Framestore Brand Guidelines PDF

Identity guidelines
Framestore 2015 version 1.0
Framestore Identity Guidelines
1 Identity assets
Framestore 2015
1.1. Introduction
Framestore has always had an energetic,

playful, vibrant brand identity which has set
the company apart as a place of rule-breaking
creativity and individuality.
The Framestore identity references its brand
heritage by placing the original F design at its
heart. Other aspects of the original Framestore
identity are no longer used. The new brand
elements give rise to a simple, refined, modern
identity which is flexible and versatile.
Framestore identity guidelines
1.2. The logo
The logo is our main brand asset,

expressing the creative yet rigorous
spirit of the Framestore brand across
all media. It should only be used as
provided in the appropriate files.
1.3. The colour palette
Framestore Blue
RGB 0 117 201
CMYK 100 40 0 0
Pantone 3005 C
Framestore Light Blue

RGB 0 185 255
CMYK 70 0 0 0
Pantone 298 C
Main colour
Secondary colours
Expressing our creative and technological

problem-solving approach, the Framestore
colour palette provides both confident and
dynamic colours that shape our identity.
Framestore Dark Grey

RGB 85 86 90
CMYK 0 0 0 80
Pantone Cool Gray 11 C
Framestore Light Grey

RGB 188 186 186
CMYK 0 0 0 34
Pantone Cool Gray 4 C
Framestore Orange
RGB 255 125 0
CMYK 0 58 100 0
Pantone 151 C
Framestore Green
RGB 165 225 160
CMYK 40 0 55 0
Pantone 358 C
Accent colours
1.4. Typography
Main font family

Used for the wordmark part of our logo, Antenna
also delivers our messages efficiently across all major
platforms, with its confident, deliberate design. The
extensive range of widths provides plenty of options
for any situation.
ABCDEFRAMES
Antenna Light
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890
Antenna Regular
1234567890
Antenna Medium
1234567890
Antenna Bold
1234567890
Antenna Light Italic

1234567890
Antenna Italic
1234567890
Antenna Medium Italic

1234567890
Antenna Bold Italic

1234567890
Secondary font family

Whenever Antenna cannot be used (e.g. emails,
presentations that need to be sent to clients), the Arial
system font should be used instead.
ARIAL
Arial Regular
1234567890
Arial Bold
1234567890
Arial Italic
1234567890
Arial Bold Italic

1234567890
1.7. Using the logo
Safe space
To ensure that the logo has visual impact,
always leave enough clear space around
it. This should be at least half of the
symbols height (X).
For the same visibility reasons, the logo
should not be used too small, either
on printed materials or on screen. The
minimum sizes are shown here.
2X
7mm / 30px minimum
12
Colour versions of the logo

The Framestore logo (and its variants)
can be used in several coloured versions on
white and coloured backgrounds, as shown.
Please keep in mind that only dark grey
backgrounds can provide good readability
for all the coloured versions of the logo.
Also, for the same reason, a green version
of the logo should not be used on white
backgrounds.
The logo used on white backgrounds
The logo used on coloured backgrounds
Note:
The rectangles shown here are used to
describe background colours they should
never be used as holding devices.
The logo used in black & white
13
Using the symbol

Thanks to its recognisability, our symbol can be used
on its own, together with the grid, or whenever there is
not enough space available to use the full logo. It can
also be used as a visual reminder in situations where
using the logo would become too repetitive.
The symbol and the logo should never appear on the
same layout or surface.
14
Please avoid when using the logo

The Framestore logo (and all its variants)
should only be used as supplied, to ensure
that it always has the best readability and it
is consistent with the rest of the Framestore
identity elements.
Avoid treatments such as:
applying drop shadows
using strokes, glow effects
recreating the logo in any way
rotating, distorting or using perspective
using other colours or gradients
u
sing the symbol without the squircle
u
sing colour combinations that affect the
readibility of the logo
using the logo on textured backgrounds
p
lacing the logo on busy photography
backgrounds
Framestore
15
Please avoid when using the logo

