https://lizziebaur.com Lizzie Baur Fri, 02 May 2025 16:59:57 +0000 https://lizziebaur.com en https://lizziebaur.com/Front-page Sat, 20 May 2023 18:06:09 +0000 Lizzie Baur https://lizziebaur.com/Front-page <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/de9c17fd1413dbad3456a7b22ff57eb145935f896964efc0eebaa39977221cb0/Graphic-for-sweater.jpg" data-mid="232753923" border="0" alt="Branded merchandise (Golf Lounge, 2025)." data-caption="Branded merchandise (Golf Lounge, 2025)." src="https://freight.cargo.site/w/1000/i/de9c17fd1413dbad3456a7b22ff57eb145935f896964efc0eebaa39977221cb0/Graphic-for-sweater.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/b7957bf611a8aa7686ad7c5e7ff3169394dcba7b2e8f96017e92e39aaab360a6/Two-toned-hat.jpg" data-mid="232753928" border="0" src="https://freight.cargo.site/w/1000/i/b7957bf611a8aa7686ad7c5e7ff3169394dcba7b2e8f96017e92e39aaab360a6/Two-toned-hat.jpg" /> <img width="4500" height="5625" width_o="4500" height_o="5625" data-src="https://freight.cargo.site/t/original/i/f6305f9e708ed086bd4c00dcbea41d44cc869eaffd2c45a3285b9dbac025bd5c/KW_Portfolio_SS.jpg" data-mid="232754126" border="0" alt="Public programming collateral (Kehinde Wiley, 2023)." data-caption="Public programming collateral (Kehinde Wiley, 2023)." src="https://freight.cargo.site/w/1000/i/f6305f9e708ed086bd4c00dcbea41d44cc869eaffd2c45a3285b9dbac025bd5c/KW_Portfolio_SS.jpg" /> <img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/ae1dabdf362a276e83511941d695ea685665131576fb9700ff2062793e97a42e/Tudors_Hero.gif" data-mid="193225218" border="0" alt="Title lock-up (The Tudors, 2023)." data-caption="Title lock-up (The Tudors, 2023)." src="https://freight.cargo.site/w/1000/i/ae1dabdf362a276e83511941d695ea685665131576fb9700ff2062793e97a42e/Tudors_Hero.gif" /> <img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/38e2b5b2ecdf64927a81f89d01aa0d34ec772766dbd9767a62109472b3b44008/34_deYoung_AliceNeel_GarySexton_3_9_22.jpg" data-mid="179493097" border="0" alt="Gallery title wall (Alice Neel: People Come First, 2021)." data-caption="Gallery title wall (Alice Neel: People Come First, 2021)." src="https://freight.cargo.site/w/1000/i/38e2b5b2ecdf64927a81f89d01aa0d34ec772766dbd9767a62109472b3b44008/34_deYoung_AliceNeel_GarySexton_3_9_22.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/2a4aa4574936c63dc62fcb0608723addd063adbe10f0003e38512b8706b82fef/DSC_0024.JPG" data-mid="179406050" border="0" alt="Black tie invitation (On the Edge, 2021)." data-caption="Black tie invitation (On the Edge, 2021)." src="https://freight.cargo.site/w/1000/i/2a4aa4574936c63dc62fcb0608723addd063adbe10f0003e38512b8706b82fef/DSC_0024.JPG" /> <img width="5958" height="4300" width_o="5958" height_o="4300" data-src="https://freight.cargo.site/t/original/i/45c4a9773cb4791133191ada7c5623fd8966becac64f22c4edda35e442081c8e/whiz-spreads-2.jpg" data-mid="179493114" border="0" alt="Zine layouts (Whiz World #7: Extraction, 2021)." data-caption="Zine layouts (Whiz World #7: Extraction, 2021)." src="https://freight.cargo.site/w/1000/i/45c4a9773cb4791133191ada7c5623fd8966becac64f22c4edda35e442081c8e/whiz-spreads-2.jpg" /> <img width="1752" height="1248" width_o="1752" height_o="1248" data-src="https://freight.cargo.site/t/original/i/1fca85a40ba0aad44277525b94617771c4ed64576a10ffd3a033313d80b80361/ici_solo2-2.jpg" data-mid="181633551" border="0" alt="2-color risograph print (L'endroit est ici, 2019)." data-caption="2-color risograph print (L'endroit est ici, 2019)." src="https://freight.cargo.site/w/1000/i/1fca85a40ba0aad44277525b94617771c4ed64576a10ffd3a033313d80b80361/ici_solo2-2.jpg" /> <img width="5958" height="4300" width_o="5958" height_o="4300" data-src="https://freight.cargo.site/t/original/i/a9401cb69bb36ec34f8b3eea782f83c915da3351b1965927e0589b58ec0c6350/tc-spreads-3.jpg" data-mid="179497834" border="0" alt="Essay spread (Temporal Collisions, 2020). " data-caption="Essay spread (Temporal Collisions, 2020). " src="https://freight.cargo.site/w/1000/i/a9401cb69bb36ec34f8b3eea782f83c915da3351b1965927e0589b58ec0c6350/tc-spreads-3.jpg" /> https://lizziebaur.com/Information Sat, 20 May 2023 18:06:09 +0000 Lizzie Baur https://lizziebaur.com/Information Lizzie Baur is Lead Graphic Designer at the Fine Arts Museums of San Francisco (de Young and Legion of Honor). She received her MFA in Graphic Design from the Rhode Island School of Design. Currently freelancing and available for short-term