How did the Wonka logo project come about, and what were you responsible for?

I was approached for the work mid-2022 by an old design director of mine, Stephen Goalby. He had since moved on and was heading up the animation department at Framestore. I’d demonstrated a lot of calligraphy and crafted type skills at the agency we worked together as so I reckon that’s why he wanted me to work on the project. My responsibility was purely from a typographic and graphic perspective. The team at Framework then beautifully animated and placed it throughout the film.

Were any design details essential?

The key part of the brief was that the studio wanted me to explore a Wonka logo with an elaborate W in a scripted style that eluded to Wonka’s mum’s handwriting in one of the beginning scenes.

How long did it take from start to finish, and where does this project sit alongside the others you’ve worked on?

It’s a unique project, as it was my first time working for graphics for film. Having your work on a cinema screen has such immediate gratification, so from that sense it’s hard to compare. People have really connected with it, and the feedback I’ve had has been incredible. From that perspective alone it’s hands down my most prestigious job.

How much back and forth was there with the client, and what did you find most challenging about the work?

There were a fair few rounds of iterations and tweaks; which comes with the territory of logo and typography work. I did lots of exploration with the W and then the challenge was incorporating that with the rest of the type ensuring a perfect balance between the flourished W ascender with the descender of the k.

More from Alexandria Vernon. Catch her on Instagram, too.

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