Established in 2008, Filmin is an online, subscription-based movie platform available in Spain with a catalog of over 8,000 titles of movies, TV series, and user-submitted shorts. It’s also available in Mexico as Filmin Latino, with a smaller catalog of less than 1,000 titles. The video-on-demand collection focuses on vintage and independent movies, many from the platform’s backers, which include some of the top production companies in Spain. Earlier this Summer, Filmin introduced a new identity designed by the Barcelona office of Mucho.
For this redesign, we collaborated with typographer Jordi Embodas, who worked using his own typeface family based on the modular systems of billboards, slightly rounding the edges to improve readability and give it a contemporary twist.
The old logo was pretty good, introducing a dog, named Filmcan, in a cone of shame (aka an Elizabethan collar) that right away signaled that this was a quirky, fun brand. The drawing wasn’t perfect but it got the point across and the wordmark was a nice typeface choice (whatever that font is). So it would be hard to improve by much but Mucho has done it with a fantastic custom alphabet based on the moveable type of movie marquees. The characters are robust and maintain the quirky vibe of the original. As a wordmark, the type works great since it has plenty of personality on its own. You might be sad that the dog is gone and he is, from the logo, but not from the system.
[…] we decided to show Filmcan’s face for the first time. There are two versions of it: a mascot and an icon. This allows us to alter the mascot and have it evolve when needed, enhancing the sense of humor and flexibility of Filmin’s personality. The Filmcan speaker is now geometric with rounded edges to draw a connection between the edging in the typography and also facilitate the symbol’s conversion to a diamond shape (code which Filmin identifies as a Premium Pack).
While it was extremely charming that you couldn’t see the dog’s face I like the change to showing his face as a way to signal an evolution of the platform. I’m not entirely crazy about the drawing of the face — it’s hard to tell what the bottom shape is, is it his mouth? next shadow? — but the overall intention is fun and pulled off convincingly.
By combining the Filmin typeface with images, a new color code and typographic lines (reminiscent of billboard structures), we can play with the promotional photos of the films to produce our own visual code and establish informational hierarchies.
The overall presentation then hinges on the typeface, used big and juicy, and thin lines reminiscent of the marquee. It’s simple, bold, and can accommodate all kinds of content. With this new identity, Filmin looks more grown-up and ready to compete with the incoming incumbent VOD leader, Netflix who will begin service in Spain (and Italy and Portugal) in October. It’s going to be a dog fight for sure but perhaps Filmin has the upper paw by being bred locally. (I’m done with bad canine puns).
Thanks to Brandemia for the tip.