Wayfinding in Leeds: Research

The official Leeds map points were created Luca Paulina, who also created the ones in London, Ipswich and Toronto. The distinctive colour palette ensures that people realise immediately what it is, and the block flat aesthetic simplifies the area and makes it universally understandable. As is normal with good signage, the arrow directions correspond to their location on the sign; the left arrows for example, are places on the left. 

Signage like this isn't so common - it's not often you see a huge arrows planted on the floor. This application proves how effective it can be, especially when wayfinding in the surrounding area is lacking. You can hardly miss a huge pink arrow placed in your way. 

These pictograms are much more effective in this role than type ever could be. Because of their ease of understanding their message is immediately communicated, and because they're symbols the problem of multiple languages is eradicated. Practically everyone everywhere would understand their meaning. 

Primark uses typographical variations and styles to their advantage here. After visiting the store just once, you would remember on the second visit to look out for the crayon-drawn appearance of the 'kids' section, or the effeminate and elegant text of the 'lingerie' section. 

Here we see universal pictograms like Male/Female toilets being coupled with slightly bespoke symbols, like Child-with-Accompanying-Parent toilets. Zero words are used on this signage, but anyone anywhere would immediately understand its meaning.

What is a Book?

A book by definition is relatively broad: simply, a set of printed or illustrated material hinged at one side. Its purpose is to communicate information, whether that be a story, a set of rules or instructions, some art, or a record of events.  The success of a book is decided by the initial intention of the publication, however as a general rule a successful book is engaging; it forces you to pick it up and flick through it. It's beautiful; it keeps your attention and visually pleases you. And it leaves an impression through the information it gives you, either because you make use of it then and there or because you're still thinking about it a few days after reading it. 

This otherwise monochromatic and minimalistic publication is given a shot of life and vibrancy through the IK Blue block taking up the lower left of the cover. It helps to immediately draw attention to the book, and its existence intrigues us to discover more. 

The contrasting block colours give this design a contemporary and minimalistic appearance. The serif typography contrasts with the modern aesthetic in an effective and harmonious way. 

The grid system used here is almost reminiscent of a contemporary restaurant menu, with multiple sections of varying sizes and a group of contrasting typefaces. Without good alignment and a working grid system, this double page spread would be a chaotic mess. Because of the presence of the former, it's a constructed, effective and harmonious piece of editorial design. 

Neon colours are a current trend in graphic design, and colour edged pages, which have been in use for centuries, still prove to entice the reader and differentiate the publication. 

The minimalistic, almost Norse-like aesthetic of this magazine book is representative of a lot of contemporary editorial and publication design. The natural landscape photography serves to add harmony and calm to the industrial and digital appearance created by the sans serif type and 'mechanical' layout. It's clean, crisp and fresh, but it would be a harsh shame is everything had this aesthetic. 

IK Blue, seen in use on the book above, is a leading trend in graphic design. It's bold, sophisticated and calming. 

This double page spread is an example of how to present something potentially dull in a visually exciting way. So many times before has the same kind of story as above been presented in such a boring and uninspiring way. In this publication, the central placement of the images (large enough to eclipse the spine they're overlapping) the large, bold and contemporary typography and the variation in type angles and placement make this spread interesting and inspiring. 

Colourful text used alongside monochromatic type is often very successful, and it's very effective in this case too. Additionally, the use of a different stock size for the front cover adds a bespoke and elegant feel to the issue. Bold, overlapping text is a favoured trend.

Thick borders like the one above have been used often in design from the past few years. It serves to frame the spread and focus the reader on the content. 

Design Principles: Balance, Grids, Layout and Canon

Balance:

Elements can be intentionally unbalanced to create a certain mood  

Proximity/Unity:

Proximity creates a bond between visual elements on a page

Unity is achieved by using a third element to connect distant parts

Alignment:

Brings order to chaos. Can make layout easier or more difficult to read. Can foster familiarity, and or bring excitement to a stale design. 

Repetition/Consistency: 

Repeating design elements and consistent use of type and graphics within a document shows a reader where to go ad how to navigate your designs and layouts safely. Ensure that your document utilises the principles of repetition, consistency, and unity in page design. Do page numbers appear in the same area? Are major and minor headlines consistent in size, style and placement? Have you used a consistent graphic or illustrative style throughout? 

