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8 April 2014
Webby Awards top 5!

by Afy

We're a Webby nominee!

We’re incredibly proud to announce that our website for Patentise has been nominated by the Webby Awards as one of the top five law websites – in the world! – this year.

Winners are announced in the next two weeks – show your support by voting for Patentise here.

21 March 2014
Film title sequences: 15 of our favourites

by Kirsty

Here are a few of our favourite film title sequences, including some of the most influential and iconic, that play with audience expectation and memory through style, execution, timing and placement.


Under the Skin (2013)

Look out for the unbearable pause during the title sequence of­­­ this film by Jonathan Glazer, leading to a sense of ongoing descent into an abyss from which one never emerges.

It’s film title sequence design at its best: arresting, hypnotising, fixating the viewer and demanding their full attention.


I am Love (2009)

Recalling film title design from the ’30s and ’40s, with snowy shots of Milan almost completely devoid of colour, this feels like film noir. The assumed setting highlights the film’s occupation with time, even as it moves towards the present.


Psycho (1960)

Alfred Hitchcock, director, without Saul Bass, designer? Hard to imagine. Bass’s distinctive work was central in marketing, and immortalising, Psycho, Vertigo and North by Northwest.



Dr No (1962)

The Bond title sequence that started them all. The visual indicators – like that gun barrel circle – are to this day a key part of marketing the James Bond franchise. Shaken and stirred by Maurice Binder.


Fahrenheit 451 (1966)

This book-burning dystopia gives us no written credits – they are entirely narrated. As well as mirroring the destruction of the written word, denying us the act of reading, this creates a direct relationship with the audience – an alternative and powerful participation.


Bullitt (1968)

Designed by Pablo Ferro, who also designed the title sequence for Dr. Strangelove –a beautiful intersection and harmony of type, movement and image. Compare with the title sequence for Francis Ford Coppola’s Tetro (2009).




Monty Python and the Holy Grail (1975)

An unapologetic sweep through the history of title design ending with a nod to Saul Bass’s typography for Nine Hours to Rama and credits to the on-set llamas. (And then apologising for it. Twice).


Alien (1979)

Cryptic markings slowly emerge on the screen leading to the awful realisation of what the Nostromo crew, and we, will confront. Designed by Richard Greenberg.


The Shining (1980)

The sublime landscape overlaid with the reverse scrolling credits makes for a truly disconcerting effect. Created by Chapman Beauvais & National Screen Service with helicopter photography by MacGillivray Freeman Films.


Se7en (1995)

The sequence credited with inspiring the resurgence of film title design in the 1990s. The close-ups of John Doe’s materials are an unsettling glimpse into the mind of the methodical, relentless, meticulous serial killer. Designed by Kyle Cooper.


The Matrix (1999)

The power of a single colour – oily green – to define a film.


Enter the Void (2009)

What David Fincher wished for Fight Club – typography that burns onto the retina. Directed by Tom Kan.


Drive (2011)

The typeface Mistral – used by Sandals Resorts and Only Fools and Horses – is given a whole new persona in the title sequence and marketing for this Nicolas Winding Refn directed feature.


Moonrise Kingdom (2012)

Wes Anderson – a director as devoted to typography as centred composition. Jessica Hische designed the typeface that appears in the opening title sequence and end credits.

As shown by recent films, the creation of distinctive, beautiful opening title sequences is in no danger of waning.

20 February 2014
Post-it note manifestos

by Afy

colourful manifestos

Inspired by the Manifesto project, we’ve written our own mini manifestos.

What would your one-line manifesto be?

7 January 2014
my prognosticating genius

by Afy


Here’s this week’s most beguiling blog comment — posted, it seems, by a troubled clairvoyant:

But isnt enough. but I will not allow those type of trifling details to derail my prognosticating genius. pilloried and disparaged is about to deliver a season of redemption. bringing in a financial professional can take the emotion relationships out of the process,If such an opportunity comes you way,Police report that she?

…that she…?

that she what?


20 December 2013
Five things that happened in 2013

by Afy


A new development

At the beginning of the year, Tom joined Igloo as our second developer. He
makes your websites look amazing, using the fine art… of magic.

Sorry I’ve just been told that’s CODE he uses — code.


Igloo moves studio

We’re now in a sunlit, spacious unit on the fifth floor of Regent Studios —
come visit, the view’s great.


