Ogol at the Logo

When Inertia started to become a serious avenue in which to pursue our career, we knew that we were going to have to craft an image behind the company to accurately promote who we are and what we are about. When choosing to name your company as something that makes you sound incredibly lazy with a posh(ish) word, it’s very hard to visually represent yourself as a serious contender in a dog-eat-dog industry whilst trying to say that you do it in a relaxed and open way.

We knew that we wanted to lead with the main ethos of the company: we don’t take ourselves too seriously. So to turn that into an image we went with a cartoon-style image rather than just a fancy swishy glossy logo. We needed something a bit different, a bit backwards. Inspiration was taken (as it probably always will be) by Kevin Smith and his production company View Askew. He had updated his logo to reflect two of his most famous creations visually representing exactly what his company meant.

So with that in mind we set about thinking about how we were going to convey our company ethos but also play up to the name Inertia. Starting with the meaning of Inertia, we thought about what would visually represent someone Inertia-tic. Drawing inspiration from our very own fat arses (well, just Kris’ really) we knew it should be someone sat down. Obviously a fat guy sat down isn’t really the kind of image you want to use to promote yourself as active in filmmaking so we thought about surrounding this fatty with film-related equipment. We went for a clapperboard, handheld camera and a blond light freestanding behind the chair. Now for the following image we can only apologise to every four year old out there because it’s kind of an insult to say that Kris draws like one, when really a four year old could probably draw a better picture than this in their sleep.

Really all it needed to be was a base for the idea that we could get someone better (anyone!) to bring it to life. But look at it, I mean really. Once we could bare for it to see the light of day it was shown to a friend and colleague of Kris’, Sidders, who immediately began to transform it into something that more accurately resembled a human being. The idea we started with was a slobbish, kind of lazy looking overweight guy with film-related equipment around him.

Once Sidders had drafted up the first sketch (that he literally did in two minutes with a biro and a piece of scrap paper) we saw that we’d emphasised the meaning of the word ‘Inertia’ rather than what the company was about, so we set about tweaking it. One of Sidders’ suggestions was to change it so that the guy was sat on a Director’s chair rather than a sofa and straight away this began to transform the logo. We had the guy smiling and sitting up rather than slumped and frowning. We took away the blond light and just kept it simple. The second sketch became 99% of the logo that we have today.

When it came time for Sidders to draw it on the computer using the tablet, the only tweak we had was to remove the cigarette. Within a couple of weeks of us showing him the initial design (that he laughed out of the building) we had our mascot. Now all that was left was to find the right colour scheme and the right visual logo to accompany it. After much playing around with colour schemes and variations, including playing with the colour background we opted for a simple colour system of plain white background, black t-shirt, blue trousers and red hat. The chair was naturally brown and so with that simplified the image really came to life. It became more about allowing the image speak for itself rather than jazzing up so it caught the eye for the wrong reason.

Accompanying the image with a text logo was the hardest part. We trawled the internet and chose nearly one hundred different text styles that played to the image and the company. What we wanted was something a little rough and scratchy; not so that it looked edgy and contemporary, but so that it looked almost childish and a little bit rushed. We wanted something that basically looked like something the guy in the picture would sketch out. We whittled the hundred or so texts down to twenty and had ‘Inertia Pictures’ put underneath twenty images of the logo in the different fonts. Slowly we discarded those that just looked out of place, those that undermined the image, those that were too childish and sketchy and those that were too sensible. It came down to two, and in the end the text that we use now won out. The reason we chose it is because it has the right level of roughness, like it’s literally been sketched in underneath the image quickly but it still retains a sense of balance and on the surface looks quite neat until you scrutinise it a little bit. We put the text with the inked photo, and our logo was born.

We were sold pretty much straight away and were very pleased that we’d turned Kris’ cat-scratch-sketch into a marketable logo, thanks in no small part to Sidders. We sent it to him first and he loved the text logo, and with that it was born. A large A1 landscape poster of the logo now hangs at Inertia HQ as a gentle reminder to never get ahead ourselves and always enjoy ourselves so that we may one day sit in that chair with a big grin on our face. Without the belly though.



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