contracts. ︎︎︎Technical Skills— Image-making— Typesetting— Book &amp; Poster Design — Motion Graphics— Web Design &amp; Development— 3D Modeling ︎︎︎Conceptual Skills— Branding &amp; Identity System Design— Environmental Design — Exhibition Design &amp; Graphics — Collaborative Thinking— Critical Writing &amp; Research Contact — baur.lizzie[at]gmail.com https://lizziebaur.com/Mobile-nav Sat, 20 May 2023 18:06:09 +0000 Lizzie Baur https://lizziebaur.com/Mobile-nav Project Index ︎︎︎ Isaac Julien: I Dream a World Tamara de Lempicka Golf Lounge Irving Penn Kehinde Wiley: An Archaeology of Silence The de Young Open The Tudors: Art and Majesty in Renaissance England Forms+Surfaces FAMSF Video Graphics Guo Pei: Couture FantasyAlice Neel: People Come First On the Edge Whiz World #7: Extraction Grad Work ︎︎︎ Temporal Collisions Permutations RISD GD MFA Biennial Misc. Info ©2025 https://lizziebaur.com/Isaac-Julien-I-Dream-a-World Fri, 02 May 2025 16:59:57 +0000 Lizzie Baur https://lizziebaur.com/Isaac-Julien-I-Dream-a-World Isaac Julien: I Dream a WorldExhibition Graphics, 2025 de Young museum <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/4a03cc19f9bcf1360844eee7b7e829d635f8390474cf16edc34c992b40a48a93/9227-famsfgala-250410.jpg" data-mid="232232496" border="0" src="https://freight.cargo.site/w/1000/i/4a03cc19f9bcf1360844eee7b7e829d635f8390474cf16edc34c992b40a48a93/9227-famsfgala-250410.jpg" /> <img width="1250" height="834" width_o="1250" height_o="834" data-src="https://freight.cargo.site/t/original/i/e7e9e674efe636ae5722982f7d5507809115d6ee2fe890274fcc84952c2e9f6b/Isaac-Julien-I-Dream-A-World-2025_2.gif" data-mid="232235848" border="0" src="https://freight.cargo.site/w/1000/i/e7e9e674efe636ae5722982f7d5507809115d6ee2fe890274fcc84952c2e9f6b/Isaac-Julien-I-Dream-A-World-2025_2.gif" /> Isaac Julien: I Dream a World is the first retrospective in the United States for the British artist known for his immersive, multichannel video installations. Julien's films revisit the past to create spaces of cultural&nbsp;memory that invite us to reframe our priorities in the present.&nbsp;In response, I wanted to source typography that was historically-grounded. As a newly acquired FAMSF artwork and one of the centerpieces of the de Young&nbsp;presentation, Lessons of the Hour served as the catalyst for typographic research. Lessons of the Hour is a poetic meditation on the life and work of writer, orator, and abolitionist, Frederick Douglass. I chose Roumald as a typeface that recalls the Scotch Roman typographic tradition of Douglass's time. Roumald's contemporary features—most notably the curvature and softness that’s been added to the counterforms to create an almost blurry feel to it—also served as an appropriate nod to the dreamlike quality of the artists work. <img width="6173" height="4032" width_o="6173" height_o="4032" data-src="https://freight.cargo.site/t/original/i/f805c844db16bd2340e7708c0af776c0425d2fe68913e452fe21b72ae69130a3/IJ_vinyl-close-up_2.jpg" data-mid="232236992" border="0" src="https://freight.cargo.site/w/1000/i/f805c844db16bd2340e7708c0af776c0425d2fe68913e452fe21b72ae69130a3/IJ_vinyl-close-up_2.jpg" /> Julien's moving-image grammar incorporates an increasing number of projection screens to create conversations between disconnected places and temporalities. When constructing the title lock-up, I explored typographic treatments that were slightly fragmented, generating a sense of movement or choreography across the page. This was intended to reference the kind of visual rhythm the artworks possess in the multichannel installation format. For marketing materials, I wanted to make use of a compositional style that&nbsp;involved integrating multiple images&nbsp;with large scale typography.&nbsp;This would allow us to represent each&nbsp;artwork from multiple angles, and in a&nbsp;sense, mirror the multichannel gallery experience. Unfortunately, this treatment didn’t end up in the final marketing campaign. The gallery didactics were primarily housed in a central atrium, where individual films or pairs of videos branched off in a “choose your own adventure” manner. The FAMSF design studio commissioned the fabrication of photographic facsimiles to accompany each didactic text and embedded these aluminum mounted prints into the surrounding text. The compsosition of text and image employ the same visual rhythm and movement that inspired the title lock-up. