Wexner Center for the Arts Process

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1. EXPLORATIONProject Overview 4–5

Inspiration Board 6

Successful Identity 7–9

WCA Overview 10–12

Museum Audit 13–20

Logo Overview 21

2. LOGOHand Sketches 23

Type Studies 24

Color Studies 25

Initial Concepts 26-27

Exploration of Chosen Concept 27-52

Final Logo 53-57

3. APPLICATIONOverview of Pieces 59

Inspiration Board 60

Booklet 61-64

Poster 65

Scaffolding Installation 66

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This statement was taken directly from the project statement given for the project.

Project Overview

KEY WORDS:

Vanguard: A position at the forefront of an action or movement.

Synergy: The interaction or cooperation of two or more organizations, substances or other agents to produce a combined effect greater than the sum of their separate effects.

Dynamic: Characterized by constant change, activity, or progress; Continuing forever.

Perpetual: Having no fixed maturity date. Occurring so frequently as to seem endless and uninterrupted.

Accessible: Approachable. Easily understood. Able to be easily obtained or understood (as in knowledge acquisition).

Creative: Relating to or involving the imagination or original ideas.

GOAL: Develop an identity system for The Wexner Center for the Arts. On the occasion of its twenty-fifth anniversary, the new director has commissioned you to create a new identity which reflects “art of the twenty-second century,” meaning art that does not yet exist.

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These are words I picked out in addition to the words provided to us. They came after a visit and tour to the Wexner Center, as well as reading the entry essay written by Eisenman.

Project Overview

Old+New, Solid Space+Path, Near+Far;Motion into static and reversed; have a outside container and fluid inside, push and pull much like the Wexner Center’s collection.

Constant surprise, layer and shape move and change to reveal something new. The Wexner Center doesn’t submit to any known ideals, having small spaces scattered throughout.

The building is constantly having a new exhibit so it changes but still the connection to the original concept.

Create a sense of harmony among units that were different such as how the Wexner Center created a complex by interacting already exiting buildings into its’ structure.

Merging the new and the old, transforming memory. The Armory Building, an old hang out spot for students, was reconstructed in Eisenman fashion.

“...not simply a route, but an event, literally a center for visual arts.”

“...forceful and delicate.”

“...fragmentary evolution.”

In te g r a te D u a l it y Reve a l Evo l ve P a s t+P r e s e n t“...landscape, trees, pavement, patterns and incising, changes in grade, and elevation markers”

“...chiseled away and excavated to reveal the inlays of it’s own history and geography.”

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These images represent the overall feel represented by the words expressed on the other pages, whether in the color, typography, or emotion evoked.

Inspiration Board

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Done with a classmate, the above is what we thought makes an identity successful.

What Makes an Identity Successful

brand — company essence (goal of brand )

primary design elements : logo , brandmark , type , color

secondary design elements : icon , photograph , illustration , sound , tone of voice

audience — consumer of the product

proper application of system .

SUCCESS

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Primary design elements are those that instantly allow recognition of the company by the audience.

Primary Design Elements

EXAMPLES

PRIMARYDESIGN

ELEMENTS

PRIMARY DESIGN ELEMENTS INCLUDE: COLOR (IKEA) LOGO/BRANDMARK (APPLE) TYPE (COKE)

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Secondary design elements are those elements that aren’t necessarily instantly recognizable but still contribute to the brand

Secondary Design Elements

EXAMPLES

SECONDARYDESIGN

ELEMENTS

PRIMARY DESIGN ELEMENTS INCLUDE: SOUND (NBC), ICONS (OLYMPICS), PHOTO (AOL), ILLUSTRATION (TBS), TONE OF VOICE (RED BULL)

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These are some of the key notes that I took during the tour of WCA.

Overview of the Wexner Center for the Arts

NOTES 7/1/11:

The main elements on the building is the castle and the grid

The scaffolding means that the building is constantly evolving, like under construction

The tower represents the Armory Building from the 1950s that used to be a student gathering spot

12 ¼ grid difference between OSU and Columbus is shown here, especially with the wall leading to high st.

