Visual Identity

Kin Design

The Fragmented Orchestra required a visual identity that would establish itself across a broad range of media. The direction is a counterbalance of modern geometric graphic elements and a traditional serif-based typeface, placed within a minimal and modern layout system. Our approach was one of visual coherency, not consistency. A balance was carefully established in order to maintain visual elements without mere replication, and allowed us to create optimal solutions for the specific demands of each brief.

The film was created using a combination of Processing, an open source platform that we used for generating visual assets, and After Effects, a motion graphics software package. This generative element is part of a modern approach to graphic design that reflects the contemporary aesthetic of the Fragmented Orchestra exhibition. The 'neural network' of sites in the exhibition is represented in the film by a vivid visual representation of synapsal connections.

This synapsal aesthetic in the video was translated into a two dimensional map for the exhibition speakers in the form of a vinyl wall graphic. This had to work both as a functional map for the exhibition speakers and as a graphic representation of the exhibition concept itself. The gallery space was intended to create a dark, immersive environment in which to experience the live Fragmented Orchestra composition. For that reason we chose a muted colour scheme that contained glowing typographic elements in order to work with and not detract from the sonic purpose of the exhibition. Furthermore, the gallery space was primarily intended to present the visitor with a complete composition, and with a secondary option of listening to each individual site. Therefore the mapping experience was intended to be precise but not immediate. For this reason no supplementary coding system was utilised to assist mapping.

We wanted to apply this necessary level of user exploration to an interactive element within the exhibition poster. We felt that it was important to incorporate the sensory nature of the exhibition into this interactivity. For this reason the user has to hold the poster up to the light in order for the complete information to be received. However, each side is also a graphic in it's own right. A fluorescent pantone ink was used for highlight text to represent the electric elements inherent in the exhibition and also to create a vivid show through. It functions as both an A6 postcard when folded down and as an A3 poster when unfolded: as both information graphic, interactive object and pin up art poster.

The logo and typeface subtly reflect the the Orchestral element of the exhibition, which we considered to be an important aspect to emphasise due to its considered and large-scale nature. We used musical notation lines to create the typographic baseline and x height of the logo elements and as a basis for a contrastingly modern approach to the organisation of the words in relation to each other. The lower case 'f' and enlarged 'O' were chosen as a subtle reference to this.

James Thompson
Kin Design