Font Analysis
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 fonts which I feel will suit my poster and exhibition successfully.
I have selected these fonts to decide whether they will fit nicely with the theme of ‘Spinning’ and represent my chosen phrase of ‘Twisting’. I therefore felt it was fitting that the name of my exhibition should relate clearly so I chose ’Twisted’ as the title. The top font resembles a typewriter style font and is spaced out, all in lowercase. This font is simple but effective – it will not detract from the twisting of the sculptors and figures within my chosen paintings I am exhibiting. The slanted text allows for movement within the lettering, linking to the theme. The font has no (Sans) serif and is reminiscent of the ‘Fast and Furious” font. The final font features a bubble font which I am not too keen on, but the overlap links to the poster I have analysed and supports the theme. I researched fonts that were trends for 2018 and came across this serif font. The twisting of the letters lend itself directly to my chosen theme.
This font is a ‘Permanent Marker’ font which resembles a marker handwriting with block colour and a flow to the text. I prefer this font because of these features, also because of how it stands out from regular straight serif fonts.
ITC Lubalin Graph® was initially designed by Herb Lubalin and drawn to fit the requirements of typographic reproduction by Tony DiSpigna and Joe Sundwall in 1974. Its underlying forms are those of Lubalin’s previously released ITC Avant Garde Gothic, but its shapes were modified to accommodate large slab serifs. Its condensed weights, which include small caps and old-style figures, were later additions by Helga Jörgenson and Sigrid Engelmann in 1992. The family, with its generous x-height and overall tight fit has come to represent the typographic style of American graphic design in the 1970s. The typeface is at home when paired with midcentury modern design and spare sanses or more traditional text faces from the period. ITC Lubalin Graph covers four weights in its condensed width from Book to Bold, and five weights in its normal width. The last font is a ’Pakenham’ font which resembles a 20th Century hand-painted typeface. I feel as though this font should work well as a subtitle font, a subtle enhancement to the larger title for the poster but not distracting from it’s purpose as main attraction of the poster.
Colour Ways
By using Adobe Colour Capture it takes the most prominent and complementary colours from a chosen image, in this case - the paintings I have analysed, and produce a chart of colours and tones. I will then use these colour ways to consider shades that will work well on my creation of a poster, ticket, booklet and exhibition. I am going to identify hues, tones and shades within a select few sculptors and paintings which I feel are appropriate.
Colour Ways
The paintings I previously analysed all depict twisting figures in bursts of colour in a range that blend well together. The following colour charts represent sculptors all in a twisted formation, these tend to all feature muted pastel tones ranging from greys and nudes to deep burgundy's and browns. These colour ways will now be input into
Poster Creation My final exhibition poster displays a close up of Michelangelo’s ‘David’ from 1504. by choosing to display only a upward view of his face it portrays how it was intended to be seen before being placed elsewhere for the Medici’s. This perspective also leaves viewers wanting to see the bigger picture and therefore enticing them to view the exhibition.
For the title of my exhibition, I choose to work with the ‘Permanent Marker’ font as I felt it worked well with the airy theme of the poster. The colours (blue and red) both work well in contrast like the previous poster I looked at. Once these colours overlap, a pinkish-purple is formed, lending to the trend for the colour of the year – Ultraviolet. With an added light blue tinge to the title it brings the poster to life as I felt the white was too harsh, and the little subtitle is a red-salmon hue which adds a pop of colour. The font I chose for the other information is the ‘Pakenham’ font and complements the curvy title font. I used the marker font for the date to link the two and stand out to the viewer.
Ticket Creation
The shape of the ticket was inspired by an earlier ticket I had looked at. The length allows for parts to be ripped off yet kept as a souvenir. To create the colour hues and transparency of it I had to create two separate versions of the David sculptor and merge them together, adjusting contrasts and saturations. To fill blank spaces, I added pops of the colours used but in a muted style.
The ticket is the same as the poster with font colours, styles and placement however the subtitle is placed on the different side for the ticket as I didn’t want to make it too left-sided. The background is a close up of my poster and the line (inspired by other posters) is meant to be a guideline for the other information which is placed sideways. The information gathered is all placed in an order I felt appropriate for the ticket which had also some influence from other tickets previously analysed. I kept the fonts fluid by dropping in some of the main marker font to break the styles apart and create a helpful yet informational ticket stub.
Leaflet Creation
The leaflet I have made resembles both my poster and ticket as I have worked with muted tones of red, blue and purple. It features information relevant and helpful for my exhibition, such as a floor plan, opening times and prices. By using a lilac shade as the base for the middle insert this works as a link to the red and blue combination from my poster/ticket and is a reference to the trend colour of the year. I also added a slight filter over the full size statue of David by Michelangelo which is used as the focal point of my poster. I have arranged the font and logo differently than on the poster and ticket along with added text and colour.