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/755dc77b30173d463a6edfd2ab0300ea6c5f4d739a3a4cf5f96e24ae3bc88d10/Isaac-Julien-_I-Dream-A-World_-157_808A8369_Henrik-Kam-2025.jpg" data-mid="232241217" border="0" src="https://freight.cargo.site/w/1000/i/755dc77b30173d463a6edfd2ab0300ea6c5f4d739a3a4cf5f96e24ae3bc88d10/Isaac-Julien-_I-Dream-A-World_-157_808A8369_Henrik-Kam-2025.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/12ef3ade94a5d6add5e08d18ff40638d95488930785082dc991f59fa03712f9f/MS_IsaacJulien-ExhibitionInstallation_20250416-35_edit.jpg" data-mid="232241855" border="0" src="https://freight.cargo.site/w/1000/i/12ef3ade94a5d6add5e08d18ff40638d95488930785082dc991f59fa03712f9f/MS_IsaacJulien-ExhibitionInstallation_20250416-35_edit.jpg" /> CreditsClaudia Schmuckli, chief curator of modern and contemporary artTristan Telander, exhibition designerAlejandro Stein, exhibition design director Jesse Beckman, graphics preparator Typeset in Roumald. Installation photography by Henrik Kam &amp; Randy Dodson. Gallery graphics production and installation by Sterling Graphics and Barker Blue. Project submission on&nbsp;Fonts in Use. https://lizziebaur.com/Tamara-de-Lempicka Thu, 31 Oct 2024 18:06:12 +0000 Lizzie Baur https://lizziebaur.com/Tamara-de-Lempicka Tamara de LempickaGraphic Identity, 2024 de Young museum <img width="5000" height="3335" width_o="5000" height_o="3335" data-src="https://freight.cargo.site/t/original/i/f48c8455480c3a69cd0255d70c8c17863389806c966659bbff13a02001db4007/0076_Lempicka_Sexton_10_8_24_smaller.jpg" data-mid="220757537" border="0" alt="Installation view of Tamara de Lempicka, de Young, 2024. Photograph by Gary Sexton" data-caption="Installation view of Tamara de Lempicka, de Young, 2024. Photograph by Gary Sexton" src="https://freight.cargo.site/w/1000/i/f48c8455480c3a69cd0255d70c8c17863389806c966659bbff13a02001db4007/0076_Lempicka_Sexton_10_8_24_smaller.jpg" /> With works that exuded cool elegance and transgressive sensuality, Tamara de Lempicka (1894–1980) helped define Art Deco. Her paintings captured the glamour and vitality of postwar Paris and the cosmopolitan sheen of Hollywood celebrity. This exhibition at the de Young is the first major museum retrospective of Lempicka in the United States. <img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/f05bcbdf2ee6c9e9fa58264cbab579a0aaba7f3a4229afb4530a87a7475e80e1/Title-wall-1.jpg" data-mid="220838516" border="0" alt="Projection lighting illuminating title wall characters" data-caption="Projection lighting illuminating title wall characters" src="https://freight.cargo.site/w/1000/i/f05bcbdf2ee6c9e9fa58264cbab579a0aaba7f3a4229afb4530a87a7475e80e1/Title-wall-1.jpg" /> <img width="1650" height="2550" width_o="1650" height_o="2550" data-src="https://freight.cargo.site/t/original/i/ef21498270f244f25c528b3f7a9c51cca6c753e6d08e73e26e3537464949e7b1/MAR_24_Tamara-de-Lempicka_Poster_FINAL2.jpg" data-mid="220798749" border="0" alt="Poster with image &quot;refraction&quot; at the edges" data-caption="Poster with image &quot;refraction&quot; at the edges" src="https://freight.cargo.site/w/1000/i/ef21498270f244f25c528b3f7a9c51cca6c753e6d08e73e26e3537464949e7b1/MAR_24_Tamara-de-Lempicka_Poster_FINAL2.jpg" /> Lempicka’s work is characterized by bold lines, geometric, and angular shapes. Her figures possess a volumetric presence and monumental scale within the frame, often situated against the backdrop of a looming cityscape. To create a backdrop for the graphic identity, we borrowed visual cues from the kind of narrow hypervertical linearity found in Art Deco architecture, vertical slat blinds, and corrugated glass. Vertical panels functioned as a backdrop and recurring visual motif within the marketing campaign and the exhibition space. Because the vertical panel gradient referenced the Art Deco period, we wanted to contrast that by using a contemporary sans serif that brings this exhibition into the present day. Typesetting in Pirelli lent itself well to a tight stacked orientation which gives it a clean and concise expression. <img width="4667" height="7000" width_o="4667" height_o="7000" data-src="https://freight.cargo.site/t/original/i/9b307b2f2769c6c653ee21b00d007ce06cefdbe42022c1ee8c856e40fed9608e/MAR_24_Tamara-de-Lempicka_Berkeley-Premiere-Panels_FINAL3_insitu.jpg" data-mid="221048928" border="0" alt="Billboard" data-caption="Billboard" src="https://freight.cargo.site/w/1000/i/9b307b2f2769c6c653ee21b00d007ce06cefdbe42022c1ee8c856e40fed9608e/MAR_24_Tamara-de-Lempicka_Berkeley-Premiere-Panels_FINAL3_insitu.jpg" /> CreditsFurio