• Amy Sillman’s “Shapes” zine, Spring 2020. “In collaborating with Amy exclusively online, we used Google Docs to sketch out where to place image references throughout her text. We ended up embracing the flattening and layering that occurred between text and image, which had a visual and conceptual link to how she curated her exhibition.” — @prinraxyl⁣ ⁣ Curatorial team: Michelle Kuo, Lina Kavaliunas and Simon Wu; Zine design: @momadesignstudio; Typography: MoMA Sans (@commercialtype)⁣; Amy Sillman’s own handwriting
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    Amy Sillman’s “Shapes” zine, Spring 2020. “In collaborating with Amy exclusively online, we used Google Docs to sketch out where to place image references throughout her text. We ended up embracing the flattening and layering that occurred between text and image, which had a visual and conceptual link to how she curated her exhibition.” — @prinraxyl⁣ ⁣ Curatorial team: Michelle Kuo, Lina Kavaliunas and Simon Wu; Zine design: @momadesignstudio; Typography: MoMA Sans (@commercialtype)⁣; Amy Sillman’s own handwriting
  • Repost from @themuseumofmodernart • We grieve with the families of George Floyd, Breonna Taylor, Ahmaud Arbery, David McAtee, and Tony McDade—and with so many others in America’s Black communities, their stories known and untold—who have suffered appalling losses and who in live fear because of intolerable racism, abuse, violence, and injustice. #BlackOutTuesday
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    Repost from @themuseumofmodernart • We grieve with the families of George Floyd, Breonna Taylor, Ahmaud Arbery, David McAtee, and Tony McDade—and with so many others in America’s Black communities, their stories known and untold—who have suffered appalling losses and who in live fear because of intolerable racism, abuse, violence, and injustice. #BlackOutTuesday
  • Graphics and title wall for “Neri Oxman: Material Ecology,” Spring 2020. “Developing this exhibition’s title wall felt like working on a science experiment. We wanted a design that was ‘alive’ and could transform over the course of the exhibition, referencing its ‘systems, structures, and aesthetics of nature.’ This required a lot of unconventional material research and collaboration with our colleagues in Conservation and Digital Media, as well as guidance from Neri Oxman’s Mediated Matter group at MIT. After exploring this concept in various ways, we settled on beet and turmeric powder, which were among the dyes used in Aguahoja, a project featured in the exhibition.” — @d_j_klein⁣ ⁣ Curatorial team: Paola Antonelli with Anna Burckhardt; Exhibition Design: Lana Hum, LJ McNerney; Design and production: @momadesignstudio, Paulette Giguere; Silkscreener: Tom Black Studio; Typography: Gerstner-Programm (Forgotten Shapes)⁣⁣ ⁣ Explore #NeriOxman online with #MoMAVirtualViews. ⁣ ⁣ #design #graphicdesign #graphicwork #titlewall⁣ ⁣
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    Graphics and title wall for “Neri Oxman: Material Ecology,” Spring 2020. “Developing this exhibition’s title wall felt like working on a science experiment. We wanted a design that was ‘alive’ and could transform over the course of the exhibition, referencing its ‘systems, structures, and aesthetics of nature.’ This required a lot of unconventional material research and collaboration with our colleagues in Conservation and Digital Media, as well as guidance from Neri Oxman’s Mediated Matter group at MIT. After exploring this concept in various ways, we settled on beet and turmeric powder, which were among the dyes used in Aguahoja, a project featured in the exhibition.” — @d_j_klein⁣ ⁣ Curatorial team: Paola Antonelli with Anna Burckhardt; Exhibition Design: Lana Hum, LJ McNerney; Design and production: @momadesignstudio, Paulette Giguere; Silkscreener: Tom Black Studio; Typography: Gerstner-Programm (Forgotten Shapes)⁣⁣ ⁣ Explore #NeriOxman online with #MoMAVirtualViews. ⁣ ⁣ #design #graphicdesign #graphicwork #titlewall⁣ ⁣
  • Graphics and title wall for “Dorothea Lange: Words & Pictures,” Spring 2020. “‘Dorothea Lange: Words & Pictures’ captures the stories of everyday life through the complex relationship between words and pictures. To bring forth the power of narrative in Lange’s documentary work, part of the title wall envelopes viewers with a floor-to-ceiling installation featuring the voices of sharecroppers and migrant workers as they come face-to-face with the “Migrant Cotton Picker.” On the left are Lange’s own words set in typewriter typeface. Widely used at the time for correspondents and government documents, this typeface brings her voice forward and transports us to the time of Lange’s work.” — @_ellekim_ ⁣ ⁣ Curatorial team: Sarah Meister, River Bullock⁣⁣⁣; Design and production: @momadesignstudio⁣⁣⁣⁣; Exhibition Design: Mack Cole-Edelsack, LJ McNerney⁣⁣⁣; Typography: ⁣Helvetice Neue, CMU Typewriter Text⁣⁣⁣; Silkscreener: Tom Black Studio ⁣⁣⁣⁣ ⁣⁣ Explore Dorothea Lange: Words & Pictures online with #MoMAVirtualViews.⁣⁣⁣⁣ ⁣⁣⁣⁣ #dorothealange #design #graphicdesign #titlewall⁣
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    Graphics and title wall for “Dorothea Lange: Words & Pictures,” Spring 2020. “‘Dorothea Lange: Words & Pictures’ captures the stories of everyday life through the complex relationship between words and pictures. To bring forth the power of narrative in Lange’s documentary work, part of the title wall envelopes viewers with a floor-to-ceiling installation featuring the voices of sharecroppers and migrant workers as they come face-to-face with the “Migrant Cotton Picker.” On the left are Lange’s own words set in typewriter typeface. Widely used at the time for correspondents and government documents, this typeface brings her voice forward and transports us to the time of Lange’s work.” — @_ellekim_ ⁣ ⁣ Curatorial team: Sarah Meister, River Bullock⁣⁣⁣; Design and production: @momadesignstudio⁣⁣⁣⁣; Exhibition Design: Mack Cole-Edelsack, LJ McNerney⁣⁣⁣; Typography: ⁣Helvetice Neue, CMU Typewriter Text⁣⁣⁣; Silkscreener: Tom Black Studio ⁣⁣⁣⁣ ⁣⁣ Explore Dorothea Lange: Words & Pictures online with #MoMAVirtualViews.⁣⁣⁣⁣ ⁣⁣⁣⁣ #dorothealange #design #graphicdesign #titlewall⁣
  • Graphics and title wall for Judd, Spring 2020. For the title wall, we liked the idea of removing Judd’s mythology by including a photograph of the young artist installing his work at Leo Costelli Gallery in 1966. And for the overall graphic identity system, we knew we wanted a very sober approach, with all the design applied directly to the walls for a seamless experience. ⁣ — @damiensaatdjian⁣ ⁣⁣ Curatorial team: Ann Temkin with Tamar Margalit and Erica Cooke; Exhibition Design: LJ McNerney; Design and production: @momadesignstudio; Typography: Scto Grotesk (Schick Toikka)⁣; Silkscreener: Tom Black Studio Explore Judd online with #momavirtualviews.⁣ ⁣ #judd #design #graphicdesign #titlewall
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    Graphics and title wall for Judd, Spring 2020. For the title wall, we liked the idea of removing Judd’s mythology by including a photograph of the young artist installing his work at Leo Costelli Gallery in 1966. And for the overall graphic identity system, we knew we wanted a very sober approach, with all the design applied directly to the walls for a seamless experience. ⁣ — @damiensaatdjian⁣ ⁣⁣ Curatorial team: Ann Temkin with Tamar Margalit and Erica Cooke; Exhibition Design: LJ McNerney; Design and production: @momadesignstudio; Typography: Scto Grotesk (Schick Toikka)⁣; Silkscreener: Tom Black Studio Explore Judd online with #momavirtualviews.⁣ ⁣ #judd #design #graphicdesign #titlewall
