In Motion is a bespoke typeface designed solely for the Bloomberg New Contemporaries 2020 exhibition. The energetic and streamlined design reflects the push that the exhibition gives to the newly graduated artists that it is reserved for - showcasing both the ups and downs that are involved in the artists paths.
Each individual letterform is constructed of a semi-circle and a straight line. These juxtaposing shapes were inspired by the 2019 exhibiting artwork ‘Permanent Transit’ by Camille Yvert.
In Jost Hochuli’s Detail in Typography, Hochuli describes the part of the reading process called saccades - the brief movements of the eyes springing jerkily across the page. In Motion maps these bouncing movements and displays them on the page for the reader to see clearly, making the reading process easier.
The use of the semi-circle creates a curved apex within the letterforms. In conjunction with the straight line, that is used for the cross stroke, crossbar, ascender and descender, this creates unique angular bowls within the typeface and an all-round robust feel.
What’s unique about In Motion is the baseline. Letterforms including an upwards semi-circle must sit above the baseline, whereas letterforms including a downwards semi-circle must sit below. This creates the ‘ebb and flow’ movement throughout the typeface.
The logotype for the exhibition utilises the baseline rule to an extent, but takes the ides of motion even further by slicing the words, rotating, and flipping them. The most striking element of the logotype is the perspective angle - forcing everything to be in a state of unbalanced movement.
The perspective angle of the logotype is also carried out throughout the branding, and changes the shape of elements such as the wristband and ticket.
Bloomberg New Contemporaries is unique, kinetic, and of course contemporary. In Motion reflects the development and change within the yearly exhibition, whilst remaining individual and distinctive.
Movement is forced into images of the artwork by slicing and separating them, forcing the eyes to piece the parts together. This is also shown throughout the type specimen, but pushed further by the simple act of the user having to arrange it themselves.
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