The cover for my accompanying exhibition booklet.
The Ad Reinhart inspired cover worked well, with the text highly illegible but contextually sound, intangibility in action. The back cover also features four black squares, a nod to his work also. Contextually, the aesthetic aims to reflect the intangible and invisible line which clearly exists between the two practices of fine art and graphic design.
The poster and book fit together aesthetically, tied together by the Ad Reinhart, all black aesthetic.
The black and white colour scheme is sobering and serious, in reflection of the project.
I've used Lydian as my quotation typeface, adding more visual punch and contrasting with the main body copy which is in the highly legible Andale Mono throughout.
There are 5 examples of abstract expressionist work's from different artists featured, along with a small amount of text putting that work into it's original context within the art world, ie a quote from the artist about his intentions or from a gallery about the work's effect on the art world at the time.
The colours printed very nicely, the cartridge stock seemed the perfect weight (if a fraction too heavy) when compared to other exhibition publications.
The central page features the mantra 'fine art as graphic design' multiple times. This is repeated across the inner of the black cover and the poster i'll talk about later. The endless mantra is simply meant to convey the ever questioning nature of the project. No definitive answer will be found and hopefully more and more questions will be raised. Aesthetically on the central page and on the inner cover I feel it works well too.
Some close ups of the poster, which came from thinking about how an exhibition is typically advertised. I felt that in addition to the explaining booklet, a poster following on the aesthetic and reinforcing the 'fine art as graphic design as fine art' would be appropriate in advertising the show.
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