How might an exhibition catalog capture and thereby provide the physical excitement one experiences within an exhibit? This considered, can it be accomplished while honoring tradition and the individual artistry and narratives of the exhibited artist? Can we do this without the pages feeling templated, allowing content to influence construction?
How? Taking what we know about both UX and UI design and applying it to the framework and execution of the book's design.
Annually this exhibition catalog canonizes the opening night and all the exhibited works. Each designer in the show receives ten copies to share with friends, or to use as a self-promotional devise. The remaining books are distributed through museums, fine-book stores, and are published internationally in design annuals.
Considering this design-aware enduser’s and their attention to finely finished materials and book, we craft a moment that overwhelmed senses. One that is capable of getting these experts of made material to question what it is they are holding. Perhaps we can even get them to bang on it, a la, Krubick’s monkeys and the monolith.
In moments where we question our surroundings, our senses are heightened. With all five, we look for clues to determine our individual place. Seeing what it is that we can gain, how we might compete, or if we need to run.
This hardwired, human condition is what we exploit in getting the reader to discover, hyper-experimental works.
Created using a hand-tooled plates of stone texture, our cover is sealed. The monolith takes form. Our inscriptional numeral III gets blind embossed, with moments of gold foil striations. Well-tested kiss-cuts provide the reader a singular pleasure of cracking open a new book, communicating newness and ownership. Inside, dimension gold foil illustrates the detail and craft of hand-chiseled form. Spot fluorescent marbles with spot metallic, history reverbs, an apt reflection to visual languages tie to humanity’s illumination.
Discovery and sensory overload continues across the body of the book.
Photography from the opening is paired alongside images of the attendees and works in situ. The interior is paginated by content types, divided across Cougar’s Smooth White, Domtar’s Vellum Fuschia and Pink, visual cues that guide the reader across the sections.
Metallic and fluorescent spot colors act as embellishment and tie back to the cover. Three CMYK mixes were needed to ensure the reds were identical across the three paper types.
A custom numeral set was designed to acts as visual break and intro to each artist’s section. The typeface explores the tradition and craft of Roman inscriptional letterforms, as well to showcase Graphic Arts Studio's capability in producing forms reversed at hairline weight.
While conceptual narrative gets thick, it’s craft that delivers. The typographic and design attentiveness, the production and paper effects throughout is rigorous to say the least. Down to the smallest detail, that of the dagger, double-dagger, on to the nonuple em-dash serving ad paragraph break and understanding of tradition and diligence achieved inventiveness.
These maneuvers were intended inspire, challenge, and encourage a stronger connection across a designer's ideas and the material production.
Concepting, Creative Direction, Catalogue Design, Type Design, Page Layout, Graphic Design