Evaluation

Researching into ugly design this year has opened up an interest into the aesthetics and technological developments of graphic design. 

As ugly design is a controversial topic, with no definite opinion its success, it has exposed me to designers on both sides of the spectrum, e.g. Max Huber and Jeffery Keedy. Leading me to read up on their work and in turn understanding more about the rationales behind different schools of design. 

Starting the essay however, there was initial apprehension as to whether the question would have enough content to write the essay on. Ugly design is a relatively new form of design that has little critical writing. Therefore the opinions sourced have to be those based on post modernism rather than ugly design specifically. Nevertheless, because the two approaches are similar, appliying the criticism and supporting arguments for post modernism into ugly design were appropriate. Furthermore, by reading more about the subject and the related areas, it eased the initial apprehension in writing the essay as gathering more resource material allowed for better arguments to be formed. 

Learning about ugly design has also exposed me to different approaches to design. Rather than to think of a grand idea, most ugly design is based around a simple and specific concept that is interpreted unconventionally in relation to its intended audience and context. This approach is much more approachable in the sense that the design process becomes more about the design of the design rather than the novelty of a good idea.  

With the amount of research done regarding the criticism of ugly design, more links were able to be drawn between the practical and essay in this years module. 

The design for the proposed Leeds Art Gallery shows understanding of the characteristics of ugly design through the manipulation of type, compromised legibility and more superficial approaches to the design process. Its limitation however is the extent of the representation of ugly design. This is a new and unfamiliar approach to how I normally go through my design process, therefore the designs aren’t entirely an accurate representation of ‘ugly design’. Nevertheless each design decision has been explained with a consideration to ugly design’s principles. 

The amount of research done on the topic has also inspired me to take this further into Level 6 dissertation. I do enjoy learning and reading about the history of design which comes at a point in the course where I have become increasingly concerned with how to design. Understanding how to properly typeset, forming the relationship between type and image and the significance of the production process. 

CoP 3 Proposal

Gallery signage

The new identity does away with much of the information the gallery usually displays outside. This only deters the viewer from reading as more information overwhelms the viewer without a point to focus and limits the size of the information as well. Having an appropriately sized name will allow visitors to notice the gallery from afar.

Through the new identity, the name of the gallery is on full display for the visitor and not reduced to small type above the entrance. The banners next to the logo help inform the reader of the ongoing exhibitions and gives the gallery a art focused approach rather than describing its facilities.

From afar, the white logo helps grab the readers attention rather than the green which was too dark to get attention. Furthermore, the Leeds Art Gallery name is more legible from a distance.

Inside, the angled motif is extended into the way finding arrow, creating a consistent identity for the gallery. 

Gallery collateral designs

Posters

Poster A

Poster B

Poster C

These are a selection of poster designs for the hypothetical KAWS exhibition in Leeds.

In this format of the promotional material, the poster uses the sculptures of KAWS rather than his paintings. The larger scale of the poster more aptly demonstrates the scale of his sculptures. It also keeps the promotional material engaging through the variation of content.

In the first of the three posters, Poster A, the information laid out here is legible and clear enough to understand. Having the gallery's name and date in a translucent effect forms a relationship between type and image on the poster. The type becomes more integral to the image because the content is seen through. Between the gallery's name and date, the repeated symbols act as a grid and as a graphic that unites the two pieces together visually.

What is consistent across these posters is through the showing of the gallery's symbol and grey background. By having the logo displayed on all, the intention is to form an association between the logo and what the audience will think of Leeds Art Gallery. The grey background is a neutral colour, like the gallery's logo, that allows the colourful artwork to standout.

'KAWS' set in white with a black outline is a reference to the new colour scheme of the gallery's logo. This flat colour scheme helps the name of the artist to stand out on the poster, creating a visual hierarchy that informs the reader of the most important information first.

In Poster B, its composition uses a current trend of forming a border around the content. As explained in the Hepworth flyer, the combination of vertical and horizontal type makes it harder for the reader to read quickly, especially if on the move. However, because the brief require an 'ugly designed approach, this limitation is necessary. Using an outline instead of a fill stroke is to relate the type visually to the outlines of the logo. Furthermore, the outline produces a visually lighter look that allows the sculpture to still retain its attention. The pattern of the gallery's symbol helps complete the border whilst forming the association of the gallery. KAWS is purposely set outside the border's frame in order to stand out for the reader.

Unlike the other posters, the date and gallery name in Poster C is significantly smaller. It relies on its unconventional aesthetic to get the viewers interest. As a result, it is the most reflective of ugly designs aesthetics. The skewed letterforms give the poster a playful and experimental aesthetic that is commonly seen in ugly design. This typesetting engages the reader through its unconventional forms.
In the background, the gallery's logo gives the poster structure and adds context to the manipulation of the letterforms, e.g A and W.

