1

Acknowledgement
This thesis would not have been possible without the guidance of the faculty
of Emily Carr University of Art + Design. I would like to thank my advisor
Christopher Hethrington for helping me from the very start, being generous
with his ideas, and encouraging me to investigate my interests in experiential graphic design. Thank you to my internal examiner Gillian Russel,
whose knowledge of an endless supply of academic resources is greatly appreciated. I am thankful to Katherine Gillieson and Hélène Day Fraser for
their tireless support and encouragement throughout the program. I’m very
fortunate and grateful to Sarah and Gordon, the curators and directors of the
New Media Gallery for allowing me to pursue my research at their institution while mentoring me. They have put a lot of trust in me, without which

/ Devansh Parikh
B.Des, Symbiosis Institute of Design, 2016

this research would not be possible.

/ Christopher Hethrington
Supervisor

not be conceivable. Their infinite amount of care, encouragement, and love

I would like to thank my parents without whom my academic pursuit would
is the reason any success is at all possible. I would like to thank my friends
and Hema, for being so uplifting and understanding – always providing a
good distraction. Lastly, I would like to thank and acknowledge the M.Des

A CRITICAL AND PROCESS DOCUMENTATION
PAPER SUBMITTED IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF DESIGN

cohort of 2020 for their constant support and criticism.

EMILY CARR UNIVERSITY OF ART + DESIGN, 2020
© Devansh Parikh, 2020

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Table of Content

Abstract

3. Acknowledgement

This research study explores the role of visual identity with narrative
methodology and visitor engagement in the exhibition design process.

4. Table of content

Literature suggests that the visitor experience in art exhibitions are still
relatively passive; their interactions are limited to catalogs and wall texts,

5. Abstract

which offer few opportunities for personal input. Furthermore, art is especially difficult for visitors to interpret and engage in. This study is an

6. List of figures

attempt to address this gap by using experiential visual identity system
in museum exhibitions and by introducing embodied physical cues as a

7. Introduction

way to engage visitors with art. The primary purpose behind this research
is to identify issues involved in the relationship between exhibitions and

12. Context

audiences. The study suggests narrative methodology as a critical component in the exhibition-making process and how it helps visual identity

14. Problem Statement

facilitate an exhibition by evoking visitor participation. Two case studies worked at New Media Gallery grounds its findings by using narrative

18. Approach

methodology with visual identity. The main goal of this study is to develop interactive exhibition graphics as a means to embody the thematics

23. Case Studies

and mood of an exhibition as a way to engage an audience offering them
a more holistic experience.

46. Conclusion

Key Words
Graphic Design,
Visual Identity,
Embodiment,

49. Bibliography

Experiential Design,
52. Appendix

Stoytelling

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List of Figures

Introduction
An exhibition, is an organised pre-

Art plays a vital role in public welfare and wellbeing. It acts as a catalyst

sentation and display of a selection

in a form of storytelling, to help the audience develop a narrative of their

Fig 10: Collage showcasing graphics in digital colour palette for Cartooney (2019)

of items to public (Elena Filipovic).

lives and relate to their own experience in a unique way. Art institutions

Fig 11: Poster for Cartooney (2019)

In practice, exhibitions usually oc-

are not just for educational purposes, but also help shape one’s personal-

Fig 13: Hema reading poster content

cur within a cultural or an educa-

ity. Evidence shows that engaging with art institutions provides positive

Fig 14: Proposed talk poster for the opening night talk at NMG

tional setting such as museums,

social experiences, leading to reduced social isolation; opportunities for

Fig 16: Person walking against window fascade

art galleries, parks, libraries, exhi-

learning and acquiring new skills; calming experiences, decreased anxi-

Fig 17: Billboard mockup

bition halls, or world’s fairs.

ety; increased positive emotions, such as optimism, hope, and enjoyment;

Fig 1: New Media Gallery, Anvil Centre, New Westminster BC
Fig 2-7: Graphics created for Cartooney at NMG (2019)
Fig 8-9: Anvil Screen Graphic for NMG

Fig 12: Poster sizing with proportions

Fig 15: Cartooney vinyl text panel

Fig 18: Public space mock ups

increased self-esteem and sense of identity; increased inspiration and op-

Fig 19: Collage of artist artworks for Cartooney at NMG
Fig 20: Flashcrash - a perfume (2019) by Fabio Lattanzi Antinor (at NMG)

portunities for meaning-making; and increased communication among

Fig 21: The Value of Art (2010) by Christa Sommerer + Laurent Mignonneau (at NMG)

families, and caregivers (Chatterjee & Noble, 2013). Such institutions are

Fig 22: Animal Spirits (2014) by Daniel McKewen (at NMG)
Fig 23: Bitsoil POPup Tax and Hack Campaign (2018) by LarbitsSisters ( at NMG)

more than a collection of artefacts, they allow you to meet with neigh-

Fig 24: Untitled (2013) by Byron Peters (at NMG)

bours, discuss thoughts, share opinions, and become an active part of the

Fig 25: Out of the Abyss (2016) by Jonathan Monaghan (at NMG)
Fig 26: ‘Currency’ graphic identity created for NMG (2020)

community. Exhibitions are regarded as the primary means by which, col-

Fig 27: Collage depicting dynamic identity design

lections are appreciated and knowledge disseminated (Weil, Stephen E,

Fig 28: Collage of Artist last name with their artworks

2002). At times, such institutions feel intimidating and are responsible

Fig 29: Wall labels stickers
Fig 30 - 33: 7”by 7” tri-fold brochure for NMG (2020)

for dividing society into different classes. Many people feel uncomfort-

Fig 34: Exhibition vinyl text

able while wandering around in the gallery space, this is because the gal-

Fig 35: Visitors engaging with artworks, credits NMG
Fig 36: Proposed Blind embossing mockup

lery aesthetics are turned into a kind of social elitism which makes the

Fig 37 - 40: Proposed Tote bag, Stickers, Pin-up badges, Take away card with black blind emoboss mock

space look exclusive and unapproachable (O’Doherty, 1986). Similar to
a commercial gallery, which is designed to accommodate the prejudices and enhance the self-image of the upper-middle classes, the modern
museum emerges as a product of a capitalist consumerist approach to art
(O’Doherty, 1986).

