
For Baxter & Bailey, the temporary was a dream alternative—not simply due to the inventive freedom but additionally due to their long-standing collaboration with Pearson, courting again to their earliest initiatives for the London Symphony Orchestra.
“The temporary from Tommy was fairly open, however with numerous background data and perception,” explains Matt Baxter, founder and inventive director at Baxter & Bailey. “As we do with all of our initiatives, we developed a inventive temporary ourselves, working intently with Tommy and Svitlana to make sure the ultimate identification matched their imaginative and prescient and ambition for the competition whereas additionally stunning and delighting them a bit of bit too.”
The inspiration for the visible identification was clear: soundtracks exist inside screens, whether or not in movie, TV, or gaming. So, naturally, the design system is constructed round a versatile grid of display codecs, which act as a container for typography, imagery, and video.
This method permits the competition to function a various mixture of content material, from nonetheless photos and movie excerpts to dynamic visuals, all whereas sustaining a cohesive and recognisable model.
Movement as a core design precept
On condition that the competition revolves round music in movement, it was important that motion performed a central function within the identification. The Baxter & Bailey group labored with movement specialist Richard Coldicott to develop a system that feels fluid, rhythmic, and ever-shifting, guaranteeing the identification by no means feels static.
“The competition is a celebration of sound on display,” Baxter explains. “Audiences—whether or not attending performances, talks, or partaking with the competition on-line—will principally expertise the model on-screen. That gave us the impetus to make sure that movement was integral, making a model that feels kinetic and alive.”
This fixed motion is most evident within the typography, the place flowing kind animations create a way of rhythm that mirrors the dynamism of movie scores. Even in static codecs, like posters and print supplies, the design conveys a sense of motion, guaranteeing that the competition’s identification stays as expressive because the music it celebrates.
A fastidiously balanced visible language
The competition branding needed to strike a steadiness between the worlds of movie and music with out leaning too closely towards one or the opposite.
“The identification is silent—and that is intentional,” Baxter reveals. “We did not desire a single musical reference to dominate the competition’s visible world as a result of the programme is so eclectic.”
As a substitute, the studio relied on typography—each static and animated—to convey the rhythm and motion of music. London Soundtrack Competition’s two lead typefaces are Aktiv Grotesk, a chunky, trendy sans-serif that brings readability and influence, and Large Caslon, a traditional but expressive serif that provides class and distinction.
Collectively, they create a model that feels up to date however timeless, avoiding the danger of leaning too classical or too trendy.
A vibrant but versatile color palette
The competition’s color palette performs a vital function in defining its visible tone whereas permitting it to combine seamlessly with all kinds of movie and gaming imagery.
“The palette wanted sufficient character to face out but additionally needed to complement a various vary of content material,” says Baxter. “The result’s a fastidiously curated combine that’s vibrant when wanted but additionally adaptable to work alongside stills and video.”
On the core of the model’s color system are two key shades: Orchestra Orange—the competition’s signature, standout color and Backstage Black—a grounding, versatile impartial. These present a robust visible basis, whereas further secondary colors deliver selection and flexibility throughout totally different functions.
Print, digital, and movement
One of many largest challenges in branding a multifaceted cultural competition is guaranteeing the identification works seamlessly throughout the whole lot from print to digital, transferring property, and in-person experiences.
Baxter explains: “We needed posters and different static supplies to retain a way of motion and dynamism.
“The mix of fluid grids and expressive typography offers even print designs an phantasm of movement. We have simply reviewed some print exams from Gavin Martin, our long-time print collaborators, they usually actually do really feel like shifting, fluid issues—although they’re merely ink on paper.”
The competition’s legacy
With the London Soundtrack Competition set to determine itself as a significant annual occasion, the identification was designed with longevity in thoughts.
“There’s sufficient flexibility within the present identification for it to hold the competition by at the least 4 or 5 years largely unchanged,” Baxter explains. “We think about we’ll discover movement even additional and maybe take into consideration methods of integrating sound into future branding functions.
He provides: “Because the competition grows, there are thrilling alternatives to broaden—whether or not by Spotify playlists, podcasts, or in-game collaborations.”
The aim for this primary 12 months is straightforward: promote tickets and set up the competition as a must-attend cultural occasion. “There’s an enormous potential viewers for this competition—classical music followers, up to date music followers, pop followers, movie followers, telly addicts, players… there’s one thing for everybody,” says Baxter.
With a line-up together with David Cronenberg, Howard Shore, Jake Shears, and Neil Tennant, the London Soundtrack Competition is bound to make a huge impact, and its kinetic, screen-inspired identification will play a vital function in shaping its future.
