The Guitar Gallery is EMP Museum's only permanent gallery space. Telling the story of the innovations in guitar technology over the course of the instrument's history, this exhibit had remained untouched in terms of it's layout, logo and intro graphics since the museum's opening.
With the intro, I wanted to focus on the various parts of the guitars in the gallery as a way to encourage visitors to pay attention to the details in the construction of the different models and the intricacies in the variety of hardware. The gallery entry and interior intro display a stylized, deconstructed vision of guitars. The logo is derivative of the headstock typography of famous guitar manufacturers like Fender, Gibson and Gretsch.
Exhibit run: March 2014 – Indefinite
A note for guitar aficianados: The guitars on display in this gallery are worth mentioning.
• That's THE white Stratocaster Hendrix played at Woodstock.
• That's Clapton's famous 'Brownie' Strat that he used late 60s/early 70s (he recorded "Layla" with it).
• That's one of Greg Ginn's Ampegs that he played in the '78 – '81 era of Black Flag.
With the intro, I wanted to focus on the various parts of the guitars in the gallery as a way to encourage visitors to pay attention to the details in the construction of the different models and the intricacies in the variety of hardware. The gallery entry and interior intro display a stylized, deconstructed vision of guitars. The logo is derivative of the headstock typography of famous guitar manufacturers like Fender, Gibson and Gretsch.
Exhibit run: March 2014 – Indefinite
A note for guitar aficianados: The guitars on display in this gallery are worth mentioning.
• That's THE white Stratocaster Hendrix played at Woodstock.
• That's Clapton's famous 'Brownie' Strat that he used late 60s/early 70s (he recorded "Layla" with it).
• That's one of Greg Ginn's Ampegs that he played in the '78 – '81 era of Black Flag.
I wanted to make a note here of the design inspiration for the title type treatment. As a fan of Peter Saville, I must nod to the influence that his cover for the New Order Movement album had in shaping this design. While here it is used as a reference to the fretboards of guitars, it was his design that made the concept click for me. It's also worth mentioning that his design was based on a poster by the Italian Futurist designer, Fortunato Depero. Respect given where respect is due.