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To change the perception and resolve this issue, over the years, more im-

collection of elements working together, to create a unified design lan-

portance has been given to the interactions between exhibitions and their

guage that effectively communicates the values to the target audience.

visitors. These exhibitions aim to stimulate social interactions amongst

An identity system is content-driven, informative, interactive, education-

visitors. Exhibitions are driven by the direction of the visitors; the end-

al, and experiential. Exhibitions can be in a place for decades, can travel

point is frequently outside the museum’s direct control. Museums are in

around or are temporary most commonly lasting anywhere between three

the midst of a basic shift, from a focus on the object to a focus on the visi-

to six months. In general, identity-making techniques must engage all

tor (Weil, Stephen E, 2002). Their goal is to meet visitors’ expectations for

types of audiences. It involves creating a unique name, an image, or a sym-

active engagement, in a way that furthers the mission and the core values

bol for space with a consistent theme. Marketers create such experiences,

of the institution (Simon, 2010).

to gain public attention. Visual identity in the context of the exhibition is
a process to create a unique design system for an environment with a con-

This situation brings the need for introducing innovative ways of experi-

sistent visual and sensory theme, communicating the tone of the show. It

encing exhibitions by making them visitor-centric. The visual identity of

does not just mean a logo, it means how people see and experience the

an exhibition is most likely to be the first point of contact, the audience

show. It can include a symbol, a tagline, social media accounts, or even

will have with the show. It is a marketing technique for an image-making

whole new marketing guidelines (Coates, 2019). Designing experiential

process that defines a unique voice for the show, which aims to attract

content for an exhibition may include campaigns with a consistent theme

visitors for the show. Experiential graphic design encompasses the emo-

for several different platforms carrying the message of the exhibition to

tional connection, which is an essential part of the identity-making pro-

the public. These platforms may include digital collaterals such as screen

cess. This process is integrated into the exhibition-making model, which

graphics, website banners, social media images, motion graphics, email

helps in developing visual, spatial and experiential cues. This involves the

invites; print collaterals such as handouts, brochures, posters, post-cards;

orchestration of typography, colour, imagery, form, technology and, espe-

and environmental graphics for inside and outside the gallery space such

cially, the content to create a communicative environment (Peter Dixon,

as wall texts, labels, window facade, other vinyl applications, way-find-

SEGD). This study focuses on experiential graphic design as a component

ing, billboards, display screens, and gallery space activations. The visual

driven by narrative methodology and its abilities to engage with the visi-

identity aims to establish a significant and differentiated presence in a

tors. The process of identity making helps in creating a system which is a

museum setting that attracts and retains visitors.

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Good design, like good storytelling brings ideas to life. Lupton, in her

newer and broader audience. Narrative methodology plays a vital role in

book Design is Storytelling showcases different ways to use narrative to

informing the visual narrative, which helps in enhancing the visitor ex-

create engaging graphics and experiences to lead the visitors on a dynam-

perience. A narrative methodology is an interpretive approach in social

ic journey. A museum exhibition inspires their visitors to devise their own

sciences, that is based on collecting, analysing, and representing people’s

stories from the artefacts and experiences they find (Lupton, 2017). Each

stories as told by them based on a perception of the world our stories live

visit can act as a unique path through the sensory world. Those paths

in. Such narratives represent, constitute, and shape social reality (Ether-

might have peaks of intensity and points of rest. A tourist or a college

ington 2004, 75). Narrative Methodology in a gallery-setting encompass-

student will have different museum experiences and a different story to

es several methods such as storytelling, public engagement, and visitor

tell than a high school kid. A well defined visual narrative makes an exhi-

experience to form a successful exhibition. This study explores a collab-

bition more contextual and noticeable. For institutions like museums and

orative approach to the exhibition-making process where designers, cu-

galleries, there is often a challenge to reach new audiences. Graphics help

rators, and artists work together to craft interactive experiences for the

them to stay current and also to communicate with a broader audience

visitors.

(Coates, 2019).
The research aims to understand different ways to look at how visual idenNot that long ago, museums were staid places of culture. These formal

tity embodies an exhibition while engaging the visitors as participants.

and forbidding places sought to safeguard the treasures of civilisations.