Rinaldi, curatorXiaoxi Chen, exhibition designerAlejandro Stein, exhibition design directorMeghan Moran, senior exhibition graphic designerJesse Beckman, graphics preparator Typeset in Pirelli. Installation photography by Gary Sexton. Project submission on&nbsp;Fonts in Use. https://lizziebaur.com/Golf-Lounge Sat, 02 Nov 2024 01:36:58 +0000 Lizzie Baur https://lizziebaur.com/Golf-Lounge Golf LoungeVisual Identity, 2024 <img width="5100" height="3300" width_o="5100" height_o="3300" data-src="https://freight.cargo.site/t/original/i/850720c11ac49663a48b6756cae0e5c6ed508a35107f48532b6c1f320f6acec2/Golf-Lounge_main-logo.jpg" data-mid="221050860" border="0" src="https://freight.cargo.site/w/1000/i/850720c11ac49663a48b6756cae0e5c6ed508a35107f48532b6c1f320f6acec2/Golf-Lounge_main-logo.jpg" /> <img width="2500" height="2500" width_o="2500" height_o="2500" data-src="https://freight.cargo.site/t/original/i/259efd2949fb472334fda0657e1efe6b3f07dc425adeab0ce44c60448fba9147/social_1.jpg" data-mid="221050835" border="0" src="https://freight.cargo.site/w/1000/i/259efd2949fb472334fda0657e1efe6b3f07dc425adeab0ce44c60448fba9147/social_1.jpg" /> <img width="3456" height="5184" width_o="3456" height_o="5184" data-src="https://freight.cargo.site/t/original/i/668699d5276404af8f225e23a644b4b965cd3b31a7b5d62587f7dad351c38fc8/Coasters---beer.jpg" data-mid="221050821" border="0" src="https://freight.cargo.site/w/1000/i/668699d5276404af8f225e23a644b4b965cd3b31a7b5d62587f7dad351c38fc8/Coasters---beer.jpg" /> The Golf Lounge provides an accessible alternative to professional golf courses through state-of-the-art golf simulator technology.&nbsp;Located inside Validation Annex in Santa Barbara, their simulator bays are available by the hour and for various events.Their brand fonts alternate between two typographic extremes, creating a lively exuberance that feels present, engaged, and ready for action. The pairing generates the same kind of dynamism and agility one would expect from practicing a sport. Editorial New harnesses nostalgia for serif typefaces that were popular in the late 80s and early 90s, both in tech and sports advertising. Media Sans references a more bubbly, playful tone in modern sports. Their brand colors are monochromatic green on green. Mixing a bright, youthful, acidic green with a dark, more established forest green. &nbsp; <img width="4304" height="2869" width_o="4304" height_o="2869" data-src="https://freight.cargo.site/t/original/i/a35d1c554397a2fd36c278869bcccdfe16533da4ed71f602a9981c9e6a799c8a/GL_Business-Card_FINAL1.jpg" data-mid="225915898" border="0" alt="Business cards" data-caption="Business cards" src="https://freight.cargo.site/w/1000/i/a35d1c554397a2fd36c278869bcccdfe16533da4ed71f602a9981c9e6a799c8a/GL_Business-Card_FINAL1.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/de9c17fd1413dbad3456a7b22ff57eb145935f896964efc0eebaa39977221cb0/Graphic-for-sweater.jpg" data-mid="221050542" border="0" src="https://freight.cargo.site/w/1000/i/de9c17fd1413dbad3456a7b22ff57eb145935f896964efc0eebaa39977221cb0/Graphic-for-sweater.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/bfc5956ed51611655ebec94651dabb296704d714d3725ff85ed9627dc84b3d61/Two-toned-hat.jpg" data-mid="221050822" border="0" src="https://freight.cargo.site/w/1000/i/bfc5956ed51611655ebec94651dabb296704d714d3725ff85ed9627dc84b3d61/Two-toned-hat.jpg" /> <img width="3022" height="1942" width_o="3022" height_o="1942" data-src="https://freight.cargo.site/t/original/i/2a251a21b5b7861da7ee47a6a6e3f49663bd5765939625985eb94a0a50ad092e/Golf-Lounge_web-pages.gif" data-mid="221050609" border="0" src="https://freight.cargo.site/w/1000/i/2a251a21b5b7861da7ee47a6a6e3f49663bd5765939625985eb94a0a50ad092e/Golf-Lounge_web-pages.gif" /> Brand fonts are Editorial New and Media Sans. Website is hosted using Readymag. https://lizziebaur.com/Irving-Penn Sun, 21 Apr 2024 17:36:21 +0000 Lizzie Baur https://lizziebaur.com/Irving-Penn Irving PennExhibition Graphics, 2024 de Young museum <img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/40b2a3c2e80b7da864e3db7393ba415a51b3a714bce61651c584a914086875b6/34_IrivingPens_GarySexton_3_13_24.jpg" data-mid="209428078" border="0" alt="Gallery 1 (Photography by Gary Sexton)." data-caption="Gallery 1 (Photography by