studio catherine griffiths

Display stand for Arts expo , 3.6 x 3.6m

The above selection of print material shows how verstile the design approach was, while giving strength to a voice that became recognisable as belonging to Creative New Zealand.

05 a corporate world

selected

exhibition: A bespoke display system for New Zealand Institute of Architects

exhibition: Point of Distance
Venice Architecture Biennale 2014 submission

exhibition: Diverse Practice
School of Architecture, VUW

exhibition: ParlourLIVE!
Venice Architecture Biennale 2016 submission

film: Making Waves with 20...

id: Athfield Architects
id: KAREN Network
id: KTA
id: Logan Studio
id: The Oxygen Group
id: Parlour
id: REANNZ
id: Sharon Jansen Architect
id: Stevens Lawson Architects
id: TRANSFORM
id: TŪMANAKO : HOPE

online: Interstices Journal

print: A+W•NZ
print: BRAIN magazine, JP
print: Desktop magazine, AU
print: Adam Art Gallery
print: Kristy Gorman
print: Creative New Zealand
print: TypeSHED11
print: RAMIREZ/LAINUS

poster: A+W•NZ
poster: A Cadavre Exquis, TS11
poster: Fête du Graphisme 2015
poster: Blue Oyster Art Space
poster: Like This, Like Us
poster: Man-Made
poster: Salted:Singlet
poster: Things That Move Me
poster: Wonder-Land
poster: Window

wayfinding: Athfield Architect
wayfinding: Distance Markers
wayfinding: Fran Wilde Walk

Creative New Zealand

1996 to 2005: strategic brand design across all visual communications, from printed matter to building signage, promotional display and website design

My connection with the arts council, Creative New Zealand, started in early 1996. with an existing CNZ logo, accompanied by minimal guidelines for use, and the immediate need for a new funding guide, and quite separately, but related, The Performing Arts Touring Directory. The problem of little or no brand direction for CNZ was solved by introducing a distinctive typographic voice, a flexible design approach, and a documentary photographic style (real artists making real work) woven in and out of supplied imagery and artworks. A reduced colour palette (single, two and three-colour printing) on uncoated run-of-the-mill paper stock — the feel of printed matter — helped CNZ to engage with their audiences, from artists to institutions. At the time, this shift from the sharp and glossy of print in NZ was not common, as it is today. For almost a decade, through the production of visual communications, not a set of guidelines, we built a comprehensive and versatile visual brand for CNZ, that worked.