  • Graphics and title wall for New Order: Art and Technology in the Twenty-First Century, Spring 2019. Much of this show was about technology’s imperfection—its ties to 'matter, friction, and failure.' The automatic doors gave us a chance to echo the show’s underlying unease by making the title a moving target. — @jarrodbarretto⁣ ⁣ Curatorial team: Michelle Kuo, Lina Kavaliunas⁣ Design and production: @momadesignstudio⁣ Exhibition Design: Mack Cole-Edelsack⁣ Typography: Riforma (Lineto)⁣
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    Graphics and title wall for New Order: Art and Technology in the Twenty-First Century, Spring 2019. Much of this show was about technology’s imperfection—its ties to 'matter, friction, and failure.' The automatic doors gave us a chance to echo the show’s underlying unease by making the title a moving target. — @jarrodbarretto⁣ ⁣ Curatorial team: Michelle Kuo, Lina Kavaliunas⁣ Design and production: @momadesignstudio⁣ Exhibition Design: Mack Cole-Edelsack⁣ Typography: Riforma (Lineto)⁣
  • The Record Shop, Pop-Up, 2020. “The Record Shop at @momadesignstore presents vinyl records represented in MoMA’s collection. To give the Pop-Up its own unique voice, we created an approach that references the energy of the album covers and boldness of MoMA’s brand. Using MoMA Sans Condensed and a vibrant color palette, we developed a system that could be applied to digital, spatial and print collateral—one that strikes meaningful adjacencies between music and design while allowing for moments of discovery throughout.” — @whitneybadge Design and Production: Retail Creative Team and @momadesignstudio
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    The Record Shop, Pop-Up, 2020. “The Record Shop at @momadesignstore presents vinyl records represented in MoMA’s collection. To give the Pop-Up its own unique voice, we created an approach that references the energy of the album covers and boldness of MoMA’s brand. Using MoMA Sans Condensed and a vibrant color palette, we developed a system that could be applied to digital, spatial and print collateral—one that strikes meaningful adjacencies between music and design while allowing for moments of discovery throughout.” — @whitneybadge Design and Production: Retail Creative Team and @momadesignstudio
  • Graphics and title wall for Pope.L, Fall 2019. Pope.L’s provocative work questions the relationship between race, class, and economic conflict. To design the title wall, we wanted to represent these ideas by removing all hierarchy—the type is set in one size, on one line, and placed at human height. This both draws a visitor into the exhibition and highlights the title’s specific and slightly ambiguous punctuation, adapted from the catalogue. As a reference to both his work and American vernacular typography, we chose the typeface Monotype Grotesque for its gritty, uneven texture. — @kevinballon⁣ ⁣ Curatorial Team: Stuart Comer, Danielle Jackson⁣ Exhibition Design: Mack Cole-Edelsack ⁣ Design & Production: @momadesignstudio⁣ Typography: Monotype Grotesque
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    Graphics and title wall for Pope.L, Fall 2019. Pope.L’s provocative work questions the relationship between race, class, and economic conflict. To design the title wall, we wanted to represent these ideas by removing all hierarchy—the type is set in one size, on one line, and placed at human height. This both draws a visitor into the exhibition and highlights the title’s specific and slightly ambiguous punctuation, adapted from the catalogue. As a reference to both his work and American vernacular typography, we chose the typeface Monotype Grotesque for its gritty, uneven texture. — @kevinballon⁣ ⁣ Curatorial Team: Stuart Comer, Danielle Jackson⁣ Exhibition Design: Mack Cole-Edelsack ⁣ Design & Production: @momadesignstudio⁣ Typography: Monotype Grotesque
  • Graphics and title wall for “Energy”, Fall 2019. Energy is a show about the various states of energy from its conception to its byproduct. Based on the thesis of the exhibition, our curatorial team asked that we emphasize the importance of the sun as a natural energy source, and suggested we explore the idea of a solar flare as it thematically represents the range of 'energy' displayed in the show. The result is a title wall whose typographic animation of 'Energy' mimics the color and transitions of a solar flare, re-engaging the reading and perception of a word we use everyday. — @prinraxyl⁣ ⁣ Curatorial team: Paola Antonelli, Anna Burckhardt⁣ Design and production: @momadesigndesignstudio ⁣ Exhibition Design: LJ McNerney Audio visual (projection setup, tests, and production): Aaron Harrow, Travis Kray and Mike Gibbons⁣ Typography: MoMA Sans Condensed #solarflare!⁣ ⁣ #design #graphic #graphicdesign #museum #typography
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    Graphics and title wall for “Energy”, Fall 2019. Energy is a show about the various states of energy from its conception to its byproduct. Based on the thesis of the exhibition, our curatorial team asked that we emphasize the importance of the sun as a natural energy source, and suggested we explore the idea of a solar flare as it thematically represents the range of 'energy' displayed in the show. The result is a title wall whose typographic animation of 'Energy' mimics the color and transitions of a solar flare, re-engaging the reading and perception of a word we use everyday. — @prinraxyl⁣ ⁣ Curatorial team: Paola Antonelli, Anna Burckhardt⁣ Design and production: @momadesigndesignstudio ⁣ Exhibition Design: LJ McNerney Audio visual (projection setup, tests, and production): Aaron Harrow, Travis Kray and Mike Gibbons⁣ Typography: MoMA Sans Condensed #solarflare!⁣ ⁣ #design #graphic #graphicdesign #museum #typography
  • Graphics and title wall for Artist's Choice: Amy Sillman The Shape of Shape, Fall 2019. Artist Amy Sillman curated a gallery of works from our collection in a salon-style installation, which meant that traditional labels weren't a practical solution. To help visitors identify works, we designed a gallery guide that can be carried and referenced while exploring the exhibition. After extensive research into possible materials for the guide, we landed on 15 mil PVC @mohawkpaper Synthetics for its durability and cost efficiency. The title wall uses our standard text layout and sizes and is punctuated by a site-specific 'shadow' of a canvas Sillman contributed to the show. — @domoradova⁣ ⁣ Curatorial Team: Amy Sillman with Michelle Kuo, and Jenny Harris⁣ Exhibition Design: Aimee Keefer ⁣ Design & Production: @momadesignstudio⁣ ⁣ #design #graphic #graphicdesign #typography #museum #exhibition
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    Graphics and title wall for Artist's Choice: Amy Sillman The Shape of Shape, Fall 2019. Artist Amy Sillman curated a gallery of works from our collection in a salon-style installation, which meant that traditional labels weren't a practical solution. To help visitors identify works, we designed a gallery guide that can be carried and referenced while exploring the exhibition. After extensive research into possible materials for the guide, we landed on 15 mil PVC @mohawkpaper Synthetics for its durability and cost efficiency. The title wall uses our standard text layout and sizes and is punctuated by a site-specific 'shadow' of a canvas Sillman contributed to the show. — @domoradova⁣ ⁣ Curatorial Team: Amy Sillman with Michelle Kuo, and Jenny Harris⁣ Exhibition Design: Aimee Keefer ⁣ Design & Production: @momadesignstudio⁣ ⁣ #design #graphic #graphicdesign #typography #museum #exhibition