Flyers

Flyer A 

Flyer B

The flyers follow a similar art direction to the posters however they feature the paintings of KAWS rather than his sculptures. 

In Flyer A, the gallery's symbols form a frame around the artwork, visually centering the flyer whilst using the gallery's identity in a creative manner. The smaller type set allows the artwork to be the main focal point. 

In Flyer B, the artwork is manipulated into the form of the gallery's symbol which is rarely done by commercial galleries and museums. Therefore it can be inferred that it is ugly design because it is not practiced by what is defined as 'good design'. Forming the image into the symbols outline is unconventional for museum branding. Often is the artwork a full bleed image or its own size. 

The problem with setting the image this way is whether the artist will allow his/her work to be manipulated from its original form. It might also mislead the viewer as to how the artwork looks like in real life.  

Member Card & Ticket

Mocking up a members card for Leeds Art Gallery was intended for the gallery to take itself seriously and to cultivate a community around the gallery. 

On the card's design, the filled in symbol represents the member amongst normal gallery visitors. The placement specifically over 'members' is meant to further communicate this idea, relating the filled in letterforms to the filled in symbol. 

'Member' is set in lowercase due to the uniform x-height it produces. Combined with the straight stems of the 'm's, the word creates a block that is similar to the shape of the gallery's building.

The ticket's design works in relation to the member card as being a member would mean free entry to all gallery exhibitions. Here, the pattern is a background to the exhibitions title. 

Final logo

Despite the idea to have a single line on the side of the gallery's name, it still does not provide enough shape to the logo to make it visually appealing. Ugly designed is critiscited for being more superficial than functional. Therefore to design the logo to achieve a level of appeal, its superficial qualities have to be considered.

Extending that line into the outline of the shape better defines the symbol of the gallery. Between the two, comments were made that the thicker variation works better. The bolder lines better communicate the concept behind the identity because it is more prominent. The benefit of having an unconventional shape is that the thickness of the line itself can be adjusted as long as it retains the original shape. More importantly, this shape can also be used as an signifier for the gallery, applying it itself across the gallery's content, helping to form the association between the symbol and what the public will think of Leeds Art Gallery.

Further development of logo

Following the criticism of the logo, a new approach to the concept was considered. Rather than force type into the shape of steps, have the outline of the shape be a symbol for the gallery that is independent and more versatile as a motif. The name of the gallery set traditionally from left to right allows quick reading of the logo for the reader.

However the logo set this way feels like a conventional approach to the concept. The brief should demonstrate the extent of ugly designs characteristics and to determine whether it can be effective as a professional identity.

Hence the original type set is retained but is combined with the outline in the previous experiment. Having the line gives the logo more shape which was a problem in initial applications. Looking closer, a small detail was added to help complete the logo. The line has been skewed in the same manner as the type has, creating a unified look for the logo that effectively communicates the idea to the reader.

Turning the logo another 30 degrees fixes the a lot of issues regarding the diagonal shape of the previous versions. The copy now reads conventionally from left to right, forming a more manageable rectangular shape that is easier to form content around. The step concept is still evident through the perspective of the type, clearly depicting the words going 'in' and 'out' of the page.

As mentioned earlier, because the logo now has a neutral colour scheme, it allows the gallery to colour in the line for certain exhibitions or promotional material as seen in the changing colour of the RA logo on their flyers.

Initial wayfinding

A thicker weight has been designed to be extend the weight of the logo's typeface into the gallery's way finding arrow. Because of the possibility to adopt the art direction similar to Whitney Museum a thinner variation of the arrow as seen in, 5, would be preferred as it keeps the identity consistent. The extended top line of the arrow is meant to be asymmetric so as to convey te concept of  right angles more explicitly to the reader.

Initial development of logo

Developing the initial logo further, the weight of the font was first adjusted. In Logo 1, the counters don't create enough negative space lowering an easy reading of the gallery's especially if it was to be used on small scale. Logo 2 uses a semibold weight that allows more contrast in between the letterforms, increasing its readability. Logo 3's descending weights were meant to create movement for the logo, guiding the viewers guide onto each subsequent line. In Logo 4 & 5, this is communicated through the official colours of the gallery and at the same same explicitly communicating the step concept.

However when placed on a few initial flyer designs, does the logo's characteristics show its limitations.

Flyer A

Flyer B

Flyer C

By forming the type into the steps, it creates a an unconventional logo that sits awkwardly on the page. The angled type and irregular rag do not create a solid outline for the logo's shape as shown in Flyer B. It sits awkwardly because the irregular shape of the logo stands out from the rectangular forms of the copy. On its own, against an empty background, the logo is functional because it does not have to fight for attention. It's unique characteristics fight for the readers attention when the logo should allow the key information to be read. The angled and skewed perspectives of the logo is too busy to be put with other content as it demands more effort from the reader to read.