(continued)
Also to avoid:
using the logo vertically
c
reating new logos for either sub-brands,
special events or other purposes
u
sing the Framestore wordmark on its
own, without the symbol
creating a stacked version of the logo
c
reating a filled in symbol for the logo,
either by using white or other colours
creating an outlined version of the logo
u
sing different colours for the symbol and
the wordmark within the logo
RANDOMNAME
or
16
1.8. The squircle grid

Providing a functional, flexible
structure for many of our Framestore
materials, the squircle grid is a strong
identity asset. It is reminiscent of
motion tracking points and the grids
on NASA space photographs.
17
Using the grid

The grid squircles (or elements) can change their size from
one situation to another, depending on whether the grid is
used as a main design feature, or a supporting one (providing
the structure for an image-led layout, for example).
The density of the grid can change as well, depending on the
size of the squircles and their importance within the layout.
The previous page and current one are a good example.
Many or just a few squircles can be made invisible

to make room for the main elements of a layout (the
Framestore logo or symbol, a title or headline, text,
images). This guidelines document demonstrates the
use of the grid extensively.
The grid should always be centred with the active
design area of a layout. Binding, cropping or folding
margins should be considered separately.
18
Using the grid (continued)

Thanks to its flexibility, the grid can be used across many
different materials, the print ad and backdrop banner
shown here being just two examples.
All the layout elements should be positioned depending
on the grid. The logos symbol should always be aligned
vertically and horizontally with one of the grid squircles.
Other elements can be aligned either with the logo, or
with the grid squircles.
framestore.com
@framestore
/framestore
We are Framestore.
We combine award-winning
craft and relentless creativity
with tomorrows technologies.
We make the impossible possible.
I am very, very
impressed with
Gravity
Buzz Aldrin
I am very, very impressed

with Gravity Buzz Aldrin
Alfonso Cuaron trusted us with his
pioneering travels into space. It was
a real voyage of discovery.
framestore.com/gravity
Cinefex print ad
Backdrop banner
19
Using the grid (continued)

As a general rule, the size ratio between the Framestore logo (or
symbol) and the grid squircles should be either 4/1 (in most cases) or
16/1 (for large materials, such as backdrop banners, office signage).
providing the spacing between the images, but without being visible
in the final layout, the second as a visible element, the squircles
having been resized by 50% individually (as shown here).
Using
the
squircle
grid
For print ads and other single-image layouts, one grid squircle can
be enlarged and used to frame the image. For backdrop banners
and other multiple-images layouts, the grid is used twice: first for
framestore.com
@framestore
/framestore
We are Framestore.
We combine award-winning
craft and relentless creativity
with tomorrows technologies.
We make the impossible possible.
I am very, very
impressed with
Gravity
Buzz Aldrin




Cinefex print ad grid
Backdrop banner grid
20
What to avoid when using the grid

The grid should always have a functional
role (and look), not a decorative one.
Therefore, please avoid:
c
reating grids without enough space
between the grids squircles (making the
grid look like a decorative pattern);
c
reating a squared version of the grid
(with the exception of the notebook
inside pages);
u
sing the grid on just a part of the layout;
the grid should always cover the entirety
of the layout (even if some of its elements
are obscured by images or text);
u
sing different sizes for the grid squircles
(only one different sized squircle can be
used, as a frame for an image).
21
4.1. On-screen presentations
One of our main touch points with our clients and collaborators,
screen presentations should send clear messages and show
our work with maximum impact. For these reasons, please keep
texts short, to the point, and use one image per slide (either full
bleed or framed) as often as possible.
We are Framestore. We create

extraordinary experiences.
We make moving images, content,

design and digital for the advertising,
entertainment and film industries.
We are global leaders in visual effects,
having won every major industry award.
Introducing Framestore
Mike McGee, Creative Director
& Co-Founder
Framestore 2015
Framestore 2015
Presentation cover with framed image
We collaborate from the conception of a

project and bring a creative and technological
problem-solving approach to our partners
business challenges. We engage consumers
through groundbreaking visual experiences
that are driven by insight and innovation.
Introductory slide with full bleed image
Text slide with two columns
Introductory slide follow-up
Our reputation is built on our trusted