  • Graphics for “The Subway: Design for a Modern Icon”, Spring 2020 Repost from @themuseumofmodernart • Can you imagine the New York City subways without the brightly-colored map that makes sense of the system’s many tangled train lines? @mtaartsdesign and MoMA unveiled “The Subway: Design for a Modern Icon” at the 5 Av/53 St Station on the E/M line (our stop!). The new site-specific exhibition, curated by MoMA’s Department of Architecture and Design and designed by @momadesignstudio, celebrates the historic connection between the Museum and @mtanyctransit. Vinyl panels along the downtown platform highlight the subway system’s graphic identity, created by Unimark International and headed by designers #MassimoVignelli and #BobNoorda—at the recommendation of MoMA curator Mildred Constantine. In 2004, their original c. 1972 diagram, as well as the 1970 Graphics Standards Manual, which called for station signage to be rendered in a sans-serif typeface with a simple palette of bright colors and black and white, entered the #MoMACollection. Check out the exhibition on your next visit to MoMA! 📸: Patrick Cashin/MTA #NYCSubway #MTAArts
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    Graphics for “The Subway: Design for a Modern Icon”, Spring 2020 Repost from @themuseumofmodernart • Can you imagine the New York City subways without the brightly-colored map that makes sense of the system’s many tangled train lines? @mtaartsdesign and MoMA unveiled “The Subway: Design for a Modern Icon” at the 5 Av/53 St Station on the E/M line (our stop!). The new site-specific exhibition, curated by MoMA’s Department of Architecture and Design and designed by @momadesignstudio, celebrates the historic connection between the Museum and @mtanyctransit. Vinyl panels along the downtown platform highlight the subway system’s graphic identity, created by Unimark International and headed by designers #MassimoVignelli and #BobNoorda—at the recommendation of MoMA curator Mildred Constantine. In 2004, their original c. 1972 diagram, as well as the 1970 Graphics Standards Manual, which called for station signage to be rendered in a sans-serif typeface with a simple palette of bright colors and black and white, entered the #MoMACollection. Check out the exhibition on your next visit to MoMA! 📸: Patrick Cashin/MTA #NYCSubway #MTAArts
  • Graphics and title wall for Private Lives Public Spaces, Fall 2019. Private Lives Public Spaces highlights home movies and amateur films from MoMA’s collection. The words 'Private Lives' vibrate in blue, like TV static, while 'Public Spaces' is set in a semi-transparent frosted vinyl. By placing the two lines on opposite sides of the window, we create a subtle sense of dimensionality between them, highlighting the dichotomy between 'private' and 'public' spaces. — @oliviadesalve Curatorial Team: Ron Magliozzi, Brittany Shaw, Katie Trainor, Peter Williamson, and Ashley Swinnerton Design & Production: @momadesignstudio Typography: Ginto Nord, @abcdinamo
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    Graphics and title wall for Private Lives Public Spaces, Fall 2019. Private Lives Public Spaces highlights home movies and amateur films from MoMA’s collection. The words 'Private Lives' vibrate in blue, like TV static, while 'Public Spaces' is set in a semi-transparent frosted vinyl. By placing the two lines on opposite sides of the window, we create a subtle sense of dimensionality between them, highlighting the dichotomy between 'private' and 'public' spaces. — @oliviadesalve Curatorial Team: Ron Magliozzi, Brittany Shaw, Katie Trainor, Peter Williamson, and Ashley Swinnerton Design & Production: @momadesignstudio Typography: Ginto Nord, @abcdinamo
  • We're back! Happy 2020. Here's a few of our favorite title walls from the last decade. Enjoy! 2010: Tim Burton 2011: Talk to Me 2012: Tokyo 1955–1970 2013: Magritte: The Mystery of the Ordinary, 1926–1938 2014: Applied Design 2015: Ocean of Images 2016: A Japanese Constellation 2017: Club 57 2018: Tania Bruguera 2019: Betye Saar: The Legends of Black Girl's Window
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    We're back! Happy 2020. Here's a few of our favorite title walls from the last decade. Enjoy! 2010: Tim Burton 2011: Talk to Me 2012: Tokyo 1955–1970 2013: Magritte: The Mystery of the Ordinary, 1926–1938 2014: Applied Design 2015: Ocean of Images 2016: A Japanese Constellation 2017: Club 57 2018: Tania Bruguera 2019: Betye Saar: The Legends of Black Girl's Window
  • Icons, 2019. Icons are vital to our wayfinding system throughout the museum. Our new set of icons are drawn from Google’s Material Design system, and we were fortunate enough to work with @seheelyy from the icon design team to create a few special icons specifically for our architectural needs. The Material Icons fluidly adapt to screen and print applications —  in our visitor guide, digital wayfinding, and architectural signage. They help make our maps and guides accessible no matter what language our visitors speak. — @_ellekim_⁣ ⁣ Material Design icons: @googledesign ⁣ Design and production: @momadesignstudio⁣
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    Icons, 2019. Icons are vital to our wayfinding system throughout the museum. Our new set of icons are drawn from Google’s Material Design system, and we were fortunate enough to work with @seheelyy from the icon design team to create a few special icons specifically for our architectural needs. The Material Icons fluidly adapt to screen and print applications —  in our visitor guide, digital wayfinding, and architectural signage. They help make our maps and guides accessible no matter what language our visitors speak. — @_ellekim_⁣ ⁣ Material Design icons: @googledesign ⁣ Design and production: @momadesignstudio⁣
  • Education Identity System, 2019. “While adapting our design system for our Education department, we were inspired by the words of our first director Alfred Barr, ’The Museum of Modern Art is a laboratory. In its experiments, the public is invited to participate.’ With this in mind, we knew what the design for Education needed to be—experimental, playful & inviting. ⠀⁣ ⠀⁣ The system has two layers—one presents key information divided by gridlines, and the other includes shapes and textures. Together, they create a scalable system that is highly functional, easy to implement, and exciting to use.” — @kevinballon⠀⁣ ⠀⁣ Design & production: @momadesignstudio, @l_l_design⠀
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    Education Identity System, 2019. “While adapting our design system for our Education department, we were inspired by the words of our first director Alfred Barr, ’The Museum of Modern Art is a laboratory. In its experiments, the public is invited to participate.’ With this in mind, we knew what the design for Education needed to be—experimental, playful & inviting. ⠀⁣ ⠀⁣ The system has two layers—one presents key information divided by gridlines, and the other includes shapes and textures. Together, they create a scalable system that is highly functional, easy to implement, and exciting to use.” — @kevinballon⠀⁣ ⠀⁣ Design & production: @momadesignstudio, @l_l_design⠀
  • Temporary Signage System, 2019. Streamlining temporary signage across the museum was a challenge! We needed to develop a system that could be produced quickly, consistently, and support a broad range of content for a variety of departments. The type in our updated system harmonizes with our existing wayfinding and print typographic standards, bridging the gap between the two scales for a sleek and uniform look. — @oliviadesalve Design & production: @momadesignstudio
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    Temporary Signage System, 2019. Streamlining temporary signage across the museum was a challenge! We needed to develop a system that could be produced quickly, consistently, and support a broad range of content for a variety of departments. The type in our updated system harmonizes with our existing wayfinding and print typographic standards, bridging the gap between the two scales for a sleek and uniform look. — @oliviadesalve Design & production: @momadesignstudio
