Brief 3 by David Gaskell

03 Brief Title

The Brief

Solution

Evaluation

Dressing the Screen

Create a visual identity for Dressing the Screen: The Rise of Fashion Film, a bi-lingual fashion film exhibition.

A recognisable symbol combined with pattern and colour is the direction I took with the logo. When the starting the project I had a decision to make, whether to focus on the fashion or the film element of the exhibition. I chose the film exhibition, as it is this that distinguishes Dressing the Screen from other fashion exhibitions.

It was a large brief which I completed to the best of my ability. I spent a lot of working and experimenting with new format and techniques and know the identity would work well if it were a live brief. There is a lot I am happy with from this project, the quantity of work, how every design decision has a solid rationale behind it, not a style influencing it.

Background

The decision to use colour and pattern is relevant as both are international languages, removing the need to use typography in the primary logo. The colours and patterns are used throughout to create an identity that is recognisable and adaptable for future exhibitions.

This project was a turning point in many ways, I approached the identity from a completely different direction. Instead of seeing it from my eyes as a designer, I put myself in the shoes of somebody visiting the exhibition in a foreign country, in a place where they canâ&#x20AC;&#x2122;t speak either language in the exhibition. This is how I landed on an image only logo. Every decision I made during the brief was human-focussed, this is a massive positive for me going forward in the industry. Having the ability to look at a branding project from another personâ&#x20AC;&#x2122;s perspective, not a product range and distribution task gave me renewed enthusiasm for identity design. Knowing that an identity can be more than an embossed logo, or foiled typography is the most important piece of knowledge I have learnt from working on this brief.

Brief Type Competition - D&AD

Collaborators N/A

The exhibition will be travelling across the world over the coming years, the identity has to be adaptable and independent from written language. The exhibition shows films from the last 75 years, all of which use different styles, so the identity cannot lean towards any particular style.

Considerations The exhibition is divided into seven sections sections - if the logo took advantage of this the overall exhibition identity would be much stronger, with the way-finding being a direct link with the logo design. The films in the exhibition come from different eras, meaning they use different aspect ratios, finding an effective way to balance this will be vital if the identity is to be successful.

David M Gaskell

OUGD603

Brief 3

1/13

Research

David M Gaskell

What I did

Why I did it

How the research informed me

The first step I took was to research into Dressing the Screen, the people behind the exhibition and the films featured. I was looking to find similarities between films featured in the exhibition. Aside from look deeply into the design problem I faced I research exhibition design to look for engaging and interesting ways the exhibition could be displayed.

To design an identity for an exhibition it is imperative you have a thorough understanding of what the exhibition is about. I became an expert on the exhibition, the directors involved in an attempt to get a true flavour of what the exhibition is.

I found there was no specific style of film featured in the exhibition. However I learnt the exhibition is divided into seven sections I made that the focus of the identity.

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Brief 3

2/13

Development

David M Gaskell

Concept

Starting point

Progression

The exhibition identity needs to be recognisable, and related to fashion and film. I chose to angle the solution more towards film. The use of a silhouette relates back to film awards like the Oscars. This is important as the Oscars celebrates the actors and films that are the ‘best’ in their field, and Dressing the Screen shows the best fashion films from the last 75 years.

I used a female silhouette, to work against the male silhouette used for the Oscar’s logo. I was conscious to include seven variations of the logo, relating to the seven sections of the exhibition. The patterns I developed are all linked to clothing that feature in the exhibition’s films.

After developing a variety of patterns to work within the silhouette I selected the 7 patterns I liked most to progress with, to clean up and play around with colour palettes.

