This page is dedicated to the process of all visual development.
METHOD OF PROCEDURE
This researcher began delving into art history books, texts, and magazines to find recorded female artist in Texas. Information from prominent art museums, art libraries, and university resources available on campus and online provide the past and present names of those involved in the art history of Texas. Adding to the list is a continual process that enables the list to grow as new publications are found.
The resources reveal data highlighting a few specific female artists at a national and global level. The information regarding the global gender gap was collected to examine how these factors have equally affected Texas female artists. The critical issues of compensation, recognition, and exhibition dictate how to develop a toolkit for working artists in the state. This researcher sought the best avenues to promote and support the present and future female artists of Texas.
Information regarding the disparity of Texas female artists must be shared for the possibility of change to occur. This researcher will present data and facts concerning female artists in Texas through a poster series campaign. Posters have been compiled from previous women’s movements/events and placed into a timeline.
Posters have been compiled from previous women’s movements/events and placed into a timeline. Progress cannot be made without knowing what has happened in the past.
METHOD OF PROCEDURE
This researcher began delving into art history books, texts, and magazines to find recorded female artist in Texas. Information from prominent art museums, art libraries, and university resources available on campus and online provide the past and present names of those involved in the art history of Texas. Adding to the list is a continual process that enables the list to grow as new publications are found.
The resources reveal data highlighting a few specific female artists at a national and global level. The information regarding the global gender gap was collected to examine how these factors have equally affected Texas female artists. The critical issues of compensation, recognition, and exhibition dictate how to develop a toolkit for working artists in the state. This researcher sought the best avenues to promote and support the present and future female artists of Texas.
Information regarding the disparity of Texas female artists must be shared for the possibility of change to occur. This researcher will present data and facts concerning female artists in Texas through a poster series campaign. Posters have been compiled from previous women’s movements/events and placed into a timeline.
Posters have been compiled from previous women’s movements/events and placed into a timeline. Progress cannot be made without knowing what has happened in the past.
METHOD OF PROCEDURE
This researcher began delving into art history books, texts, and magazines to find recorded female artist in Texas. Information from prominent art museums, art libraries, and university resources available on campus and online provide the past and present names of those involved in the art history of Texas. Adding to the list is a continual process that enables the list to grow as new publications are found.
The resources reveal data highlighting a few specific female artists at a national and global level. The information regarding the global gender gap was collected to examine how these factors have equally affected Texas female artists. The critical issues of compensation, recognition, and exhibition dictate how to develop a toolkit for working artists in the state. This researcher sought the best avenues to promote and support the present and future female artists of Texas.
Information regarding the disparity of Texas female artists must be shared for the possibility of change to occur. This researcher will present data and facts concerning female artists in Texas through a poster series campaign. Posters have been compiled from previous women’s movements/events and placed into a timeline.
Posters have been compiled from previous women’s movements/events and placed into a timeline. Progress cannot be made without knowing what has happened in the past.
BUILDING A BRAND
Texas female artists have existed without an official brand for years. The brand would have to be inclusive and serve as a representation for all identifying female artists living in Texas regardless of economic standing or race. The goal is to provide a brand that would unify, promote, support, and exhibit female artists throughout Texas. With every brand, there must be a success story, someone who has been successful, and a way to recreate that success for others.
BRAND STORY
This brand came about from searching for issues that need change or improvement. Texas female artists are left out of art history books, equal compensation, and exhibitions. The result is the planning for Texas Female Artists The past and present gender art gap to find those few female artists that found success and use them for inspiration and motivation for the future. Together female artists of Texas create a new story to help female artists receive equal standing with male artists by way of support, recognition, exhibition opportunities, and a tool-kit to assist in a successful career.
