'Comedy Feast' was a 3 day event in central London, the simple logo lends itself nicely to the overall holistic identity, giving a contemporary and playful formulae across all media. The typography is both in your face and soft, with the curved edges highlighting the fluidity of the design, suggesting a non-intimidating environment and playfulness all round - similar to fonts such as Comic Sans. The colour palette is simple and uniform, yellow being the 'happiest colour' to provoke and encourage laughter, as well as allowing interchangeability throughout posters/billboards etc within the palette. The 't' in the logo is also curved to look like half a smiley face, bringing elements of interactivity into the logo design itself - wear it on your hand, your face, even t-shirts or totes; the 't' is almost it's own logo and identity factor for Comedy Feast, linking with the light and playful tone of voice immediately.
JW Anderson's 'Disobedient Bodies' was one of my personal favourite exhibitions of all time. An ultra simplistic identity depicts a basic white and black colour palette and consistent 9x9 / 10x10 grid system across all print and digital media. The mixture of image and type works well in this style with the vast amount negative space suggesting a higher luxury of event, which is appropriate seeing J.W Anderson practices luxury fashion.
Despite not having a logo, the typographic structure acts as the identity for the exhibition and a frame of reference for the audience.
Falmouth University also run a Creative Writing exhibition every year, and this is the promotion for the 2017 event. Introducing abstracts and image into the literary landscape adds another dimension to the pieces, never the less the design remains quite ambiguous, with no immediate communication that it is an exhibition or when it is. It does not look like Falmouth have a running logo for the event, which if used year on year, could act as a signifier to the event and negate the need for additional information due to pre-existing recognisability by students, visitors and faculty staff.
Pleasure Principles is a smaller event, hosted at Village in Leeds by two photography-graduates, exploring sexuality and the body. Again, no set logo was used but rather a consistent type style and vivid colour palette, both accross social media and in the exhibition setting itself. The vividity of the image brings to life the concept they are exploring, whilst giving a visual draw into the exhibition, where the audience will see more of the same.
William Eggleston at The Metropolitan Museum of Art, NYC, February 2018 - naturally, Eggleston and The Met are both big names, therefore didn't need much additional design (or even have a logo) to encourage foot falls. However, it is interesting to consider that Eggleston did not keep consistent branding across the exhibition and the Los Alamos publications, but instead opted for the Chromes branding. This could be to create a holistic brand within the Eggleston name, yet I feel that it is giving too much of a cross over between bodies of work which are not to dissimilar in aesthetic and photographic context. Doing this may only work for such a big name, therefore I will try to maintain consistency rather than mix and match.
It is evident that most exhibitions don't necessarily have a set logo - the organisation running it may, as may the charity or location, but in the most successful cases of exhibition branding, the actual event is vocalised through the whole visual style and identity encompassing it. Despite this, a simple logo is required in the brief and it is always good to have to showcase consistency across all platforms - with this in mind, the logo scale/style needs to be adjustable so to make it fit in across any/all media.
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