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GRAPHICS STANDARD GUIDE Address:
Phone:
Email:
Frist Art Museum
615.244.3340
Contact@yayoi-kusama.jp
919 Broadway
Fax:
Twitter:
Nashville, TN 37203
615.244.3339
twitter.com/YayoiKusama Facebook: facebook.com/YayoiKusama/
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YAYOI KUSAMA
EXHIBIT: ANOTHER DOT
4 Table of Contents 1. Introduction 1.1 About the Artist
2. Mood board 2.1 Examples provided
1.2 About the Rooms
3. Exhibit Logo 3.1 Primary Variation
4.1 Primary Font
3.2 Black and White Variation
4.2 Secondary Font
3.3 Single Color Variation 3.4 Multi Color Variation
5. Wayfinding
6. Exhibit Promotion
5.1 Floor and Wall Dots
6.1 Exhibit Bags
5.2 Hanging Dots
6.2 Exhibit Tickets
5.3 Sign Dots
6.3 Exhibit Invitations
5.4 Mock-ups
6.4 Exhibit Banners 6.5 Exhibit Posters 6.6 Exhibit Rack Card
4. Typography
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A little background about the artist. Avant-garde Japanese artist Yayoi Kusama was an influential figure in the postwar New York art scene, staging provocative happenings and exhibiting works such as her “Infinity Nets”, hallucinatory paintings of loops and dots (and physical representations of the idea of infinity). Narcissus Garden, an installation of hundreds of mirrored balls, earned Kusama notoriety at the 1966 Venice Biennale, where she attempted to sell the individual spheres to passers-by.
Kusama counted Donald Judd and Eva Hesse among her close friends, and is often considered an influence on Andy Warhol and a precursor to Pop art. Since her return to Japan in the 1970s, Kusama’s work has continued to appeal to the imagination and the senses, including dizzying walk-in installations, public sculptures, and the “Dots Obsessions” paintings.
6 The Flower Room For her recent commission for the inaugural National Gallery of Victoria Triennial, the artist transformed this concept to include a flower motif. For Flower Obsession (2017) guests were given artificial gerbera daisies and flower stickers to place on any surface of their choosing, completely covering the faux-apartment by the end of the triennial’s four-month run. This floral theme taps into the beginning of the artist’s art-making, referencing a memory from her early childhood.
“One day, after gazing at a pattern of red flowers on the tablecloth, I looked up to see that the ceiling, the windows, and the columns seemed to be plastered with the same red floral pattern,” Kusama explains in a press release for the triennial. “I saw the entire room, my entire body, and the entire universe covered with red flowers, and in that instant my soul was obliterated … This was not an illusion but reality itself.”
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One day, after gazing at a pattern of red flowers on the tablecloth, I looked up to see that the ceiling, the windows, and the columns seemed to be plastered with the same red floral pattern,
Yayoi Kusama
8 The Obliteration Room The obliteration room 2011 revisits the popular interactive children’s project developed by Yayoi Kusama for the Queensland Art Gallery’s ‘APT 2002: Asia Pacific Triennial of Contemporary Art’. In this reworked and enlarged installation, an Australian domestic environment is recreated in the gallery space, complete with locally sourced furniture and ornamentation, all of which has been painted completely white. While this may suggest an everyday topography drained of all colour and specificity, it also functions as a blank canvas to be invigorated — or, in Kusama’s vocabulary, ‘obliterated’ — through the application, to every available surface, of brightly coloured stickers in the shape of dots.
As with many of Kusama’s installations, the work is disarmingly simple in its elemental composition; however, it brilliantly exploits the framework of its presentation. The white room is gradually obliterated over the course of the exhibition, the space changing measurably with the passage of time as the dots accumulate as a result of thousands and thousands of collaborators.
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If there’s a cat, I obliterate it by putting polka dot stickers on it. I obliterate a horse by putting polka dot stickers on it. And I obliterated myself by putting the same polka dot stickers on myself.
Yayoi Kusama
10 The Tulip Time Room Kusama’s exuberant sculptural installation With All My Love For The Tulips, I Pray Forever (2011) exemplifies the dualism found throughout her work between the organic and the artificial. Shown here for the first time in Los Angeles, the oversized flower-potted tulips made from fiberglassreinforced plastic are painted with the same red polka dots as the floor, ceiling, and walls, creating an immersive viewing experience while at the same time diminishing the appearance of depth. This work exemplifies Kusama’s singular vision and her distinctive gift for drawing viewers into the work on a deeply visceral level. Kusama currently lives and works in Tokyo.
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WITH ALL MY LOVE FOR THE TULIPS, I PRAY FOREVER, Yayoi Kusama
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Mood Boards An arrangement of images, materials, pieces of text, etc., intended to evoke or project a particular style or concept.
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13 Mood board Examples
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EXHIBIT LOGO BRANDING With the premise of the importance of a dot. Our world is just another dot in the eyes of the Artist.