Grid is always generating itself 24,36

Brick and marble tie into the original

Had to cut away part of the adjoining building to get it to fit, really shows how the arts buildings are connected

Inside floors are wood and stone, shined if its where the 12 ¼ line was

Enter underground, like an archeological dig and the you come up into the future

Many leftover spaces around the building, some used for art

No permanent collection

Wall don’t necessary go all the way to the tops and the gallery is triangular

Stairs beg the question of if they are allowed to be used because they are so small, repeating width in column and wall area

Natural light is let in, different for an art gallery setting

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1. Grid+Unity: The driving point of this museum and the area around it, the grid is very important the conceptualization behind the whole building. From the obvious grid

among the scaffolding to the repetition of the angle 12.25°, which mimics the grid that OSU campus is on, grid is the driving force. The increments of the grid also go together.

Overview of the Wexner Center

1.

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2. Remnants of the Past+Togetherness: Eisenman took into account the Armory Building which used to stand where the museum is today. It was a hang out for

the students. WCA has taken on that role metaphorically, being a meeting point of the arts. The building also brings together all the arts buildings.

3. Deconstruction+Unexpected Elements: Throughout the building, there are sections cut away unexpectedly, creating surprise, whether chopping a section of a beam inside

the building off or having stairs so narrow they don’t seem to be meant to be used.4. Leftover Spaces+ Contrasting Elements: These leftover pockets are scattered around.

Sometimes they are put to use, such as the sculpture garden and other times they are left to what nature wants. Prairie grass was used as a contrasting element.

Overview of the Wexner Center

2. 3. 4.

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I have gathered together a variety of current logos for both local, national, and international museums. Here are my observations.

1. A large majority of the logos depend solely on typography for their logomark, which doesn’t take away from the art.

2. Many of the museums go by an acronym

3. Architectural cues are taken and integrated into the logo.

4. Vast majority set in a sans serif typeface.

5. Geometric shapes are prevalent.

Audit of Museum Logos

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Opened:1989Architect: Peter EisenmanExhibits: Performing Arts, Video, & Rotating Art Exhibitions

Other notes: Peter Eisenman’s first designed and built public building on 12 ¼ grid difference between OSU and Columbus

Audit: Wexner Center for the Arts

wexner center for the arts

Columbus, OH

Logo

Typeface Colors

Website

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museum of modern art (moma)

New York City, NY

Logo

Typeface Colors

Website

Franklin Gothic

Opened:1929Architect: Yoshio TaniguchiExhibits: Permanent & Rotating Art Exhibitions

Other notes: Considered to be the best modern art museum in the world having 50,000 individual pieces.

Audit: Modern Museum of Art (MOMA)

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Custom Typeface

modern tate

London, England

Logo

Typeface Colors

Website

Opened: 2000Architect: Sir Giles Gilbert ScottExhibits: Permanent & Rotating Art Exhibitions, Film & Music performance

Other notes: Part of England’s Tate Museum system

Audit: Modern Tate

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guggenheim

bilbaoBilbao, Spain

Logo

Typeface Colors

Website

Opened: 1997Architect: Frank GehryExhibits: Rotating Art Exhibitions

Other notes: Part of Guggenheim museum system, with museums around the world.Architecture of the building makes it one of the greatest buildings of our time

Audit: Guggenheim Bilbao

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centre georges pompidou

Paris, France

Logo

Typeface Colors

Website

DIN

Opened: 1977Architect: Renzo PianoExhibits: Large permanent collection and a rotating temporary exhibit

Other Notes: Also houses the Bibliothèque Publique d’Information

Audit: Centre Pompidou

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contemporary arts center (cac)

Cincinnati, Ohio

Logo

Typeface Colors

Website

Gill Sans

Opened: 1939Architect: Zaha HadidExhibits: Large permanent collection and a rotating temporary exhibit

Other notes: One of the first institutions in the United States dedicated to exhibiting contemporary art

Audit: Contemporary Arts Center (CAC)

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capaColumbus, OH

Logo

Typeface Colors

Website

Opened: 1969Architect: Thomas W. LambExhibits: Movies and performance arts

Other notes: CAPA is housed in the historic Ohio Theatre in Columbus.

Audit: Columbus Association for the Performing Arts (CAPA)

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I chose these key phrases after looking at mark that I thought were trending towards the future of brand identity.

1. Clear Origin, Unexpected Solution

2. Carrier Shape, Evolving Interior

3. Visually Unique and Interesting

4. Logo Within a Logo

5. Adaptable and has Personality

6. Multiple Readings

Logo Audit

1. 4.

5.

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After doing the initial research, I spent some time just doing some quick sketches to get out the ideas that were floating in my mind. I just wanted to work out visually some of the

concepts that I had identified as important in the previous area.

