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The brand-logotype

The aim was to enhance “CASA FELLINI” in its entirety, as a promotional center for culture and art, especially circus and cinema. All the visual communication of the project therefore had as its purpose the enhancement and promotion of the cultural project that lies behind the architectural project of "CASA FELLINI", starting from the artistic influence that the famous director has with this land and with the Municipality of Gambettola . Just as “CASA FELLINI” will have to bring people closer to activities that stimulate the passion for cinema and circus art, and provide opportunities for growth and professional training, the designed logo will have to fully reflect these characteristics. The logotype must be clear and direct. It will have to catch the viewer's attention and go straight to its ultimate goal. The logo designed, intended for the cultural project of management and enhancement of the municipal building "CASA FELLINI" was therefore born from wanting to emphasize the influence of the circus environment in the artist's life, and with the aim of highlighting the strong bond that connected them. . Several of his films, such as La strada (1954) and I clows (1970), in fact, took place within the circus environment. Two different variations have been designed. The first develops vertically: at the top we find the entire figure of the chapiteau, at the bottom the words “CASA FELLINI”. The chapiteau somehow covers and protects “CASA FELLINI”, thus creating a protected environment, a shelter, a house in which to be in contact with culture, creativity and culture. In the second instead, we find only half of the circus tent, instead of the second half we find the words "CASA FELLINI". In this case, then the first and second halves, although different, complement each other.

As is evident, we are faced with the simplified drawing of a chapiteau, the same that, according to the project, we should find inside the garden of “CASA FELLINI”. The lines thus create a simple and clear design, but also evident and direct. Anyone would be able to reconnect it to the circus environment. As for the choice of the color palette, typical colors have been chosen that we all connect to the circus environment, colors that recall the chapiteaus of the past. In addition, the colors chosen are also those that have most accompanied the figure of the director throughout his career. In fact, the red not only takes up the typical red of the circus tents, but also reminds us of the typical scarf that the artist often wore. Red symbolizes strength, exuberance. It is a color that certainly captures the attention of the beholder. Red is contrasted with white, which also refers to the typical colors associated with the circus world. To top it all off, the black color is dedicated to the texts. Regarding the font used, which is the same one you see used in this report, it is a simple and clear font. It has no distinctive signs and is homogeneous in relation to the logo

The coordinated image

The coordinated image is based directly on the above-described logo. The colors, the font, the graphics have been taken over, albeit revisited. We thus find different variations of the coordinated image, from letterhead, to playbills, posters, leaflets, totems and social media pages. The first thing to underline is that part of the coordinated image is accompanied by black and white photos of the artist. They are precisely three, and they see the artist in different situations. In the first we find him arguing, presumably during an interview. In the second we find him intent on directing: with a megaphone in his hand he is on the set of one of his films. Finally, in the third, we find him intent on helping a circus performer, also in this case we are on a film set. The choice of the three photos is not accidental, each of them was chosen to identify different moments in the director's life.

In the "coordinated image" we find the colors we talked about earlier, red and white. This time, however, they are accompanied by black and a color as a meeting point between white and red. A paler color, intended for the background of posters, flyers, totems, so as to bring out the best in black and white photos, and the logo.

In letterhead we find only the three main colors, red, white and black. The logo is evident in both its vertical and horizontal declinations. It does not lose importance, it strikes and captures attention.


On the basis of two different structures, five different declinations of theposter, all in A3 format. In the first, we find the words "CASA FELLIN", under which we find the words "House of Culture, Cinema and Creativity". Behind we find part of the chapiteau design that characterizes the logotype, but with more subdued colors. We also find one of the three photos previously described, in which a figure stands out that seems almost linked, connected, to the drapery of the circus tent, just to emphasize this detail again. The second structure, on the other hand, repeated with different color choices, takes up the logo, with large dimensions. Below which we find the remaining two photos described above. In all five cases, communication remains direct. The colors capture the attention of the beholder.


THE flyers they have been designed in A5 format and fully reflect the style of the posters.


THE folding, in double A5 format, they take the first structure of the posters as the cover. Inside, however, we find again the drapery in soft colors, on which we find a photo of the director above. Inside the leaflets, space is then left for any texts and descriptions of the activities to be carried out within “CASA FELLINI”.


The catalog it is in square format of 24cm x 24cm. Red, like much of the visual communication of this project, stands out in the eyes of the viewer. The white of the logo is evident. On the rib we find the wording “CASA FELLINI. House of Culture, Cinema and Creativity". On the back of the catalog we find the three photos we have already talked about, as a conclusion to the book. Space has been left for any barcodes, sponsorships, and short descriptions.


The totem resumes the rest of the visual communication. We are thus faced with a graphics similar, but not the same, to that of flyers, posters and leaflets. At the base, in fact, we find the first photo of the artist, where he discusses during a hypothetical interview.


The banner horizontal advertising follows the same principles as the totem pole. In all the different declinations, a special space has been set up to be able to place any sponsors. From the renderings, in fact, it is possible to notice how the “CASA FELLINI” logo has been positioned in small format.


As for the social communication, the focus was on Instagram. Two different situations have been designed. The first is the real interface of how a hypothetical “CASA FELLINI” account could be presented. As a profile picture we find the logo in red, on a white background. To continue, the stories in evidence are distinguished by the background of the application thanks to the red color. All featured story covers result the same. This choice was made in order not to confuse the viewer's eye and to maintain visual coherence. It also serves as a divider between the descriptive part of the profile, at the top, and the underlying part intended for the contents. As you can see, some posts have been thought out that you can publish. Some take up the graphics of the visual communication of the coordinated image, while others take up the products directly, such as the catalog. In the second situation, however, the focus is on a single published post. At the top we find the name of the account, and below the place, the Municipality of Gambettola. Below, the description of the photo. Again in relation to the social aspect, the red logo was positioned on the base of a clock, to simulate a hypothetical activation screen of a “CASA FELLINI” application.


For what concern merchandising we initially opted for tote bags and USB sticks. For the former there are two different patterns, one that goes to take one of Fellini's photos, in the background of which we find the chapiteau, and another that incorporates the graphics of the flyers and posters.

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