In Flyer A, the green steps clashes with the art work on the flyer. Furthermore, the flat and cold shade of green used for the gallery gives off a corporate feel which isn't appropriate for what the gallery is. Having the logo in a neutral colour allows the often colour artwork to become the main focus of the flyer.

As a result of this colour scheme change, Flyer C is the most visually appealing of the three initial designs. The artwork has been formed into a staircase to communicate the concept through various formats, demonstrating its flexibility. This creates an unconventional art direction for the gallery which is a common theme amongst ugly design. This also helps the gallery set itself apart from the competition and in the public space, which is a problem in the current solution. Having the type in an outlined box gives the logo a formal shape that is easier to manage when placing with other content.

The white and black colour scheme with thin black lines have been done before in other gallery identities such as the Whitney Museum, Stedelijk Museum and Reykjavik Museum. The common use of this art direction could be considered a trend given its apparent appeal for galleries/museums to adopt it and its use in several museums internationally. Thus if it can be considered a trend, following a similar art direction would be appropriate given the nature of ugly design being defined as a trend itself. Therefore the identity takes a trend and interprets it in its own way relative to the context and concept of its application.

KAWS is used for the example artwork for this rebrand because:

• There are no currently running exhibitions in the Leeds Art Gallery due to ongoing renovation work on the roof
• He is an internationally known artist
• His work has been displayed at YSP which opens a possibility for his work to be shown in Leeds Art Gallery (hypothetically)
• The use of colour, pattern and characters appeal to younger art audience

Using KAWS's artwork would be a way to determine whether an ugly designed identity can be successful in appealing to its target audience whilst being professional enough to effectively promote an international contemporary artist. 

Study Task 08 - Feedback on shortlisted ideas

Out of the 3 ideas pitched, idea 08 (right angles) was chosen to develop further.

Idea 01 did not aim to create a distinct enough identity for the gallery. Using the triangle motif in Leeds Art Gallery would mean implementing it on every other gallery/museum in the triangle. This would mean altering an already established mark such as The Hepworth Wakefield.

Idea 03's intended typeface, Beirut, was criticised for being too alike typefaces used for editorial design, the magazine intern was an example. The serifs also made the typeface too characterful for something as professional as an art gallery.

Hellix typeface

Idea 08 was chosen because its was the most conceptual and unconventional which had the most relation to the topics discussed in the essay, that being manipulating and conveying conceptual ideas through type. Surprisingly, the idea to base the mark around forming a step made sense given how much of a landmark Parkinsons Steps are in Leeds. Not only that but by explaining how steps are commonly seen on Leeds landmarks, the idea then becomes informed by Leeds and its architecture. The gallery then becomes more of a local landmark rather than for Yorkshire entirely.

Space Mono typeface

Between the two sans serifs Hellix was chosen because of its cleaner forms, tighter kerning, more pronounced right angled terminals and rounded characteristics to contrast form a contemporary looking mark for Leeds Art Gallery that is appealing and engaging for the younger audience.

Another advantage the concept is flexible enough to be applied to other areas of the gallery. As shown through the way finding arrow example, the staircase theme can be extended throughout the gallery's identity in either explicit or implicit ways. Repetition of the motif creates an association for Leeds Art Gallery that is beneficial in creating a more recognisable identity.

Gallery collateral

Analysing a range of flyers/leaflets by art galleries will provide contextual knowledge to how galleries design their collateral for exhibitions.

The collateral for the Royal Academy of Arts uses a consistent art direction that communicates information to the reader clearly and efficiently with the main pieces of information such as the gallery's logo and title of the exhibition taking majority of the audience's attention. What does aid the visual impact of the collateral is the full bleed artworks on the cover. This gives the audience context as to what the exhibition is about. Furthermore, because the art direction is consistent, it becomes an identity for the RA which people subscribe to.

the collateral for the bauhaus is focused on communicating the iconic and pioneering approach to design they sought to establish. the typeface, based on the original gropius designed by herbert bayer, is specifically set in lowercase which relates to his quote stating "why should we write and print in two alphabets? we do not speak a capital 'a' and a small 'a'." the use of type and its design is therefore appropriate given the context of the museum. the typeface designed by sascha lobe is "a unique, extensible typeface that embraces the character, nuance, and edge of the bauhaus movement itself." this helps create a distinct and unique museum identity that is unlike the current solution for Leeds Art Gallery. 

For the Auckland Art Gallery, type has been manipulated to communicate what the museum is all about. 

The repeated use of this technique forces 'ART' to become the focal point of the audience's attention. Through this visual technique, the association of art and the Auckland Art Gallery is formed which is beneficial in helping establish Auckland's gallery as the first place people think for art.