  • Design Store Catalogue, 2019. The fall catalogues featured three riffs on the themes of 'moving in,' 'setting up,' and 'lights on' to mark our new store. The actual making of the catalogue takes a village and involves product selection, design, photography, and post-production. We even borrowed a few art crates from our exhibition team and a trolly from our carpenter shop during the photoshoot to help deliver the themes. — @hyingridchou Design & production: @momadesignstudio Photographer: @blobbybloherty Styling: @sonia_rentsch
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    Design Store Catalogue, 2019. The fall catalogues featured three riffs on the themes of 'moving in,' 'setting up,' and 'lights on' to mark our new store. The actual making of the catalogue takes a village and involves product selection, design, photography, and post-production. We even borrowed a few art crates from our exhibition team and a trolly from our carpenter shop during the photoshoot to help deliver the themes. — @hyingridchou Design & production: @momadesignstudio Photographer: @blobbybloherty Styling: @sonia_rentsch
  • Terrace Café Identity, 2019. With a reimagined museum came a new restaurant at MoMA, the Terrace Café. Inspired by MoMA's newly built blade staircase, the logo helps celebrate our architecture. For a fun and lively space like the Terrace Café, I love the way the letters playfully ascend steps in the logo, reminding you of the restaurant at the top of the stairs. — Claire Starling, @momadesignstudio⁣ ⁣ Design: @l_and_l_design with @momadesignstudio⁣ Production: @l_and_l_design, @momadesignstudio, @ushgnyc
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    Terrace Café Identity, 2019. With a reimagined museum came a new restaurant at MoMA, the Terrace Café. Inspired by MoMA's newly built blade staircase, the logo helps celebrate our architecture. For a fun and lively space like the Terrace Café, I love the way the letters playfully ascend steps in the logo, reminding you of the restaurant at the top of the stairs. — Claire Starling, @momadesignstudio⁣ ⁣ Design: @l_and_l_design with @momadesignstudio⁣ Production: @l_and_l_design, @momadesignstudio, @ushgnyc
  • Kiosks, 2019. The little army of kiosks is hard to miss from the 53rd street entrance. It has 1 job to do, supply visitors with tickets as efficiently and smoothly as possible. The hardware design is borrowed from the airline space, while the custom software is inspired by the museum's new design system. Together, they strike the great balance between design and functionality for visitors in a hurry to see what we've got on view. — @rikvanmechelen, Information Technology⁣ ⁣ Visit moma.org/magazine/tags/135 to view more episodes from MoMA's At The Museum series (link in bio).
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    Kiosks, 2019. The little army of kiosks is hard to miss from the 53rd street entrance. It has 1 job to do, supply visitors with tickets as efficiently and smoothly as possible. The hardware design is borrowed from the airline space, while the custom software is inspired by the museum's new design system. Together, they strike the great balance between design and functionality for visitors in a hurry to see what we've got on view. — @rikvanmechelen, Information Technology⁣ ⁣ Visit moma.org/magazine/tags/135 to view more episodes from MoMA's At The Museum series (link in bio).
  • Signage, 2019. To coincide with its highly anticipated 2019 expansion, MoMA commissioned Gensler to create a campus-wide signage, wayfinding, and donor recognition system. Set in MoMA Sans, and following typographic and material guidelines developed by MoMA and Gensler teams, the understated signage design compliments the many artworks on public view. From carefully planned typographic hierarchies across the complex lobby space, to the outdoor spaces of MoMA's iconic sculpture garden, the signage program elegantly threads throughout the new campus. — @mooreorlesse, Gensler MoMA signage and wayfinding system: @genslernyc & @momadesignstudio Type design (MoMA Sans): @commercialtype Initial material and location studies: @wkshps Project management: @le.whit Installation: VGS, @top_notch_graphics_nyc, Tom Black Studio
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    Signage, 2019. To coincide with its highly anticipated 2019 expansion, MoMA commissioned Gensler to create a campus-wide signage, wayfinding, and donor recognition system. Set in MoMA Sans, and following typographic and material guidelines developed by MoMA and Gensler teams, the understated signage design compliments the many artworks on public view. From carefully planned typographic hierarchies across the complex lobby space, to the outdoor spaces of MoMA's iconic sculpture garden, the signage program elegantly threads throughout the new campus. — @mooreorlesse, Gensler MoMA signage and wayfinding system: @genslernyc & @momadesignstudio Type design (MoMA Sans): @commercialtype Initial material and location studies: @wkshps Project management: @le.whit Installation: VGS, @top_notch_graphics_nyc, Tom Black Studio
  • Installing signage and wayfinding, 2019. From Summer 2018 on, our team worked together with @genslernyc, to develop, refine, specify, and install a wayfinding system created for MoMA's new campus. MoMA reopened with a 30% bigger footprint, and we needed to update our strategy for visitor navigation. The size, material, color, placement, and wall conditions for every type of sign — wayfinding, iconography, donor recognition, and gallery identification — were tested in person to ensure that the new system would enhance the visitor experience. — @prinraxyl⁣ ⁣ MoMA signage and wayfinding system: @genslernyc & @momadesignstudio⁣ Type design (MoMA Sans): @commercialtype⁣ Initial material and location studies: @wkshps⁣ Project management: @le.whit⁣ Installation: VGS, @top_notch_graphics_nyc, Tom Black Studio
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    Installing signage and wayfinding, 2019. From Summer 2018 on, our team worked together with @genslernyc, to develop, refine, specify, and install a wayfinding system created for MoMA's new campus. MoMA reopened with a 30% bigger footprint, and we needed to update our strategy for visitor navigation. The size, material, color, placement, and wall conditions for every type of sign — wayfinding, iconography, donor recognition, and gallery identification — were tested in person to ensure that the new system would enhance the visitor experience. — @prinraxyl⁣ ⁣ MoMA signage and wayfinding system: @genslernyc & @momadesignstudio⁣ Type design (MoMA Sans): @commercialtype⁣ Initial material and location studies: @wkshps⁣ Project management: @le.whit⁣ Installation: VGS, @top_notch_graphics_nyc, Tom Black Studio
  • MoMA PS1 & moma.org, 2019. MoMA PS1's new landing page offers a custom-built portal to the institution's content across moma.org. — @vancewellenstein, Head of Design at MoMA PS1⁣ ⁣ MoMA and MoMA PS1 both use many colors when presenting solo, but when they come together — especially on moma.org — it helps for each to stand out so audiences can enjoy the best of these great programs and institutions. Over the summer we updated this across moma.org, flipping the switch to better surface MoMA PS1's events, exhibitions, and mission to our nearly 14 million moma.org users each year. — @yscompton, MoMA Digital Media⁣ ⁣ Design and development: MoMA Digital Media with @momadesignstudio⁣ Design and front-end prototyping: @doberman⁣ Design system: @momadesignstudio, @order.design.nyc