Bye, Mike

After six years and some stunning identity, print, and digital projects at Igloo,
we say goodbye to our senior designer Mike, who’s moving on to focus on
freelance work and his own projects.


Webby Award Success

Our website for Interior-iD has won us a Webby Awards honour (kinda like
an Internet Oscar). The site’s been listed in the top 20 for Aesthetic Visual
Design this year. We’re chuffed.

More on the Igloo blog


Welcome, Bel!

This year we welcomed Bel to Igloo, as our new SEO assistant. A
fashionista with a self-confessed Peter Pan collar complex, she’s a
marketing natural, too.

Not your standard interview
Or read Bel’s very own blog

21 November 2013
Cutting, engraving, wood gluing, varnishing, sanding, drilling, fixing

by Kirsty

Here’s our new projecting sign for the studio. Designed in birch plywood with a 0.5mm engraving, it was produced by Cut Laser Cut and fixed by a needlessly large team of five.

8 October 2013
Igloo in net magazine!

by Afy

Net magazineNet magazine, the leading publication for the web industry, has featured Igloo in its website showcase! In this November’s issue, our lead developer James talks JavaScript: specifically, about the JavaScript behind the website we designed and built for INTERIOR-iD.

Download the full article to read how we created our own in-house JS framework, and used code as efficiently as possible.

Read more about the INTERIOR-iD site here. We’ve bragged blogged about our Webby Award nomination here.

7 October 2013
Gerald Cinamon: Collected Work Since 1958

by Kirsty


Last Thursday we visited the Gerald Cinamon retrospective at the ICA.

Spanning a career of five decades, the exhibition showcased the designer’s work at Penguin in the 60s and 70s alongside his published writing, books and posters, all characterised by his distinctive – and at the time radical – use of bold colour and Swiss-influenced typography.

During the evening we were lucky enough to be joined by the man himself, to talk about his work and give us an insight into the thinking behind his iconic designs.

Here’s a short film shown during the exhibition: ‘Close Not Touching’, which features a conversation with David Pearson.


You can see the video here and view more of Gerald Cinamon’s work here.

3 September 2013
Click to engage

by Afy


Facebook’s new page insights tell admins about the levels of engagement they’ve reached with their posts.

The ‘number of people engaged’ is defined as ‘the unique number of people who liked, commented, shared or clicked on your posts.’

Okay. Bracketing these various forms of interaction—from the fleeting to the slightly-less-fleeting—under the same engaging umbrella seems silly enough. But suggesting that a mere click counts as ‘engagement’ is even more sillyier.

Getting people to really, emotionally, and meaningfully connect with your brand isn’t as simple as a click.

The quantitative stuff is useful; it’s a good measure of general trends as visitor numbers vary over the months, and helps admins relate traffic and clicks to the qualitative variables of content, timing, supporting marketing, and so on.

But continuing to define ‘engagement’ with a quantitative focus dilutes its real meaning and makes us marketers lazy. Let’s not lose moments of actual connection in the number-crunching.

28 August 2013
Studio snapshot

by Afy


Olly’s in a meeting, explaining how you can get a slick bespoke system to do all the boring stuff for you.

James is adding some smart JavaScript to a website, to make it move, shake and bake.

Kirsty’s in Italy. We don’t think she’s doing any graphic design.

Afy’s writing this.

Bel’s been working on some online marketing for about a million clients and has written something about herself for our site.

Tom’s tying up social media to a client’s newsletters and website, and trying to avoid writing something about himself for our site.

Mike’s running around the studio with a can of spray mount and a camera. Slow down, Mike!

Our printer’s decided to stop printing half-way through each document and not acknowledge the addition of new paper.


24 July 2013
I dare to guarantee, and each is all flamboyant

by Afy

We received an intriguing comment this week.

: \”Bang!\”Ah, this in winter always the dark sink of, teaching building of can see a degree to seem have been too good Ai, otherwise I how trampled while trampling the last class stairs empty, the pomp beautifully came with floor one intimate contact, also conveniently send to my baked wheat cake twisted dough-strips and my bean milk come to a parabola of free trip?

Originally I before the body not the distance is standing a person, I lie prone on the ground to raise head, the first\’s seeing is a pair of shoes in blacks.Swallowed to swallow saliva, this year wore a shoes in the school, I dare to guarantee, and each is all flamboyant.

What’s the story here? Leave your interpretation in the comments below. Best one wins a twisted dough-strip.*

*does not win

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