OUGD603

Brief 3

3/13

Outcome

David M Gaskell

Dressing the Screen: The Rise of Fashion Film

Туалетная экрана: Восстание Мода Фильм

Ubuntu - Bold

Ubuntu - Жирный

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz #!?@%&/-() 0123456789

АБВГДЕЖЗИКЛМНОПРСТУФХЧШЭЮЯ абвгдежзиклмнопрстуфхчшэюя #!?@%&/-() 0123456789

Ubuntu - Light

Ubuntu - свет

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz #!?@%&/-() 0123456789

АБВГДЕЖЗИКЛМНОПРСТУФХЧШЭЮЯ абвгдежзиклмнопрстуфхчшэюя #!?@%&/-() 0123456789

Concept

Aesthetic

Typography

The logo is image -based to avoid any language barriers as the exhibition travels the world. When facing a design problem such as this it is important to have multiple ways an audience can distinguish your ‘brand’ from other exhibitions and which may be similar. In combining the female silhouette with the seven colour variations and pattern designs, the logo design becomes a visually engaging and instantly recognisable mark.

I wanted the exhibition to stand for the past and a new future for fashion design and film. For this reason it needed to be anti-Vogue in many ways, the Bodoni style type was put in the bin where it belongs. The visuals are bold and in no way serious, without the sense of superiority and snobbishness that is attached the Vogue.

With the exhibition travelling throughout the world in the coming years it was very important to use a global typeface. A typeface that is growing organically. For this I chose the open source Ubuntu font. I really like the aesthetic, it is angles more towards screen use, which is appropriate with the exhibition being about film.

OUGD603

Brief 3

4/13

Dressing the Screen: The Rise of Fashion Film The British Council is delighted to invite you to the private viewing of Dressing the Screen: The Rise of Fashion Film.

Curated by filmmaker Kathryn Ferguson and designed by Serie Architects, Dressing the Screen will explore the origins, history and pioneering role UK filmmakers and designers have played in the development of fashion film.

Friday 28 October 2014 19:00 – 21:00 Exhbition Venue, Exhibition Address 123, Moscow RSVP by Friday 21 October to any.name@britishcouncil.org

Туалетная экрана: Восстание Мода Фильм 7

6 рад пригласить Британский Совет на частного просмотра Туалетная 5Вас экрана: Восстание Fashion Film. Куратор режиссера Кэтрин Фергюсон и дизайн Serie архитекторов, Переодевание экрана будет исследовать происхождение, историю и новаторскую роль Великобритании кинематографистов и дизайнеры сыграли в развитии моды фильма. Пятница 28 октября 2014 19:00 - 21:00 Выставка Место проведения, Выставка Адрес 123, Москва RSVP на пятницу, 21 октября по any.name @ britishcouncil.org

Development

David M Gaskell

Private Invitation

Options

Direction

The private invite is an important aspect to any exhibition. An opportunity to impress and really speak to what the exhibition is. A chance to have the recipient experience the emotion of the exhibition, a perfect piece of one-to-one marketing.

In-keeping with the film award related logo the invitation could be a statuette. This would be a conversation starter, and an item the recipient could keep on their desk or in their office after they have visited the exhibition.

I took a while to think about what a private invitation could be, what is needed in one and how I could communicate that with the invitation for Dressing the Screen.

There is the obvious solution, a fancy bit of print, using expensive stock and a couple of meaningless special finishes. A mock-up of this kind of thing can be seen on the top right. This would be an effective solution, but would it change somebodie’s day if they saw it, probably not. I wanted to create something with impact, a conversation starter. I was very fortunate that the exhibition content and logo design lent itself to a physical invite.

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Brief 3

There were a few rounds of development in making the statuette, including a huge misjudgement in terms of how thick the model needed to be. I applied the patterns by hand, to give each invite a personal feel with no invite being the same.

5/13

Outcome

Private Invitation

Content

Why it works

An Oscar style statuette is the direction I took with the invitation. This direction allows for seven variations, with each logo able to be applied to the canvas.

The exhibition information is delivered using a concertina foldout underneath the statuette This will keep the information hidden when placed on a desk, and instigate the all-important conversation factor I want the invite to have.

People want something that is different, something that makes them look like a winner of an award. Partly for ego, partly to show they are involved in an interesting community. The statuette isnâ&#x20AC;&#x2122;t something destined for the bin, unlike many paper-based invites.

