The main and important information is placed in the National Gallery font in the centre right of the poster but on a larger scale. This attracts the viewer to focus on the relevant informtion first and from a distance. The name of the exhibition and date are to the top and bottom of the title which is equally relevant, but looks fitting when scaled down to a smaller size.
The entire poster has an eerie feel to it. The use of deep blues, umbers and ochres create a dark tone that gives it an aspect of suspense. This is a clever way of making the viewer curious and wanting to know the whole story and meaning about this painting, which therefore increases sales.
By using a white font, this brightens the entire poster by making it pop into our perspectives. It is a contrast from the darker shades in this painting that has been picked out from the white clothes from the body laying at the bottom.
EXISTING GALLERY POSTERS In the top right corner of this gallery poster we can see the gallery’s logo which is instntly recogniseable from the font that has become a signature style for the National Gallery. It is simple and bright yet does not distract from the painting which covers the entire poster. This is useful for me as it inspires me to use the technique of keeping the font consistent throughout the poster. Althought the simplicity of the font suits the National Gallery, I feel that I will be more experimental when chosing a font for my poster.
The background of this poster is a painting called “Lamentation over the Dead Christ� by Sebastiano del Piombo. This poster was created to promote The Credit Suisse Exhibition where it explores the relationship of two Renaissance masters; Michelangelo and Sebastiano.
A website, sponsorship and telephone number is featured at the very bottom of the poster for extra information of relevancy.
EXISTING POSTERS/COVERS This book cover has been adapted to feature the characters from the movie that was made. The background features these two main protagonists in alternate angles and fading into a dispersed effect of crows. There is a lot going on in the background which creates an exciting atmosphere.
The font used here is distorted through the middle of all of the letters. This creates a staggered effect which I like. I however would not think this is suitable for a gallery poster because it is very futuristic which does not follow in with the them of historical paintings.
Like the gallery poster, the most important title/information is right in the centre of the cover and the relevant other information is situated at the bottom. Unlike paintings and films which we are visually able to see, slogans and phrases are used on book covers to give the viewer (reader) a sneak preview into what the plot is about, as the book is an imaginative way of us being able to ‘see’ and picture places, characters and colours.
The colour palette used in this cover are very cool and muted blue, green and grey tones. The characters are wearing black which makes the use of a white font pop.
This album cover/artwork is very straightforward and simple yet still very attractive and aesthetically pleasing. The layering of the horse, title and mist effect gives the cover a sense of depth which is effective visually. The font is in capitals to catch the viewers eye - the letters are all in align with one another and are black, which compliments the black silhouette and fill of the horse
EXISTING POSTERS/COVERS This film poster is thrilling to look at as it has a dispersed effect from the left hand side of the character’s body. Talk bout photoshop…………
By using a cool toned and dark colour palette, this creates an eerie feel to the poster as a whole. By placing the character in the foreground and making him appear taller and looking down on the buildings in the background enables the viewer to want to know more about what happened in the film, and how it has ended with this sense of destruction.
The fonts that have been used are consistent – it is tall and in capitals so is very fluid. The main title of the film is placed in the bottom centre of the page, in the same font but with added shadowing and a 3D aspect to it. The website, date of screening and sponsorship is placed along the bottom of the poster for viewers who are interested in it to look closer.
The font is consistent, yet again, but situated along the top. The title is in red, and the subtitle (the name of the season) is next to it, in the same size but in white. The red font is bright and bold but still complements the red carousel theme in the background. The background is faded slightly with black which allows anything in the foreground to look three dimensional. This effect draws the viewer in and creates a dramatic image for them to focus on and be intrigued by. More information is featured along the bottom of the poster.
This poster for a Netflix show called American Horror Story. It is a bewitching poster that is to the point with a main figure in the centre.
FONT STYLES
FONT STYLES
I decided that this font could work on my poster as it is relevant to a distorted effect, with the glitch staggers throughout the lettering. The distortion is situated toward the lower proportion of the text which is very appealing to the eye and not distracting from the entire letter/text as a whole.
The text is bold to make it stand out on a plain background; I do not think this font would work as well on a patterned/heavy background as the font itself is thin and quite light. It is a curvy font, which makes it appear soft and almost sweet. I therefore do not think this font is a good match for the more dark and deathly theme of my exhibition.
This font has been inspired by Charles Rennie Mackintosh’s style of art deco, that was adapted and used by the directors of American Horror Story on Netflix. I really like this font, the ’o’ have a dot/symbol underneath which balances out the lettering.
