Presentation

SLIDE 1 - intro 

As the brief was to create a way-finding system for the university which is a very busy environment, we wanted something bright, clear and easy to see amongst a crowds. We believe that creating a neon way finding system achieves this as well as looking interesting and giving off a nice unusual light. 

SLIDE 3 - The Idea

The idea came from bringing the two buildings together, pink neon lighting already exists here and a lot of people are attracted to it and take photos of it. We wanted to develop on this further and make it more of a feature and talking point of the uni. 

SLIDE 5 - How It Works

We have given colours to each discipline, 

Pink: Fashion branding, fashion photography, fashion design and textiles)

Yellow: Photography and film making

Red: Graphic Design, illustration, animation  and comic concept art

blue: Fine art

Green: Popular music performance

Orange: vis com

Purple: creative advertising 

SLIDE 7 - Why?

We believe that the bright neon lights will improve the mood of people as well as making the environment look more creative. The thing that most people dislike about the current uni building is the fact it is boring and uninspiring so creating a more vibrant work space will counteract this and hopefully make people feel more creative and ready to do work. 

SLIDE 9 - Inspo

For inspiration we looked at the museum of neon art, an institution that exists to encourage learning and curiosity into neon art. as well as Tracey Emin, Doug Wheeler, Phillipe Parreno and Martin Creed as they all use neon lights in interesting ways. 

SLIDE 11 - End

Thank you for listening, please feel free to ask any questions. 

Overall I am really pleased with how the presentation went, as we were the second group to present I feel we got asked a lot more questions than the other groups later on in the day. After our presentation we were asked about 10 questions, maybe even more which put us on the spot however I feel me and Danii did really well to answer them and support ourselves with good evidence and research. I don't really enjoy presenting as I don't feel confident doing it but I found presenting along side Danii made me feel better as I knew that if anything went wrong and I was to forget what to say etc that she would be ale to help me.

Hoffman's ideas on shape

The Dot

> Must be understood in a very broad sense
> Any shape with a centre can be perceived as a dot
> Even when the dot expands it is still a dot
> Composition is important
> Can easily be moved
> Colour can be changed easily
> If a small dot is put in the centre of a square it demands to be felt
> A large dot is disruptive if the background space is not big enough
> A large background can overwhelm a small dot
> The dot radiates power
> If the dot is displaced from the centre it becomes unsettled
> Placing two dot together they determine what will happen on the plane
> They may take a linear path when arranged appropriately
> A large number of dots creates a rich variety of combinations such as vertical/ horizontal lines, grouping, scattering and massing
> An extra dimension makes the dot spherical which adds more weight and power
> Gets more attention

The Line

> The connecting link
> Dots create an invisible line
> Can be imagined
> An independant force
> Made up of dots so small you can no longer identify them
> Can only be created using an appropriate tool such as a brush or pen
> The line is dependant on the dot
> Represents movement
> Dynamic by nature
> It can be continued indefinitely in either direction
> It has already gone through a process of growth
> Plays an important part in construction
> If a thin line is repeated at constant intervals it produces a solid grey effect
> Removing individual lined from a grid then new one appear
> Black line and white line are always independent
> Two straight parallel lines create a third one in between them
> Space in between them is important
> Increasing distance between the lines thickens the line in-between
> Similar to the dot the line doesn't change its nature
> When expanded it quickly passes our field of vision
> If it is too thick the eyes see it as a plane

Confrontation

> Encounters between dissimilar elements within compositions containing dots or lines can only be readily followed even if they involve complicated arrangements and formations.
> compositions depend on contrast
>  Bringing together two dissimilar things in a harmonious way
> Embarking upon new trains of thought
> The meeting of a square and circler within a predetermined field of action is a basic example
> Combining design and lettering epitomises harmony, the difficult task of unifying two different kinds of graphic system
> Writing is a means of communication built up from linear geometrical sign which we as humans understand on the basis of mutual agreement
> Pictures on the other hand contain an inherent message and speak to us directly
> Pictures radiate movement, tone and forces
> Requires great skill and knowledge in order to combine image and lettering
> Movable letters were introduced through letter press, it is versatile

Letters and Signs

> We are so used to seeing letter forms we fail to see the construction of them
> They for an important part of our communication
> People working with letter forms have an increased responsibility

Pictogram research- Otl Aicher Munich Olympics

Designing the 1972 Munich Olympics, designer Ian McLaren shares insight into working with Otl Aicher.

For the publicity they had to create:
 - 25 posters
 - The official guidebook
 - Technical documents
 - Daily programmes for each for the 21 days for each of the 14 sports
They all had to look related and be designed in the same style

The pictograms are seen as the most iconic thing to come from this olympics and were used frequently on merchandise but the emblem 'wreath of rays' was also used a lot too, all the souvenirs and products had to fit the guidelines set by Otl.