This Logo is a representation of that emotion and how we are seeing the world in her eyes
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IMAGE LOGO
TITLE LOGO
18 PRIMARY COLOR VARIATION Image Logo: The Logo represent the iconic view of the artist. By combining the view of her iconic stare and hairstyle, it represents her. While the image is breaking into dots, it represents her view and
Original logo to be used on plan white to avoid any color clashing. If using these versions on a different color vs white. Fill in with a white dot behind it.
goal of her galleries. Title Logo: The logo is combined of a Type Logo that represents her style of art with the ideal of her dot representation.
Usage The main color combination used, should be the primary red combined with white. The “Image Logo“ is the secondary for the event. The placement of the dots are to be scattered while leading the eye to “Title Logo”. The color for each room changes the logo to match the room. Use minimal changes to the logo to keep the flow from one room to another constant .
Alternative reversed color examples to orignal logo. White on red only examples. Same as with the original version. If using with a different color vs the original logo red. Fill in with a red dot behind it.
19 PRIMARY EXHIBIT COLORS AND DEFINITION Red is a very emotionally intense color. It enhances human metabolism, increases respiration rate, and raises blood pressure. It has very high visibility, which is why stop signs, stoplights, and fire equipment are usually painted red. In heraldry, red is used to indicate courage. It is a color found in many national flags.
Primary Red Color Pantone:
185 C
Usage
4-colour (CMYK): C:0 M:100 Y:100 K:1
As the primary color for the exhibit, This color
RGB:
R:234 G:28 B:36
should be used the most. The only variations to be
HEX:
#EA1C24
used are for the different rooms. Do not change the color variation from dot to dot.
COLOR TONES
100%
80%
60%
40%
20%
20 BLACK AND WHITE VARIATION Image Logo: The Logo represent the iconic view of the artist. By combining the view of her iconic stare and hairstyle, it represents her. While the image is breaking into dots, it represents her view and
Black and white version of the logo. If using these versions on a black background vs white. Fill in with a white dot behind it.
goal of her galleries. Title Logo: The logo is combined of a Type Logo that represents her style of art with the ideal of her dot representation.
Usage Usuage of the logo as black and white should hardly be used, as the exhibit is ment to be bright and color based. If using the logos in black and white DO NOT used the logos as white on a black background as it loses the same look and gives off too much a darker feeling.
Alternative reversed examples of the black and white logo. DO NOT USE THIS STYLE.
21 BLACK AND WHITE EXHIBIT COLORS Black and white should be only utilized when absoutley necessary (Print, etc) If can, use shades of gray to off set the strong tone of the color instead.
Black Pantone: Usage
Pantone Black C
4-colour (CMYK): C:63 M:62 Y:59 K:94
As stated, avoid using. This is due to the purpose
RGB:
R:45 G:41 B:48
of the exhibits is to show color. If using for
HEX:
# 2D2926
advertising, where necessary, use dots with hades of grey and use logos in white dots to avoid reverseing the logo colors.
COLOR TONES
100%
80%
60%
40%
20%
22 MULTI-COLOR VARIATION Image Logo: The Logo represent the iconic view of the artist. By combining the view of her iconic stare and hairstyle, it represents her. While the image is
Main Red being used with different color spots. Do not change the color of the Type Logo.
breaking into dots, it represents her view and goal of her galleries. Title Logo: The logo is combined of a Type Logo that represents her style of art with the ideal of her dot representation.
Usage This color combination should only be used with the room that matches it. Namely the obliteration room. It represents the randomness of the room and the overall playful feeling of the room.
Do not alter the color of the main color.
23 MULTICOLOR VARIATION The Obliteration room is a playful room, with the concept of covering a completely white space with dots of different colors with no rhyme or reason. Avoid giving form to the formless and creating dot patterns from the different colors.
Primary Colors Pantone:
Mutiple
Usage
4-colour (CMYK): Mutiple
The color value should consist of primary colors
RGB:
and bright values. Avoid using shades of the same
HEX:
color especially close to ech other. Avoid dots overlays and if doing so ad a white stroke to the top dot to seperate the two.
COLOR TONES
Mutiple
24 CONSTRUCTION OF THE SPACING FOR IMAGE LOGO Image Logo: The Logo represent the iconic view of the artist. By combining the view of her iconic stare and hairstyle, it represents her. While the image is breaking into dots, it represents her view and goal of her galleries.
Spots The Spots should be randomly placed but in a flowing direction toward the Type Logo for the event. To symbolize her face breaking into the spots. Do Nots: •
Do not overlay type over the Image Logo
•
Do not block the eyes
•
Do not cut off too much of the hair
•
Do not resize nonproportionately
IMAGE LOGO
25 CONSTRUCTION OF THE SPACING FOR TYPE LOGO Title Logo: The logo is combined of a Type Logo that represents her style of art with the ideal of her dot representation.