The dictionary lists brand as “a public image, reputation, or identity conceived as something to be marketed or promoted” (“brand”). Giving Texas female artists an identity provides an path for them to follow and an opportunity to distinguish themselves. An artist on their own is setting up a personal brand and image for themselves. When an artist has a group of fellow artists and supporters behind them, empowerment and confidence has been bestowed upon them and their endeavors. This study delves into the past and present artist gap to find those few female artists who found success and use their example for inspiration and motivation for the future. Together, female artists of Texas are provided an opportunity to create a new story. This narrative assists female artists seeking the equal standing with male artists that they have not yet received.
The brand story provided through the establishment of Texas Female Artists as a group with the goal of gaining non-profit status, provides a much needed reputation and standard to live up to. It elevates the status of a single artist to join a greater purpose and place in history. It gives female artists in Texas the accesssibility of belonging.
BRAND VISION
The visual identity desired for Texas Female Artists is to join the feminist movement, specifically in the area of arts. The brand vision sought would give female artists a more prominent view. The goal of this research, exhibit, website, and toolkit is to promote an increase in female artist pay, female artist recognition, and the amount of female artist exhibitions.
Tagline List
MISSION
Educate the community, initiate campaigns, and provide avenues of exhibition for Texas Female Artists. Inform the public in design-centric ways about the male-dominated art culture through the lack of equal pay, representation, and exposure.
KEY MESSAGE
Establish clear avenues between female artists, curators, galleries, and museums for access to exhibits, support, and representation under the brand, Texas Female Artists.
OUR STORY
The organization Texas Female Artists has looked at the past and present artist gap to find those few female artists that found success and use them for inspiration and motivation for the future. Together female artists of Texas create a new story to help female artists receive equal standing with male artists by way of support, recognition, exhibition opportunities, and a tool-kit to assist in a successful career.
THE PITCH
The National Museum for Women in the Arts shared that one female artist received a notable solo exhibition. In France, movements have been initiated by the government to start equalizing the treatment and pay for women. Texas is in the midst of a gender revolution. Texas Female Artists is a proposed LLC and non-profit organization aiming to give female artists the support, tools, and representation needed to move forward in the current art culture. Having female artists supported is a national issue. However, the solutions provided begin by starting locally in Texas. Texas Female Artists will provide an accessible artist tool-kit provided through the avenue of a website and a promotional poster series campaign. The goal is to form area chapters in the major metropolitan areas of Dallas/Fort Worth, Houston, and Austin/San Antonio.
THE TAGLINE
Texas Female Artists. Leveling the gender art gap for female artists throughout Texas.
Tagline List
MISSION
Educate the community, initiate campaigns, and provide avenues of exhibition for Texas Female Artists. Inform the public in design-centric ways about the male-dominated art culture through the lack of equal pay, representation, and exposure.
KEY MESSAGE
Establish clear avenues between female artists, curators, galleries, and museums for access to exhibits, support, and representation under the brand, Texas Female Artists.
OUR STORY
The organization Texas Female Artists has looked at the past and present artist gap to find those few female artists that found success and use them for inspiration and motivation for the future. Together female artists of Texas create a new story to help female artists receive equal standing with male artists by way of support, recognition, exhibition opportunities, and a tool-kit to assist in a successful career.
THE PITCH
The National Museum for Women in the Arts shared that one female artist received a notable solo exhibition. In France, movements have been initiated by the government to start equalizing the treatment and pay for women. Texas is in the midst of a gender revolution. Texas Female Artists is a proposed LLC and non-profit organization aiming to give female artists the support, tools, and representation needed to move forward in the current art culture. Having female artists supported is a national issue. However, the solutions provided begin by starting locally in Texas. Texas Female Artists will provide an accessible artist tool-kit provided through the avenue of a website and a promotional poster series campaign. The goal is to form area chapters in the major metropolitan areas of Dallas/Fort Worth, Houston, and Austin/San Antonio.
THE TAGLINE
Texas Female Artists. Leveling the gender art gap for female artists throughout Texas.
MISSION
Educate the community, initiate campaigns, and provide avenues of exhibition for Texas Female Artists. Inform the public in design-centric ways about the male-dominated art culture through the lack of equal pay, representation, and exposure.