relationships. We never stand still and work
tirelessly with our partners to deliver their
vision. Our talent, experience, and innovative
technology continue to help our clients push
boundaries and break new ground.
Guardians of the Galaxy
Were proud to offer a scalable talent pool

for clients and partners. Our global team is
connected through a realtime production
pipeline, enabling 900 colleagues to
collaborate on projects, wherever we
are in the world.
Framestore 2015
Framestore 2015
Thank you
@framestore
facebook.com/framestore
Framestore 2015
Section or case study cover with full bleed image
Framestore 2015
End slide with framed image and contact details
64
On-screen presentations (continued)

Whenever theres a need for a longer text to be shown on one
slide (and it cant be split on two or more slides), one of the
column templates should be used. Just like in the case of
newspapers, columns make for faster, easier reading.
With GEs Invention Donkey, the possibilities

are endless. New best friends, a money-making
app, maybe even a new way to power the world?
Framestores New York team collaborated with
BBDO and director Steve Miller to deliver this
hilarious new spot, featuring real-life donkey
actress Bella-Bella.
Section title that goes on one

or two lines if necessary
VFX Supervisor Raul Ortego was present on set where the

donkey was shot against a green screen, with David Hulin also
in attendance to take CG references from the animal actress.
We needed to know in advance how much smaller the donkey
was supposed to be in the commercial as well as what type of
surface it would be standing on Raul explained. Radical were
the Production Company and built a scaled-up replica of the
ground for the donkey to be shot on. Having this prop on set we
were able to get good shadows and a correct bouncing light,
which really helped further down the line.
Presentation title on one or

two lines if necessary
Subtitle, date or speakers name
on one or two lines if necessary
Framestore 2015
Framestore 2015
Presentation cover using the grid without image
It comes as no surprise that Framestore

delivered on one of the most challenging
multi-faceted creatures I have seen in a
commercial. It is not often that artistry,
technology, and hard work come together
so seamlessly Director, Carl Erik Rinsch.
Framestore worked with J. Walter
Thompson to deliver a shape-shifting, oil
and metal based creature for Shells latest
spot. Collaborating with director Carl
Rinsch, the ad is predictably high-octane,
with the stunning Chilean Andes serving as
the theatre in which the action plays out.
Early character designs were done way
back in late November 2014, with CG Art
Director Grant Walker creating distinct
characters for the different stages of the
ad. Carl the director had a strong opinion
on what he wanted, but gave us a lot
of scope to create original designs. The
monster had to evolve throughout the ad
and demonstrate the various threats to
the performance of the engine explained

Grant. The monster at the start of the
ad was based on a shrimp-like primitive
creature, before morphing to resemble a
spider and finally a land based mammal
like a gorilla. The concept character
originally had more ambiguity to its form,
but we made the conscious decision that
it should take on more obvious forms. This
gave the commercial more interest and
the monster more identity.
The shoot took place over a four day
period in December with VFX Supervisor
Russell Dodgson and CG Supervisor
Robert Harrington both in attendance.
It wasnt like your normal supervising
shoot. Carl was constantly whizzing off to
get the amount of shooting done in the
time we had available, and having the
car and helicopter running a the same
time, coupled with shooting on a Russian
arm, it was pretty hectic said Russell.
We had to capture everything about the
Framestore 2015
Text slide with introduction, using three columns
Shoot completed, post production

kicked into gear in January. The chaotic,
transformational nature of the character
called for some fresh thinking when it
came to rigging, explains Lead Rigger
Kimon Matara. To manage permutations,
a new codebase was established early
on, built around Python inheritance
patterns. The keyframed performance
was layered with algorithmic effects, and
a range of limb types were developed
that could be animated at any orientation,
roaming freely across the body. Deformer
technology used to create the Mimics
in Edge of Tomorrow helped refine the
creatures flow between states.
10
From the start we loved story and the creative that BBDO and
Steve Miller came up with summed up Framestore Producer
Raven Sia. The team make it look so easy to produce this
miniature, talking donkey but it all comes down to the extremely
talented artists we have here.
Framestore 2015
Section cover using the grid without image
scene throughout the day sizes, colours,

