How to make the Joker DC Film Logo

A movie’s logo is often one of the first things that fans see, whether it’s on posters or in a trailer, so it’s not uncommon for studios to spend large amounts of money creating them to build excitement. There’s a lot at stake, and there are entire agencies that specialize in logo creation, with logos passing through the hands of multiple stakeholders and going through several revisions before the public sees them. That’s why I was so surprised when I discovered that the logo for the DC film Joker was created by one designer, Chad Danieley, with wood type letterpress. In a Reddit post, Danieley explained how going analog captured the film’s tone and feel better than a digitally created logo would have. I reached out to Danieley to learn more about the logo creation process, his influences, and personal projects. This interview has been lightly edited for clarity. Chad Danieley in his garage. To kick things off, want to tell us a little bit about yourself and your background? I studied graphic design / motion graphics at ArtCenter [College of Design] in Pasadena. They had a great letterpress studio that was like my second home. In my final two terms at ArtCenter, I interned with [graphic designer] Pablo Ferro (The Thomas Crown Affair, Dr. Strangelove). I would scan his work into the computer for his archives, which would always include hours of stories about his process. For his signature style in Dr. Strangelove, he would draw over fonts for the main title, which is a unique approach. I would try the same sample sheets, and they would look nothing like his. Same with letterpress. If another person used the same wood type, it would have a different feeling for someone else. The personality comes through in the beat-up / dented faces of the type as well as the inking style and how much packing the artist adds or takes away that makes it interesting. Ferro had a strong impact on my career and my process early on. After graduation, I freelanced at a few motion studios for five years, then went to staff at NBC’s on-air department for eight years. For the last three years, I have returned to freelancing. How did you join this project? I was freelancing at Elastic on logos for the show See, and the Joker project came in, and they needed help with pitching logos for Joker. I spent two days on the computer making a bunch of logos in Illustrator, but in the end, it was the first one I did that is the “JOKER” logo as you see it today, “as is” with no changes asked, definitely a first for me. Can you talk us through the creative process for this logo and letterpress in general? Very little information was given for me to go off. All that was said is that it’s much darker and more visceral than the usual DC Jokers. “Think Taxi Driver.” I have an HD full of letterpress-printed sample sheets, and within each print run, I’ll print several states. For this project, I did aggressive / transparency / scraping / noise of that one typeface, then scanned and cataloged each of them. I am not a “purist,” but I have always needed to bring my work outside of the computer by printing it out and adding some of myself into it. Physical objects, like wood type or Letraset, rub down type and help me perceive space in a different way. I don’t always need to work this way, but it does help. It’s great to see that…

Like to keep reading?

This article first appeared on theverge.com. If you'd like to keep reading, follow the white rabbit.

View Full Article