Initial Hand Sketches

Logo

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These are initial type studies looking at which typefaces would best support the emotion I was trying to convey with my logo. I typeset it a number of different way in a

range of typefaces to see my preference for a direction to go in.

Type Studies

Logo

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Bohemia Interstate Bauer Bodoni Neutra Bookman Trade Gothic

Wexner Centerfor the Arts












WEX WEX WEX WEX WEX WEX

WCA WCA WCA WCA WCA WCA

Wexner Center for the Arts Wexner Center for the Arts Wexner Center for the Arts Wexner Center for the Arts Wexner Center for the Arts Wexner Center for the Arts

WEXNER CENTERFOR THE ARTS






WexnerCenter for the Arts






1. Harmony Among Inharmonious: The building it self is a hodgepodge, bringing together a number of different buildings, from the old Armory, to the adjacent arts

buildings. Also speaks to the campus’ different grid from the city.2. Blend: The WCA is about a certain amount of in your face geometry, as the

scaffolding indicates. The color represents these decisions, as well as the fact that the progression in sizes is harmonious, which helps blend together.

3. Fragmentation: Similar families that work together then fragment and evolve into different colors, but still can tie back together.

4. Anchor Point: WCA strategic point at the top of the Oval offers it the ability to “anchor the campus” This palette represents strength that the building has.

Color Studies

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3.

1. 2.

4.

Concept 1: The building is solid, the interior is fluid. A turret and a line at 12.25° make up the framework for the carrier, and within could be fluid.

Concept 2: Wexner is a combo of old and new, and a duality. Combined a sans serif typeface and a serif typeface, as well as a merged version.

Concept 3: The idea of an evolving logo. A carrier out of 12.25° angle. They would constantly be moving and changing, revealing a new message every time they pass.

Concept 4: Based upon the concentric geom-etry and the scaffolding, spelling out WCA in 90° angles.

Concept 5: A column pulled out in 3-D space with the other column thicknesses running along it. The column can unbind itself and reshape to fit the context.

Initial Computer Sketches

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WEXNER CENTEROF THE ARTS

WEXNER Center for the Arts

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wwexwexnerW

WE

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WEXNER CENTER OF THE ARTS

WEXNER CENTER OF THE ARTS

1.

2.

5.

4.

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This is the concept I chose to move forward with after looking at all my intial sketches and ideas, this mark helped convey what I wanted about WCA the most.

The idea behind this mark was to overlay the 12.25° line upon a grid and to extract the shapes that it creates to makeup the logo mark. An infinite number of shapes can be

made and combined to fit any situation. A single mark would serve as an identifier but it can be locked up with photos, shapes, or textures.

Initial Computer Sketches

Logo

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W

WexnerCenter

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W EXNER CENTEROF THE ARTS

W WW

1. Grid: The grid is a 15x15 grid with a 12.25° angle laid across it. 2. Shapes: These shapes were derived from within the grid. They will act as the building

blocks for all the material that is produced.3. Combinations: Some of the more com-plex shapes that are created once different shapes are combined.

4. Treatment of Pattern: The pattern can be contained within the grid 3 different ways. The first would be lined up following the exact grid structure, and cut by the square.

The second integrates the idea of leftover spaces and the pieces never touch. The third is completely organic within the square.5. Possible Applications: The holding shape

would change to match certain things and the pattern would go inside the shape. Also, the possibility of creating an alphabet surfaces.

Grid + Shapes

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1. 3.

4.

5.

2.

Different shapes that could be the main container for the logo. I also combined some shapes to create a more elaborate shape. I also played with the idea of having shapes

within shapes. 2 stood out the most, so I chose to concentrate on those ideas. Each got a set of shape iterations, paying attention to the shape, combination, and size.

Shape Studies

Logo

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Concept 1: This idea uses two holding shapes, each containing a section of Wexner. For both concepts, the idea of fragmentation played a big role once the shapes from the

grid were derived. This concept played up the idea of the negative, or leftover space, that is in the building, and brought to it some importance with the rest of the title. This

also could substitute out once inside the museum.

Concept 2: Direct iteration of concept 2 of my initial ideas. The thought here is also fragmentation. Overlap and creation of new shapes was also a big influence, and it can

constantly be changed. I also liked how the overlapped ones were giving a sense of depth, much like the grid gives depth if you aren’t looking at it straight on.

Shape Studies

Concept 1.

Concept 2.

Logo

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Once I had settled on some variations in shapes I like, I went on to explore type, including the typeface, more attention to placement, tracking and kerning,

capitalization, and lastly possible other layouts. These are a sampling of studies done with Concept 1.