Grids and Proportions: 

Fibonacci and Golden Ratio: Fibonacci sequence ration 8:13 links to Golden section. This sequence is not only evident within design but also nature. 1.62 is ratio that forms basis of paper sizes. Classic Renaissance paintings, the human face and even body parts are arguably more attractive when they follow the Golden Ratio.

Canons:

Principles of page layout design used to measure and describe proportions, margins and print area. The written and unwritten rules of design. 

Canon, as rules of graphic design, should be both applied and ignored depending on the purpose and context of the design. For example, it makes sense for a newspaper or important news-based publication to employ a strict set of rules and guidelines in order to make their publication(s) consistent and effective in communicating the information. Conversely, an experimental publication might purposefully break written rules of design in order to convey a message of social/political disruption and rebellion. 

An Analysis of Publication Design

Here a full page image is contrasted with a two column, sparsely populated page with an abundance of white space. This avoids the double page spread looking over-complex or too busy; it gives breathing room to the layout, and allows space to focus on the figure. 

These images follow an erratic and overflowing grid which allows one image to creep onto the other page next to the text. This means that the images can be increased to amplify their effect - this is an asset considering the publication is only a relatively small B5 size. It also gives a fluidity to the layout which allows the eye to skim from left to right and almost 'read' the images before going to the text. 

Type is the primary figure here. The concept of a list has been expanded and beautified into something which is so much more. It's a list that you are compelled to read. The subtle divider lines and the bold sub-headers convince you that because the content is so uniform and organised, it'll be an easy read. The colourful image in the top right ensures there's a good balance between white space and interesting content. 

This use of white space and colour is done to ensure that the message is heard loud and clear. You can't possibly ignore the successful emphasis of 'Five', and because it's the only thing on both pages you can't help but read the whole thing. 

This page layout can be very effective - it allows the full size pages in the background to have full-bleed imagery whilst not taking away from the written content, which is displayed in a little 'booklet' within the double page spread of images. It offers the best of both worlds, but it can cause issues with pages in the book becoming bent when the publication is closed. 

This page is very impressive in that it conveys a lot of information in a relatively concise way. Tightly compacted imagery and small text references allow every single image in the issue to be sourced and cited, and yet it only covers a page and a half. Additionally, because of how compelling the page looks, you are actually enticed into taking note of it, whereas usually people give no time to resource pages. 

Classic Serif

"Built to convey elegance and exclusivity, Classic Serif is designed for use only on the very best design. Its tall x-height gives elevation to the letterforms, allowing it to literally stand over those below it. Its variable stroke widths, stencil elements and nuanced serifs make it a timeless, contemporary classic."

Elegant (definition)

adjective

1. 1.

   graceful and stylish in appearance or manner.

   "she will look elegant in black"

   synonyms:

   stylish, graceful, tasteful, discerning, refined, sophisticated, dignified,cultivated,  distinguished, classic, smart, fashionable, modish, decorous, beautiful, artistic,  aesthetic, lovely
2. 2.

   (of a scientific theory or solution to a problem) pleasingly ingenious and simple.

   "the grand unified theory is compact and elegant in mathematical terms"

   synonyms:

   neat, simple, effective

3. 
   
4. 
   
   

A Google search of 'elegant design' shows a lot of intricate patterns and brush strokes. My typeface could represent this concept through its serifs and their style; by making them look almost as if they've been created or swirled with a brush, a more 'elegant' appearance could be created. 

Searching for 'elegant furniture' reveals furniture with myriad curves, swirls and patterns. Elegance seems to equal spirals and swirls, and my typeface almost has to represent this.

Bodoni and Garamond are the immediate typefaces that come into mind upon hearing the world 'elegant' because of their extravagant serifs, variable stroke widths and intricate paths. Their ball serifs also allow for articulate ligatures, particularly between 'g' and 'a'. Bodoni has a more elegant appearance because of its more pronounced and varied differences in stroke widths, whereas Garamond (being from 1540) has a more archaic and traditional feel. My typeface needs to be avant garde and cutting edge but with traditional elements, so Bodoni is a better starting point.

The pinpoint bowls give this concept a feeling of bespoke eloquence, as do the block fill bowls. Cropping the terminals on the uppercase 'A' above is perhaps too aggressive and sharp to be suitable.