The intent is to study the theories and methodologies of storytelling with

Today’s museums are more open and participatory. People visit museums

visual aesthetics as a cohesive form within an experiential space. This

to look, learn, make and converse (Lupton, 2017). Lupton argues that part

thesis limits its explorations and findings to the outcomes of visual iden-

of exhibition-making process involves pattern making. People actively

tity in graphic design used for creating an engaging exhibition space. The

seek and create patterns as they navigate through experiences — they feel

outcome often refers to the visual languages, graphics, and forms, creat-

delighted, surprised and sometimes frustrated when the patterns break

ed to interpret the artist’s work for an exhibition. This includes working

(Lupton, 2017). Storytelling can help in steering the experiences while

within the interior and exterior of the gallery space.

crafting engaging narratives. Museum exhibitions are approaching and
implementing new methods of user-centric design to communicate with a

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Context
Historically, art institutions such as galleries and museums have served as

This approach made the exhibitions more visual and spatial than discur-

important sites for cultural engagement. Despite the significant role they

sive. He introduced the ‘white cube’ approach, whereby minimising visual

play in society, museums today are faced with several challenges. Some of

distractions, he hoped to direct viewers towards a pure experience of the

these challenges stem from reduced funding, resulting in increased pres-

artwork. The bare spaces, white walls, and minimalist frames he used are

sure to attract diverse audiences and a need to justify the public value

now so common that we hardly notice them (Rodini, 2018). His model sug-

of museums. Other challenges may be attributed to the rapidly chang-

gested the refining of aesthetic sensibilities of visitors to mould a mode of

ing society in which we live—changes in demographics, lifestyle, leisure

spectatorship based on educated consumers - in contrast to the responsi-

time activities, and communication technology. (Goulding, 2000; Pitman,

ble citizens. Today, Barr’s didactic model of “educated consumer specta-

1999.)

torship” can easily be identified in the operations of most major museums
and other exhibiting institutions (Maria Lind, 2011). The mission of the

During the last century, there have been significant changes in the way

contemporary museums has evolved from serving collectors and special-

museums function. They have been slowly restructuring themselves out

ists to serving the public. Exhibition-making emphasises the selection of

of their traditional outlooks and workings to become modernised insti-

objects, the accuracy of texts, and, to a lesser extent, the design of spaces

tutions with different purposes, which include greater service to public

in an attempt to appeal to relatively knowledgeable audiences. Concepts

interaction (McLean, 1993; Falk and Dierking, 1992). Earlier in the 19th

such as audience draw, educational outcomes, and the quality of visitor

century, Museums were referred to as structures of unimagined luxury

experiences have joined, and sometimes even overshadowed, artefacts as

amongst wealthy patrons. It took years to change the functionality of the

critical issues in exhibition planning (Smithsonian 2002).

museums, from catering to elites to becoming public institutions. Public museums were known to be an educational institution for the masses. These institutes were quiet places where people would go and look at
the works of art without interacting with them. These 19th-century ideal
spectators were known as the ‘responsible citizens.’ Alfred Barr, founding
director of the Museum of Modern Art, established an educational exhibition-making model in the 1930s.

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Problem Statement
This research identifies some of the issues involved in the relationship

They then work with the marketing department on designing exhibi-

between visitors and their experiences in an exhibition. Sometimes vis-

tion collaterals to attract masses, rather than engaging with them. This

iting an exhibit feels overwhelming and intimidating. When walking into

is done with very little influence coming from the curators or the art-

an art exhibit, visitors only expect to communicate with artworks and

ists. Such a situation leads to a major disconnect in the institution’s goals

the theme of the exhibit, visually and mentally. Vision is useful for quick

while showcasing and promoting the works. Despite the marketing team

understanding but incapable of facilitating in-depth art interpretation.

winning awards for their marketing strategies, visitors are often misled,

Additionally, these exhibits are typically aimed at adults because it is dif-

or the message of the exhibit is misconstrued through their techniques

ficult to maintain children and teenagers’ attention to passive content.

(McLean, 2005).

However, museum interactivity and art education research has shown
that hands-on activities and social interactions significantly improve the

Defining an appropriate visual narrative for an exhibition should be a

messaging of the exhibits (Beale, 2011). To provide social experiences,

highly collaborative process. This process could involve proper commu-

museums act sensitively towards the needs of the visitors. Art institu-

nication between the designer, curators, artists, and the marketing team

tions are fundamentally concerned with visitors’ ability to recollect and

so that the graphic elements to an exhibition are designed to embody the

share their learnings from the exhibition. To make the visitor experience

theme and feel of the exhibition as envisioned by the curator(s), offering

more memorable they can apply their findings into researching and craft-

a potential for a holistic experience for the visitor. This includes weaving

ing a more interactive and embodied visual narrative.

the elements of design into the derived narrative to uniquely capture visitors’ attention. Design uses form, color, materials, language, and plan-

In-house marketing teams or outsourced professionals are often tasked

ning to transform the meaning of everything from signages to interiors

with developing the visual narrative for an exhibition. Very little focus

and brochure to billboards. Good design helps in developing an emotion-

has been placed on collaboration between marketing and museum ex-

al journey from confusion to clarity and from disengagement to delight.

hibitions, hence there is a lack of communication during the exhibition

At times, we find that many professionals try to impose their particular

development process (Gilmore & Rentschler, 2002). Graphic designers are

views of visitors and their desires, rather than take visitors’ views and

often involved in the implementation stage of exhibition-making rather

wants into account (Smithsonian, 2002). This leads to a situation where,

than planning or conceptualising, where design can be highly influential.

oftentimes, the visual design for an exhibition do not effectively translate

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the derived narrative visually. Hence, greater collaboration from the ini-

presentation of a diverse range of loaned works from artists, institutions,

tial planning phase through final implementation is required to create a

and collectors worldwide. The gallery space is radically redesigned and re-

representative visual language that will attract and engage visitors (Jona

built for every exhibition, carefully responding to the needs of each work

Piehl, 2012). The graphics for an exhibition acts as a visual extension of

in consultation with the artist, studio, or gallery. NMG is recognized for

the narrative, that has to communicate its outline by weaving the mean-

the caliber of its artists, unique and provocative exhibitions, active cura-

ing and values of its content with a wide range of media. Communication

torial engagement style and radical exhibition rebuilds. As per the nature

designer Jona Piehl raises a question about the importance of a situation

and size of the gallery, their current engagement strategy involves the

where the curators and designers set up a collaborative content-making

curators exchanging dialogues with the visitors about the show, artists

process to co-author stories that are appropriate and cohesive on both a

involved and technology used while walking them through the exhibi-

visual and a textual level. First, the curators share their thesis, then it’s

tions. The gallery is trying out new means of engagement by using graph-

up to the designer to define a visual language that effectively translates

ics design to embody the experience of the show. My role was to practice

the curator’s vision, and lastly, the defined visual language is later passed

experiential graphic design by using narrative methodology and storytell-

on to the marketing department for the consistency in messaging across

ing tools to capture the thematics of the exhibition, facilitating a holistic

various applications.

embodied experience for the visitors.

