Studio C’s editorial identity for CHART establishes the Nordic art event on an international scale
Nordic editorial platform and art event CHART have worked alongside fellow Copenhagen residents and design practice Studio C on the development of a refreshed visual identity; making reference to the serene culture and emerging talent of the region through stark typographic execution.
Fundamentally editorial across its graphic composition and extended brand materials, the identity utilises Kometa’s Victor Serif and sans classic Neue Haas Grotesk as the typeface pairing of choice – with the latter being chosen due to its continuity with CHART’s previous identity. “We kept Neue Haas Grotesk to keep some of the CHART brand alive,” Studio C’s Daniel Lindholt tells us. “With that said, CHART felt generic and needed to have a more distinct look,” he adds, looking to extend CHART’s style and standard of communication beyond what was previously done – turning towards typefaces that are optimised for both digital and physical use, as well as long-form editorial content. “Victor is the perfect mix of beauty in its characteristic look and functional readability,” Lindholt explains, “we knew right away it was a perfect match for Neue Haas Grotesk and for the future of CHART.”
CHART’s communications were also redeveloped through the introduction of their new website; the ambitious construction of which thoroughly cements CHART within the contemporary creative scene, and ensures the brand’s digital longevity. Providing an international audience with the opportunity to engage with the industry-leading artwork promoted, exhibited and introduced by CHART.
Implemented across the identity, in support of the expressive typographic applications, is the use of blurred, textured backgrounds. “The location of CHART is very unique compared to other art fairs that are often located in large boring exhibitions halls,” Lindholt remarks, noting CHART’s current residence in The Royal Danish Academy of Fine Arts. “The blurred backgrounds are videos we shot in and around the building itself,” he explains, “where we used the motion blur effect to create a dynamic element that references abstract art,” he adds, “while stimulating the users’ imagination.” As a result, the identity is primarily monochromatic, with colourful additions coming in via the introduction of these blurred backgrounds. “We are working in a spectrum from wild to mild usage of the blur,” Lindholt recalls, hoping to spark audience intrigue by lessening the blur when closer to the art fair itself. “We are stripping away as much as possible,” he concludes, “until you end up with signage and a programme at the art fair without any colour at all.”