distances, shapes. It was a challenge to get
everything done in the time we had, but a
great experience overall Robert said.
The team wanted to capture as much of Bella-Bellas style

and overall look in their CG double, so everything from fur
clumping to the size of the donkeys teeth was scrutinised over.
Framestores in-house grooming system was used to create the
style of the fur, whilst the rendering and character development
was done in Arnold.
Text slide with introduction, using two columns

The shoot took place over a four day

period in December with VFX Supervisor
Russell Dodgson and CG Supervisor Robert
A library of various mechanical parts was

created by the modelling team. This asset
library was then used to populate the
was by far the most challenging part of the ad

from a classically CG perspective said Rob
Harrington. On set it became increasingly

technology, and hard work come together so
seamlessly Director, Carl Erik Rinsch.
Framestore worked with J. Walter Thompson
Harrington both in attendance. It wasnt

like your normal supervising shoot. Carl was
constantly whizzing off to get the amount of
shooting done in the time we had available,
and having the car and helicopter running
animated geometry with all the various

mechanical parts. It was important to be able
to art direct the shape, size and placement
of these mechanical parts, as well as how
they move independently from each other.
apparent that filming the intended tunnel

would be a problem, so we suggested
creating one in 3D instead. The components
were pretty straight forward, but deciding
on camera moves and colours is an iterative
to deliver a shape-shifting, oil and metal

based creature for Shells latest spot.
Collaborating with director Carl Rinsch, the ad
is predictably high-octane, with the stunning
Chilean Andes serving as the theatre in which
a the same time, coupled with shooting on

a Russian arm, it was pretty hectic said
Russell. We had to capture everything about
the scene throughout the day sizes, colours,
distances, shapes. It was a challenge to get
Using Houdinis Bullet Solver we were able to

manipulate the behaviour of the mechanical
parts as though they were a particle system,
using some custom forces to determine how
magnetised the pieces are to each other as
process which doesnt sit well with long

render times. We decided to render the tunnel
very neutrally in separate components, letting
us re-design it in 2D instead.
the action plays out.
everything done in the time we had, but a

great experience overall Robert said.
Shading, lighting and rendering were also

big challenges for the team, with road
replacements and environment clean-up
adding to the workload. The sheer volume
of work the Nuke team got through was
Early character designs were done way back

in late November 2014, with CG Art Director
Grant Walker creating distinct characters
Shoot completed, post production

kicked into gear in January. The chaotic,
well as setting thresholds for how far a piece

can deviate from the rest of the group, until it
falls off and becomes independent from the
rest of the creature. Using this set-up we were
able to manipulate a complex and as well as
for the different stages of the ad. Carl the

director had a strong opinion on what he
wanted, but gave us a lot of scope to create
original designs. The monster had to evolve
throughout the ad and demonstrate the
transformational nature of the character

called for some fresh thinking when it came
to rigging, explains Lead Rigger Kimon
Matara. To manage permutations, a new
codebase was established early on, built
flexible behavioural system within Houdini,

which still adhered to real world conditions
such as self collisions and gravity. It was then
a matter of building more layers of complexity
on top of what we now had; such as making
outstanding. A massive number of shots were

entirely recreated, with a full environment
made for the petrol station to sit in, as well
as a large amount of recreation for the bridge
environment Russell added. Matte paintings
various threats to the performance of the

engine explained Grant. The monster at
the start of the ad was based on a shrimplike primitive creature, before morphing to
resemble a spider and finally a gorilla. The
around Python inheritance patterns. The

keyframed performance was layered with
algorithmic effects, and a range of limb types
were developed that could be animated at
any orientation, roaming freely across the
the pieces emit dust and small debris

whenever they collide with each other or with
the environment.
were also composited into the bridge and

petrol station sequences to maintain the
spectacular surroundings, whilst a grade by
Simon Bourne put the finishing touches on the
action-packed ad.
concept character originally had more

ambiguity to its form, but we made the
conscious decision that it should take on more
obvious forms. This gave the commercial
more interest and the monster more identity.
body. Deformer technology used to create the