For my thesis project a similar collaborative process was adapted to form a
working framework with the New Media Gallery (NMG) in New Westminster, British Columbia. Here, I closely worked with the curators from the
ideation stage till the final opening, to form a content making process to
help define the narrative contextually as well as visually. New Media Gallery is a contemporary public art gallery dedicated to presenting provocative new media art from around the world. They present five exhibitions
a year, each 8 - 12 weeks long. Exhibition development for the gallery
typically includes research, documentation, and ongoing care and quality

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The Approach
Narrative Methodology

by facilitating an embodied experience. While visiting an exhibition, the
learning outcomes at the end differ for all the visitors. Such a situation

Art institutions are searching for new ways to attract, retain, and engage

arises because they are often mentally and physically exhausted which

with the visitors (Michele Everett & Margaret S. Barrett, 2009). To address

makes them forget most of the information learned before. By using nar-

these issues, researchers have called for studies to help construct a com-

rative methodology, it enables the visitors not just to view the exhibit in a

plete understanding of the visitor experience. The narrative methodology

directed path but also provides a means to recall, reflect, and share their

is one means by which designers can help develop a multi-faceted rela-

thoughts easily. Good design connects people through shared experienc-

tionship between exhibitions and visitors (Michele Everett & Margaret S.

es. Successful exhibition graphics help the visitor to navigate through

Barrett, 2009). Today, art institutions around the world are in the process

both space and story; as they define the context and the atmosphere of

of renewing and rebranding themselves. These institutes are doing this

the story, they create an experience, and through this, they can enhance

to be able to respond better to the evolving needs and wants of visitors,

the visitor’s intellectual engagement as well as appeal to their senses and

which change continuously as a result of the transformations that take

imagination.

place in the consumer culture. There is a growing commitment within
art institutions to develop exhibitions that generate new forms of participation that contribute to the public’s understanding of arts. New tools
and technologies have played an essential role in enabling designers, and
curators to develop exhibits that facilitates embodied experiences and
would allow visitors to engage in more complex forms of participation in
the exhibition space.
This research examines the role of visual narrative within experiential
design. It considers how visual narrative can be used as a tactic to embody
the curatorial premise of an exhibition. By doing so, this research shifts
the role of the visitor from passive spectators to active participants by

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Storytelling Tools

According to Lupton, Actions explore the pattern as well as forming a
theme that navigates the visitors throughout the space. It drives stories

This research studies the essential tools for developing a compelling vi-

which also drives the design process. Design touches the visitor’s minds

sual narrative from literature authored by Ellen Lupton in Design is story-

and bodies, while senses prompt out actions to fuel visitor’s memories.

telling. Here the author demonstrates how storytelling drives and shapes

Design is an art of planning ahead and predicting possible futures. Sce-

great design narratives. The book acts as a toolkit for creative thinking

nario Planning encompass a range of tools for imagining unknown sit-

and showing ways to use storytelling techniques to create satisfying

uations and possible futures. Designing for emotions requires thinking

graphics for experiences. Lupton organises this book in three acts — ac-

about how visitors will anticipate an experience and how they will re-

tion, emotion, and sensation; each act is filled with research on the way

member it later. It means recognising a fuller range of human experience

people relate to narratives and how designers can use narratives to guide

and accounting for feelings of sadness, frustration, and anger as well as

the users and provide them with memorable experiences. Lupton tells the

humor, delight, and surprise. Sensation focuses on perception and cog-

stories behind the three acts and reveals a new way of thinking about the

nition. Stories hinge on the action, and so does human perception. Sto-

process of design. She investigates into the layers of narrative to make

rytelling embodied in visual identity can help communications hook the

delightful, powerful and striking work. Lupton explores the psychology of

imagination of visitors and invite actions and behaviours. Principles such

visual perception from a narrative point of view. She presents tools and

as visual path, gestalt grouping, and multi-sensory design reveal that per-

concepts that help in framing an embodied experience in an exhibition.

ception is a dynamic process of creating order and finding focus.

These tools stir emotions, build empathy and convey action; to construct
narrative arcs and create paths through space; and to evaluate the story-

The three acts of storytelling play a vital role in my research while design-

telling power. She briefly introduces a wide variety of storytelling ideas

ing the exhibition identity and engagement techniques. Lupton explores

that can be successfully applied to thinking and problem solving involved

the connection between storytelling and design, where stories depict ac-

in the practice of design. Lupton links how storytelling is an integral part

tion and stimulate curiosity, whereas design embodies values and illus-

of the design in public space by using tools from the three acts.

trates ideas. Lupton’s theory informs the design approach, process, and
outcomes for my thesis.