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    MoMA PS1 & moma.org, 2019. MoMA PS1's new landing page offers a custom-built portal to the institution's content across moma.org. — @vancewellenstein, Head of Design at MoMA PS1⁣ ⁣ MoMA and MoMA PS1 both use many colors when presenting solo, but when they come together — especially on moma.org — it helps for each to stand out so audiences can enjoy the best of these great programs and institutions. Over the summer we updated this across moma.org, flipping the switch to better surface MoMA PS1's events, exhibitions, and mission to our nearly 14 million moma.org users each year. — @yscompton, MoMA Digital Media⁣ ⁣ Design and development: MoMA Digital Media with @momadesignstudio⁣ Design and front-end prototyping: @doberman⁣ Design system: @momadesignstudio, @order.design.nyc
  • Graphics and title wall for Surrounds: 11 Installations, Fall 2019. The exhibition is centered around 11 galleries, each of which contain a room-sized installation from MoMA’s collection. When designing the title wall, we liked the idea of creating a list of the artists' names in the order in which a visitor would encounter their work. The spare black-and-white typography mirrors the restrained exhibition design, set in MoMA Sans to subtly connect this show to MoMA's collection. — @d_j_klein⁣ ⁣ Curatorial team: Quentin Bajac, Christian Rattemeyer, Yasmil Raymond, Sean Anderson, and Joshua Siegel with Hillary Reder, Taylor Walsh, and Kelly Sidley. (Special thanks to Michelle Kuo, Lucy Gallun, Erica Papernik-Shimizu, and Arièle Dionne-Krosnick.)⁣ Design and production: Matthew Cox (exhibition design), @momadesignstudio (title wall and graphics)⁣ Typography: MoMA Sans⁣ Silkscreener: Tom Black Studio⁣
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    Graphics and title wall for Surrounds: 11 Installations, Fall 2019. The exhibition is centered around 11 galleries, each of which contain a room-sized installation from MoMA’s collection. When designing the title wall, we liked the idea of creating a list of the artists' names in the order in which a visitor would encounter their work. The spare black-and-white typography mirrors the restrained exhibition design, set in MoMA Sans to subtly connect this show to MoMA's collection. — @d_j_klein⁣ ⁣ Curatorial team: Quentin Bajac, Christian Rattemeyer, Yasmil Raymond, Sean Anderson, and Joshua Siegel with Hillary Reder, Taylor Walsh, and Kelly Sidley. (Special thanks to Michelle Kuo, Lucy Gallun, Erica Papernik-Shimizu, and Arièle Dionne-Krosnick.)⁣ Design and production: Matthew Cox (exhibition design), @momadesignstudio (title wall and graphics)⁣ Typography: MoMA Sans⁣ Silkscreener: Tom Black Studio⁣
  • Graphics and title wall for Sur moderno: Journeys of Abstraction—The Patricia Phelps de Cisneros Gift, Fall 2019. This show is a graphic designer’s dream, full of colorful geometric abstraction. For its title wall, we wanted to avoid mimicking the work and instead used type to evoke some of its core concepts: the breaking of order and rationality, and the illusion of movement. The color is meant to feel like warm sunlight. — @jarrodbarretto⁣ ⁣ Curatorial team: Inés Katzenstein and María Amalia García (consulting curator) with Karen Grimson⁣ Design and production: Aimee Keefer (exhibition design), @momadesignstudio (title wall and graphics)⁣ Typography: Akzidenz-Grotesk (Berthold)⁣ Silkscreener: Tom Black Studio
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    Graphics and title wall for Sur moderno: Journeys of Abstraction—The Patricia Phelps de Cisneros Gift, Fall 2019. This show is a graphic designer’s dream, full of colorful geometric abstraction. For its title wall, we wanted to avoid mimicking the work and instead used type to evoke some of its core concepts: the breaking of order and rationality, and the illusion of movement. The color is meant to feel like warm sunlight. — @jarrodbarretto⁣ ⁣ Curatorial team: Inés Katzenstein and María Amalia García (consulting curator) with Karen Grimson⁣ Design and production: Aimee Keefer (exhibition design), @momadesignstudio (title wall and graphics)⁣ Typography: Akzidenz-Grotesk (Berthold)⁣ Silkscreener: Tom Black Studio
  • New MoMA Design Store products, 2019. To celebrate MoMA's opening, we developed branded products and collaborated with like-minded global brands and artists in MoMA's collection to create exclusive products that reflect MoMA’s commitment to good design. The project involved product development, designing, prototyping and manufacturing, and resulted in a photoshoot for MoMA Design Store’s opening campaign. The art direction centered on two principles: celebration and partnership. — @flynnderekj Check out @momadesignstore to find amazing products for everyone on your list! Design, photography, and production: @momadesignstudio & Retail Creative Team
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    New MoMA Design Store products, 2019. To celebrate MoMA's opening, we developed branded products and collaborated with like-minded global brands and artists in MoMA's collection to create exclusive products that reflect MoMA’s commitment to good design. The project involved product development, designing, prototyping and manufacturing, and resulted in a photoshoot for MoMA Design Store’s opening campaign. The art direction centered on two principles: celebration and partnership. — @flynnderekj Check out @momadesignstore to find amazing products for everyone on your list! Design, photography, and production: @momadesignstudio & Retail Creative Team
  • Visitor Guide 2019. Our Visitor Guide is the first piece every visitor picks up when entering MoMA. Using valuable visitor feedback and research on visitors’ journey and behaviors, we designed a new Visitor Guide that reflects our expanded space and diverse programs. I think it’s the most helpful Visitor Guide the museum has offered thus far along with MoMA’s overall wayfinding system. Clear floor by floor maps with gallery numbers and amenities icons help our visitors navigate the museum with ease. Information on our collection artworks, temporary exhibitions and programs on view allows visitors the opportunity to plan an itinerary tailored to their needs. — @_ellekim_ Design and production: @momadesignstudio Project photography: @mari_juliano_photography
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    Visitor Guide 2019. Our Visitor Guide is the first piece every visitor picks up when entering MoMA. Using valuable visitor feedback and research on visitors’ journey and behaviors, we designed a new Visitor Guide that reflects our expanded space and diverse programs. I think it’s the most helpful Visitor Guide the museum has offered thus far along with MoMA’s overall wayfinding system. Clear floor by floor maps with gallery numbers and amenities icons help our visitors navigate the museum with ease. Information on our collection artworks, temporary exhibitions and programs on view allows visitors the opportunity to plan an itinerary tailored to their needs. — @_ellekim_ Design and production: @momadesignstudio Project photography: @mari_juliano_photography
  • A new MoMA campaign, Fall 2019. To celebrate the opening of the new MoMA this year, we wanted to elevate the voices of the artists in our collection. We chose existing quotes, from a selection of the artists on display in our opening presentation, that both reflect their practice as artists and the spirit of our new museum. These quotes ran across out-of-home and digital platforms, and we hope they provided inspiration (and a bit of provocation!) for the city. — Rob Baker, Director of Marketing and Creative Strategy Fall 2019 A new MoMA campaign design and production: @triborodesign Fall 2019 A new MoMA campaign motion design: @georegulus #design #anewMoMA