Mimics in Edge of Tomorrow helped refine the
creatures flow between states.
There was plenty of work to be done
Quote that spans across

several lines; more lines
but shorter in length are
are faster to read than
fewer but longer lines
Surname Name
elsewhere, most notably in CG. Not only

was the entire car created in CG and used
in several of the shots, but the bridge was
rebuilt in post, as was the petrol station seen
at the end of the ad. The tunnel sequence
Framestore 2015
Text slide with four columns (to be used only if necessary)
11
Framestore 2015
Quote or conclusion slide with framed image
65
On-screen presentations (continued)

Further examples
Key message that goes on one or

two lines; this slide also shows
how a partner logo can be shown
(together with the Framestore
symbol and copyright)
We are Framestore. We create extraordinary experiences. We combine

award-winning craft and relentless creativity with tomorrows
technologies. We make the impossible possible.
We make moving images, content, design and digital for the advertising, entertainment and
film industries. We are global leaders in visual effects, having won every major industry award.
The making of
Gravity
We collaborate from the conception of a project and bring a creative and technological
problem-solving approach to our partners business challenges. We engage consumers
through groundbreaking visual experiences that are driven by insight and innovation.
Were proud to offer a scalable talent pool for clients and partners. Our global team is
connected through a realtime production pipeline, enabling 900 colleagues to collaborate on
projects, wherever we are in the world.
Our reputation is built on our trusted relationships. We never stand still and work tirelessly with
our partners to deliver their vision. Our talent, experience, and innovative technology continue
to help our clients push boundaries and break new ground.
Partner logo
Slide with key message, full bleed image and partner logo
Framestore 2015
Framestore 2015
Framestore 2015
Alternative section or case study cover, with framed image
Text slide with introduction, using one column
I am very, very
impressed with Gravity
Buzz Aldrin
Shell Shapeshifter
April 2015
Title that goes on one or two

lines if necessary
15

technology, and hard work come together
so seamlessly Carl Erik Rinsch, Director
Framestore worked with J. Walter Thompson to deliver a
shape-shifting, oil and metal based creature for Shells
latest spot. Collaborating with director Carl Rinsch, the ad
is predictably high-octane, with the stunning Chilean Andes
serving as the theatre in which the action plays out.
Early character designs were done way back in late
November 2014, with CG Art Director Grant Walker creating
distinct characters for the different stages of the ad. Carl
the director had a strong opinion on what he wanted, but
gave us a lot of scope to create original designs.
Framestore 2015
Title slide with full bleed image
Framestore 2015
Case study slide with text and framed image
17
Framestore 2015
Quote or conclusion slide with framed image
66
Client or partner branded presentations

In some special cases, presentations might need to be
designed in a different way, based either on a campaign or
films look and feel, or on another brands identity. In such
cases, our logo should be used on the cover in blue (or light
grey, white, if over a photo or dark background). The symbol
can also be used on certain pages.
HELPING
H ETLHPEI NFGU T U
HR
E EF U
AR
TU
R IRVEE A R R I V E
B E N W EBST
E N- W
D IERST
E C-TO
D IRR S
E CTTO
R ERAT
SMTERNETAT
-M
FR
EN
AM
T E- STO
F R ARMEE STO R E
HELPING THE FUTURE ARRIVE

Open on a close-up of a man looking to the sky while driving, the warm light of sunrise reflects off the crystal clear glass of
the window and in the iris of his eyes. His confident gaze tells us hes in control. He knows where hes headed.
Though we focus intently on his gaze, we know this story isnt about the man. Its much bigger than that. Its about what we
see in the depths of his eyesthe far reaches of the human imagination.
We pull out to reveal that the look in the mans eyes comes not from his confidence behind the wheel, but from the trust he
places in the driverless car that is transporting him. Technical information and navigation controls are displayed on the Car
window as a HUD. This startling revelation immediately arrests the audiences attention. This isnt a car commercial. This
feels like the beginning of an epic sci-fi film set in the not too distant future.
page 4
Framestore logo on partner or client branded title slide
Framestore symbol on partner or client branded content slide
Framestore front / end slide which can be shown before / after

a partner or client branded presentation
67
4.2. Printed proposals, treatments, RFIs