KEY MESSAGE
Establish clear avenues between female artists, curators, galleries, and museums for access to exhibits, support, and representation under the brand, Texas Female Artists.
OUR STORY
The organization Texas Female Artists has looked at the past and present artist gap to find those few female artists that found success and use them for inspiration and motivation for the future. Together female artists of Texas create a new story to help female artists receive equal standing with male artists by way of support, recognition, exhibition opportunities, and a tool-kit to assist in a successful career.
THE PITCH
The National Museum for Women in the Arts shared that one female artist received a notable solo exhibition. In France, movements have been initiated by the government to start equalizing the treatment and pay for women. Texas is in the midst of a gender revolution. Texas Female Artists is a proposed LLC and non-profit organization aiming to give female artists the support, tools, and representation needed to move forward in the current art culture. Having female artists supported is a national issue. However, the solutions provided begin by starting locally in Texas. Texas Female Artists will provide an accessible artist tool-kit provided through the avenue of a website and a promotional poster series campaign. The goal is to form area chapters in the major metropolitan areas of Dallas/Fort Worth, Houston, and Austin/San Antonio.
THE TAGLINE
Texas Female Artists. Leveling the gender art gap for female artists throughout Texas.
Tagline List
LOGO DEVELOPMENT
An exploration of characters, names, and colors defined the process of development. Font exploration began by searching for typefaces created by female designers. A font family was found created by a female art professor living in Houston, Texas. Logos, wordmarks, and combinations were hand-drawn then created in Adobe Illustrator. An array of workable options, including artist tools and subjects that relate to Texas, found their way in preliminary sketches and digital renderings. The artist tools consisted of a paintbrush, ruler, pencil, Exacto knife, and palette. The Texas subjects were limited to a star, bluebonnets, and the state outline.
VISUAL DEVELOPMENT
Creating the visual development for TXFA began by sketching, typesetting, carving, and printing. Utilizing the repetition of letters and words to create rhythm and movement, structure, and rudimentary grids explore the communication of information about an important yet ignored group. The colors displayed here were limited to the colors used for newspapers and ads. The format of this typographic exploration is a poster.
A study of historical propaganda and women’s movement posters helps this researcher to review how the gender gap could be pushed forward through image alone. The sketches for this development depict a female holding artists’ tools for a final design. For this imagery, the drawing is converted to a digital file, transferred to a linoleum block with a pencil, carved, and printed with five colors.
The third exploration of letterpress printing entailed a combination of hand setting type layered with a carved image. A fact about female artists was set in the style of a broadside poster and layered with a backward one in bright yellow. The fact present was, in fact, a backward representation of what should be accurate. There should be more than one female headlining exhibition on record from 2017. Broadside posters were a quick way to get essential information out to the public historically. There were once public areas set aside for these announcements alone. These spaces in cities needed for sharing vital information have vanished.
PHYSICAL EXHIBITION
The exhibition planning first began with visual research through exhibition moodboards.
EXHIBITION MOODBOARDS
EL CENTRO GALLERY
The first location of the 2020 VisCom exhibition was the El Centro Gallery in Dallas, TX. A blueprint of this location created a framework for the design-centric solutions. This space was viewed, walked, and measured for optimal use. The first division of this gallery, as exampled, would give each exhibiting researcher minimal and unequal wall space for mounting of evidence, research, or design. Optimally using the selected area undertook consideration of materials. Transparent fabrics, projectors, 3D elements, and ceiling mounted graphics were considered as appropriate aids for design-centric solutions. Challenges presented themselves as the analysis given to the glass walls as the light affected the room confines. Decals and partial wall construction provided alternatives to increase wall footage and design development.