The whole process took 22 months

Past experience helped McLaren as he has previously worked with grids when designing a series of penguin book covers, he used them skills when making the technical documents.

The first poster for the olympics was made when nothing had even been built, the only visual they had was a model of what the stadium would look like.

The olympic events took place in multiple areas of Munich therefore has to be slightly adapted in order to work there.

For the colours Aicher didn't want to use the standard yellow and black of their flag in his design work therefore opted for blue white and green. He also developed a colour coding system which features light green for press, silver for protocol and orange for technology.

When working on the programmes there was sometimes only 11 hours through the night to create them. To overcome this they used print outs from journalists which featured the results in three different languages (german, english and french). They then organised groups of soldiers from the signals section of the military to cut these out and paste them up. Each cover used the specific pictogram which represented that specific sport.

Univers typeface was used throughout the publications as it is easy to read, has a wide set width and wasn't used much at the time.

Leeds University Sign System Research

What I like about the way finding system used around the Leeds university campus is that it blends in well with the natural colours of its surroundings. As you can see from this image above the surrounding colours are mainly greens and browns therefore using a dark green background  has worked really well to make these signs visually pleasing and complimentary of its environment.


Here you can see the sign up close, the writing is white therefore stands out against this dark background and the dark surroundings. The metal of the post also makes it stand out more as it seems unnatural in this environment, however the framing of the benches sat next to it help it fit in more.

Pentagram for LCC

 

Pentagram's way finding system for London College of communication.

They needed to create something very clear and functional.  LCC is one of the UK's most well known design colleges, they approached Domenic Lippa a past student from Pentagram, who had previously redesigned the identity of UAL in 2013, to create a new way finding system for LCC. LCC was formally known as the London College of printing had changed a lot and expanded since the days Lippa studied there, his biggest challenge was to create something which could be used in all four of the buildings at LCC. It also had to be adaptable enough to accommodate redecoration of the buildings over the years. The college are also planning to relocate in 2020 therefore the sign system also needs to be cost effective. 

To kick off this task Lippa and Jeremy Kunze needed to figure out where the information was most needed as well as developing an understanding of the unique factors that make up each building. They walked around each of the buildings exploring all of the rooms to get a better understanding of the buildings and realised something simple and minimalist needed to be produced.

This resulted in an adaptable way finding solution being created, the materials were inspired by one of LCC's key principles: 'a dedication to making and physical design'. The signs can be fitted onto any wall type with no redecoration necessary. The background which mounts the signage is created from powder coated aluminium to frame the signage and make it more viable. Directions are then screwed on to these, colour coding has been used to signify LCC's four main areas and some renaming had to be done in order to make the way finding system even simpler. The use of Helvetica throughout all of the signage systems creates a consistency between LCC and UAL's identities. 

Wayfinding research: Signs & Pictograms Frutiger

The sign

Pictograms

> Used to warn, guide or protect
> Immediately decipherable
> Straight to the point
> internationally recognisable

Semiotics 

>Semantics 
> sign and meaning
>depends on context, knowledge, society and culture

>Syntactics 
> formal, unambiguous and succinct

>Pragmatics

Indicative: burning cigarette informs the receiver that it is optional to smoke, receivers decision whether or not they do.



Imperative: Burning cigarette is crossed out this implies smoking is prohibited therefore the receiver must follow this order.




Suggestive: The cigarette displayed in a set of lungs plays on the receivers emotions as it implies smoking can cause health issues.




The Square 

> represents boundaries; floor, ceiling, walls, protection
> A square placed on it's corner is often used in traffic signs in America

The Triangle

> When placed vertically on its apex it looks like a direction giving character
>  Simple triangles are often used as a direction sign, successful in horizontal, left or right directions
> Isosceles triangles form ideal backgrounds for road signs because they're symmetrical

The circle 

> We appreciate rounded forms with the senses rather than the mind
> Feelings addressed more strongly by the circle than by any other sign
> can be placed inside or outside of the circle

Basic Signs

>The Arrow: two oblique lines join to form an angle, express movement/ direction.

                        angles pointing left or right have stronger movement than those pointing up and down unless in an elevator

3D Wayfinding

 

Neon Signs

Wayfinding - Understanding it as a sociacultural experience

Understanding Wayfinding as a Sociocultural Experience

Wayfinding is a practice that is much more than  something which exists for the benefit of the individual who needs to get from A to B. 