Gary Sexton)." src="https://freight.cargo.site/w/1000/i/40b2a3c2e80b7da864e3db7393ba415a51b3a714bce61651c584a914086875b6/34_IrivingPens_GarySexton_3_13_24.jpg" /> <img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/ecc9e1df9bc0e3c96f1d493b8665e4a6aa88af741059dbbbebbecd24648c4fb1/47_IrivingPens_GarySexton_3_13_24.jpg" data-mid="215966919" border="0" src="https://freight.cargo.site/w/1000/i/ecc9e1df9bc0e3c96f1d493b8665e4a6aa88af741059dbbbebbecd24648c4fb1/47_IrivingPens_GarySexton_3_13_24.jpg" /> Irving Penn is widely recognized as one of the 20th century’s greatest photographers. Vogue’s longest-standing contributor, Penn revolutionized fashion photography in the postwar era. Using neutral backgrounds, he emphasized models’ personalities through their gestures and expressions. The exhibition includes approximately 175 photographs, spanning every period of Penn’s nearly 70-year career. <img width="3300" height="2100" width_o="3300" height_o="2100" data-src="https://freight.cargo.site/t/original/i/c951fc9260ccc46a8a11982d1ea7bf22c5cd8edb671c68e74b67320a36b02cb9/Irving-Penn_Process2.jpg" data-mid="209427679" border="0" alt="Inspiration for exhibition titling" data-caption="Inspiration for exhibition titling" src="https://freight.cargo.site/w/1000/i/c951fc9260ccc46a8a11982d1ea7bf22c5cd8edb671c68e74b67320a36b02cb9/Irving-Penn_Process2.jpg" /> A major through line of this exhibition centered on theatricality and artifice—setting a scene that deconstructs or calls attention to artifice. Penn’s existential portrait series is a perfect example of that. For this series Penn created a banal, temporary set in which he stuffed his subjects into a corner crevice, challenging them to grapple with physically occupying such an unusual space. Their bodies became almost sculptural as his sitters contort and utilize the space in radically different ways.&nbsp;In order to rearticulate this gesture typographically, I started to visualize their bodies as letterforms. I chose Charlottenburg, a variable width typeface which allows you to manually scale individual letterforms wider, for the title lock-up. <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/4d9ab1727814016c8c6649ca878d41665ab5e5330030165bd01a08c7b3a10ec8/IP_Wheat-Paste_In-Situ_R2.jpg" data-mid="209427882" border="0" alt="Wheat paste posters" data-caption="Wheat paste posters" src="https://freight.cargo.site/w/1000/i/4d9ab1727814016c8c6649ca878d41665ab5e5330030165bd01a08c7b3a10ec8/IP_Wheat-Paste_In-Situ_R2.jpg" /> <img width="6479" height="4319" width_o="6479" height_o="4319" data-src="https://freight.cargo.site/t/original/i/8a2128e50a8347994269efd0736e65cdc541bde1ada5960b53c06cc692deaf86/MAR_24_Irving-Penn_Billboard_Bay-Bridge_Insitu_R1_2.jpg" data-mid="209428688" border="0" alt="Billboard" data-caption="Billboard" src="https://freight.cargo.site/w/1000/i/8a2128e50a8347994269efd0736e65cdc541bde1ada5960b53c06cc692deaf86/MAR_24_Irving-Penn_Billboard_Bay-Bridge_Insitu_R1_2.jpg" /> <img width="2200" height="3400" width_o="2200" height_o="3400" data-src="https://freight.cargo.site/t/original/i/671ae9fb6d1733204e6cd5821e8943912884cf17f665d3423b7dada89269f49e/MAR_24_Irving-Penn_Poster_R3_Page_4.jpg" data-mid="209428683" border="0" alt="Poster" data-caption="Poster" src="https://freight.cargo.site/w/1000/i/671ae9fb6d1733204e6cd5821e8943912884cf17f665d3423b7dada89269f49e/MAR_24_Irving-Penn_Poster_R3_Page_4.jpg" /> <img width="2200" height="3400" width_o="2200" height_o="3400" data-src="https://freight.cargo.site/t/original/i/051620b0b702a5d943c8c9744bfcb5b83f4d51b083fdfc5b6ff8af3563809fa6/MAR_24_Irving-Penn_Poster_R3_Page_2.jpg" data-mid="209428678" border="0" src="https://freight.cargo.site/w/1000/i/051620b0b702a5d943c8c9744bfcb5b83f4d51b083fdfc5b6ff8af3563809fa6/MAR_24_Irving-Penn_Poster_R3_Page_2.jpg" /> <img width="7000" height="4667" width_o="7000" height_o="4667" data-src="https://freight.cargo.site/t/original/i/943054e1947a6cf453bcb5ba1baddfcc9cf8082de854116b6000c7fd93280d3c/MM_UrbanPoster_UP-SF-04.jpg" data-mid="209427897" border="0" alt="Bus Shelter" data-caption="Bus Shelter" src="https://freight.cargo.site/w/1000/i/943054e1947a6cf453bcb5ba1baddfcc9cf8082de854116b6000c7fd93280d3c/MM_UrbanPoster_UP-SF-04.