Symbols

Using the Oti Aicher 45º pictogram grid, we have to create a monotone symbol to communicate a sporting event sing only shapes and colour. Consider the audience, scale, contrast, compact and clarity. 

The ease and constancy of this design makes the pictograms look simplistic and easily to see as it communicates the sport effectively.

These designs does not look appealing because the black the lack of white space makes it look dull and boring. 

The colours used on this design make it look more bold and interesting as it gives the pictogram more character because it uses complimentary colours that make it vivid. 

The design is effective because of the inconsistent shape of the pictograms make it look fun and carefree. The designs are made using different line weights so it makes the drawings more appealing.

Sketches

I chose the sport badminton because the sport may be difficult to distinguish between tennis therefore I wanted to create a pictogram so that people would easily understand what sport it is.

Digital

This image is what I wanted to re-create in a pictogram because it shows the sport in action therefore would be more easily recognisable. 

As badminton doesn't really associate with any particular colour, I experimented with a few main colour choices. I thought the red background design looks the most successful, this is because the blue colour would be associated with water sports, green would be associated with track and field and the black colour looked too dull and boring. The red background made the pictogram image look bold and stand out and it looks more creative than the black.

Feedback
The badminton pictogram vector visual is bold, distinct and clear as a result of the silhouette form chosen to communicate the sport. As a result of this, the pictogram would maintain legibility when delivered at a range of scales and points of delivery. The defined form of the pictogram also creates impact and a spree - dominating aesthetic, which too wouldn't get lost at a smaller scale. A possible legibility issue comes from the shuttlecock, in that it is the smallest element in the image, and therefore may lose its persona and distinction at a smaller scale.

The deep red colour chosen to communicate the pictogram in conjunction with while means this monochrome visual provides a strong tonal contrast that creates clarity, distinction and energy - appropriate in the communication of the sport. Also, the colour means legibility will be maintained at a range of scales. The colour choice, although not directs informal by the sport, is effective in that it differentiates from all other colours other colours used typically to communicate sports.

The design would be able to be effectively produced across both digital and print based media due to its dynamic aesthetic. The distinct design would easily be reproduced using different mediums including vinyl, 3D signage and projection.

Wayfinding research

Leeds Train Station

Since a train station is place where people commute and go to travel to different cities, I thought it would have a lot of directions and services. In the train station, they had pictograms, arrows for directions and lists of information and direction of different places.

Street signs

I found typical shapes in the city such as circles, triangles and squares placed as street signs to give out information and guidance. They also use different colour coding such as blue and brown. 

Trinity shopping centre
The shopping centre gives the consumers guidance to services such as facilities, escalators, ways out and directions to different streets and have used bright colours and a back lit light to make it stand out more and make it easier to see.

Department stores
I went into Harvey Nicholas and Debenhams to see their store guidance system and they have large information guide on what is on each floor, and directions of going down or up to certain places. I found that they looked quite boring and bland.

External research

How do you read: Canons

Canon is the body of rules, principles, or standards accepted as axiomatic and universally binding in a field of study or art: the neoclassical canon.

Grids
- How a page is structured
- Consistency sides the reader
- Alignment making it easier to read - bringing order to chaos

Colour
- Appropriate use of colours - considering the saturation and complimentary colours

White space
- Makes it easier to read - more legible 
- Allows the image to not look overcrowded

Photography induction

Aperture - The amount of light that passed through a camera during the opening of a camera. This is shown by 'f-number' - the larger the number, the smaller the lens opening.

Shutter speed - How fast or slow the shutter is when taking an exposure. The faster the shutter speed, the more clear whereas, the slower the shutter speed, the more blurred the image will be in a fast moving image.

ISO - The sensitivity of the camera to the light - can be adjusted to be higher or lower to the sensitivity of light.

Exposure - An image.

Depth of field - The distance between the nearest and farthest object. 

Experiments:

This was taken using a slower shutter speed, making it look blurred as it was fast moving. The aperture was on 11 so that less light was coming through the camera.

For this image, I modified the camera to higher shutter speed to capture a fast moving object but to make it look still.  The aperture was on 11 so that less light came in as it was bright outside.

Design process

Identify, document and record examples of way finding, signage using photographs and sketches with a written analysis.

The sign

Pictograms - used to be warn, guide or protect. Needs to be immediately decipherable and internationally recognised.

Semiotics

Semantics - signs & meanings dependant on context, knowledge, society and culture.

Syntactics - formal, unambiguous, succinct form, brightness, colour, movement, material, scale, position and shape. For example, road signage - Margaret Calvert.

Pragmatics

Indicative - allowing someone to do something by choice 

Imperative - influencing the reader and telling them not to do something 

Suggestive - creates an emotional response to influence their decision 

Basic signs 

The square - symbolic object that is seen as an ideal background for traffic signs as it is a disquieting sign therefore it indicates an intention. Usually seen I'm America and Australia.

The triangle - placing the triangle on its apex obtains a direction, giving it character. 

Horizontal side forms ideal signs for road signs because of the symmetry - used in road signs.

The circle - the rounded forms are addressed more strongly than any other sign. The sign makes you feel claustrophobic.

The arrow - expression of movement or direction.

