The visual identity for OCCUPIED was configured around the idea of ‘occupation and negotiation of space’. The typeface and typography, colour palette, the ‘hollow’ rectangle and the overall layouts were all conceived as responses to this main concept.
Alternate Gothic was chosen as the typeface and was designed by Morris Fuller Benton in 1903 and is an interpretation of Franklin Gothic (which he also designed). With its long and narrow design, Alternate Gothic was designed to allow more letterforms to fit across any given area. A typeface designed to occupy more space.
The ‘hollow’ rectangle was designed to reference the world of architecture and the built environment. The hollow form highlighted the notion of inside and outside space.
Four colours were chosen for a colour palette. With a starting point of red and green (universally used for occupied/ not occupied), two further colours (soft pink and soft yellow) were selected by plotting points on a colour wheel colour that are both harmonious with the red and the green but are also physically distanced from them – creating a scheme of maximum occupancy on the colour wheel.
Typography was handled in two different ways. For the main title the word ‘OCCUPIED’ was broken into four, two letter segments: OC/CU/PI/ED. These were placed in the far corners of the layout which forces the reader to scan the whole layout to read the word, thus occupying the entire space. The ‘hollow’ rectangle was used as a device that guided the viewers eye around these letterforms but also acted as another reiteration of occupancy of space. The ‘hollow’ rectangle was always used on a tilt to literally fill as much area as possible.
Secondly, all body copy was set in a justified manner - again for maximum occupancy of space. The justified text created unusual and irregular spacing between words and letterforms forcing the reader to scan across the entire design to make sense of the text.
All these visual elements were adapted and applied to a variety of mediums including posters, gifs, wayfinding A-frames, entry signage windows, printed catalogues, lightboxes and in the exhibition design to create a flexible, highly visible and relevant visual identity.
Sean Hogan, Trampoline