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/799eccb798c598b3b16b5a7a5a6573a30e4810d2b472e037848f2eb6632046e9/MAR_24_Irving-Penn_Duratran_R2_insitu.jpg" data-mid="209427902" border="0" alt="de Young onsite signage" data-caption="de Young onsite signage" src="https://freight.cargo.site/w/1000/i/799eccb798c598b3b16b5a7a5a6573a30e4810d2b472e037848f2eb6632046e9/MAR_24_Irving-Penn_Duratran_R2_insitu.jpg" /> CreditsJeff Rosenheim, MET curator Emma Acker, FAMSF curator Adriana Barcenas, exhibition designer Alejandro Stein, exhibition design directorMeghan Moran, senior exhibition graphic designer Jesse Beckman, graphics preparator New Bohemia Signs, hand-painted title wall graphics Typeset in Charlottenburg and ITC Garamond. Custom variable width version of Charlottenburg was developed by William Montrose of Kilotype.&nbsp;Installation photography by Gary Sexton. Project submission on Fonts in Use. https://lizziebaur.com/Kehinde-Wiley Sat, 20 May 2023 18:06:10 +0000 Lizzie Baur https://lizziebaur.com/Kehinde-Wiley Kehinde Wiley: An Archaeology of SilenceGraphic Identity, 2023 de Young museum &nbsp;<img width="7852" height="5237" width_o="7852" height_o="5237" data-src="https://freight.cargo.site/t/original/i/98fc581fd4f8dea6125816a1e2ba499b5e21798f0e0f98b58005b0d3144aa79e/0610_deYoung_KehindeWiley_GarySexton.jpg" data-mid="181631816" border="0" src="https://freight.cargo.site/w/1000/i/98fc581fd4f8dea6125816a1e2ba499b5e21798f0e0f98b58005b0d3144aa79e/0610_deYoung_KehindeWiley_GarySexton.jpg" /> An Archaeology of Silence is a new body of paintings and sculptures from American artist Kehinde Wiley that confront the silence surrounding systemic violence against Black people through the visual language of the fallen figure. Wiley investigates the iconography of death and sacrifice in Western art, tracing it across religious, mythological, and historical subjects.&nbsp; <img width="3450" height="2326" width_o="3450" height_o="2326" data-src="https://freight.cargo.site/t/original/i/17b88b40886453652818a0b613bccf36f4165378f095506a8d296573161b8429/KW_0330_001-1.jpg" data-mid="181631811" border="0" src="https://freight.cargo.site/w/1000/i/17b88b40886453652818a0b613bccf36f4165378f095506a8d296573161b8429/KW_0330_001-1.jpg" /> For the U.S. premiere of the exhibition at the de Young museum, I used typography and materiality to suggest a lack of visibility, something lingering beneath the surface, ready to come to light. The subtitle is intentionally subdued in order to suggest an unearthing of a socially repressed phenomenon. The contrast between the serif and sans serif typefaces mirror the mixture of the classical with the contemporary within Wiley’s artistic practice, while the all caps and center alignment is intended to speak the vernacular of war memorials and monuments. <img width="4500" height="5625" width_o="4500" height_o="5625" data-src="https://freight.cargo.site/t/original/i/f6305f9e708ed086bd4c00dcbea41d44cc869eaffd2c45a3285b9dbac025bd5c/KW_Portfolio_SS.jpg" data-mid="183171579" border="0" src="https://freight.cargo.site/w/1000/i/f6305f9e708ed086bd4c00dcbea41d44cc869eaffd2c45a3285b9dbac025bd5c/KW_Portfolio_SS.jpg" /> <img width="2582" height="2582" width_o="2582" height_o="2582" data-src="https://freight.cargo.site/t/original/i/b92b754b3c804b2ac9fad4995f53acac45a2b40784edbb17f143eb335a8d8210/IMG_3225.JPG" data-mid="193227622" border="0" src="https://freight.cargo.site/w/1000/i/b92b754b3c804b2ac9fad4995f53acac45a2b40784edbb17f143eb335a8d8210/IMG_3225.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/f2e541e90f9031596a06a70399372845805cbcdd6b192eea6eeabc713c31844c/Kehinde-Wiley_Duratrans_In-Situ_R3_1.jpg" data-mid="181631952" border="0" src="https://freight.cargo.site/w/1000/i/f2e541e90f9031596a06a70399372845805cbcdd6b192eea6eeabc713c31844c/Kehinde-Wiley_Duratrans_In-Situ_R3_1.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/691a38b430f2020199d505990fc289157389a5092e6a94fa51e551d3a66df198/IMG_1456_2.jpg" data-mid="181631900" border="0" src="https://freight.cargo.site/w/1000/i/691a38b430f2020199d505990fc289157389a5092e6a94fa51e551d3a66df198/IMG_1456_2.