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Case Studies
To address the issues between visitors and their experiences, Lupton suggests practicing human-centred design, a methodology that combines rational problem solving with emotional storytelling. This helps in creating
an inviting space, as a designer I can prompt the visitors to experience the
exhibition by touching, wandering, moving, and participating. By doing

Fig.1 has been removed due to copyright
restrictions. The image removed is a
screenshot from www.anvilcentre.com

so it addresses different ways to engage the visitors as participants and
not just spectators. Co-creation helps in building a collaborative working framework, where the curators and designers co-author a content
making process to facilitate an embodied visitor experience. Research
in behavioural economics shows that small design cues can influence
visitor interactions, and can turn passive visitor experiences into active
engagement. Reaching beyond the design’s traditional focus on vision,
the multi-sensory design incorporates a full range of bodily experiences. This technique helps in translating complex art interpretations into

This thesis research examines the process and outcomes of two exhi-

memorable and sharable experiences. The three tools suggested by Lup-

bitions, designed and conducted at the New Media Gallery, New West-

ton embodies the meaning of the exhibition and encompasses the over-

minster, BC. Here I explore the role of experiential graphic design in the

arching process of exhibition-making to form a working methodology for

exhibition design process as a means to engage visitors with the exhi-

this thesis. The following case studies apply these three tools to design

bition. During this process, I closely work with the curators in a defined

exhibition identity as well as extending the identity system to make the

framework to achieve the desired result. The two case studies have a very

exhibition engaging for the visitors.

different visual and spatial approach. The first exhibition, Cartooney, is

Fig 1: New Media Gallery, Anvil Centre, New
Westminster BC

built on a narrative of cartoons, and the second exhibition, Currency, is
a commentary on commodity, and value in the rapidly changing world
of technology. Here, I have unfolded a collaborative process of exhibition-making, to illustrate my case for developing a working framework.

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Cartooney:

Fig 2: Graphic created for Cartooney at NMG
(2019)

experiential goals that the gallery had outlined for each of the artworks.
These aims became a part of my processes for evolving visual design and

‘Cartooney’ is a video exhibition at New Media Gallery that features six

interaction. The process included several rounds of discussions and ap-

artists who explore consistent laws and systems through a cartoon land-

provals between the curators and the artists. To define the scope of brand-

scape that relates to or supersedes the laws of the human world. These

ing, it was necessary to work within the budgetary constraints. A list of

rules are often based on how cartoon characters view their world, rather

deliverables was produced, which included graphics covering a wide range

than how we think things should work. The apparent paradox of cartoon

of roles from decoration to atmospheric treatment, from print collaterals

world mirrors the instability of modern life where the meaning of things

to information design. The visual narrative had to precisely resemble the

is perceived as contrasting to the real world. Martin Arnold’s work (Black

textual content of the exhibition, which was required to define a visu-

Holes) exposed the psychoanalytic underbelly of family entertainment,

al voice for the exhibition. Before starting with design and production,

which formed an overarching theme for the exhibition. Mungo Thom-

three weeks were dedicated to researching the artists and their artworks.

son’s artwork (American Desert - for Chuck Jones) romanticised scenes of

Two of the significant research methods employed in this case study were

the American west stripped of its characters. Jennifer and Kevin McCoy’s

Concept mapping and User Journey Maps. Concept mapping allowed me

work (Every Anvil) was a direct contrast to Jason Salavon’s piece (All the

to absorb new concepts into an existing understanding of themes to draw

ways - The Simpsons) as one suggested isolating everything into a singu-

new meanings. While defining a visual narrative for the exhibition, it

larity to understand it out of context and the other stated amalgamating

was important to analyse individual artworks and draw parallels with the

everything into a singularity and trying to make sense of it as a whole.

overarching theme for a cohesive design language. Journey mapping was

My role was to capture the feeling of darkness, ironic, political with some

essential for visualising the experiences of the visitors so they could be

angst in the design for the exhibition.

evaluated and improved. As this exhibition was depicting the dark, ironic
and political side of the cartoon world, a user journey map helped in tell-

The process for defining the visual language of this exhibition was high-

ing a story about an individual’s actions, feelings, perceptions, and frame

ly collaborative. We began the process with working discussions about

of mind. This included the positive, negative, and neutral moments—as

curatorial aims and the concepts that infused a wide range of artwork

the visitor would interact with the different components of the exhibi-

installations planned for space. It was important to carefully consider the

tion.

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Cartooney
The visual identity draws the character, play, and visual interest from
economical use of a single and highly contrasting grotesque font, and a
black and white colour palette contrasting the interiors of the gallery and
nature of the show. This acts in contrast to a diverse and ornate exhibition of colour and texture, yet also shares something in common with the
underlying and unifying intentions of the show. The typographic design
plays out across posters and flyers where the type and space are well-balanced. Other highlights include the use of proportionality, with large text
and finer organic compositions that effectively brand the venue. The visual language was extended to include a variety of print communications
including leaflets, posters and postcards, animation, advertising, signage,

a

e

and environmental graphics. The visual language is influenced by Lup-

Fig 3-7(Page L&R): Graphics created for
Cartooney at NMG (2019)

ton’s principle of Emotions in storytelling which anticipates the visitor
experience and learning beforehand. By doing so, the design taps into the
visitor’s emotion to trigger the feeling of darkness and angst. The logotype’s double ‘O’ expands to create an identity system that takes different
forms, mainly as a motion trail (imitating the cartoon trails), an element
of mystery, and a set of eyes. The digital graphics for screens across the
centre, animations, and advertising use an austere colour palette different from print communications for a mobile experience while capturing
the feeling of angst. A contrast between bright modern colour in the photographic treatment and bold typography makes a visually intriguing expression.

