Typographic design in art galleries

As a typographer and exhibition designer, I often work with art galleries and museums designing branding and signage for exhibitions. I love working with old oil paintings from different eras, choosing fonts for caption cards, vinyl text on gallery walls and in printed catalogues to help create an immersive world for the visitor.

Fonts for Fine Art

My font choice changes for each exhibition design, inspired by the art on display and the period in art history when it was made. Type design is an artform in itself, and letterforms have evolved alongside art and design movements throughout history. Knowledge of art history is a massive advantage for a typographer working with fine art and I am fortunate to have studied Art History alongside BA Typography & Graphic Communication at Reading University.

Mark-making tools have influenced lettershape in the same way they have influenced art. From chisels used in the roman era for stone-carved inscriptions still visible on churches and statues around Rome, to quills creating black letter in medieval manuscripts, and ornate initials carved on wood blocks in ancient China. The intricate details of type tell a story of their own which can beautifully compliment fine art.

 

Designing type on walls

Distance is key to consider when designing signage, and I like to pace around a gallery considering the height of the viewer and the extent of their gaze up and down, as well as the distance from a piece of work plus how far they may be standing from the caption card. Title, artist name and date should be large and seen at a distance, descriptive text can be slightly smaller – the viewer can lean in to read more if they are interested. It’s important to keep the caption cards discreet, so not too large that they distract from the art. White squares scattered haphazardly around a gallery can look awful, so neatly aligned, carefully coloured cards to blend with the space and a simple and chic visual hierarchy it best.

Which are good typefaces for artwork label cards at galleries and museums?

Personally, I avoid over-used ugly fonts such as Helvetica and Times for art galleries. I know that may be controversial! It’s just there are thousands of beautiful fonts in the world, created by some incredible type designers. A good typographer will not reach for the easiest or obvious option that anyone else may find in Word, but instead search for quiet elegance, a clean clear line, a soft curve, a range of weights available. Why use Helvetica when you could use Brandon Grotesque, Area Normal, Aktiv Grotesque, Cronos Pro…? It can make a huge difference to the overall aesthetic of a space. Paintings on display may be hundreds of years old, worth many thousands of pounds, and are precious masterpieces that cannot be replicated. Whatever is placed next to them must be worthy, even if it’s just a small sign.

Which type pairings work well in art galleries?

I like to use clean, chic, very legible fonts for paragraphs and details, paired with a more decorative heading font to ‘set the scene’. This will be used sparingly but will create a unique character for the exhibition brand, making it more unique and recognisable across touchpoints, and often hinting at the era in which the art was made. The main title, maybe the painting name on the caption card, the panel text headings. These subtle details silently build the visual world in which the art exists, expanding the aesthetic feeling and hopefully adding a subtle, yet noticeable, ambience to the room.

So, examples of fonts I have used successfully in galleries are:

Cronos Pro – paired with Morris – for an exhibition of Pre-Raphaelite paintings (below)

Futura – for mid-century landscapes

Brandon Grotesque Gothic – for contemporary elegance

Golden Type – for an exhibition on May Morris, William’s daughter

What are the best fonts for vinyl lettering on walls?

Vinyl cutters are pretty impressive and can cut any shape you like, however the empty spaces inside letters need to be ‘weeded out’ by hand using a scalpel. Any letters with high contrast (very thin areas of letterform strokes) risk tearing during this process or installation. So, its best vest to avoid very thin lines. Choose uniform fonts or a heavier weight if necessary. Coloured vinyl on fresh paint doesn’t always stick as perfectly as you may hope, my printer now uses a plain vinyl he prints colour onto which seems to have a stronger adhesive, plus I get more flexibility with colour choice which is great.

What are the best wall colours for art exhibitions?

White is a classic colour for contemporary art, but its stark. Wall colour can really add to the visitor experience, if re-painting is an option, guiding them through doorways, drawing attention to particular art works and creating a world within an architectural space.

I often work with Victorian paintings and 19th century water colours which have stunning colour palettes. The challenge for me is choosing a wall colour which will compliment several paintings at once. Farrow & Ball colours are ideal for historic galleries due to their muted tones. I find deep rich colours look great with chunky old gold frames hung upon them. My favourite ever was Brinjal – it was absolutely gorgeous as a backdrop for Pre-Raphaelite paintings. I spend a lot of time spotting colours within the details of the oil painting and finding common themes.  A dusky pink wall looked lovely with Victorian oils.

A private view is usually the first time I have seen all my choices combined and its hugely excited to see the whole exhibition at last, alongside my supporting design for the gallery. 

I could talk about fonts, fine art and colour all day! The more I learn, the more I love the silent art of typography.