Groove Dust.

Groove Dust Logo

Groove Dust Logo (black variation)

Groove Dust Logo (orange variation)


I was approached by an aspiring film creator to design a logo for use as both a corporate marque and for the purpose of inspiring (via animation or a short filmed piece) an ident for the film company she was starting. This logo would be used in the aforementioned ident at the start of any films the company produce as well as being a corporate marque, setting the groundwork for their brand identity (in typeface/colour scheme/imagery etc.)

The client was specific in stating that the logo must have a contemporary feel to it – in keeping with modern logo trends, a simple colour scheme (primarily of black, white or orange), make use of the meaning of the name (Groove Dust referring to the grooves in a vinyl record, and the dust collected on the stylus) and be designed whilst keeping in mind the need for it to be incorporated into either an animated (or filmed) ident in the near future.


I began by choosing a typeface that I believe portrays that contemporary feel the client wanted. It’s professional, serious, but clean and artistic.

After some back and frothing with the client, she decided she was drawn to the “GrooveDust.” type, with no spaces and a fullstop. It portrayed the name in a clean, creative and slightly unique way, without losing any meaning.


My first attempts at a marque I attempted to replicate the vinyl style. But neither of these really brought across that tangible “vinyl” feel.

These “sleeve” designs went a bit further into showing this, but they still felt oddly spaced and shaped, and overall felt a bit too childish – like clipart.

The client stated a desire to use real vinyls in the ident, so I sketched out what the typeface logo looked against a real record.

It occurred to me that these centre stickers could be made use of for the logo and then elaborated in the ident when placed in context alongside a real vinyl.

Pulling the design back to that “coming out of the sleeve look” brought an interesting unique “rainbow” look to it that felt both nostalgic and appropriate.

After some variations, it appeared the “sunrise” logo looked the best.

Any attempt to round the edges (left) or add actual grooves left the logo looking busy and took away from the “emerging from the sleeve” look. So the harsher edges (right) remained.

The open space of the “imagined sleeve” created a much more identifiable logo than if I included the sleeve (above).

And so the variations sit as such.



Work Based Learning 1: iMPOSSIBLE – Interior Architecture Masters Show


Logo (and variation):

Animated Logo variation:

Brochure (Inverted variations):


Wall Graphics

Vinyl wall graphic & moving projection logo example:

Wall Graphic (T5 section example):

Doorway Mockup:

Social Media

Twitter layout/Identity/Example Post

Wayfinding sculptures (2 variation examples):


WBL: iMPOSSIBLE – Research & Development

Gathering Ideas:

Architecture, to me, is a composition of shapes into a physical entity. I wanted to explore this in a 3D sense and see how I could explore this idea in a 2D digital graphic way. This made me think of optical illusions and how we can portray depth artificially through 2D mediums. I brought up a quick google search of optical illusions that do just that.

I was immediately reminded of an incredibly effective 3D illusion, regarding a cardboard T-Rex sculpture (below). This has been created by a net that folds in and out of itself.

optical illusion boxes

Thinking back to the brief, interior architecture summons up imagery of M.C. Escher’s Relativity. His isometric perspective bending stairs create a reality that, at first glance seems familiar, if unsettling and upon further inspection couldn’t possibly exist, and continues to get stranger and stranger the more you look. As your brain tries to make sense of it, you’re constantly fighting the artistry to favour reality.


Initial Ideas and Development:

A phrase I often hear for gathering ideas is to “think outside the box” which struck me as an interesting contradiction when approaching “interior” architecture. The idea of something being inside a space and creating something within it struck up this relevant imagery, so I began to create some 3D visual boxes in an isometric way, inspired by Escher and this impossible world.


The 3 colour panels seemed the most effective and simple way of confusing depth and creating an in/out the box visuality.

I experimented with a lot of different methods of removing one or more sides in different colours to create different effects, but none seemed to do the same job as the 3 colour panel flipping in and out of your field of depth. I do however hope to include these variations in some form of fluctuating animation to be projected onto some of the walls within the space, or even potentially on screens, scattered around the event.

A lot of what I was trying to do dealt with changing your perception and I wanted to see if I could explore this with text as well and hopefully lend whatever I came up with to the branding of the event. This related heavily to this poem that changes meaning as you read it from different perspectives.

I attempted to imitate this method, and although nothing jumped out at me, it did make me realise that this approach could get too wordy and distract from the point of an interior architecture show – the stalls and the visuality of architecture –

From my research and interest in these illusions and stretching the boundaries of our perceptions I derived the phase “Impossible” to have double and contradictory meanings;

  • Impossible – Not possible
  • I’m Possible – You have the potential to make it possible

I began to start using these cubes as building blocks that form a structure, despite them acting in 2 positions at once. This confuses, challenges and intrigues the viewer as their brain immediately tried to make sense of the structure in a 3D sense – this blurs the boundary of what we deem to be real, in many ways – is anything really as we perceive it to be? Is it important for it to be a constant and definite “thing”? Can something be perceived as 2 things at the same time?

These graphic sculptures will make up the majority of the wall graphics and general visual theme for the event. It all revolves around composition of shapes to create something with very little; 3 or 4 colour cubes mimicking real life shadows, creating a complex structure.


I experimented with a few different methods of creating 3D cubes and found the most effective way for tricking the eye was a 3 sided inner or outer of a cube.












I made a video of myself moving around one of these 3 sided cubes and found that the 3 tones of gradual shading made no real impact on the illusion as a reference point for shading can’t be grasped. Instead the box appears to pop in and out from being hollow, to a solid cube as you move around it and your eye is tricked.

This changed my work and instead I focussed on the 3 colour hexagon/cube shapes.





Finalised animated logo:

Whilst the logo is defined by the iMPOSSIBLE in the square, it is also defined by the hexagon (acting as an imagined 3D cube). However this illusion only works in the context of its surroundings (ie. the above animated gif and the catalogue cover below) thus allowing the logo to be used in a large variety of ways, making it versatile and interesting.













I wanted to make use of my earlier 3D cube experiment video and so derived a way of incorporating the physicality of having a cube that jumps in and out of perception with the practicality of wayfinding.

I derived these from variations of the logo and experimenting with the 3 colour cubes. The bordered card structures will be placed around the exhibition at roughly 1.5m high by 1.5m wide that can be flat packed into a net and easily folded.

The borders (derived from the animated logo) create an environment for the 3 sided inner or outer cube variation to be mis-perveived. However, no matter which way you perceive it, you are still directed to your destination around the exhibition correctly.