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Fig 8-9: Anvil Screen Graphic for NMG

Fig 10: Collage showcasing graphics in digital colour palette for Cartooney (2019)

The application of branding involved not just visual graphics; it also had
experiential cues, which encouraged visitors to be a part of the exhibition. Lupton’s principle of Sensation driven storytelling informed the
translating of visual design into the experiential design. It helped in altering the visitor’s perception of the show by developing and achieving
the overarching idea for the exhibition; which was to make the visitors
feel small when they entered the space. As the exhibition was completely
video-based, there were legibility concerns regarding artwork labels. To
address this concern, I designed a large format poster informing details
about artists, artwork, and exhibitions for the visitors as a tear-out sheet
which was installed in the entrance of the space. The poster was 2ft by 3ft.
portrait sized, it gave an exaggerated outlook when a person was holding
or reading it. One the opening night a room full of people were holding
giant posters which made them look small inside the exhibition. The main
wall text panel at the entrance was 4.5ft by 6ft, significantly larger than
average size, where the visitor had to follow through a large piece of text
across the wall which made them a part of the show. A large glass facade
near the entrance had a giant exhibition title, making it look like a photo
frame where people could click pictures. During the design process, the
main wall text had to be prototyped as with graphics on that scale, it was
crucial to avoid visual and aesthetic missteps. The proposed exhibition
takeaway included postcards. I designed a set of seven postcards — six
with individual artists and their artwork and one show focused.

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Fig 11: Poster for Cartooney (2019)

Fig 12: Poster sizing with proportions

The postcard had an artwork with the artist name, following the identity
system, the letter O was removed from the names which left a blank space
as an element of mystery. Similarly, after defining the identity system with
letter O, the exhibition designer built circular stools instead of benches
to stay consistent. As there were six video installations, the exhibition
designer had to create a room for each. The doors were painted similarly,
mirroring the cartoon houses. Lupton’s principle of Action helped in developing the visual and experiential trail for visitors across various media.

Fig 13 (right page): Hema reading poster
content
Fig 14 (right page): Proposed talk poster for
the opening night talk at NMG
Fig 15 (right page): Cartooney vinyl text
panel

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The design solution for the exhibition was seen as a unique approach, as
I’d worked closely with the gallery throughout the entire project to constantly question, push and revise different ways to engage with exhibition
visitors. The branding worked to capture the expression of the exhibition in both visual and experiential aspects by following the three acts
of storytelling. One of the main concerns was to merge graphic design
and branding with a traditional gallery environment while while designing the graphics to embody the thematics of the exhibition facilitating
a more holistic experience for the visitor. The action-based storytelling
tool helped in defining the design collaterals and interactions, whereas
emotion and sensation based tools embodied the values and meaning of
the exhibition. The graphics formed a cohesive visual language for people
to experience, interact, and remember the show. As the project evolved
many of the engagement points were customized to a greater level of detail. The design outcome exceeded both the expectations and goals that
were initially set for the gallery.
https://www.behance.net/gallery/87069047/Cartooney-Exhibition-Identity
Fig 16 (right page): Person walking against
window fascade
Fig 17 (right page): Proposed billboard
mockup

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Currency:
Currency is a mixed-media exhibition, currently on show at the New Media Gallery. In this exhibition, eight artists from around the world with
diverse ideas and depictions relating to the perception of value, consider and critique the evolving symbolism in a rapidly changing world of
technology. They offer diverse narratives and counter-narratives around
a dominant notion of currency. Layered with symbolic references and
skilful handling of complex information, these metaphoric works reflect
the seductive, volatile and sometimes problematic relationships that develop between currency & value. The artists in the exhibition measure,
critique and interpret currency through references to attention span, decision-making & psychology, corporate structures, historic & corporate
symbols, art, luxury goods & design, real estate and economies of labour
& exchange. In technological terms, the works function through the use
of artificial intelligence, internet streaming, diagnostic gas chromatography, blockchain, banking systems; two of the works are interactive. The
notes of a luxury fragrance reflects the volatile spikes of the biggest financial crash in history (Flashcrash - a perfume); a social media campaign
directs bots to produce a cryptocurrency that tries to restore fair balance
in data exchange (Bit-soil Popup tax and hack campaign); a surveillance
technology measures the currency of human attention in the art (Value of
Art); an ancient, apocalyptic narrative is used to reflect modern anxieties

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Fig 18 (left page): Public space mock ups
Fig 19 (left page): Collage of artist artworks
for Cartooney at NMG

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around currency (Out of the Abyss); a piece of ephemeral real estate is
purchased with social media currency (Untitled); a psychological phenomenon that affects the buying & selling of securities is rendered monstrous (Animal Spirits). The exhibition questions the audience about ways
to interpret, measure and assign value to objects, landscapes, and econo-

The curators took a greater interest in the graphic design process for lin-

Fig 20: Flashcrash - a perfume (2019) by
Fabio Lattanzi Antinor ( at NMG)
Fig 21: The Value of Art (2010) by Christa
Sommerer + Laurent Mignonneau (at NMG)

ear messaging across platforms and engagement points. During the several rounds of discussions with the curators, it was very clear that the
visual design had to be extremely sophisticated to match the tone of the

Fig 22: Animal Spirits (2014) by Daniel
McKewen (at NMG)

show. The interior was designed to mirror a luxurious storefront. The cu-

mies of exchange. The works give the audience opportunities to reflect on

rators wanted me to showcase the notion of traditional values and the

common interpretations of currency and conditions which affect value.

effects of modern technology on it. During the research, I found ‘value’

My role was to visually translate and represent the notion of traditional

for each individual was subjective. Some people found value in everyday

value with modern-day surveillance technology.

