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.