F.H. Stingemore - London Underground 1919 - 1933

Harry Beck - London Underground 1933 - present 

Lance Wyman - Mexico City/Metro Signs 

The Line - The Beautiful Meme

How Do You Read? Initial ideas

The target audience for the editorial to be aimed at younger audiences - people who are starting to learn about colour theory (11-14 year olds). The design will hopefully be a revision guide so that way that, I want them to remember what they learn. My aim is to try and make it interactive and fun so that they wouldn't find learning about the subject a chore but instead, fun. I will narrow down the information and try and not to over-complicate the design or the information inside.

One idea I have thought of is to make a standard A5 book and have the first page an image of the primary colours made on acetate; it would then have a pouch at the front which would have 2 additional primary colour wheels so when they put all the wheel under the actual page which has the first wheel, they can create the whole 12 colours (they would have to turn each wheel at different angles so it get the full colour spectrum). The colour wheels would be made from acetate as it is transparent and the colours will mix together as you add the colour wheels behind each other.
I thought this would be fun and kids could play around with it to see what they could make.

I researched into basic colour theory and these are the topics that came up a few times.

Inside the book, I will include the solid colour wheels of the primary, secondary and tertiary colours so that the audience can see the actual colours. It would also have information about the basic colour theory, complimentary colours, RGB & CMYK, shades, tones and tints. I thought that this is enough to start out for people who are new at colour theory.

Design principles: Balance

Visual balance - comes from arranging elements on the page so that no one section is heavier than the other.

Proximity/unity - In design, proximity or closeness creates a bond between elements on a page.
Unity is achieved by using a third element to connect distant parts.

Alignment - brings order to chaos.

Repetition/consistency - repeating design elements and consistent use of type and graphics styles within a document shows a reader where to go.

An introduction to Grids & Proportions

Fibonacci & Golden Ratio is made up of the ratio 8:13.

Canons - Principles of a page layout design used to measure and describe proportions, margins and print areas.

Van de Graaf

Tschichold - Golden Canon - Octavo

Canon is the body of rules, principles, or standards accepted as axiomatic and universally binding in a field of study or art: the neoclassical canon.

'Brash' crit

I produced a set of 3 questions for my final brash typeface and the reviews were:

1. Does the final typeface design effectively communicate the word ‘brash’?

•       Yes, hard cut edges.

•       Yes cause it’s bold, in your face.

•       Yes, very bold colours too.

•       Very bold, stands out.

•       I believe so, the non-linear stylisations to the letterform give a sense of rush and a lack of care.

•       Yes, communicates it well but not as outgoing as it could be.

•       Yes, the way some letters take up lots of room makes a bold statement, words aren’t confined.

•       Yes bold in your face makes it stand out.

•       Yes, harsh angles, bold.

•       Yes I like the idea of a modern take on an old word. The slight changes in italicised type is a clever concept.

•       Yes due to it’s bold and eye catching design.

•       “Brash” is a word that makes you think in something unexpected and crazy. I think your design stayed subtle, which is ok, but lacks some craziness.

•       You had a hard word and communicated it well with your typeface.

2. Where do you think the type will be used?

•       Product packaging & advertising or comic books.

•       Magazine covers.

•       Editorial and website.

•       Billboards and advertisements, can imagine it moving or flashing.

•       For display purposes-signage-website-editorial-some brandings.

•       Fashion and lifestyle journals, perfect for a title due to the bold design.

•       Magazine or junk food branding.

•       Display and wacky play area (warehouse)

•       Posters, large scale.

•       Posters for a loud, in your face brand. Maybe a skate boarding company.

•       Posters/magazine cover & article & band posters.

•       Anywhere really, it’s very adaptable! Perfect for display type, but maybe too complex for copy text.

•       Posters! Shop sign.

•       Fashion for skateboarders or surfers.

•       Your typeface would work well on signage and posters/billboards. It would not work well as a block of text.

•       Magazines, adverts, signs.

•       The uses would be book publishing/posters and reference for LEGO design.

3. What did you think at first when you saw the typeface?

•       Reminds me of Lush the soap brand.

•       It has a lot of energy.

•       Very bold and striking (in your face) (colour consideration). Lovely colour choices, opposing colours add to this idea of ‘brash’.

•       I thought it made a statement.

•       Very striking due to the use of colours.

•       Loud, comic-y (not funny) style.

•       Pink Panther typeface because of irregularities. I like the angular crossbars & that it relates to the adjective.

•       Modern, contemporary, fun, nice colours. Has a lot of emotions.

•       In your face, immature.

•       I could have more modifications.

•       Works well in colour versions – strong.

Other feedback:

·      Nice use of colours.

·      Like the use of contrasting/opposite colours.

·      Upper case, good choice.

·      Nice colour presentation.

·      Good use of words in ‘manifesto’ quirky – loud etc.

·      I would avoid using unique to define something (manifesto). You could say the contradiction between words and shapes makes it an interesting choice so far….

Feedback summary:

I have had mainly positive feedback in regards to my ‘brash’ typeface. Most people said that it is a bold typeface and does stand out well as it catches the eye. They have described the type as being striking, energy fueled, loud, comic-like, modern, contemporary, immature and has a lot of emotion. However, I did receive some comments that said to it more audacious and prominent and that I could’ve done more to make it look more brash.

The typeface could be seen in magazine covers, product packaging, advertising, comic books, editorial, websites, billboards, signage, fashion and lifestyle journals, posters, shop signs and book publishing. This gives me a wide range to work with since I thought it’ll only look good on posters and album covers. The typeface would not work well in a block of text as said by a reviewer, which is understandable since the type looks too bold and thick to be easily read.