Constructed using high-quality wood, the hand-painted statuette is used to make each recipient feel special and part of an exhibition they would be silly not to attend. The physical nature of the statue leaves itâ&#x20AC;&#x2122;s paper-based counterparts crying to their mothers.

David M Gaskell

OUGD603

Brief 3

6/13

Development

David M Gaskell

Exhibition Signage

Options

Direction

The exhibition signage is the main reason I undertook this brief. It had to be interesting, exclude as much written language as possible and be adaptable to a variety of architectural canvases throughout the world. In summary, the signage needs to low-cost, highly functional and avoid any unneccesary use of language.

The external signage offered plenty of opportunity to implement motion, to communicate the exhibition being a fashion film exhibition. I developed this idea to a certain extent, before realising it doesnâ&#x20AC;&#x2122;t fit the need to be adaptable across any architectural surface, because of this I rejected the idea.

I was happy with the internal signage, but felt it could be simplified to make application cheaper, and easier when the exhibition travels.

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Brief 3

Internal signage was a much simpler area to work-out. I used colour and pattern to code each area in the exhibition, removing the need for languages. Making this a very effective form of signage for an exhibition which will be travelling the globe in coming years.

The external signage needed to be started again, I wasnâ&#x20AC;&#x2122;t happy with it, it looked clunky and I is the opposite of what the exhibition stands for. One positive I will take from the signage however is the focus on motion, trying to translate that into printed posters will create interesting visuals.

7/13

Outcome

Exhibition Signage

Rationale

Why it works

The final proposed signage and wayfinding is a more reduced version of my initial ideas. The focus placed on breaking the language barrier, maintaining and element of motion and lowcost of application.

The external signage (seen on the left) is a combination of the seven variations of the logo. Making for a range of bespoke posters which have an element of movement in them. This can be applied to motion-enabled signage with ease when the opportunity presents itself.

The internal signage limits the visitor dependence on written language, a definite plus for an international exhibtion.

The internal signage uses no materials, with the colour bands being projected onto the wall. This adaptability, and reduced cost will make the exhibiion set-up a much quicker and finacially viable task.

David M Gaskell

OUGD603

Brief 3

The external signage is both adaptable and engaging. To support this it is a low cost alternative to projection mapping. Another positive is the ability for the posters to be placed around the city of the exhibition, making more people aware of the exhibition and increasing footfall.

8/13

Development

David M Gaskell

The Southbank Show: Vivienne Westwood

Молодая Показать: Vivienne Westwood

Rifat Ozbek

Year 1990 Designer Vivienne Westwood Duration 02:59

год 1990 дизайнр Vivienne Westwood продол 02:59

Year 1989 Director John Maybury Designer Rifat Ozbek Duration 00:59

год 1989 директр John Maybury дизайнр Rifat Ozbek продол 00:59

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Производимые в рамках серии SHOWstudio фильмов, исследующих моду в Восточной Азии, короткометражный фильм Марии Шуллер витрины одиннадцать выглядит с формирующейся моды таланта из Таиланда, Китая, Японии и Франции. Порок сочетает изысканность и игривость выдвигая на первый план сложность и богатство современной моды.

Exhibtion Book

Format

Grid/Layout

In many ways the exhibition book is the memory people take away from the exhibition. The website contains mostly the same information yet doesn’t have the same emotional value as a book, for this reason the book has to be functional, and beautiful, so people want to keep it in their homes.

For ease of use the exhibition content is divided across 8 booklets, placed within a container. The booklets are 189mm x 267mm. A DVD will be included in the exhibition book to give the visitor access to the fashion films at home.

A two-column layout is used, with the English language appearing in the left column, and the native language translation appearing in the right column, The image is within the frame element to allow for differences in the film aspect ratio. This is caused by the films being created during different eras and using different technology.