FONT CHOICE
My final choice of font is the ‘The Classic Charles Rennie Mackintosh Font’. I have chosen this style of font as I feel it best represents my exhibition’s eerie tone present within all paintings shown. By having this font as a main body for the Netflix show ‘American Horror Story’, focusing on the word ‘horror’, the title is contextualised it
POSTER This effect is more subtle, the original colours are tinted with a light pink wash and the glitch lines are less exaggerate than the last example. I prefer this effect as it is easier on the eye and viewers will be able to identify what the painting is.
By using a website called ‘Glitcherator’ I was able to play around with colour palettes and styles of glitch. This colour scheme is a merge of
This example is very distorted therefore making it trickier to figure out what this painting is. The colours are darker, mid toned and less inviting than the previous example. I like how the dishevelled effect appears, however it seems too distorted towards the top – detracting from the faces of the figures.
This final experimentation features a more pastel colour palette that is brighter and almost neon compared to the previous examples. As all figures in this painting have their heads angled downwards, by having the brighter colours at the bottom of the composition makes it much more effective – like they're looking towards that light. However, I do not think I will use this as a final example as a poster as I feel that the colours do not relate to the poster and clash.
FINAL POSTER AND TICKET
GALLERY VISIT
By visiting the National Gallery I was able to gain an idea of how and where paintings are placed and what colours the walls and floors are. For the majority of the walls, a consistent warm tone is fluid throughout – from reds to siennas with a complimentary cool blue toned skirting and patterned. The doors have a very vintage feel to them – heavy and dark oak with elaborate door frames.
GALLERY MOCKUP Using the website ’Cedar Architect’, I was able to construct a 3D mini Art Gallery to showcase the paintings I have analysed. Taking ideas from The National Gallery such as dark doors and wall colours, to the placement of paintings and floor space. Inspired by the layout of galleries such as The National Gallery I previously looked at, I decided to base my own mini gallery off of this. The interiors are similar in the sense that the wallpaper/wall colour I have chosen is a dark burgundy shade, and the floor is also a dark tile. I feel that this is best suited for a gallery as the dark shades allows for viewers to focus entirely on the artwork that is displayed on the walls. The paintings I have displayed on the walls are paintings I have previously looked at analytically. By using Photoshop, I was able to edit and distort these paintings into frames on the walls of my gallery. The painting ‘The Execution of Lady jane Grey’ takes centre piece with the largest spot in the room as the exhibition poster featured the painting.
GALLERY MOCKUP
BOOKLETS
This art gallery booklet was created by The National Gallery in 2011. it is roughly 20cm in length and 10cm in width. By having a booklet that is slimmer and elongated makes it easy for the reader to hold whilst walking around the gallery, as this booklet specifically gives details on each and every painting in the exhibition by Da Vinci and Boltraffio. At the beginning, there is a simple line map numbering each room which indicates throughout the booklet where you can go to listen to audios on select paintings. I like this particular style of booklet as it is simple and effective – with accent pages in plain colours which don’t busy the page and take away the focus which is the text. The font is the standard font of The National Gallery, which is simple, vintage looking and the reader can quickly place the font in relation to the gallery. This booklet is far brighter with less information than the previous, however, it is just a brief overview of what the viewer can choose to visit. By not over cramming a booklet, this is somewhat more effective than the last, as it is snappy and to the point, which will get the attention of the reader easier. The font is not fluid throughout, only a few titles match. I don’t like this inconsistency as I feel the reader can get lost if it is choppy. Unlike The National Gallery booklet, this one features photographs of what will be seen if the reader chooses to attend. This gives the booklet more character and structure – it sets the text apart and separates the paragraphs evenly.
BOOKLETS
The third booklet I have is another National Gallery owned one which urges the reader to “seek out the paintings that Michael Landy has used in the making of his sculptures in the exhibition ‘Saints Alive’.” This booklet is a helpful and effective guide on his works, it also features a reversible/flip out page which showcases multiple paintings and line drawings of his sculptures. I really like this idea, it gives the readers a snippet of what they can view, and makes them intrigued and wanting to come along. There is a simple line drawing of a gallery map in the centre The pages are dark and white, both extremes of contrast yet makes the font easier to read. The accent colour of red can be seen to have been picked out of quite a few garments in Landy’s paintings which in an inviting strategy. I like this idea a lot, and will be taking aspects of their techniques to inspire my own creation of a booklet.