Public Information Film: "Smoker of The Future"

http://www.nationalarchives.gov.uk/films/1979to2006/filmpage_smoker.htm

The Public Information Film "Smoker of The Future" utilises disturbing and dark imagery of a future human that has evolved specifically to smoke. It uses dark and dank visuals alongside sci-fi-esque electronic music to form a future dystopia where humans have absurdly long noses, very long middle and index fingers, tiny ears ('because they don't listen'), and very thick eyelids. 

It's a disturbing and horrifying future image that belittles, patronises and plants blame on people who smoke for disadvantaging humanity. It's presented in a way which is visually similar to well known sci-fi films of the late 20th-century, like The Matrix and Blade Runner, which immediately and automatically results in negative and irreparable future imagery resonating in the viewers' minds. 

The narrator talks in an ominous and occasionally patronising way (like when he references the small ears), but also in a way which is similar to an advert for a product, listing the specifications and new features. Because of the huge range of people who smoke, it's arguably a film with an infinitely broad audience, both at smokers and non smokers, of ages from 15-95. It both encourages smokers to quit, and non smokers not to start, for the sake of humanity's future. 

Using Wayfinding as Part of an Identity

Whilst it is of utmost importance that a wayfinding system has communication as its top priority, care must also be taken that the identity of the environment is not lost because of this, but rather conveyed and enhanced by it. 

From the beginning, my wayfinding system for LCA was focused on legibility, understandability and clarity. It was about getting from A to B as quickly and effectively as possible. But it must be a priority that the system doesn't become too sterile, too washed out and lacking in identity; I have to find a way to use wayfinding to enrich and enhance the environment without compromising its effectiveness as a tool that gets you from place to place. 

Some successful examples of wayfinding achieve this by incorporating the system into the physical area, like that seen below. 

By using colours and pictograms that span the entire area you're navigating, a creative, interesting and downright intriguing environment is created. I will look into incorporating similar elements into my system for LCA. I mustn't lose the colourful and creative identity of the college. 

Typesetting - Modernist and Post Modernist Differences

Typography is used very different by modernists and postmodernists. Modernists using the International Typographic Style employ alignment, grid systems and features legibility/readability ensure that information is communicated as effectively as possible. Postmodernists, however, are often less concerned about what the words say, and are most concerned about how the words are saying it.  To exemplify this we could look at Massimo Vignelli as a modernist and David Carson as a postmodernist. 

New York City's transport identity, created by Vignelli, was designed with one thing in mind: communication. Non-essential and aesthetic-only aspects have been eschewed in favour of bare-bones and highly-legible minimalism. Typography is used to communicate through its words, not its appearance. 

Vignelli once said “I don't think that type should be expressive at all. I can write the word 'dog' with any typeface and it doesn't have to look like a dog. But there are people that [think that] when they write 'dog' it should bark.”

David Carson is a designer who thinks that when you write the word 'dog' it should bark. He uses typography as a form of image, communicating through its appearance even more than it does through its words.

Above and below I have used typesetting to attempt to epitomise the modernist and post-modernist approaches to the use of typography. Above shows the approach a modernist would likely take - flushed left, conveying information as clearly and uniformly as possible. 

Below is an approach a post-modernist might take, although its worth remembering that a post-modernist it likely to have much more freedom when he/she typesets because of their view that the type is simply a form of image, rather than a set of words that need to be read. It could be made to look like the literal tail of a mouse, or, like my approach, could be laid out to represent the never ending 'longevity' of the tale, and the increase in drama as it unfolds.

Making Signage Modular

One of the main considerations with signage is long term usage and customisation - in LCA's example, if a degree course was to be added or removed, the signage would have to be changed too. If the system wasn't suitably adjustable, a big problem is created. By designing the signage in a way that it can be added to or taken away, it is ensured that the solution is future-proof. 

My solution involves a modular 'shelving' system similar to the 606 Universal Shelving System by Dieter Rams. A system of metal rails of uniform sizes will allow the signs to be slid in or out, allowing for studio re-allocation, degree removal/adjustment, and the addition of temporary signage. 

Concepts for LCA Wayfinding

Leeds College of Art has a wayfinding system that, at present, is inconsistent, uninspiring and hard to navigate. My intention is to create a system that unifies, simplifies and inspires.

The relationship between the arrowhead and the arrow shaft is a vital consideration regarding its legibility. The design that is accepted as the most harmonious tends to be one in which the arrow shaft is about 10% longer than the arrowhead. If it's smaller, its association with an arrow is lost; if it's too much longer, unnecessary space is used.

Colour coding can be a vital asset to successful wayfinding systems. By starting with the colour swatches in the LCA brand guidelines, a link with the identity is immediately formed. I also intend to use colour to create collaborations between subjects that are close in proximity either physically or through their practice.

Recipe for successful wayfinding

Successful wayfinding is immediately interpretable, universally understandable, adaptable and customisable. It's designed in a way that reflects the identity of the environment without sacrificing quality of communication. 

Perhaps the most successful example of wayfinding in recent design history was the the advent of the reformed UK road signage, created by Margaret Calvert and Jock Kinneir. What was most revolutionary about their design is its use of primarily lowercase type instead of the traditional uppercase type, which was done due to its increased readability. Transport was the typeface designed specifically for use on the signage, and it has been praised for its legibility at small sizes. The signage remains visually and practically suitable over 50 years after it was created. 

I'd like to carry forward the use of colour coding, highly practical typography and potentially universally interpretable pictograms into my signage. 

Pictograms: Olympic Symbols

Designed by Otl Aicher, a renowned graphic designer, these symbols use sharp angles and simple shapes to convey a fluid, fast-moving appearance. 

The symbols for the London Olympics had two versions - ones designed for use as actual standalone symbols, and separate ones for digital application. The digital ones use blue and pink lines in a way reminiscent of the map of the Underground. This is an example of when cultural values can be applied to something traditionally designed solely to communicate. 

These symbols represent Ancient Greek history and art, and they're by far the most overtly cultural of the 'modern' Olympic pictograms, which makes sense given the origins of the Olympic Games. 

My pictogram for Archery is meant to be avant garde, mechanical and geometric. The sharp, angular shapes are meant to give the illusion of permanent movement and speed, as well as representing precision and skill.