OUGD603

Brief 3

9/13

Outcome

David M Gaskell

Exhibtion Book

Materials

What it says

A beautiful, high-quality, easy-to-use exhibition book is achieved by dividing the content over 8 booklets. For the book proposal I used standard 130gsm matt stock, with mountboard used as a bulking measure.

The final slipcase will be cloth-bound. This will relate more to the fashion exhibition. The internal booklets will be printed on 130gsm matt stock to offset the extra cost of the container.

The exhibition book reflects the exhibition signage. Making the content easy to access. Including a DVD shows we care about the visitor being able to keep the exhibition content, and also gives the chance of people who were unable to visit the exhibition to see the fashion films.

OUGD603

Brief 3

10/13

Outcome

David M Gaskell

Extra function

Relevance

Augmented Reality is used in the exhibition book. It is used as an alternative way for people to access the films.

The exhibition is about films. I felt it pointless to have still images trying to represent a film, Augmented Reality allows people to watch the films in the book (literally).

OUGD603

Brief 3

11/13

Outcome

David M Gaskell

Online presence

Layout

Why it works

The online presence had a couple of functions I felt were most important. First and foremost, language, translations had to be accessible in an intuitive and easy-to-use way. The second, the films had to be shared across social media platforms to spread the word about Dressing the Screen and fashion film as a medium. s

The website had to work across multiple screen-sizes. The navigation bar sits well in a horizontal and vertical orientation. The header bar contains easy-to-access translations.

Simple, clean layout, good hierarchy on the page makes the content easy-to-access, the navigation bar reinforces the exhibition wayfinding, creating an intrinsic link between the digital and real-world exhibition.

OUGD603

Brief 3

12/13

Dressing the Screen: The Rise of Fashion Film

Dressing the Screen: The Rise of Fashion Film Dressing the Screen: The Rise of Fashion Film

Fashion Fantasy

Year Director Designer Duration

Dressing the Screen: The Rise of Fashion Film

Duration

1946 Humphrey Jennings Norman Hartnell 02:33

Duration

Создание Мода

год директр дизайнр продол

1938 Humphrey Jennings Norman Hartnell 02:29

Dressing the Screen: The Rise of Fashion Film

1946 экрана: Туалетная Humphrey Jennings Восстание Мода Фильм Norman Hartnell

Year Director Designer Duration

Year

02:33

The Southbank Show:The Southbank Show: Vivienne Westwood Vivienne Westwood Year Director Designer Duration

Fashion Fantasy Year Туалетная экрана: Director Восстание Мода ФильмDesigner

Year 1946 Туалетная экрана: Director Humphrey Jennings Восстание Фильм Designer Мода Norman Hartnell

1946 Humphrey Jennings Norman Hartnell 02:33

02:33

1938 Humphrey Jennings Norman Hartnell 02:29

Duration

Создание Мода год директр дизайнр продол

Year Director Designer Duration

Туалетная экрана: Восстание Мода Фильм

02:33

1938 Humphrey Jennings Norman Hartnell 02:29

Создание Мода год директр дизайнр продол

David M Gaskell

Туалетная экрана: Восстание Мода Фильм

Year Director Designer Duration

1946 Year Director Humphrey Jennings Designer Norman Hartnell Duration 02:33

Туалетная экрана: Туалетная экрана: Восстание Мода Фильм Восстание Мода Фильм

1946 Humphrey Jennings Norman Hartnell 02:33

переходный переходный мостик мостик

Создание Мода

1938 Humphrey Jennings Norman Hartnell 02:29

год директр дизайнр продол

1938 Humphrey Jennings Norman Hartnell 02:29

Dressing the Screen: The Rise of Fashion Film

Dressing the Screen: Dressing the Screen: Dressing the Screen: Filmof Fashion Film The Rise of FashionThe FilmRise of Fashion The Rise

Dressing the Screen: Dressing the Screen: The Rise of Fashion FilmThe Rise of Fashion Film