TAMU-C UNIVERSITY ART GALLERY
The El Centro gallery was decidedly too small of a space appropriate for our exhibition and this gallery was selected. The 3D mockup Figure 3.4 was planned wall by wall with a layout of evidence found. After a review of the in-class critique, a new scheme progressed following a previous student’s organization to result in Figure 3.5. Wall A presents the problem and proposal. The logo development, color choices, and website development creates a visual of the process leading to the end solutions. A time of women’s equality movements is above the website displaying a current solution for progress female artists. A large-scale list of Texas female artists is hung from floor to ceiling next, and then a space for further exploration process. Here more text will be provided to describe the evolution from development to solutions. The next divisions are for the final logo, a large-scale fact, promotional posters, the posters development, and Texas Female Artists events and products.
3D MOCKUPS
The 3D mockups were planned wall by wall with a layout of evidence found. After a review of the in-class critiques, new schemes progressed following a previous student’s organization to result in Digital Layout 3. Wall A presents the problem and proposal. The logo development, color choices, and website development creates a visual of the process leading to the end solutions. A time of women’s equality movements is above the website displaying a current solution for progress female artists. A large-scale list of Texas female artists is hung from floor to ceiling next, and then a space for further exploration process. Here more text will be provided to describe the evolution from development to solutions. The next divisions are for the final logo, a large-scale fact, promotional posters, the posters development, and Texas Female Artists events and products.
Exhibition 3D Mockup V2 added a nearly two-foot wall for visual branding. This space is best used for a visual divider and image for the end of the exhibition. Variations of order, designs, and layout options were further explored with the expansion of two preliminary three-dimensional mockups. Redesigns of the headers were explored as vertical layouts to utilize space and general flow. The physical exhibition planning ended weeks after creating this last 3D mockup.
As the 3D mockups developed, a search began by delving into the fonts created by women. The font Axia provided a strong structure suited well for headers and signage. Eskorte is a possible body copy choice. Pairing this serif font with the san serif Axia would not be appropriate because of the heaviness of both fonts. Not enough contrast would be visible with its use. The font Blenny was considered and also not selected because of its weight and legibility. Myriad provided a great diversity within this font family but ultimately was eliminated because the designer was not from Texas. The fonts Edita and FF Ernestine Pro conflicted with Axia because their size was in too much of a competition for dominance. Chaparral Pro was selected to pair with Axia as a result of it’s smaller x-height and legibility. Both Charlemagne and Lithos were excluded because of the limitation of only having capitals without lowercase letterforms. Maoila, Nueva, and Viva each had too many distracting accents in the design that would not have paired well with Axia. In conclusion, for the font selection of Axia is used for headers and large-scale copy, while Chaparral Pro is for large sections of body copy.
EL CENTRO GALLERY
The first location of the 2020 VisCom exhibition was the El Centro Gallery in Dallas, TX. A blueprint of this location created a framework for the design-centric solutions. This space was viewed, walked, and measured for optimal use. The first division of this gallery, as exampled, would give each exhibiting researcher minimal and unequal wall space for mounting of evidence, research, or design. Optimally using the selected area undertook consideration of materials. Transparent fabrics, projectors, 3D elements, and ceiling mounted graphics were considered as appropriate aids for design-centric solutions. Challenges presented themselves as the analysis given to the glass walls as the light affected the room confines. Decals and partial wall construction provided alternatives to increase wall footage and design development.
TAMU-C UNIVERSITY ART GALLERY
The El Centro gallery was decidedly too small of a space appropriate for our exhibition and this gallery was selected. The 3D mockup Figure 3.4 was planned wall by wall with a layout of evidence found. After a review of the in-class critique, a new scheme progressed following a previous student’s organization to result in Figure 3.5. Wall A presents the problem and proposal. The logo development, color choices, and website development creates a visual of the process leading to the end solutions. A time of women’s equality movements is above the website displaying a current solution for progress female artists. A large-scale list of Texas female artists is hung from floor to ceiling next, and then a space for further exploration process. Here more text will be provided to describe the evolution from development to solutions. The next divisions are for the final logo, a large-scale fact, promotional posters, the posters development, and Texas Female Artists events and products.