The three main elements of wayfinding:

1. Wayfinding has many stakeholders – Apart from the individual person who is trying to find their way, wayfinding practice can include business owners (such as the gift shop owner who needs to try and persuade people to want to choose their location to pass by and to enter) and a variety of other stakeholders.
2. Wayfinding takes place in social locations – the design of wayfinding systems need to factor in the way in which sociocultural elements impact upon the process. Crowd behaviour, for example, greatly influences the way in which we move in emergency situations.
3. Wayfinding is an embodied practice – and is one that is often heuristic in that bodily needs, ability and so on, directly affect and impact upon route decisions.

Wayfinding and Stakeholders

Wayfinding always involves a number of stakeholders and these can include:

• Landowners;
• The person trying get somewhere;
• Institutions (including governments);
• Vendors (such as retail outlets);
• Transport providers (including limousine services, taxi drivers);
• Signage makers;
• Local people.

Iit is very useful to appreciate this range of peoples who influence, guide and shape the process. For example, the needs of an airport, a location which needs to be profitable in order to survive. In the UK, many airports take a percentage of the income from sales that retail outlets make inside the airport. As a result, guiding passengers is not necessarily about guiding them via the quickest or most direct route. For airport owners, the best option can be to guide passengers past key points of sale. Here, the concept of ‘steering behaviour’ is used, as signage and the design of the space is shaped so to increase sales. 

The Social Reality of Wayfinding

• With other people, such as with friends or a loved one.
• We may be responsible to guide others as a tour guide or partner to someone disabled.
• We have to wayfind past, alongside others, or using the same facilities and spaces.
• We may follows others in the belief, wrongly or rightly, that they are going in the direction we also want to.

Wayfinding is a highly social activity and one that also can be highly cultural. It is now possible to fly worldwide and trying to find the way in a country where we do not understand the language, are unfamiliar with the location and without a guide, is not unusual. A large international airport such as Gatwick Airport, can in fact see people from 150 countries, who speak a hundred plus languages go through its location just in 24 hours and yet, all of these people need to be able to find their way. 

Embodiment and Wayfinding

Those who study psychology and attach ONLY cognitive elements are missing key parts of the realistic practice that is wayfinding. Even in the most isolated of places, such as in the countryside where we are alone, the body, as a whole, is linked to wayfinding. Our ability, to attempt certain routes because of our physical ability can limit us. To find the way along certain mountainous areas might mean that the path depends on the physical ability to climb past certain areas. Likewise, routes change because of the need to portage a canoe or rely on our ability to find an entry point for the canoe. Wayfinding, in other words, is a fully embodied practice and to classify it as a cognitive only process, at the very least, is naive.

– Written by Paul Symonds

Jack Grafton - Wolff Olins

Jack's History:

2009 - did a foundation corse at Leeds College of Art

2010 - 2013 -  Went on to do BA Graphic Design at Edinburgh College of Art ; here he realised he likes very clean/ minimalistic design.

2012-2013 - Did a very interesting final uni project. Hindsight magazine- this explored the world around us and how we interpret the news/ things we see in the press. He also created MAD magazine which focused on 'attack is the best form of defence' in relation to Korea and how they threaten with nuclear weapons.

2013- New York - Studio Lin & Colophon Foundry
The most important thing for him at this time was enjoying his experience, he saved up in order to do the internship as he didn't get paid much. The day before he flew home he got offered a freelance job at Colophon Foundry.

2013- He then returned to the UK - Interned at Browns, London where he was paid £100 a week. He got offered a job but the money wasn't good enough so he refused this.

2014- He moved back to New York with his girlfriend where he worked at Javas Lehn Studio for 3 months.




2014- 2016 - Internship at Spin & Unit Editions, London
At Spin he worked on rebranding University of The Creative Arts. Their branding was originally very dated therefore they needed a re-vamp. The logo used derived from a stencil. From this they made their own typeface which was used on the football teams shirts, for the numbers on the back.



2017- Freelance in London - met Tony Blair and did some work for him as well as redesigning the Tinder logo and doing some work for The Premier League.

2017 - Present - Wolff Olins Brand Agency, unable to show us any work from this time

Mike Monteiro - 13 ways to screw up a presentation.

• You're not the client's friend, they have a need for you to solve don't try to be more than that. 
• Not getting off your ass and making it obvious who is giving the presentation. 
• Starting with an apology, people will start to trust you less if they think you've done something wrong/ less than you should have. 
• Not setting the stage properly, let them know why you want/ need them there.
• Giving the real estate tour.
• Taking notes.
• Reading a script, show you know it and believe in what you're presenting by not needing notes. 
• Getting defensive, you are not your work and your work is not you.
• Mentioning typefaces, clients dont care
• Talking about how hard you worked, if you did it right work should look effortless even if it wasn't.
• Reacting to questions as change requests, back your design up and say why you have made certain design decisions.
• Not guiding the feedback, tell them what sort of feedback you want.