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    A new MoMA campaign, Fall 2019. To celebrate the opening of the new MoMA this year, we wanted to elevate the voices of the artists in our collection. We chose existing quotes, from a selection of the artists on display in our opening presentation, that both reflect their practice as artists and the spirit of our new museum. These quotes ran across out-of-home and digital platforms, and we hope they provided inspiration (and a bit of provocation!) for the city. — Rob Baker, Director of Marketing and Creative Strategy Fall 2019 A new MoMA campaign design and production: @triborodesign Fall 2019 A new MoMA campaign motion design: @georegulus #design #anewMoMA
  • Tickets and other onsite print materials, Fall 2019. The tickets were an exciting chance to let the brand colors shine, and with twelve distinct colors to work with, the countless ways that these colors could complement each other didn’t fully resonate until we were confronted with the 132 unique two-tone ticket configurations and trying to pick four favorites. — @harrisoncarter_⁣ ⁣ Design and production: @momadesignstudio Project photography: @mari_juliano_photography
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    Tickets and other onsite print materials, Fall 2019. The tickets were an exciting chance to let the brand colors shine, and with twelve distinct colors to work with, the countless ways that these colors could complement each other didn’t fully resonate until we were confronted with the 132 unique two-tone ticket configurations and trying to pick four favorites. — @harrisoncarter_⁣ ⁣ Design and production: @momadesignstudio Project photography: @mari_juliano_photography
  • Motion system 2019. Working from the design system's layers metaphor, we built motion so the vast majority of it was driven by the camera and spatial layout. This helped to insure consistency and authentic parallax across the entire system. Our final deliverable was not only the animation guidelines, but also After Effects kits that featured several of these motion rigs, such that MoMA designers could easily swap elements and type. — Erica Gorochow, @peprallyco⁣ ⁣ Motion system: @peprallyco⁣ Design system guidelines and Spring 2019 campaign concept: @order.design.nyc⁣ Design and production: @momadesignstudio⁣ ⁣ #design #motiondesign
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    Motion system 2019. Working from the design system's layers metaphor, we built motion so the vast majority of it was driven by the camera and spatial layout. This helped to insure consistency and authentic parallax across the entire system. Our final deliverable was not only the animation guidelines, but also After Effects kits that featured several of these motion rigs, such that MoMA designers could easily swap elements and type. — Erica Gorochow, @peprallyco⁣ ⁣ Motion system: @peprallyco⁣ Design system guidelines and Spring 2019 campaign concept: @order.design.nyc⁣ Design and production: @momadesignstudio⁣ ⁣ #design #motiondesign
  • Installing the Fall 2019 exhibition Betye Saar: The Legends of Black Girl’s Window. My favorite element of the title wall design is the portrait of Betye in her California studio standing with Black Girl’s Window. It’s a powerful, confident image that makes you feel like you’re in her studio with her. It also solved a wayfinding challenge. The entrance is really tricky to design for because there are multiple points of entry which means we had to consider how a visitor would discover the exhibition. From one vantage point we used the title, and from the other we used Betye’s gaze. The image just works so well with the architecture of the space…it’s like it was made to be there. — @d_j_klein ⁣ Visit moma.org/magazine/tags/135 to view more episodes from MoMA's At The Museum series (link in bio). ⁣ ⁣ Curatorial team: Christophe Cherix & Esther Adler with Ana Torok & Nectar Knuckles⁣ Design and production: Lana Hum (exhibition design), @momadesignstudio (title wall and graphics)⁣ Silkscreener: Tom Black Studio
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    Installing the Fall 2019 exhibition Betye Saar: The Legends of Black Girl’s Window. My favorite element of the title wall design is the portrait of Betye in her California studio standing with Black Girl’s Window. It’s a powerful, confident image that makes you feel like you’re in her studio with her. It also solved a wayfinding challenge. The entrance is really tricky to design for because there are multiple points of entry which means we had to consider how a visitor would discover the exhibition. From one vantage point we used the title, and from the other we used Betye’s gaze. The image just works so well with the architecture of the space…it’s like it was made to be there. — @d_j_klein ⁣ Visit moma.org/magazine/tags/135 to view more episodes from MoMA's At The Museum series (link in bio). ⁣ ⁣ Curatorial team: Christophe Cherix & Esther Adler with Ana Torok & Nectar Knuckles⁣ Design and production: Lana Hum (exhibition design), @momadesignstudio (title wall and graphics)⁣ Silkscreener: Tom Black Studio
  • A new MoMA photoshoot and campaign. We kept going back to this one photo of Jacques Tati in the MoMA sculpture garden in 1958 [link in bio]. We hoped these shots would feel like a heightened version of reality, with a touch of humor. Part of that was lighting the spaces to flatten out the house lighting, which Noah and team achieved really well. The other part was distilling the action to feel more graphic than real life. — @jarrodbarretto Art Direction: MoMA Creative Team Design and production: @momadesignstudio Photographer: @noahkalina #newMoMA
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    A new MoMA photoshoot and campaign. We kept going back to this one photo of Jacques Tati in the MoMA sculpture garden in 1958 [link in bio]. We hoped these shots would feel like a heightened version of reality, with a touch of humor. Part of that was lighting the spaces to flatten out the house lighting, which Noah and team achieved really well. The other part was distilling the action to feel more graphic than real life. — @jarrodbarretto Art Direction: MoMA Creative Team Design and production: @momadesignstudio Photographer: @noahkalina #newMoMA
  • MoMA lobby Program Wall. The large-scale digital installation in the heart of the new lobby isn’t art; it’s about getting you to the art you’d like to see. A feat of architecture, audio visual integration, and custom digital design and development, the four ultra-large 4K screens have the unenviable job of communicating the Museum’s enormous program in its entirety, but with clarity and efficiency. The end result is 33 million pixels lovingly crafted to help you plan your next move. — @theshannon, MoMA Digital Media⁣ ⁣ Design and development: MoMA Digital Media with @momadesignstudio
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    MoMA lobby Program Wall. The large-scale digital installation in the heart of the new lobby isn’t art; it’s about getting you to the art you’d like to see. A feat of architecture, audio visual integration, and custom digital design and development, the four ultra-large 4K screens have the unenviable job of communicating the Museum’s enormous program in its entirety, but with clarity and efficiency. The end result is 33 million pixels lovingly crafted to help you plan your next move. — @theshannon, MoMA Digital Media⁣ ⁣ Design and development: MoMA Digital Media with @momadesignstudio
