A finalist of the 2021 CommArts Typography competition, this hypothetical rebrand imagines a new design identity for an exhibition of monochromatic sculptures. The exhibition graphics draw inspiration from the bodies of Calder’s famous mobiles, elevating typography as a central design element to a sculptural form. Typefaces used: Love (VJ Type), Whyte (Dinamo).
The original exhibition takes its name from a passage by the novelist James Jones: ‘[Calder] is willing to believe equally in a nonspace as well as in space […] He has taken a given space and, by molding beautiful elements of steel around it, caused it to become nonspace.’ In the visual identity for “Calder: Nonspace”, typesetting and negative space amplify the concept of new spatial perceptions. Expressive typography is utilized to allude to Calder’s work, its curved strokes and wide counters reminiscent of the frameworks found in his mobiles, all the while portraying the juxtaposition of volume and void on a two-dimensional plane.
(Exhibition photography credits: Fredrik Nilsen / Hauser and Wirth)
Book cover design for the “Calder: Nonspace” print publication, featuring essays from its curators.
General admission tickets, front and back.
Microsite homepage design, linking from the official Hauser & Wirth website, for both mobile and desktop.
Animated motion graphics for digital and printed posters.
Gallery documentation (indoors) of “Calder: Nonspace”, showcased at Hauser & Wirth in Los Angeles, California.
Above: Spatial graphics (outdoors) on the museum walls, advertising for the exhibition.
Below: Wheatpasted posters showing alternating poster designs for “Calder: Nonspace”.