Matching our on-screen presentations,
printed proposals, treatments and RFIs
follow the same design principles.
We make moving images, content,

design and digital for the advertising,
entertainment and film industries.
We are global leaders in visual effects,
having won every major industry award.
Guardians of the Galaxy
Introducing Framestore
Mike McGee, Creative Director
& Co-Founder
Framestore 2015
Framestore 2015
Cover page with framed image
With GEs Invention Donkey,

the possibilities are endless.
New best friends, a moneymaking app, maybe even a
new way to power the world?
Framestores New York team
collaborated with BBDO
and director Steve Miller to
deliver this hilarious new spot,
featuring real-life donkey
actress Bella-Bella.
Introduction or key message page
VFX Supervisor Raul Ortego was present on set where the

donkey was shot against a green screen, with David Hulin
also in attendance to take CG references from the animal
actress. We needed to know in advance how much
smaller the donkey was supposed to be in the commercial
as well as what type of surface it would be standing on
Raul explained. Radical were the Production Company
and built a scaled-up replica of the ground for the donkey
to be shot on. Having this prop on set we were able to get
good shadows and a correct bouncing light, which really
helped further down the line.
The team wanted to capture as much of Bella-Bellas
style and overall look in their CG double, so everything
from fur clumping to the size of the donkeys teeth
was scrutinised over. Framestores in-house grooming
system was used to create the style of the fur, whilst the
rendering and character development was done in Arnold.
From the start we loved story and the creative that BBDO
and Steve Miller came up with summed up Framestore
Producer Raven Sia. The team make it look so easy to
produce this miniature, talking donkey but it all comes
down to the extremely talented artists we have here.
Framestore 2015
Content page with introduction and body copy
Framestore 2015
It comes as no surprise that Framestore delivered on

one of the most challenging multi-faceted creatures I
have seen in a commercial. It is not often that artistry,
technology, and hard work come together so seamlessly
Section title or case study cover page with full bleed image
Russell. We had to capture everything about the scene
more layers of complexity on top of what we now had;
throughout the day sizes, colours, distances, shapes.

It was a challenge to get everything done in the time we
such as making the pieces emit dust and small debris

whenever they collide with each other or with the
had, but a great experience overall Robert said.
environment.
Shoot completed, post production kicked into gear in
There was plenty of work to be done elsewhere, most
Director, Carl Erik Rinsch.

Framestore worked with J. Walter Thompson to
January. The chaotic, transformational nature of the
deliver a shape-shifting, oil and metal based creature
character called for some fresh thinking when it came
CG and used in several of the shots, but the bridge
for Shells latest spot. Collaborating with director

Carl Rinsch, the ad is predictably high-octane, with
to rigging, explains Lead Rigger Kimon Matara. To

manage permutations, a new codebase was established
was rebuilt in post, as was the petrol station seen at

the end of the ad. The tunnel sequence was by far the
notably in CG. Not only was the entire car created in
most challenging part of the ad from a classically CG
the stunning Chilean Andes serving as the theatre in
early on, built around Python inheritance patterns. The
which the action plays out.
keyframed performance was layered with algorithmic

effects, and a range of limb types were developed that
perspective said Rob Harrington. On set it became

increasingly apparent that filming the intended tunnel
Early character designs were done way back in late
could be animated at any orientation, roaming freely
would be a problem, so we suggested creating one in 3D
November 2014, with CG Art Director Grant Walker

creating distinct characters for the different stages of
across the body. Deformer technology used to create the