Sweet

Eastern Is Promises Eastern Promises My Mind For Me

Echo Is My Mind For Me

Duration

Year Туалетная экрана: Director Восстание Мода Фильм Designer Duration

02:33

1938 Humphrey Jennings Norman Hartnell 02:29

1946 Humphrey Jennings Norman Hartnell 02:33

Туалетная экрана: Year Director Восстание Мода Фильм Designer

сладкий

год директр дизайнр продол

1938 Humphrey Jennings Norman Hartnell 02:29

Duration

Year 2012 Marie Schuller Director Alexis Mabille Designer Yiqing Yinb Junko Shimada Guo Pei Somarta Maurizio Galante Duration 01:29

Туалетная экрана: Туалетная экрана: Туалетная экрана: Восстание Мода Фильм Мода Фильм Восстание Мода Фильм Восстание

2012 Year 2012 Marie Schuller Director Marie Schuller Alexis Mabille Designer Alexis Mabille Yiqing Yinb Yiqing Yinb Junko Shimada Junko Shimada Guo Pei Guo Pei Somarta Maurizio Galante Somarta Maurizio Galante 01:29 Duration 01:29

Порок

год директр трудник

продол

Outcome

1946 Humphrey Jennings Norman Hartnell 02:33

Body Map Catwalk Clips Body Map Catwalk Clips

Dressing the Screen: The Rise of Fashion Film

Year 1946 Туалетная экрана: Director Humphrey Jennings Восстание Мода Фильм Designer Norman Hartnell

год директр дизайнр продол

Fashion Fantasy

Fashion Fantasy Year 1946 экрана: Туалетная Director Humphrey Jennings Восстание Мода Designer Norman Hartnell Фильм

1946 Humphrey Jennings Norman Hartnell 02:33

1938 Humphrey Jennings Norman Hartnell 02:29

Молодая Показать: Молодая Показать: Vivienne Westwood Vivienne Westwood год директр дизайнр продол

Dressing the Screen: Dressing the Screen: The Rise of FashionThe FilmRise of Fashion Film

Dressing the Screen: The Rise of Fashion Film

Порок Мое Мышление для меня

год 2012 Marie Schuller директр Alexis Mabille трудник Yiqing Yinb Junko Shimada Guo Pei Somarta Maurizio Galante 01:29 продол

Year Director Designer

Duration

Year 2012 Director Marie Schuller Designer Alexis Mabille Yiqing Yinb Junko Shimada Guo Pei Somarta Maurizio Galante Duration 01:29

1938 Humphrey Jennings Norman Hartnell 02:29

Туалетная экрана: Туалетная экрана: Восстание Мода Фильм Восстание Мода Фильм

2012 Marie Schuller Alexis Mabille Yiqing Yinb Junko Shimada Guo Pei Somarta Maurizio Galante 01:29

эхо Мое Мышление для меня

год директр трудник

2012 год 2012 Marie Schuller директр Marie Schuller Alexis Mabille трудник Alexis Mabille Yiqing Yinb Yiqing Yinb Junko Shimada Junko Shimada Guo Pei Guo Pei Somarta Maurizio Galante Somarta Maurizio Galante 01:29 продол 01:29

1938 год директр Humphrey Jennings дизайнр Norman Hartnell продол 02:29

продол

год 2012 директр Marie Schuller трудник Alexis Mabille Yiqing Yinb Junko Shimada Guo Pei Somarta Maurizio Galante продол 01:29

2012 Marie Schuller Alexis Mabille Yiqing Yinb Junko Shimada Guo Pei Somarta Maurizio Galante 01:29

Film titles

Aesthetic

Why it works

The film titles need to be simple, silent and be able to work online, or in the exhibition environment.

The seven bands - seen in the website navigation bar, exhibition book and exhibition signage is used in the film titles. The titles are 10 seconds long, with each remaining static for the first 5 seconds before separating the reveal the film.

As each film int he exhibition has a different duration, the titles will create a visual cherry-pie when being played at different times in the exhibition.

OUGD603

Brief 3

13/13