Sketching from Nature is an exhibition exploring landscape painting in Britain from the late 1700s through to the 1800s. Connemara was a collection of works created in the west of Ireland by artist Dorothy Cross.
The visual identity created for the exhibition borrows from the past and captures the graphic language used in exhibitions in the 1800s. Research trips to the Royal Academy of Arts archive and Tate Britain inspired a rich source book of materials, paper sizes, typefaces and print processes for use in the design of the exhibition graphics.
Kellenberger–White designed a bespoke typographic identity for use in the exhibition graphics and supporting print.
The scheme introduced a combination of hand painted and printed graphics. The typeface used for all titles was based on a hand painted title found on the gilded frame of JMW Turner’s The Decline of Carthage, 1817. These letters were later finessed while being hand-painted by signwriter John Pope. Caslon’s English Roman, chosen for its popularity in the 1800s, was used as the complementary typeface for all main exhibition texts.
Turner’s sketchbooks, on display at Tate Britain, are covered in colourful marbled paper. For the interpretation guides, Kellenberger–White worked with Book Works and Jemma Lewis to create a set marbled papers, using colours found in Constable’s Sea near Brighton. This painting was also chosen as the exhibition’s lead marketing image.
For the Reading Room, Kellenberger–White designed a large-scale illustrated map, which contextualised places visited by the exhibited artists. The illustration took the form of a quick sketch, like one makes before a walk.