Martha Chase Exhibition
Exhibition Graphics
Figma
The full poster for the brochure’s exterior left panel.
What
From January 30th to July 28th, 2024, the Barry Art Museum at Old Dominion University hosted an exhibition celebrating doll designer Martha Jenks Chase. To support the exhibition’s outreach and visitor engagement, I developed an 8.5 x 11 tri-fold brochure, exhibit map, poster, and logo that conveyed the spirit and significance of Chase’s work.
The brochure’s full outside spread.
The brochure’s full inside spread.
Why
The project aimed to support the exhibition’s mission to honor Martha Chase and educate visitors on her impact within the doll industry. It was essential that the materials communicated her historical significance in a clear and engaging way for museum visitors.
How
I developed a unified visual system across all deliverables, incorporating research on Chase’s work to guide design decisions, with a focus on historical context to enhance the overall exhibition experience.
Process
During the project’s development, a visit to the exhibition took place to observe the dolls and general layout, which helped shape the initial sketches. I also researched Martha Chase’s background to align the tone, which initially leaned toward a heritage feel but shifted to a more buoyant and customary style. I then established the visual tone through colors, typefaces, and decorative elements, creating several drafts to finalize how these components would come together.
Sketches
Rough sketches created upon seeing the exhibition for the first time. Includes an earlier version of the map key, which contains almost everything that can be found.
Sketch of a polished version of the map layout, with no object placements.
The logo's design was inspired by the displayed dolls and was intended to be relatively straightforward. Certain dolls possessed distinct sets of headgear, so the design was designed to preserve some type of fashion.
Rough sketches of the logo seen on the brochure's exterior right panel. The concepts for antique hats expanded from sunbonnets to straw hats.
Rough sketch of the logo’s finalized design.
Color
Green was chosen as the primary color pattern because of its prominent association with fashion and apparel in the 1900s, a period when green was often used to present a sense of renewal. This color choice not only contributes recollection for that era, but also aligns with the project's goal of capturing the timeless appeal of vintage fashion.
A green silk dress.
An art print from the fashion catalog Le Costume Royal.
Components
The mix of flower and circle patterns served as a decorative element to add a more lively tone for the the brochure. These motifs help enhance visual interest and support the overall mood of the design.
Typography
The brochure uses three typefaces: Young, Dolly Pro, and Museo Sans. The fonts were initially selected to represent a more heritage inspired atmosphere to reflect classic design elements. Their tone were adjusted to create a balance between tradition and modernity.
Drafts
Draft of the brochure's inside right panel.
The planned listing of paintings and text wall content was scrapped, as they were considered less significant compared to the dolls, which are the true essence of the exhibition.
Draft of the brochure's inside left panel.
The cutting scissors were intended to symbolize one of the tools required for the doll-making process, but were scrapped due to concerns that they could raise confusion over whether the brochure was actually cuttable.
Final Results
Mockup of the brochure’s full outside spread.
Mockup of the brochure’s full inside spread.
Mockup of the brochure’s full inside spread with the outside right panel.