Mimics in Edge of Tomorrow helped refine the creatures
instead. The components were pretty straight forward,

but deciding on camera moves and colours is an
the ad. Carl the director had a strong opinion on what
flow between states.
he wanted, but gave us a lot of scope to create original
iterative process which doesnt sit well with long render

times. We decided to render the tunnel very neutrally
designs. The monster had to evolve throughout the ad

and demonstrate the various threats to the performance
A library of various mechanical parts was created
of the engine explained Grant. The monster at the
by the modelling team. This asset library was then
in separate components, letting us re-design it in 2D

instead.
start of the ad was based on a shrimp-like primitive

creature, before morphing to resemble a spider and
used to populate the animated geometry with all

the various mechanical parts. It was important to be
Shading, lighting and rendering were also big challenges

for the team, with road replacements and environment
finally a gorilla. The concept character originally had
able to art direct the shape, size and placement of
clean-up adding to the workload. The sheer volume

of work the Nuke team got through was outstanding. A
massive number of shots were entirely recreated, with
more ambiguity to its form, but we made the conscious

decision that it should take on more obvious forms.
these mechanical parts, as well as how they move

independently from each other. Using Houdinis Bullet
This gave the commercial more interest and the
Solver we were able to manipulate the behaviour of
monster more identity.
the mechanical parts as though they were a particle
as well as a large amount of recreation for the bridge
The shoot took place over a four day period in
system, using some custom forces to determine how

magnetised the pieces are to each other as well as
environment Russell added. Matte paintings were also

composited into the bridge and petrol station sequences
December with VFX Supervisor Russell Dodgson and

CG Supervisor Robert Harrington both in attendance.
It wasnt like your normal supervising shoot. Carl was
Quote that spans across

several lines; more lines
but shorter in length are
are faster to read than
fewer but longer lines
Surname Name
a full environment made for the petrol station to sit in,
setting thresholds for how far a piece can deviate from
to maintain the spectacular surroundings, whilst a
the rest of the group, until it falls off and becomes

independent from the rest of the creature. Using this
grade by Simon Bourne put the finishing touches on the

action-packed ad.
constantly whizzing off to get the amount of shooting
set-up we were able to manipulate a complex and
done in the time we had available, and having the car

and helicopter running a the same time, coupled with
as well as flexible behavioural system within Houdini,

which still adhered to real world conditions such as self
shooting on a Russian arm, it was pretty hectic said
collisions and gravity. It was then a matter of building
Framestore 2015
Content page using three columns
Framestore 2015
Quote page with framed image
68
I am very,
very impressed
with Gravity
Buzz Aldrin
Framestore 2015

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Identity guidelines

Framestore 2015 version 1.0

Framestore Identity Guidelines

Framestore has always had an energetic,

Framestore identity guidelines

1.2. The logo

The logo is our main brand asset,

Framestore identity guidelines

1.3. The colour palette

Framestore Light Blue

Framestore identity guidelines

Expressing our creative and technological

Framestore Dark Grey

Framestore Light Grey

Main font family

Antenna Light Italic

Antenna Medium Italic

Antenna Bold Italic

Framestore identity guidelines

Secondary font family

Arial Bold Italic

1.7. Using the logo

7mm / 30px minimum

Framestore identity guidelines

Colour versions of the logo

The logo used on white backgrounds

The logo used on coloured backgrounds

The logo used in black & white

Framestore identity guidelines

Using the symbol

Framestore identity guidelines

Please avoid when using the logo

Framestore identity guidelines

Please avoid when using the logo

Framestore identity guidelines

1.8. The squircle grid

Framestore identity guidelines

Using the grid

Many or just a few squircles can be made invisible

Framestore identity guidelines

Using the grid (continued)

I am very, very impressed

Framestore identity guidelines

Using the grid (continued)

I am very, very impressed

I am very, very impressed

Alfonso Cuaron trusted us with his

Alfonso Cuaron trusted us with his

Cinefex print ad grid

Framestore identity guidelines

Backdrop banner grid

What to avoid when using the grid

Framestore identity guidelines

4.1. On-screen presentations

We are Framestore. We create

We make moving images, content,

Presentation cover with framed image

We collaborate from the conception of a

Introductory slide with full bleed image