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.