Revised CSC Logo

Introducing the Revised CSC Logo

By George Willis csc, sasc

In 2007 I designed the “new” CSC logo to be an integral part of the CSC’s 50 th anniversary celebrations. Here is some information that pertains not only to the design of the logo but also regarding the importance of how and why the logo is represented.

Of primary importance is the fact that the CSC is a society that needs to be defined for what it is, what it stands for and who it represents, therefore a number of considerations were addressed when designing the logo. The most important part of a logo design is immediate recognition and having all the qualities that make it memorable.

As the name implies, the Canadian Society of Cinematographers is directly related to the film industry, and so it seemed logical that an iconic symbol would be appropriate – film. However, while film has been the mainstay of the industry since its inception, certain developments and advancements in other media used in the recording of images have dictated their inclusion in the logo. Closely related to film, and until fairly recently, the other medium has been video, or “tape” as it was designated. While not replacing film as the primary recording medium, it has certainly been an alternate option for image capture. Therefore, the next obvious consideration had to include this most important media partner.

Until now, the CSC logo design reflected these two essential media components and was therefore indicative of the film and television industry. However, recent developments have dictated somewhat of a re-think on my part. The re-visiting of the logo’s design has been as a result of many who have asked, “Why is the digital media not represented in the CSC’s logo?”

My answer has always taken the form of explaining that one cannot simply change an established logo because of circumstance or simply to “change for change’s sake.” To qualify this response, there are many famous logotypes that were designed decades ago yet remain exactly the same as the day their design was established. There are many fine examples of logos that have continued to be accepted throughout generations. And while generations have changed, many of those great logo designs have remained unchanged. However, and notwithstanding these observations, I decided that I would try to accommodate the latest technology – the digital media.

The idea began with a sketch, if only to satisfy myself that the notion was somewhat viable, and also to arrive at a conclusion without over-thinking the issue. It had to be clear not only in my mind, but also immediately clear to those who might see the modified logo. In other words, I did not want to re-invent the

logo; I simply wanted to modify it so that all media was included. Therefore, the net resolution of the modified logo is as follows: the “film” portion of the logo is unchanged and is self-explanatory. The inner layer (underside) of the right hand portion of the logo still reflects the “tape” as media.

What has changed is that zeroes and ones (binary code) have been added on top of the “tape” image. This modification addresses the digital media, reflecting the changes in the film and television industry and also encompasses any and all media that can be referred to in the digital realm.

I believe that this revision to the logo addresses the concern regarding the digital era that is now upon us, but most importantly, it still allows the logo to retain its integrity and original concept and design without compromise.

Hopefully this revision will be seen as an enhancement to a logo that has been very well received and one that speaks for all cinematographers, no matter which realm they choose as a vehicle to display their visual talent and expertise.