objects whereas others saw value in luxury products (where the currency

Fig 23: Bitsoil POPup Tax and Hack Campaign (2018) by LarbitsSisters ( at NMG)
Fig 24: Untitled (2013) by Byron Peters (at
NMG)
Fig 25: Out of the Abyss (2016) by Jonathan
Monaghan (at NMG)

is the medium of exchange). There is a metaphorical layering in the conThe working framework was defined in the previous exhibition which

ception of value and currency where the value is placed above the notion

made the process of ideation in the preliminary design stage easy. The cu-

of currency. The process of layering became a key asset for the identity

rators shared the exhibition thesis with me after finalising the artworks.

system which would instigate the design direction that would link a vari-

Through conversations with the curators, and as per the nature of this

ety of assets includeding environmental graphics, print communication,

exhibit I learned that they were approaching the show with a white-box

and digital assets. One of the key research methods used was - Artifact

exhibition-making model. I also discovered that the installation would

analysis, which is a systematic examination of the material, aesthetic, and

have a minimal amount of didactic information. The process for design-

interactive qualities of objects. Before defining a visual identity for an ex-

ing the interior of the space was initiated by the exhibition designer and

hibition, it is necessary to study the artworks in detail to get a sensibility

the curator. For such an exhibit, they had to plan the floor layout and

for the design direction.

artwork placement. This traditional setting involved high ceilings, plain
white walls, polished floors, and evenly spaced artworks lit from above.

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A dynamic design approach is established around a serif typeface inspired
by the mid-century modern aesthetics involving a rich colour palette of
matte black over matte gold to form layers. This dynamic visual identity (animation) acts as an underlay which transforms a clear text to a
blurred text (with almost 30 percent transparency) in a few seconds to
reveal another text layer over it. This motion is looped and denotes the

Fig 26: ‘Currency’ graphic identity created
for NMG (2020)
Fig 27 (right page): Collage depicting dynamic identity design
Fig 28 (right page): Collage of Artist last
name with their artworks
Fig 29 (right page): Proposed wall labels
stickers

effects of modern-day surveillance technology on the notion of value.
The design showcases an unusual and contrasting set of extended and
condensed characters, moments of irregularity, gradation and the continuity from a shared mono-linear line weight, limited colour palette and a
concept rooted in layers of affecting value. Both as static and in motion,
the graphics have an individual, distinctive and expressive quality with
a unique use of space, colour, and form. The visual language of the show
is built on the perception, cognition, and anticipation which is driven by
Lupton’s Emotion and Sensation driven storytelling tools. This helps in
visually depicting the metaphorical layer of value and currency with luxury under the surveillance technology.

One of the biggest challenges was to engage visitors in a white-box gallery
setting. Usually, such exhibitions are overwhelming and visitors are afraid
to move freely inside the space. The curators intended to make people
feel welcomed in a luxurious yet approachable environment.

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Lupton’s principle of Action driven storytelling helped in defining ways to
incorporate luxury cues in print and spatial setting for the show. One of

Fig 30 - 33 (right page): 7”by 7” tri-fold
brochure for NMG (2020)

the first collaterals design was a proposed invitation postcard. The front
side had the blurred title in matte gold ink with the dates of the exhibition embossed over it with matte black on an extra white, 8pt silk cover
paper. The backside had general information about the show and space to
write. Due to the sophisticated design of the postcard, and as a first point
of contact from the gallery, the visitors would feel honoured and excited
for the show. One of the other collaterals using similar paper and print
technique was the main exhibition brochure. When the visitors entered
the space they could pick a square tri-fold brochure with detailed information about the show and the works. To maintain the luxurious feel, I
added gold foiling to the artist’s names mentioned inside. Visitors felt like
they were taking a part of the exhibition back with them. The identity font
was used to cut out the artist’s last names in gold metal (3in thick and 8in
high) which was placed right above their artworks (proposed treatment).
This was to build on the luxury storefront concept while still maintaining
the overarching theme of a traditional white-box gallery. The glass facade was designed to mirror a window signage of a luxury store. The main
wall text panel title was matte gold vinyl to keep the feel consistent. The
screens around the gallery would play the animation of the artwork title
above the blurring artist names.

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There were a few shifts in the interaction and design approach. These
shifts were a radical departure from what the gallery had originally intended. With the current situation related to COVID-19 and it’s safety protocol, the gallery had to halt it’s operation immediately after the
opening weekend but they are planning to re-open when possible and
extend the show till fall.

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Fig 34 (left page): Exhibition vinyl text

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Fig 35 (top): Visitors engaging with artworks,
image credits: NMG
Fig 36 (bottom): Proposed blind embossing

Fig 37 - 40 (right page): Proposed Tote bag,
Stickers,
Pin-up badges,
Take away card with black blind emoboss
mock

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Conclusion
This study has discussed how principles of narrative methodology and

Storytelling acts as an essential component of narrative methodology

storytelling in an art institution can facilitate to a holistic embodied ex-

to develop visual narratives. Lupton illustrates creative storytelling and

perience for the exhibition visitors. The thesis has argued that graphic de-

makes the invisible pattern visible. Her principles help to uncover the lay-

sign has an important role in mediating communication and visitor expe-

ers of narrative to design embodied experiences. The tools help in design-

rience throughout the physical gallery space. The thesis has made a range

ing experiential cues by asking questions about evoking emotions, engag-

of claims regarding the significance of a collaborative working framework

ing senses, building participation, and defining visual journeys to amplify

between the artists, curators, designers and marketing professionals and

the storytelling potential of an exhibition. This approach also provides

their contribution to exhibition-making. This thesis also builds a case

a unique opportunity to explore the exhibition visitor engagement re-

where designer’s role in the exhibition design process is limited to imple-

lationships over time and to place a museum visiting in the context of

mentation rather than planning and conceptualisation, arguably where

individuals’ lives. Insights gained from the study’s narrative research de-

design could have a beneficial influence. Graphic design has an important

sign reveal important features of museum experiences that may facilitate

role in framing visitor’s perceptions of exhibitions while engaging and

greater retention of visitors while also reaching out to new audiences.

