Reading Response: C/ID

Frieze Art Fair:

• Artifacts designed by GTF: shallow cardboard boxes with printed gallery name and color coded navigation band.
• Used photographs of previous year and construction of structure on advertisements based on the seasons of the year
  
• Brand: block serif type and modular device (like photographic mounting) used to frame text/images

MoMA QNS:

• Logo: Franklin Gothic logotype and abbreviation QNS at the end intended to convey a sense of motion (Ex/ LAX)
• Used blue as a reference to the color if the Maltzan's building
• Environmental signage and super-graphics: mutli-part rooftop sign seen from elevated subway that would come into focus when the visitor reached a destination
• Wanted to inspire tourists (Manhattan population = 70%)
  
• Rotating installation piece exhibited most significant pieces to communicate "change for the better"
  
• Developed a system of dashes, arrows and vocab and combined them with tag-lines (Ex/ "MoMA has moved")
  
• Silk-screened directly onto walls of converted factory

Stedelijk Museum CS:

• Abbreviated for a sense of immediacy (shown in the project)
• Logotype: inspired by a pattern on airmail envelopes (building's former use)
• Red: relates the identity of the original Stedelij Museum, blue offers contrast
• Used Univers because it was closely associated with Stedelijk
• Used diagonal red and blue stripes throughout identity system, including redesign of the magazine Stedelijk Museum Bulletin.

Walker Art Center:

• Used: " Walker without Walls" tag-line for shows during year-long closure
• Matthew Carter designed own "Walker" typeface; snap on multiple formed serifs, uniquely flexible with a lot of variation
  
• Shown on printed, environmental and on-screen applications that show against solid white or black bands as well as colors and patterns (due to its flexibility, it can be seen in varying modes)