3D MOCKUPS
The 3D mockups were planned wall by wall with a layout of evidence found. After a review of the in-class critiques, new schemes progressed following a previous student’s organization to result in Digital Layout 3. Wall A presents the problem and proposal. The logo development, color choices, and website development creates a visual of the process leading to the end solutions. A time of women’s equality movements is above the website displaying a current solution for progress female artists. A large-scale list of Texas female artists is hung from floor to ceiling next, and then a space for further exploration process. Here more text will be provided to describe the evolution from development to solutions. The next divisions are for the final logo, a large-scale fact, promotional posters, the posters development, and Texas Female Artists events and products.
Exhibition 3D Mockup V2 added a nearly two-foot wall for visual branding. This space is best used for a visual divider and image for the end of the exhibition. Variations of order, designs, and layout options were further explored with the expansion of two preliminary three-dimensional mockups. Redesigns of the headers were explored as vertical layouts to utilize space and general flow. The physical exhibition planning ended weeks after creating this last 3D mockup.
As the 3D mockups developed, a search began by delving into the fonts created by women. The font Axia provided a strong structure suited well for headers and signage. Eskorte is a possible body copy choice. Pairing this serif font with the san serif Axia would not be appropriate because of the heaviness of both fonts. Not enough contrast would be visible with its use. The font Blenny was considered and also not selected because of its weight and legibility. Myriad provided a great diversity within this font family but ultimately was eliminated because the designer was not from Texas. The fonts Edita and FF Ernestine Pro conflicted with Axia because their size was in too much of a competition for dominance. Chaparral Pro was selected to pair with Axia as a result of it’s smaller x-height and legibility. Both Charlemagne and Lithos were excluded because of the limitation of only having capitals without lowercase letterforms. Maoila, Nueva, and Viva each had too many distracting accents in the design that would not have paired well with Axia. In conclusion, for the font selection of Axia is used for headers and large-scale copy, while Chaparral Pro is for large sections of body copy.
Mockup V1
Digital Layout 3
Mockup V2
Digital Mockup Layout 5a
TYPOGRAPHY
Fonts created by women were researched and compiled. The list was short because of a lack of fonts designed by females and even more so by researching fonts designed by females in
Texas. The key factor used in choosing fonts was accessibility and readability. The first round of fonts found is accessible on Adobe Fonts. The following list provides the found fonts with their designer in the font created.
COLOR SCHEME DEVELOPMENT
Hues taken from vintage color schemes.
Updated hues.
Preliminary color palette.
VIRTUAL EXHIBITION
WEBSITE
The exhibition resulted in planning for physical space and then a virtual space. The physical space planning took place when classes in person, prior to the Coronavirus. As the pandemic’s impact across the world, country, and states increased, cities began establishing strict rules in an effort to contain the deadly virus. The scheduled spring break was extended a second week due to the pandemic. Then classes were then held virtually via Skype or Zoom. The final decision to put the 2020 MFA thesis exhibition solely online came after the announcement of summer classes transitioning to virtual meetings. The physical design is now exclusively a digital output.
A website was part of the plan from the beginning, as seen in the exhibition mockups. The virtual model is now being examined and expanded. New explorations of the virtual website exhibition were first designed in Adobe XD. Then upon recommendation, a WordPress website was acquired. The research discovered the best option for layout, template, and site structure. The theme Avada is available through Themeforest had the highest rating, was currently being used by most customers, advertised to be the best option for customization, and reportedly was ranked the highest for customer support. These factors are necessary for the longevity of the website and development. Once Avada was chosen, the template, Galeri provided a structured foundation that enabled customization; the site would reflect the unique needs of the virtual exhibition and potential formation of TXFA as a non-profit. This theme also gives the option of customization with the knowledge of coding.
The broader implications of this research address a branded approach to the promotion of female artists, resources to benefit the disparity of the gender wage gap found in art, and design-centric solutions to make the difference tangible. This researcher found an extensive amount of data and facts regarding the gender gap within the current art culture. Posters were developed to promote the brand and increase knowledge of the disparity suffered by women.
POSTER EXPLORATION
Design-centric posters were developed for branding and the marketing campaign.