“The identity
made a
much bigger
impression on
guests this year
and marketing
the festival
was easier”
PROCESSLots of identity work in the cultural space – particularly
where art galleries are concerned – is dry, with only a
few exceptions. Artwork often takes centre stage, with
the gallery as its platform. That’s what we discovered
when researching the project, gathering examples. Many
were conventional, only some were bold..RESEARCH &
REFERENCES
Cristina Arreola talks about the research
that went into the identity of the galleries06COMPUTERARTS.CREATIVEBLOQ.COMPROJECT DIARY JUNE 2019
just right. We started with warm colours first,
and gradually added the cooler colours until the
outcome represented every colour under the
sun. The idea was for it to feel adventurous, like a
painter embarking on a new piece of work.
Two logotypes and a monogram were
designed. The flat logotype has a more practical
purpose and works well in small pieces of
collateral where something simple and direct
is needed. Here we used typefaces from the
Ostia Antica font family by Bureau Brut, for their
modern but distinctive look.
The second logo is cylindrical and really plays
on the circuito theme, making a dramatic impact
when used on larger pieces and in digital media.
Because it’s cylindrical and would be in motion,
it needed to look as fluid as possible, so we
chose Neuzeit S LT Std Book Heavy. We loved
Ostia Antica, which was used for the flat
logotype, but as similar as it is to the one used
for the cylindrical one it didn’t work as well when
curved and in motion.THE VERDICT
By Jesús Alberto Flores Martínez
We had a fantastic relationship with Studio
Parámetro from the start, and hopefully we’ll be
working with the team again in the future. Our
collaboration was creative and efficient, even
though we’d never worked together before, and
they understood the event and our vision for it
very well. It led to a relaxed relationship and thedesigners were confident trying out new things
and being bold, which is what we wanted.
I think everyone agrees that this project was
one of the most fun and creatively liberal that
we’ve ever done. The identity made a much
bigger impression on guests this year and
marketing the festival was easier. One of the big
differences was in the age of those who attended
and followed Circuito Plástico on social media.
More students and young people were included
on the tours, which was one of our main goals –
to educate and integrate them with the world of
contemporary art collecting.
We’re already planning the next edition of
Circuito Plástico. Emerging art spaces will be
included and we’ll be able to compete with
Mexico City’s gallery weekend, making our event
the second largest of its kind in Mexico.SAMUEL VIOLANTE
Lead designer, Parámetro Studio
Violante is focused on collaborative and
experimental design, particularly in fashion.
He’s worked as art director for Tunica Magazine,
and with clients Off-white and Empty Gallery.JESÚS ALBERTO FLORES MARTÍNEZ
Founder, KRSTO
An art dealer and exhibition organiser, Jesús is
the director of Circuito Plástico, which is run in
cooperation with the San Pedro Arte Fest by the
municipality of Garza García in Mexico.