The finished visual identity consists of a logotype and logomark designed by myself and Josh, a website concept with a Dropbox like submission system which allows people to submit their work and a complete set of brand guidelines that are applied across all applications to ensure a consistent visual identity, both designed by Josh.
The brand also consists of a set of poster designs that advertise the exhibition using three different design styles focusing around the core brand guidelines, the brand in a social media context and other applications such as signage, waypoint and information card examples that make use of the arrow logomark and its versatility, designed by myself.
The final logotype for the Submission exhibition created by myself and josh. The logotype consists of two elements, the type based logo and the arrow logomark. The logotype uses Cirka Regular by Pangram Pangram Foundry. The serif type is a clean, sharp edged striking type. The versatile typeface is used across all application and used across header, sub header and body type. The arrow logomark is used consistently across all applications as a separate logo or combined with the type. The arrow is used in different contexts from waypoints, signage, artwork descriptions and also reflects the name and idea of the exhibition with the arrow symbolising a ‘submission’ button/label.
The website, created by Josh, is a simple, stripped back design that allows the exhibition pieces to be displayed cleanly and in a way that has an impact. The website uses the brand guidelines including the type hierarchy rules to create simple, negative space heavy space that can neutrally display the exhibition pieces while correctly advertising a clear brand for the exhibition. The websites’ simple style allows for it to be versatile and easily replicated across all other applications to ensure a clear and consistent visual identity.
The set of poster designs are all type based poster sets that incorporate heavy use of negative space. The poster designs are simple and hold all the adequate information without cluttering and ensures the viewer isn’t overwhelmed when viewing the poster and its contents. The posters use Itten’s contrast of extension colour theory to balance the colour palette so they all work harmoniously with each other and the negative space. All poster design use the Cirka Regular typeface by Pangram consistently with all other applications of the exhibitions identity. The heavy use of negative space, typography and muted colour palettes ensures the poster designs do not influence the pieces the exhibition displays and allows for versatility in design and allows for multiple possibilities for design outcomes. All posters either stick strictly to the brand guidelines
exactly or stick to the grid system and use experimental typography. All posters display all adequate information and description of the exhibition and uses the brand guidelines to establish a clear hierarchy across all applications to keep a consistency across all other contexts of the visual identity.
The social media context takes the two elements in the logotype and the logomark and uses them as AVI and banner examples. The AVI and banner use the basic grey of the website to communicate the consistent, simple, stripped back versatile style. The banners are interchangeable with different variations of banner holding different information regarding the exhibition.
The other various applications use the arrow logo mark consistently across each as well as the same type to keep a consistent brand and demonstrate the versatility of the logomark and brands idea of versatile application. These include waypoints, information cards and directional signage.
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