The Dalí Museum:
3-part advertising
campaign
OBJECTIVE
To design a three-part call-to-action advertising campaign for a public institution or event that includes an outdoor, print, and web component.
YEAR
Junior
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This campaign for St. Petersburg, Florida’s Dalí Museum advertises an exhibit of Salvador Dalí’s illustrations for a 1969 edition of Alice’s Adventures in Wonderland by Lewis Carroll. Entitled “Dalí in Wonderland,” the campaign aims to use a combination of clean, modern lines and type with a surreal spin to showcase a lesser-known part of the museum’s permanent collection. In addition, the current logo of the museum was updated to have a similar spirit but cleaner execution, and can be seen in its final form on each of the three ads.
The outdoor ad, featured on an urban poster screen. The background image is the illustration called "The Rabbit Sends in a Little Bill," part of the fictional exhibit and the museum's actual permanent collection.
Each of the ads consist of one of the works from the exhibit in the background, darkened for legibility and overlaid with white in the upper half. The letters making up the word “Dalí” were drawn by hand and scanned in, then subtracted from the white overlay to allow the image to peek through; their handmade quality, irregularity, and exaggerated serifs allow the word to lend an appropriate sense of surrealism to each composition. The type treatment, a whimsical combination of upper- and lower-case letterforms from the Kabel type families, draws from a more traditional interpretation of classic Alice in Wonderland book covers through the decades.
The direct-mail postcard gives a special feature to the illustration "Who Stole the Tarts?", displaying the entire work (without the dark filter) accompanied by identifying information.
The Instagram feed advertisement uses one of the more famous images in the collection, "The Pool of Tears."
The original hand lettering that was eventually digitized and refined for its final use in the advertisements.
The final updated logo, which uses a wide variety of sizes, weights, and styles all from the Berthold Akzidenz Grotesk type family. It is seen here in its color on the back of the postcard ad.