encouraging people to visit.
The two exhibitions presented in this thesis are selective, offering only
This study illustrates the rich understanding that may emerge when nar-

a partial view of the diversity of exhibition graphics. They do, however,

rative inquiry approaches are employed to investigate questions in the

begin to unfold some of the various project characteristics and processes

field of visitor engagement. Modern institutions emphasises on design

through which graphic solutions emerge and within which graphics func-

for the visitor experience and to attract visitors from all ages and cultural

tion in very different ways. “The variety of these roles and possibilities is

backgrounds. Visual identity can be utilitarian but it can also play a big-

to be acknowledged in a field where creative processes are often closed

ger role in experientially translating the true meaning of the exhibition

down by overly hierarchical and structured exhibition development prac-

to audiences. The narrative methodology adopted for this study provides

tices” (Jona Piehl 2012, 264). Stories, audiences and engagement methods

a deeper understanding of the exhibition experience and highlights the

will vary greatly, and it is possible that a sophisticated narrative gener-

unique qualities of visitor engagement with museum institutions.

ated to actively draw the visitor might be developed by a curatorial team
and then set out in space with minimal detailing by the designer; as seen

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posed an open invitation to the graphics to take a more active part in the
storytelling while engaging with the visitors. The greater the awareness
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the more confidently these can be played out, which in turn will make the
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GRAPHIC DESIGN PRACTICUM - Devansh Parikh, (MA Design), ECUAD
2019-2020
Introduction
In March, 2019 MA student Devansh Parikh contacted New Media Gallery and proactively offered his services in
exchange for experience. We receive a great number of requests and his request stood out. After an interview, we
agreed to offer him a practicum doing some graphic design for our next exhibition. After reviewing his design proposal
we made the decision to give him responsibility for the entire graphic design portfolio of our international exhibition
Cartooney. This was a calculated risk, given that we were not familiar with his work habits.

Appendix

Devansh worked on two exhibitions at New Media Gallery: Cartooney and Currency. This paper discusses
Cartooney as a better example of his capabilities, because he had more time. Currency closed after two days due to
the Covid Virus and will likely not re-open until Autumn 2020. Both exhibitions featured significant, award-winning
international artists. The Cartooney graphics have now gone out around the world and we have had very positive
feedback from the artists. We believe the practical experience Devansh gained completing these projects was
invaluable.

Testimonial from Sarah and Gordan, Directors and Curators at New Media
Gallery, New Westminster, BC. (on P53).

Devansh was asked to work within strict time constraints and adhere to a budget. He was asked to demonstrate a
firm grasp of our curatorial statement, selected artists and works before seeing the exhibition installed, and to
respond to the exhibition design developed at NMG. He worked directly with NMG Directors who gave him the brief.
He was required to be in constant contact with us and the Trades, manage numerous schedules (installation, printing,
production, meetings, his own class requirements) as well as amend schedules and the design along the way. He
produced production-ready design for vinyl wall texts, label copy, window text, a large poster, social media graphics,
digital screen graphics and GIFS. Throughout the process, and working with large amounts of information and
change orders, Devansh was unfailingly courteous, professional, very clear, measured and organized in his
approach: an absolute pleasure to work with. The work he produced for Cartooney was professional, very creative,
answered the brief and the budget, and the results were of a very high standard. His contributions as a graphic
designer affected how visitors approached, perceived and were attracted to the exhibition. The results were quirky,
fun and sophisticated. A good example of how Devansh captured nuance and exhibition meaning is exemplified in
his poster. This oversize sheet of displaced scale was immediately read as cartoon-like, making even very
sophisticated visitors smile and feel the power of childhood cartoons again. We had excellent feedback on the
graphic design and were pleased with how well he responded to the meaning of the exhibition itself through his
designs. The attendance for Cartooney was about 8000 which is in line with other exhibitions. A further 3-4000 likely
experienced his design through Social Media and the Digital Boards at Anvil.
Graphic Design is like a soundtrack to a film; it should help to set the overall mood and tone of an exhibition. Graphic
Design for Contemporary Art Exhibitions can be perceived as risky. In the contemporary art world there are ways of
doing things and if conventions are broken…it must be for a reason. Because of this graphics for contemporary art
galleries can be overly conventional. At NMG we think graphic design should break a few boundaries. But there are
some things graphic design should and shouldn’t do: it must support the exhibiting artists without competing. The
designer must always keep the works in mind ; never using them as backdrop to the design or changing them at a
whim or giving a false impression. For public galleries with broad audiences like ours, the design must be legible and
connect with various audiences, and age groups. Graphic design ties the physical and online elements of the
exhibition together; a thread that gives visual cohesion. Design has the potential to attract audiences to an exhibition
and communicate something important about the artists, their works, the gallery and the exhibition itself. Done well
graphic design can captivate, spark interest and reveal something important. But if a designer misses the point,
graphics have the power to mislead and obscure. At their most effective, graphics have the power to draw an
audience in and allow them to feel or understand something about the exhibition before they arrive…and afterwards,
to recall in a memorable way.
Sarah Joyce (Director-Curator) + Gordon Duggan (Executive Director)
New Media Gallery
newmediagallery.ca

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