Terror and Wonder: The Gothic Imagination
is a recently opened exhibition at the British Library. It is the UK’s largest exhibition of Gothic literature, celebrating the many British literary masterpieces in the genre, as well as modern interpretations of the Gothic in pop culture today.
Exhibits include handwritten drafts of Mary Shelley’s Frankenstein, Bram Stoker’s Dracula, the modern horrors of Clive Barker’s Hellraiser and the popular Twilight series, highlight how contemporary fears have been addressed by generation after generation. On display are posters, books, films - and even a vampire-slaying kit - demonstrating the dark shadow the Gothic imagination has cast across film, art, music, fashion, architecture and our daily lives.Although this post is not about using a large amount of paper, it is about using the RIGHT paper! The captions printed for each of the exhibits are printed on Redeem 100% Recycled, 240gsm and mounted onto 3mm displayboard.
Graphic design for the exhibition is by Kellenberger–White. They needed a material that was a neutral white, that had an old look and feel without being all faux and 'parchmenty' - and they chose Redeem 100% recycled which gives the captions the perfect look.
Here's what Kellenberger-White say about it....
Working with London-based architects OMMX, Kellenberger–White designed a comprehensive scheme of exhibition graphics, which included a special neon entrance sign, introduction and section panels, captions, as well as a section by section colour scheme, developed in partnership with the architects and the British Library exhibition team. The design deliberately played on the visual mood of the exhibits – for example the rooms and corridors dedicated to Dracula were lined from floor to ceiling in a deep blood red. The exhibition graphics sought to enhance the eerie tone of the exhibition rooms. Using the new typeface Stanley Bold, characterised by its sharp counter forms, the text panels were produced on hand-painted wooden panels – evocative of bucolic Victorian churches and school halls, while their layout and proportions subtly hinted at the ultimate Gothic motif of tombstones.
Kellenberger–White redrew a special hairline font that was optimised for neon production. The neon enriched the special characteristics of the chosen Stanley font, while also evoking the image of nighttime street scenes and seedy alleyways frequently occupied by modern day characters of the Gothic underworld.
Exhibition design is by London-based architects OMMX. Graphic design is by Kellenberger–White. Production Lighting is by DHA Designs Exhibition. Photography is by Max Creasy. Exhibition captions produced by The Keyboard Group.
Graphic design team is Eva Kellenberger , Sebastian White and Mina Demiren.
www.officemmx.com/
http://www.thekeyboardgroup.com/
Posted by Justin Hobson 23.10.2014
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