  • A new MoMA photoshoot behind-the-scenes (Sep–Oct 2019). The room with David Tudor’s Rainforest V is one of my favorites. It was the first shot we did and probably our most technically challenging. It’s amazing how it all came together since it all seemed like a blur at the time. The experience of being in the galleries while the art was being installed was surreal. Seeing famous works of art leaning up against the wall waiting to be hung is not something you forget. — @noahkalina⁣ ⁣ Art Direction: MoMA Creative Team⁣ Photographer: @noahkalina⁣ Crew: @zachvitale (retouching), @nickmehedin & Takeshi Hayashi (assisting), @desmondreich & @timothyzwicky (capture), @katiesolsen (casting), @lizmcclean & @britt__lo (styling)⁣ ⁣ Behind-the-scenes photos: @jarrodbarretto, @giampietrorob⁣
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    A new MoMA photoshoot behind-the-scenes (Sep–Oct 2019). The room with David Tudor’s Rainforest V is one of my favorites. It was the first shot we did and probably our most technically challenging. It’s amazing how it all came together since it all seemed like a blur at the time. The experience of being in the galleries while the art was being installed was surreal. Seeing famous works of art leaning up against the wall waiting to be hung is not something you forget. — @noahkalina⁣ ⁣ Art Direction: MoMA Creative Team⁣ Photographer: @noahkalina⁣ Crew: @zachvitale (retouching), @nickmehedin & Takeshi Hayashi (assisting), @desmondreich & @timothyzwicky (capture), @katiesolsen (casting), @lizmcclean & @britt__lo (styling)⁣ ⁣ Behind-the-scenes photos: @jarrodbarretto, @giampietrorob⁣
  • Following our design system updates, moma.org was updated to better support the new collection rotation strategy and better integrate with MoMA's digital campaigns across platforms. ⁣ Interactive design encourages and rewards system-oriented thinking, as you have to catalyze a design down into literal rules. I’m excited that we’re working toward systems across the organization, breaking down legacy online/offline distinctions that determine how people experience the Museum. Our site strives to work as an extension of the building, and I hope, vice versa. — @mfehrenbach⁣ ⁣ Design and development: MoMA Digital Media with @momadesignstudio⁣ Design and front-end prototyping: @doberman⁣ Design system: @momadesignstudio, @order.design.nyc Additional design: @grafikwerket⁣ ⁣ Photo of moma.org design sprint (January 2019): @giampietrorob
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    Following our design system updates, moma.org was updated to better support the new collection rotation strategy and better integrate with MoMA's digital campaigns across platforms. ⁣ Interactive design encourages and rewards system-oriented thinking, as you have to catalyze a design down into literal rules. I’m excited that we’re working toward systems across the organization, breaking down legacy online/offline distinctions that determine how people experience the Museum. Our site strives to work as an extension of the building, and I hope, vice versa. — @mfehrenbach⁣ ⁣ Design and development: MoMA Digital Media with @momadesignstudio⁣ Design and front-end prototyping: @doberman⁣ Design system: @momadesignstudio, @order.design.nyc Additional design: @grafikwerket⁣ ⁣ Photo of moma.org design sprint (January 2019): @giampietrorob
  • Updated design system guidelines and Spring 2019 campaign design. MoMA Sans, updated by Christian Schwartz at Commercial Type for MoMA in 2017, is a refined interpretation of Franklin Gothic, the typeface used by the Museum since the 1930s. We recommended the Bold weight as the primary typographic voice of the Museum, to reinforce recognition of the MoMA logo even when that logo is not present. Other elements of MoMA’s great design history—from its color-on-color geometric patterning from the mid-60s to its iconic vertical blade signage from 2004—are remixed and referenced by the system for communications across all channels. — Jesse Reed, @order.design.nyc⁣ ⁣ Design system guidelines and Spring 2019 campaign concept: @order.design.nyc⁣ Design and production: @momadesignstudio⁣ Type design (MoMA Sans): @commercialtype⁣ Guidelines web platform: @brandpad_io⁣ ⁣ Image credits: ⁣ Initial animation, wildposting, outdoor banners: @order.design.nyc⁣ NYT ad: @mari_juliano_photography
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    Updated design system guidelines and Spring 2019 campaign design. MoMA Sans, updated by Christian Schwartz at Commercial Type for MoMA in 2017, is a refined interpretation of Franklin Gothic, the typeface used by the Museum since the 1930s. We recommended the Bold weight as the primary typographic voice of the Museum, to reinforce recognition of the MoMA logo even when that logo is not present. Other elements of MoMA’s great design history—from its color-on-color geometric patterning from the mid-60s to its iconic vertical blade signage from 2004—are remixed and referenced by the system for communications across all channels. — Jesse Reed, @order.design.nyc⁣ ⁣ Design system guidelines and Spring 2019 campaign concept: @order.design.nyc⁣ Design and production: @momadesignstudio⁣ Type design (MoMA Sans): @commercialtype⁣ Guidelines web platform: @brandpad_io⁣ ⁣ Image credits: ⁣ Initial animation, wildposting, outdoor banners: @order.design.nyc⁣ NYT ad: @mari_juliano_photography
  • Tonight marks the first First Thursday, a special evening every month at the Museum for drinks, dinner, and new experiences. Join us and learn more about First Thursdays at moma.org/firstthursdays (link in bio).⁣ ⁣ First Thursdays campaign graphics, Fall 2019. For our campaign graphics for First Thursdays, we were inspired by the great designer and New Yorker, Massimo Vignelli, and his 1967 calendar for Stendig Furniture Company — a classic piece of modernist graphic design history and (naturally) part of the permanent collection at MoMA. — @l_and_l_design⁣ ⁣ Campaign design: @l_and_l_design⁣ Motion design and production: @momadesignstudio ⁣ #newMoMA #motiondesign
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    Tonight marks the first First Thursday, a special evening every month at the Museum for drinks, dinner, and new experiences. Join us and learn more about First Thursdays at moma.org/firstthursdays (link in bio).⁣ ⁣ First Thursdays campaign graphics, Fall 2019. For our campaign graphics for First Thursdays, we were inspired by the great designer and New Yorker, Massimo Vignelli, and his 1967 calendar for Stendig Furniture Company — a classic piece of modernist graphic design history and (naturally) part of the permanent collection at MoMA. — @l_and_l_design⁣ ⁣ Campaign design: @l_and_l_design⁣ Motion design and production: @momadesignstudio ⁣ #newMoMA #motiondesign
  • MoMA's new label tool, which uses data from MoMA.org's API to batch generate WYSIWYG labels for editing, review, approval, and production via PDF output. ⁣ ⁣ In the past, each label was created manually, going through 6 departments before it was placed next to an artwork. The new digital label tool automates and streamlines the process to just 3 simple steps — editorial, design and production. It provides flexibility to scale a small group of designers to a large task in a collaborative manner. Over 3,000 labels were generated as part of our October 2019 reopening. — @hyingridchou ⁣ Design and production: @momadesignstudio, MoMA IT/CEI⁣ Development: @systemantics_ ⁣ Type design: @commercialtype
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    MoMA's new label tool, which uses data from MoMA.org's API to batch generate WYSIWYG labels for editing, review, approval, and production via PDF output. ⁣ ⁣ In the past, each label was created manually, going through 6 departments before it was placed next to an artwork. The new digital label tool automates and streamlines the process to just 3 simple steps — editorial, design and production. It provides flexibility to scale a small group of designers to a large task in a collaborative manner. Over 3,000 labels were generated as part of our October 2019 reopening. — @hyingridchou ⁣ Design and production: @momadesignstudio, MoMA IT/CEI⁣ Development: @systemantics_ ⁣ Type design: @commercialtype
