Brand identity and strategy for a virtual reality content developer with a focus on outer-space, working within both the education and entertainment markets.
Inverse seeks to flip the escapism of VR technology, bringing the player closer to the reality of space. With Inverse, space no longer seems abstract, but is rather an extension of everyday life; Through education and entertainment, the complementary worlds of outer space and Earth collide.
High-contrast colour pairs and monotone imagery evoke an energetic and futuristic mood that is approachable in its simplicity.
The virtual reality experience is based on bringing the two-dimensional medium of digital content into the three-dimensional reality of the physical world. The Inverse brand mark explores this idea through the contrast of two parallel planes: 2D shapes creating the illusion of 3D space. The viewer’s perception can change which plane appears to be on top, evoking the dynamic and evolving nature of Inverse’s content.
The Inverse brand mark is composed of two basic planar shapes: solid and outlined. These elements can be used flexibly for various applications and patternmaking.
A book summarizing the visual style and application potential of the Inverse brand. Cutouts and full colour pages explore the potential of the colour pairs and dynamic brand shape.
I began by considering imagery that conveys three dimensionality, while also evoking a relationship to outer space. I thought about diagrams of wormholes, as well as gravitational lensing caused by black holes. This is what led to my first main approach: a distorted star within a circular shape. However, I decided that using a star for a space-based company was too cliché, and that it felt patriotic in a way that I was not intending.
I considered basing the design on the brand name, making various approaches to combining the letters “I”, “N”, and “V” to create one cohesive shape, while also incorporating a three-dimensional aspect through the suggestion of two "planes".
I then took my organic approaches and worked to make them more geometric, as I wanted my final brand mark to have a more logical structure.
I translated my sketches digitally, and explored using negative space to convey three-dimensionality.
I explored contrasting colour palette variations, as well as approaches to creating imagery and pattern-making with the final brand shape.
After developing the brand approach, I made a moodboard describing my ideas for the execution of the brand guide. I looked for examples of laser cutting and explored a graphic and colourful style.