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/7364ddb94598f75292be8f72d9cb63de9d4c376545f80bd888785b30abcce4cd/IMG_1454.jpeg" data-mid="181631894" border="0" src="https://freight.cargo.site/w/1000/i/7364ddb94598f75292be8f72d9cb63de9d4c376545f80bd888785b30abcce4cd/IMG_1454.jpeg" /> <img width="8187" height="5461" width_o="8187" height_o="5461" data-src="https://freight.cargo.site/t/original/i/14019083fc687b6ad3f36b1dedb162341bde738164c18e7e9d94c68bcddf79cf/0195_deYoung_KehindeWiley_GarySexton_resized.jpg" data-mid="181631965" border="0" src="https://freight.cargo.site/w/1000/i/14019083fc687b6ad3f36b1dedb162341bde738164c18e7e9d94c68bcddf79cf/0195_deYoung_KehindeWiley_GarySexton_resized.jpg" /> Credits Claudia Schmuckli, curatorJulia Pike, exhibition designerAlejandro Stein, exhibition design directorMeghan Moran, senior exhibition graphic designer Kate Agarwal, exhibition graphic designerJesse Beckman, graphics preparator Typeset in Akzidenz Grotesk and Signifier. Installation photography by Gary Sexton.&nbsp; https://lizziebaur.com/Tudors Sat, 20 May 2023 18:06:10 +0000 Lizzie Baur https://lizziebaur.com/Tudors The Tudors: Art and Majesty in Renaissance EnglandGraphic Identity, 2023 Legion of Honor museum <img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/58c627b51a691432521879bb6c1a33621a7a14c687710ae27837a23ac9350684/4_Tudors_GarySexton_6_23_23.jpg" data-mid="183218967" border="0" src="https://freight.cargo.site/w/1000/i/58c627b51a691432521879bb6c1a33621a7a14c687710ae27837a23ac9350684/4_Tudors_GarySexton_6_23_23.jpg" /> The Legion of Honor is the sole West Coast venue for the first major exhibition of Tudor portraiture, textiles, sculpture, silver, jewelry, and manuscripts in the United States. The exhibition follows the development of the arts in England from Henry VII’s seizure of the throne in 1485 to the death of his granddaughter Elizabeth I in 1603.&nbsp; <img width="2250" height="918" width_o="2250" height_o="918" data-src="https://freight.cargo.site/t/original/i/92a0c9ebbd6cecec3520502e6bb6d95df70ffae9ff05a6198fe5db6154d90daf/The-Family-of-Henry-VIII-c.-1545.jpeg" data-mid="181696190" border="0" src="https://freight.cargo.site/w/1000/i/92a0c9ebbd6cecec3520502e6bb6d95df70ffae9ff05a6198fe5db6154d90daf/The-Family-of-Henry-VIII-c.-1545.jpeg" /> <img width="720" height="959" width_o="720" height_o="959" data-src="https://freight.cargo.site/t/original/i/9ffb842b1e53ad633d3b70b22d9230170c07ee524b2bf78f512bb7d628b34ec1/art_inspo.gif" data-mid="181696622" border="0" src="https://freight.cargo.site/w/720/i/9ffb842b1e53ad633d3b70b22d9230170c07ee524b2bf78f512bb7d628b34ec1/art_inspo.gif" /> <img width="720" height="959" width_o="720" height_o="959" data-src="https://freight.cargo.site/t/original/i/7895fea369b1bcfd865ae39f7e9ebfeb9d919cb62bd3acc89d2854bf399f7020/Tudors_lock-up2.jpg" data-mid="181696503" border="0" src="https://freight.cargo.site/w/720/i/7895fea369b1bcfd865ae39f7e9ebfeb9d919cb62bd3acc89d2854bf399f7020/Tudors_lock-up2.jpg" /> By examining typographic treatments in multiple manuscripts and art objects in the exhibition, I modeled the title treatment on historical precedent using a combination of Blackletter paired with a Humanist Roman typeface. The primary lock-up variation includes a conical or tapered typesetting finished by a dingbat in the shape of the Tudor Rose, the heraldic emblem of the House of Tudor. <img width="2648" height="3527" width_o="2648" height_o="3527" data-src="https://freight.cargo.site/t/original/i/ae3ab2c0a03609f5e2624b2d888841691c296e60c0f11f34537f1d36a07d783f/Tudors_Eliz_Hero.jpg" data-mid="181633429" border="0" src="https://freight.cargo.site/w/1000/i/ae3ab2c0a03609f5e2624b2d888841691c296e60c0f11f34537f1d36a07d783f/Tudors_Eliz_Hero.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/dcb4ff4d9efdb35b09ad7cf95f03bdcab7a669b6e4bf35e3e3aaee588f9ee9e5/Image_20230601_141521_004.png" data-mid="181633523" border="0" src="https://freight.cargo.site/w/1000/i/dcb4ff4d9efdb35b09ad7cf95f03bdcab7a669b6e4bf35e3e3aaee588f9ee9e5/Image_20230601_141521_004.png" /> <img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/319699b358f9564014a3fe382d0af986f54fc72bfadb83efb285de7bb71b8b57/14_Tudors_GarySexton_6_23_23.jpg" data-mid="184058821" border="0" src="https://freight.cargo.site/w/1000/i/319699b358f9564014a3fe382d0af986f54fc72bfadb83efb285de7bb71b8b57/14_Tudors_GarySexton_6_23_23.jpg" /> <img width="5100" height="3300" width_o="5100" height_o="3300" data-src="https://freight.cargo.site/t/original/i/5582007be7b9eedf75e35c0b22fcb1db7257a63bd2039dedb396bc7c8db57f63/Tudors_Invite_1.jpg" data-mid="181633426" border="0" src="https://freight.cargo.site/w/1000/i/5582007be7b9eedf75e35c0b22fcb1db7257a63bd2039dedb396bc7c8db57f63/Tudors_Invite_1.jpg" /> CreditsMartin Chapman, curator Tristan Telander, exhibition designerXiaoxi Chen, exhibition designerAlejandro Stein, exhibition design directorMeghan Moran, senior exhibition graphic designer Kate Agarwal,&nbsp;exhibition graphic designerJesse Beckman, graphics preparator Typeset using Respira Black and Dear Sir Madam. Installation photography by Gary Sexton.