  • Installing our new building graphic visualization during Summer 2019 closure. The modularity and graphic nature of the building visualization lent itself well to activating the facade while we were preparing to reopen. It was great that we could still have something exciting and inviting on our doors. — @damiensaatdjian ⁣ ⁣ Visit moma.org/magazine/tags/135 to view more episodes from MoMA's At The Museum series (link in bio). ⁣ ⁣ Visualization design: @triborodesign ⁣ Design and production: @momadesignstudio ⁣ #newMoMA #AtTheMuseum #designinspiration
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    Installing our new building graphic visualization during Summer 2019 closure. The modularity and graphic nature of the building visualization lent itself well to activating the facade while we were preparing to reopen. It was great that we could still have something exciting and inviting on our doors. — @damiensaatdjian ⁣ ⁣ Visit moma.org/magazine/tags/135 to view more episodes from MoMA's At The Museum series (link in bio). ⁣ ⁣ Visualization design: @triborodesign ⁣ Design and production: @momadesignstudio ⁣ #newMoMA #AtTheMuseum #designinspiration
  • Applications of our new building graphic visualization in closure and membership materials.⁣ ⁣ We were exaggerating the already established motifs of each building, abstracting them, calling attention to the details, and creating a kind of symbolism for each building. — David Heasty, @triborodesign⁣ ⁣ Read more about the visualization from our Director of Design @giampietrorob at moma.org/magazine/articles/114 (link in bio).⁣ ⁣ Visualization design: @triborodesign⁣ Design and production: @momadesignstudio⁣ Project photography: @mari_juliano_photography.⁣ #newMoMA #design
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    Applications of our new building graphic visualization in closure and membership materials.⁣ ⁣ We were exaggerating the already established motifs of each building, abstracting them, calling attention to the details, and creating a kind of symbolism for each building. — David Heasty, @triborodesign⁣ ⁣ Read more about the visualization from our Director of Design @giampietrorob at moma.org/magazine/articles/114 (link in bio).⁣ ⁣ Visualization design: @triborodesign⁣ Design and production: @momadesignstudio⁣ Project photography: @mari_juliano_photography.⁣ #newMoMA #design
  • All this month: New Work for a new MoMA! We hope you enjoy... #newMoMA #design
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    All this month: New Work for a new MoMA! We hope you enjoy... #newMoMA #design
  • Joan Miró title wall and exhibition graphics designed by @damiensaatdjian and @elinemul - Photography by Martin Seck and production by @clairecorey
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    Joan Miró title wall and exhibition graphics designed by @damiensaatdjian and @elinemul - Photography by Martin Seck and production by @clairecorey
  • A view of our current 54th St Entrance featuring our expansion graphics by @triborodesign and adapted by @damiensaatdjian. A new MoMA will be here October 21st! #anewmoma
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    A view of our current 54th St Entrance featuring our expansion graphics by @triborodesign and adapted by @damiensaatdjian. A new MoMA will be here October 21st! #anewmoma
  • Our Sr. Art Director, Elle Kim giving an overview of MoMA’s font history last week at Typographics conference. Big shoutout to @_ellekim_ for an amazing talk and showcasing our work so elegantly. Happy birthday Elle! . Photo credit: @typographicsnyc & @henriquenardi . . #womenindesign #typograpgy #moma #graphicdesign
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    Our Sr. Art Director, Elle Kim giving an overview of MoMA’s font history last week at Typographics conference. Big shoutout to @_ellekim_ for an amazing talk and showcasing our work so elegantly. Happy birthday Elle! . Photo credit: @typographicsnyc & @henriquenardi . . #womenindesign #typograpgy #moma #graphicdesign
  • A rainy Monday and a (temporarily) closed museum have us nostalgic for this playful Jerry Lewis title wall by @domoradova and @elinemul
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    A rainy Monday and a (temporarily) closed museum have us nostalgic for this playful Jerry Lewis title wall by @domoradova and @elinemul
  • MoMA Publications presents Frances Benjamin Johnston: The Hampton Album, a deluxe facsimile edition of a rare and important photographic record of the post-Reconstruction South at the turn of the 20th century published for the first time in its entirety. In 1899, Frances Benjamin Johnston (1864–1952), one of the world's first female photo journalists, was commissioned to document daily life at the Hampton Normal and Agricultural Institute in Virginia, a school for young African American and Native American students founded just after the Civil War. The album is composed of 155 luminous platinum prints made from large-format negatives. It made its debut at the American Negro Exhibit at the 1900 Paris Exposition along side W. E. B. Du Bois's Data Portraits. And then it disappeared... . . Designed by Amanda Washburn Production by Marc Sapir Printed by Trifolio Srl, Verona, Italy . . Link in bio for more info!
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    MoMA Publications presents Frances Benjamin Johnston: The Hampton Album, a deluxe facsimile edition of a rare and important photographic record of the post-Reconstruction South at the turn of the 20th century published for the first time in its entirety. In 1899, Frances Benjamin Johnston (1864–1952), one of the world's first female photo journalists, was commissioned to document daily life at the Hampton Normal and Agricultural Institute in Virginia, a school for young African American and Native American students founded just after the Civil War. The album is composed of 155 luminous platinum prints made from large-format negatives. It made its debut at the American Negro Exhibit at the 1900 Paris Exposition along side W. E. B. Du Bois's Data Portraits. And then it disappeared... . . Designed by Amanda Washburn Production by Marc Sapir Printed by Trifolio Srl, Verona, Italy . . Link in bio for more info!
  • We’re excited to be working with @order.design.nyc on a design system for our Spring 2019 campaign and beyond. Here’s a look at some street pole banners around MoMA, up now. . Agency: @order.design.nyc Client Lead: @giampietrorob Client Team: Rob Baker, Rebecca Stokes, @damiensaatdjian , @elinemul , @melahnknee Photos by @order.design.nyc
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    We’re excited to be working with @order.design.nyc on a design system for our Spring 2019 campaign and beyond. Here’s a look at some street pole banners around MoMA, up now. . Agency: @order.design.nyc Client Lead: @giampietrorob Client Team: Rob Baker, Rebecca Stokes, @damiensaatdjian , @elinemul , @melahnknee Photos by @order.design.nyc
  • Summergarden program and Summer Thursdays brochure from 2017 #tbt
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    Summergarden program and Summer Thursdays brochure from 2017 #tbt
  • And we’re live! Thanks to @designeverywhere_ for sharing images of our visualization. - Agency: @triborodesign Photography: Martin Seck for MoMA Design Studio
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    And we’re live! Thanks to @designeverywhere_ for sharing images of our visualization. - Agency: @triborodesign Photography: Martin Seck for MoMA Design Studio