Type + Shape Studies: Concept 1

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Once I had settled on some variations in shapes I like, I went on to explore type, including the typeface, more attention to placement , tracking and kerning,

capitalization, and lastly possible other layouts. These are a sampling of studies done with Concept 2.

Type + Shape Studies: Concept 2

wexner

Centerfor the Arts

wexner

Centerfor the Arts

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Blend Concept applied to 5 chosen studies.

Color Studies

FOR TH E

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Harmony Among Inharmonious applied to 5 chosen studies.

Color Studies

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Anchor Point applied to 5 chosen studies.

Color Studies

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FOR TH E

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Concept 1a

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Concept 1b

CENTER

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Concept 2a

Center

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Concept 2b

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Concept 2c

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After having the presentation, these are some of the points I wanted to address moving forward. I chose to continue with Concept 2cGeneral considerations were:

Proportion of mark vs. the type: Play with scale of the mark vs what the type lockup is as well as the scale of the shapes within the mark.

Linear Version: Play with the idea of transparency, solid, as well as linear elements.

Exploring Color: Not satisfied with the palette so far, think it should be more encompassing of many colors that helps reflect the Wexner at the time.

Vibrancy of Application: Bring some of the interest from the application idea into the logo.

Feedback Design Considerations


Idea of Ascension and Ramps in Building, abstracted turret

Upside Down Type-No to childlike

Lock-up doesn’t need to be in Symbol

Good Idea of working with

Break Up Space

Create one, two, three, or 4 shapes. Infinite breaking and creating.

Overlapping to Create Interest

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Pink Studies. Initial studies created using the grid as guidance.

Green Studies: Pink studies that were successful; continued with the idea of a square formed by the negative space of the two overlapping shapes being a shape itself.

Final: Not satisfied with how the studies were going, I reverted back to the original mark and tried to make a more duplicate copy on the grid that I was satisfied with.

Refining the Shape

Logo

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All Studies involve flat color, transparency, and line work

1: A study using 1 color and 1 line weight

2: A study using 2 colors and 2 line weights



5: A study using combinations of things

Color + Shape Studies

1. 2. 3. 4. 5.

Logo

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These studies show my exploration is breaking the shapes using line and the square being open.

Break Studies

Logo

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These studies show my exploration in typography and how it can sit within and work with the logomark.

Type Integration Studies

EWEX WEXARTS ART

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Wexner Center for the Arts

Artsfor theCenterWexner

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These studies show my exploration in typography and how it can sit within and work with the logomark.

Type Integration Studies

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Logo

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Once I had narrowed it down to 3 lockups I liked, I chose 4 fonts to test out: Trade Gothic, Imago, Daily News, and Knockout.

Type Studies

Logo

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Not satisfied with my past palettes, I tried a different one that was interchangeable.

Color Studies

CenterArtsfor the

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After doing some studies, I decided on this formula to create the logos colors. Shown are the colors, the formula, 1,2, and 3 color applications.

Color Studies

4 Color Template & 1 Color Template (Chose only numbers within one color range)

1

1

1

1

1 2

2

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2 3

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1. Any shade with a 12. Any shade with a 2 and if creating one shape can use either 1 or 23. Any shade of 34. White 5. Black

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These are studies intergrating photos into the logomark. I did studies to see which method of integration worked and retained the identity.

Photo Integration Studies

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This is where I ended up this round of study with my logo. Above shows the mark, sub-brands, one color, b/w, photo, and the logo on different surfaces

Evolved Logomark

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I did some final tweaks to the logomark, settling on this final version. The biggest change is the color palette (explained the next page) and finessing the typography so

it flows better together and works together. The logomark abstractly represents the tower at the WCA. All the pieces are colliding together at the 12.25 degree angle. Despite

this, there is an element of connectivity throughout, with the white line and the type. Overall, the mark encompasses the goals that were established in the Exploration section.

Final Logomark

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The final color palette I settled on drew directly from the outside area of WCA

The green is a reflection of the landscape around the WCA, which gives the appearance of it being a spaceship in the middle of campus.

The red represents the brick that makes up the turrets. This color helps reach back to the roots of the Armory building, like Eisenman.

The blue represents the sky that is visible through the scaffolding on the outside of the building. This helps to feature the unique element of the building.

Final Color Palette

PMS Red 032100% 50% 25%

Color Ratio

Pantone 396 C100% 50% 25%

Pantone 296 C100% 50% 25%

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There are 4 one-color variations: Red, Green, Blue, and if necessary a black only. They are using the color palette at 100%, 50%, and 25%.