&nbsp;Project submission on Fonts in Use. https://lizziebaur.com/F-S Sat, 10 Jun 2023 05:43:40 +0000 Lizzie Baur https://lizziebaur.com/F-S Forms+Surfaces Rebrand*&nbsp; Identity System, 2022 Forms+Surfaces is an architectural manufacturing company with a robust visual vocabulary and design offerings. Not only are their styles, materials and finishes recombinant, but interchangeable modules are also present in design families.&nbsp; <img width="2336" height="1312" width_o="2336" height_o="1312" data-src="https://freight.cargo.site/t/original/i/0037f564c343a11f4d196a56ad4263d80dada965c8a28dcd484abea4e398213a/Screen-Shot-2023-07-03-at-10.55.19-PM.png" data-mid="184083803" border="0" src="https://freight.cargo.site/w/1000/i/0037f564c343a11f4d196a56ad4263d80dada965c8a28dcd484abea4e398213a/Screen-Shot-2023-07-03-at-10.55.19-PM.png" /> In a sea of products, the one constant that I perceived were the dynamics of the process itself. Leaning into the extreme variety and quantity of product offerings, I found it most compelling to imagine an identity that connects iterations, emphasizes difference and repetition, serialization and permutations. <img width="6000" height="3375" width_o="6000" height_o="3375" data-src="https://freight.cargo.site/t/original/i/3597cf8b5e64bfd30a2e3b6aca8825c0a1dde4f04ab2b751ac2d5bd5296be208/Plus_Iterations-01.gif" data-mid="184084003" border="0" src="https://freight.cargo.site/w/1000/i/3597cf8b5e64bfd30a2e3b6aca8825c0a1dde4f04ab2b751ac2d5bd5296be208/Plus_Iterations-01.gif" />Graphically, I became very interested in deconstructing the F+S plus sign and putting in back together again, but in an abstracted way so that it no longer resembles a plus sign. The strongest concept that emerged was taken from this checkerboard-esque form derived from the negative space surrounding the plus sign. Each module has two blended gradient strokes—each representing the two strokes of the plus sign as well as the dual product categories—one for forms and one for surfaces. Each stroke contains a gradient blend which evokes a fluid, rather than a fixed state. Each logo variation would have a specific role to play within the broader identity system. Structurally, we would designate one default mark, one for each product category, one for each branch location and one for all of the F+S design tools. <img width="2152" height="1435" width_o="2152" height_o="1435" data-src="https://freight.cargo.site/t/original/i/eeb26edad99e707a10c689e74d35bd2313824c44fb6fdb7be0238b05882b414b/MockupMaison_BC_B01_1.gif" data-mid="184085715" border="0" src="https://freight.cargo.site/w/1000/i/eeb26edad99e707a10c689e74d35bd2313824c44fb6fdb7be0238b05882b414b/MockupMaison_BC_B01_1.gif" /> Once the mark had been constructed, I introduced updated logotypes into the relationship. The advent of an F+S abbreviated logo marks the adoption of a natural trajectory in the brand’s evolution. The behavior of the logotypes, as they expand and contract, oscillating between shorthand and longhand, demonstrates an identity constantly in flux, adapting to meet the needs of the market and their clients. <img width="4896" height="3264" width_o="4896" height_o="3264" data-src="https://freight.cargo.site/t/original/i/1dd9a9d080649db74c4d3e9512c5b3366234f67cf99de3ce33c6854352716bd5/Signage_R1_2.jpg" data-mid="184083064" border="0" src="https://freight.cargo.site/w/1000/i/1dd9a9d080649db74c4d3e9512c5b3366234f67cf99de3ce33c6854352716bd5/Signage_R1_2.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/127f72d1e369d2d59e2fc965df882f37c2a3f54d7fc275a6db89ceb06beb0b73/OP_Suisse_R6_mockup.jpg" data-mid="184082334" border="0" src="https://freight.cargo.site/w/1000/i/127f72d1e369d2d59e2fc965df882f37c2a3f54d7fc275a6db89ceb06beb0b73/OP_Suisse_R6_mockup.jpg" /> <img width="4896" height="3264" width_o="4896" height_o="3264" data-src="https://freight.cargo.site/t/original/i/a15bb37b255e2e51cfff673a0b091bb4bcca6217d0fac24a379cb381fb8297f3/Lg-Horz-Billboard_R4_suisse-in-situ.jpg" data-mid="184082333" border="0" src="https://freight.cargo.site/w/1000/i/a15bb37b255e2e51cfff673a0b091bb4bcca6217d0fac24a379cb381fb8297f3/Lg-Horz-Billboard_R4_suisse-in-situ.jpg" /> *Unrealized concepts. Typeset in Akkurat and Suisse Neue.&nbsp;