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Framestore design logo and titles for brand-new high-octane sci-fi Sky Original drama Intergalactic

08/05/2021

Framestore design logo and titles for brand-new high-octane sci-fi Sky Original drama Intergalactic

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Brie Clayton May 7, 2021

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Created by award-winning writer Julie Gearey (Prisoners' Wives, Secret Diary of a Call Girl), Intergalactic is a punchy sci-fi, Sky Original drama which follows a group of female prisoners who go on the run. Framestore s Creative Director Sharon Lock collaborated with Gearey, Director Kieron Hawkes and Tiger Aspect Productions to create the logo and titles for this original futuristic show.

Hawkes, We really wanted something modern and colourful for the title sequence, that had a retro film feel to it, and also gently touched on some narrative elements of the show. Sharon and the team understood immediately. The finished sequence was even more than I'd hoped for. Framestore brought the concept to life brilliantly, enhancing the original vision with style and energy. I had such a great experience with them.

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Lock, known for her title work on National Geographic's series MARS, initially pitched the logo before being selected to create the titles for the series. Amongst the high-octane drama of a feisty all-female cast in Gearey's fresh take on a sci-fi setting, Lock's work needed to encapsulate the very human drama and tense relationships between the set of disparate women convicts forced together through no choice of their own. The series revolves around young cop and galactic pilot, Ash Harper, who's been framed for a treasonous crime and banished to a distant prison colony. In transit, Ash's fellow convicts rebel and seize control of their prison transfer ship. With the flight crew dead, mob leader Tula Quik, is determined to reach the free world, and as a pilot Ash is forced to join the mob on their treacherous voyage.

Taking inspiration from the third-wave of feminism in the 90s and punk-rock, Lock initially began the creative process of forming the series' logo by profiling handmade fanzines and similar references. Lock came up with around sixty different ideas to present to Gearey and the production team who soon realised that Lock had an instinct for the show's complex female characters tangled up in a visceral and propulsive universe. The team loved that Lock's bright yellow palette matched the futuristic turquoise and yellow prison outfits of the incarcerated, and by instinctively disregarding the cliched masculine shiny silvers Lock was in alignment with the show's identity and energy.

data-src=https://gcs.creativecow.net/wp-content/uploads/2021/05/07185320/ExecutiveProducers1200-1024x434.jpg alt= class=lazyload wp-image-2409801 data-srcset=https://gcs.creativecow.net/wp-content/uploads/2021/05/07185320/ExecutiveProducers1200-1024x434.jpg 1024w, https://gcs.creativecow.net/wp-content/uploads/2021/05/07185320/ExecutiveProducers1200-300x127.jpg 300w, https://gcs.creativecow.net/wp-content/uploads/2021/05/07185320/ExecutiveProducers1200-768x326.jpg 768w, https://gcs.creativecow.net/wp-content/uploads/2021/05/07185320/ExecutiveProducers1200-624x265.jpg 624w, https://gcs.creativecow.net/wp-content/uploads/2021/05/07185320/ExecutiveProducers1200-50x21.jpg 50w, https://gcs.creativecow.net/wp-content/uploads/2021/05/07185320/ExecutiveProducers1200-100x42.jpg 100w, https://gcs.creativecow.net/wp-content/uploads/2021/05/07185320/ExecutiveProducers1200.jpg 1200w data-sizes=(max-width: 1024px) 100vw, 1024px />Lock stated, Even though it was set in space, Intergalactic was vibrant the set design and costumes were very colourful so the unconventional yellow which went against that traditional sci-fi type look suited the ethos of the show.

The title sequence needed to do a lot of heavy lifting, and communicate a backstory which would be out of view in the series itself. Set in the 24th century in a fictitious New London, built above the original capital city which had been swamped by rising sea level brought on by global warming and the destruction of habitats globally, the show plays on the havoc that is consuming the world today.

data-src=https://gcs.creativecow.net/wp-content/uploads/2021/05/07185336/ImogenDaines1200-1024x434.jpg alt= class=lazyload wp-image-2409802 data-srcset=https://gcs.creativecow.net/wp-content/uploads/2021/05/07185336/ImogenDaines1200-1024x434.jpg 1024w, https://gcs.creativecow.net/wp-content/uploads/2021/05/07185336/ImogenDaines1200-300x127.jpg 300w, https://gcs.creativecow.net/wp-content/uploads/2021/05/07185336/ImogenDaines1200-768x326.jpg 768w, https://gcs.creativecow.net/wp-content/uploads/2021/05/07185336/ImogenDaines1200-624x265.jpg 624w, https://gcs.creativecow.net/wp-content/uploads/2021/05/07185336/ImogenDaines1200-50x21.jpg 50w, https://gcs.creativecow.net/wp-content/uploads/2021/05/07185336/ImogenDaines1200-100x42.jpg 100w, https://gcs.creativecow.net/wp-content/uploads/2021/05/07185336/ImogenDaines1200.jpg 1200w data-sizes=(max-width: 1024px) 100vw, 1024px />It needed to be abstract by nature and have a graphic feel with bright colours, a scruffy punk-aesthetic and the impenetrable attitude of the lawless and intimidating inmates. As with the logo, Lock's palette for the title sequence complemented the team's vision and the visual language of the show. In particular the
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