One Color Variations

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If a photo is integrated into the logo, it replaces the large section, where the green is. The photo is clipped into this shape. When this occurs, the two other pieces go

to one color, so it doesn’t compete as much with the photo. Chosing red, green, or blue should be based on which compliments the photograph the most as well as contrasts.

Photo Variations

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These show how the logo is treated on different backgrounds. The white background stays the same. The 50% grey and black turns the Center for the Arts to white. For

the photo, the type will change based on the photo in the background.

Background Images

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My concept to apply my logomark is to celebrate a gallery opening for the Twenty-Five 25 Show which brings back some of the favorite exhibitions, screenings, and

performances from the past 25 years.

Trading Card Mailer: The idea behind is to offer incentive to the donors to get them

to support the show. The package comes with 3 of the 25 trading cards and they are encouraged to attend the events to complete a full set. The look of this sets the precedent.

Poster: The poster is a direct application of the mailer onto a larger format. The shape will be repeated to help tie back.

Environmental Application: Again, this would be a direct application of the booklet, but to a large scale environment: the scaffolding outside the WCA.

Application Overview

Environmental Application

Trading Card Donor Mailer

Poster

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These images represent the overall feel represent the words expressed on the other pages, whether in the color, typography, or emotion evoked.

Inspiration Board

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These are 4 different booklets I mocked up to figure out which is the best for the format I am presenting.

Booklet Comp-Ups

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This is the first concept I created for the booklet. After further discussion and thought, I moved in a different direction.

Booklet First Concept

20 FAVORITES BACK AGAIN

FOR

ALYSON SHOTZ ETERNAL SUNSHINE ERIK FRIEDLANDER ALYSON SHOTZ ETERNAL SUNSHINE ERIK FRIEDLANDER ALYSON SHOTZETERNAL SUNSHINE ERIK FRIEDLANDER ALYSON SHOTZ ETERNAL SUNSHINE ERIK FRIEDLANDER ALYSON SHOTZ ETERNAL SUNSHINEERIK FRIEDLANDER ALYSON SHOTZ ETERNAL SUNSHINE ERIK FRIEDLANDER ALYSON SHOTZ ETERNAL SUNSHINE ERIK FRIED-LANDER ALYSON SHOTZ ETERNAL SUNSHINE ERIK FRIEDLANDER

ALYSON SHOTZ ETERNAL SUNSHINE ERIK FRIEDLANDERALYSON SHOTZ ETERNAL SUNSHINE ERIK FRIEDLANDER

FOR OUR 25th ANNIVERSARY

CHRIS MARKER MUPPETS OURAMDANE

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Alyson Shotz The Structure of Light

Alyson Shotz The Geometry of Light

An artist based in Brooklyn, Shotz is interested in the principlesof physics, as well as the interaction between technology and the environment. Shotz has previously exhibited at Mass MOCA, the Guggenheim Museum, the San Francisco Museum of Modern Art, and the Cleveland Museum of Art.

1/20Standing WaveALYSON SHOTZ

Friends of WCA,

The Wexner Center of the Arts has had the pleasure of being in the Columbus community for the past 25 years. Over this time, we have had a great number of artists pass throughour doors. To celebrate aa quarter of a century, we are bringing back some of our favorite exhibitions, shows, and

favorites again.

We couldn’t be having this show without your support throughout the years. We hope to see you at the museum this fall and for the next 25 years.

Executive DirectorJohn Smith

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FORErik Fridlander Block Ice & Propane

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Alyson Shotz The Geometry of Light

Block Ice & PropaneERIK FRIDLANDER

Top Right: Album Cover Top Left and Bottom: Live Performance

In this compelling solo show, vanguard cellist Erik Friedlander draws on childhood memories of cross-country family camping trips discoverAmerica in the 1960s and 1970s.

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This is the cover and inside of the final booklet. Each contains 3 trading cards. To see the more photos, please see the other pdf.

Final Booklet

Front

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Inside

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These are some of the trading cards of the final booklet. To see the more photos, please see the other pdf.

Final Booklet

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These are 2 of a series to promote the show a at the WCA. To see the more photos, please see the other pdf.

Final Poster

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The idea behind this is to apply the system to the building itself on the scaffolding. To see the more photos, please see the other pdf.

Environmental Application

Enter Exit

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Documents

Wexner Center for the Arts Process