Intention
After having researched a variety of paintings and sculptures, all relevant to the theme of ‘Twisting’, I will now look at creating a booklet, ticket stub and an exhibition to display these artworks. Throughout the following slides, I will analyse and take inspiration from existing gallery posters, font styles and exhibitions.
Exhibition Poster Analysis
In the top right corner of this gallery poster we can see the gallery’s logo which is instantly recognisable 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. Although the simplicity of the font suits the National Gallery, I feel that I will be more experimental when choosing a font for my poster.
In order to commercialise my exhibition to attract eager viewers, I will need to understand what makes a professional exhibition poster effective. Throughout the following slides, I will be analysing successful posters.
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 information 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. 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.
Exhibition Poster Analysis The title of this poster is ‘Metamorphosis’, and like the phrase suggests, the letters all merge into one another, overlapping in places. The white font against the colourful bodies creates an eye-catching poster, attracting viewers in from afar. The subheading for the artist and the year is a couple of sizes down underneath, in a similar font which is clearer to read as it isn’t overlapped, in a pastel blue.
The use of the negative space between the twisting bodies is effective in emphasising the bright warm toned colours combined with the cooler tones against the black background. The bodies seem to reflect Titan’s paintings projected across their bodies, all together in a twisted position. The lighting illuminates the dust and the tops of their hair, the detail is exquisite within the photography.
British artists names are making use of the negative space in the top left corner and more information about the exhibition is featured opposite in the far right corner. The gallery’s signature logo and sponsorships are a stable feature at the bottom of this poster, along with the date and times. The website and place is also placed there.
Exhibition Poster Analysis The title of this poster also reflects the phrase and exhibition itself – ‘Surreal Encounters’. The font is gives off the impression of an illusion, the ‘S’ is wavy and ‘surreal’. The poster as a whole is one image, the font is consistently white across.
The image itself is ‘surreal’ and reflects what the exhibition will be about. It is peculiar and hides an expression as the backs are turned. This entices the viewer to view the poster – curious of what it may be hosting.
Because the colours and lettering in this poster are less vibrant than the last one, this exhibition is most likely to be aimed at an older audience. The colour scheme of this poster is muted greens, khakis and blacks, with the pop of orange – gold In the centre, the font is bold and eye-catching. However, I am not so fond of the other fonts, as the do not follow the same theme. By keeping lettering consistent and fluent throughout it engages with the audience and the read flows. Like usual, all sponsorships are located at the bottom, underneath the date of the exhibition and some extra information
Leaflet Analysis
To understand what information to include in an exhibition leaflet, during the next several slides I will be analysing a variety of gallery leaflets and business leaflets to gain a significant perspective for what works well when presenting a leaflet.
This gallery leaflet was created by the National Gallery of Slovenia and measures roughly 20cm in length and 10cm in width. By having a leaflet that is slim and elongated it allows for an easy read and the tourist is able to flip though quickly and discreetly whilst walking around a gallery, because of its small specifications. By placing images only at the front and back of the leaflet, it doesn’t detract from the enjoyment of viewing paintings and sculptures in real life. The text is clearly laid out, with bold headers and simple placement on colour and social medias. The font is consistent throughout, white on the coloured aspects and black on the white. There is a small map with minimal detail in the lower section of the leaflet. This is practical and relevant to the exhibition itself. The logo is continuous and placed in the top left corner of the leaflet’s front and back. The name of the gallery has been turned sideways and fills the length of the leaflet.
Leaflet Analysis The white leaflet appears clean and simple overall, with colour sections and writing in the occasional space. The white background keeps a blank canvas that is airy and light, but however nice this is I feel it would not support my exhibition. The paintings I have analysed are of a consistent ‘twisted’ theme which could symbolise a twisted mind-set – and therefore impure thoughts, not associated with a pure white colour.
I have chosen to look at two alternate versions of the same leaflet as I am curious to discover what I feel would work well within my presentation and what would not.
The black makes a statement and is dramatic. I like how the white text pops against the leaflet, the images too. Like before, the same style of leaflet is shown here – elongated and slim, although the width of each page seems wider for this leaflet. Information Is again situated at the back, but I would feel like I would need to include more imagery to give snippets for an art exhibition.
Ticket Stub Analysis
I will now analyse multiple variations of ticket stubs in order to create my own. It which links to my exhibition and the presentation of the leaflet poster and ticket will be easily identified.
This ticket for the Vancouver Art Gallery to see Picasso is vivid, bold and eye-catching. The lime yellow stands out against the sky blue, and paired with the white, compliments one another well. The title is the main point of this ticket, the largest text and taking up the most space. To the right of the ticket, we can see the place, address, website and a contact details. The font used for this ticket is consistent – bold in some places and a mixture of the yellow and white. The text for ‘Picasso’ is a rougher font which signifies the artist was a painter as the font is trying to mimic a brushstroke letter.
Ticket Stub Analysis
Unlike the previous example of a ticket in all of its colourful glory – this ticket is just a general entry ticket as it features a black text with a plain white background The title is simply presented in the tope centre of the ticket, in a heading that is a staple font for ‘The Louvre’. A website is located underneath the heading and the age, price and date is printed underneath this, in a standardised printer font. The location is featured at the bottom of the ticket. Although this ticket is simple and sweet, I feel that this will not link my work to my exhibition and presentation of my poster, leaflet and ticket. The lack of colour may be cost effective but not expressive of the theme of ‘twisting’.