'Moving is in every direction' is taken literally for the art direction of Hamburger Bahnhof's exhibition. Type is skewed in different directions, impacting its readability, however it provides the art direction movement, engaging the reader whilst providing a clear informational hierarchy through the choice of colour. This has been informed by Gertrude Stein's interpretation of the exhibition, suggesting that the audience will experience a "non-linear narrative". 

What is unconventional is having the floor plan of the exhibition on the front page of the booklet rather than showcasing the artwork. This is functional however as it gives the visitor context of where the exhibition will be, reducing confusion and directing the visitor around the building easier. 

The haphazard composition make the elements on the page look 'layered', in the same way layering is used in Wolfgang Weingart's work, although to a more restrained effect. This is a contrast to the clean and efficient aesthetic of Modernism that gives little away to the reader to how it was designed. 

For the 2016 Singapore Biennale, 'mirroring' is focal point of the art direction. This is communicated through the reflecting R's and the shadows coming from and into each word of "An Atlas of Mirrors" which symbolise beams of light. Rather than manipulating type, gradients are used to direct the readers reading. 

How the leaflet unfolds however is a better representation of the mark's application. The leaflet is alternately folded which allows readers to view each category (Trails and Treasure) by turning the page either right or left respectively. This unique folding technique creates an engaging reading experience that is reflective of the alternating shadows and placement of the biennale's title.

Considering whether or not it is necessary for Leeds Art Gallery does give out tickets for its exhibitions, the ticket should be inclusive of the overall art direction or reflective of the gallery/museum's image. By designing each detail of the visitors experience in the gallery, it produces a positive image for the gallery and imparts a positive image on the visitor.

For the Fear and Love exhibition at The Design Museum in London, design studio OK-RM uses bold Eurostile to relate to the exhibitions future technologies and minimal branding which is in line with the museum's branding guidelines. As a result, the reader is informed of the exhibition's title immediately with the museum's mark as a supporting element that suggests rather than informs. 

Moving on to more local examples of gallery collateral, the recent exhibition branding for fashion designer J.W Anderson was designed by OK-RM as well. In this example, type is manipulated to form a visual border around the content of the flyer. The vertical type lowers the readability of the event because it demands more from the reader to understand the information communicated. By changing the format of how we usually read through the vertical typeset, it forces the reader to consciously adjust to understand what he/she is reading.

For the KAWS exhibition at YSP, minimal information is used to allow Brian Donnelly's work to be the main focus, similarly to the art direction used for the Royal Academy of Arts.

Lastly, Leeds Art Gallery's collateral is unimaginative compared to above selection. The smaller set "Leeds Art Gallery" and logo implies that the gallery is unconfident of their brand. Because of its point size, visitors will read "Autumn/Winter 2015/16" first which is doesn't help the visitor. It is neither the name of the gallery nor an exhibition. The arbitrary layout of information is not exciting, combined with the use of a generic sans serif and the art direction feels flat. Imparting little to no distinct identity of the gallery onto the user.

Study Task 07 - Shortlisted ideas

Out of the 8 ideas presented, these 3 represented the ones chosen to develop further. These ideas had stronger concepts behind that relate well to the topics discussed in the essay.

Idea 01

Through this idea, the triangle motif is aimed to bring in the galleries under the brand of the Yorkshire Sculpture Triangle.
The triangle can then become more of a visual identifier for its region and promotion for its 4 galleries.
Taking on inspiration from idea 07, the triangle motif can be used to showcase the artwork for that specific exhibition on collateral be it flyer, poster, leaflet, etc.
The galley's name could also be made into a triangle to communicate its part within the Yorkshire Triangle yet distinguish itself from the others.

Idea 03

Thinking literally of the contrast between old & new through type, the use of a serif on a modern composition of information would not be appropriate. It would make the gallery look dated and more of a historic museum than contemporary art gallery. This will further distance the gallery from the younger demographic.
Using a sans serif on a 'serif associated' look for the layout would only confuse the reader on the gallery's image.

What would be better is for a typeface that has the characteristics of a serif communicating the old but designed in a way that brings it up to date. This forms a better visual relationship between the two contrasts and allows more freedom when composing promotional content.

The typeface also has strong triangular serifs that makes it look 'anchored' to its baseline. Communicating a strong and solid typographic identity that compliments the stone architecture of the gallery. The typeface's distinct features will create a unique and recognisable typographic identity which is lacking in the current solution.

Idea 08

This is the most unconventional of the ideas that uses an overlooked and obscure feature of the gallery to become its identity.
This approach relates to the unconventional representations in ugly design's ideas.
The right angled terminals on certain letterforms give the sans-serif a new contemporary look which are characteristic enough to become a visual identifier for the gallery.
The harshness of the angles reflect the flat and straight edged architecture of the building.