Spots The Spots should not overlay the Type logo at all. To create a legiable logo do not manpulate the spacing of the type or the placement of the spots in it. Do Nots: •
Do not change the type of the Logo
•
Do not remove the white spots in it
•
Do not add to the bottom of the logo
•
Do not resize nonproportionately
TITLE LOGO
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THE EXHIBIT FONTS AND TYPOGRAPHY Font usage is always important in any exhibit. To create a bold and modern feeling two san serif fonts was chosen.
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s X A t oC2 DB S
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28 PRIMARY EXHIBIT FONT As a clean and bold san serif, Futura Heavy Black gives the modern and legiable look needed for any distant and a large scale of sizes.
Futura Heavy Black Heavy
A B C D E F G H I J K L M NOPQRSTUVWXYZ a b c d e f g h i j k l m n o p q r s t u v w x y z Italic
Futura Heavy Black for headlines is preferred
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Figures
0123456789
29 SECONDARY EXHIBIT FONT As a clean and bold san serif, Futura Heavy Black gives the modern and legiable look needed for any distant and a large scale of sizes.
Champagne and Limousines Regular
A B C D E F G H I J K L M NOPQRSTUVWXYZ a b c d e f g h i j k l m n o p q r s t u v w x y z Italic
Champagne and Limousines for sublines is preferred
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Figures
0123456789
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WAYFINDING A Exhibit is only sucessful if people can find it. With this goal in mind the production of good signage that shows you where to go is vital.
Below are examples that not only show the wayfinding designs but as well the usages of them.
31 Floor and Wall Dots By utilzing different colored wall and floor dots, create different guiding paths to diffrent destinations for the exhibit goers.
Usage Place sparely on the wall. Utiilize the Floor mainly.
Do Not • Avoid intersecting dots to avoid confusion. • Avoid too many dots. • Avoid too many different colors in one room • Avoid using more than 4 in one room or hallway.
32 Hanging Dots By utilzing different colored hanging dots, create different guiding paths to diffrent destinations for the exhibit goers.
Usage Hang sparely from the ceiling to better guide. Utiilize different length.
Do Not • Avoid hanging too many. • Avoid too many different colors in the same room • avoid placement where it blocks view of the exhibits.
33 Sign Dots Wayfinding signage should be shaped rounded to better match the exhibit. Use text colors that match the other wayfinding to create a color based direction.
Usage Place sign dots as covers to original wayfinds to avoid blocking the exhibit
Do Not • Avoid placing on wayfind that is too close to exhibit pieces. • Avoid creating obsticles in the center of the room. • Avoid sizes too big, that distracts exhibit goers.
34 Mock-ups
35 Mock-ups
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EXHIBIT PROMOTION While a exhibit can look amazing, it does no good if no one knows about it. This can be done in mutiple ways.
The examples we will be using mainly is invititations and tickets to create a personal feeling.
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EXHIBIT BAGS Shoping bags for the exhibit are a nice touch for the exhibit. Recycled paper bags wih strengthen bottoms are the preferred.
38 EXHIBIT TICKETS The event ticket art work is provided in the attached file. The artwork showcases the two main rooms of the exhibit.
Information: • Size of the print is 5.50 x 2.25 inches. • Material of paper used is 24lb cardstock. • Perforated edge to ease tear of stub. • Gloss finished • CMYK Print
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40 EXHIBIT INVITATIONS The invitation is ment as a way to invite VIPs and others. The process of cutting the dots can be tedious. It is recommended to usea circlular cutter.
Information: • Size of the print is on 8.5 x 11 inches. • Material of paper used is 24lb cardstock. • Recommended, glue, circular cutter, exacto -blade. • CMYK Print
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42 EXHIBIT STREET BANNERS Information: • Three part banner. • Very large sized banners • Uses the format of leading the passers eyes in direction usually travelled.
EXHIBIT TERRANCE BANNER Information: • One large printed banner. • Used more as a lead for viewers already coming into the exhibit. • More details such as sponsors etc.
43 EXHIBIT STREET POLE BANNER Used to advertise the exhibit. Utilize street poles leading to the exhibit location.
Information: • Two versions available. • Dual banner design can be used to show both size instead.
44 EXHIBIT POSTERS Posters have always been the the go to for advertising. Varations of posters create a more eye catching appeal. Common flow and elements in these variations create a welcoming appeal.
Information: • Size of the print is on 11 x 17 inches. • Material of paper used is thicker poster paper. • Recommended Gloss finish. • CMYK Print
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46 EXHIBIT RACK CARD As a take away for the event, it should lead them at the begining and give them memories at the end. Changing the information on it such as the map on the rack card creates more of personalize feeling.
Information: • Size of the print is 4 x 9 inches. • Material of paper used is 24lb cardstock. • Gloss both sides • CMYK Print
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Address:
Phone:
Email:
Frist Art Museum
615.244.3340
Contact@yayoi-kusama.jp
919 Broadway
Fax:
Twitter:
Nashville, TN 37203
615.244.3339
twitter.com/YayoiKusama Facebook: facebook.com/YayoiKusama/