Primary Practical Rationale _ ‘A reconsideration of Wimbledon through a global collaborative process, creating a representation of a New International Style through workflow and dialogue. Expressing the needs and effectiveness of a highly communicative, and considered approach to design, in an increasingly visually oversaturated and multicultural society.’ Throughout the module and my piece of writing, the conclusion hypothesises growing evidence and opportunity for a New International Style of Design to cater for a rapidly changing and multicultural society. The New International Style of Design, won't be "international" in terms of idealism that the designers adhering to the cause almost want to force upon the world, but instead the world informing the style. In today’s world, collaboration, inspiration and influence are global, and at the same time technology has allowed environments to be over-populated with irregular and socially irresponsible design. In basic terms, the New International Style will be a progression of the previous, while still upholding similar responsibility and objectives towards design, however also embracing multiculturalism, international collaboration and diversity. Consequently the most logical practical concept was to put into practice what I have written about, so I have collaborated across the world with designers I have never met on a project, collaborating and discussing concepts digitally, and communicating through means such as e-mail and Skype. In turn creating an internationally considered approach to design, simply through process and dialogue.
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Global Workflow I am inspired by a discussion with Experimental Jetset regarding their method of collaboration and they shared they don't collaborate as one big unit, as they find its inefficient and I personally agree with this through my own experiences. They instead simply take turns on a piece of design, be it by hand or on a computer, with no external input from anyone else. Consequently, each designer has his or her own stamp and sensibility applied to the design; by the end of the process, the end product is completely collaborative. We adopted this process with the Wimbledon project Literally passing a piece of work around the world, with each designer at each stage adding his/her own system of thinking, by the time I receive the file I will not adjust anything unnecessary.
Global Collaboration > Barcelona > Melbourne > Hong Kong > Leeds > The designers on board have been picked from around the world, and have a diverse yet synchronised system of design focused on communication and bold layout. The languages accounted for by the collaborators are English, Mandarin and Spanish - the leading 3 languages in the world accounting for 25% of spoken language in the world.
Raimon Guirado – Barcelona / Caribbean Celeste Watson - Melbourne Hong Sang Chan - Hong Kong
Why Wimbledon? In order for the international style of design to be stronger in relevance, the context needed to be a situation where international awareness and culturally responsible design is warranted. We have chosen Wimbledon - Wimbledon, is seen as most prestigious tournament in the world, tennis global sport with participants at Wimbledon from around the world, and spectators from all around
the is a all the
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world - so an internationally considered design style is warranted. We felt Wimbledon is too set in it's own tradition, and is very "BBC" in identity and presentation. The aims of the International Style and modernism, is to reject tradition and take on a more progressive role, and we hope to have communicated a more progressive, communicative approach to Wimbledon which is memorable through its simplicity and usability. In my writing, I have stressed the positives of technology and globalisation, but also investigated the negative connotations of constantly being connected to apps and social networks. The overload of information creates anxiety, and a feeling of no control and passiveness with all the information. So instead, I'm going to focus on print, rather than using technology unnecessarily, when it is not explicitly needed. With a focus on giving spectators and the target audience control and a feeling of ease, not just in terms of visual design but user experience.
Flexibility of the International Style We aimed to showcase the flexibility of an International Style of design, reminiscent of the Swiss Style of design but in a progressive manner towards a contemporary concept. Wimbledon is a relevant context as it steps away from exhibition and publication scenarios towards a global sporting event, showcasing the flexibility and effectiveness of pure, communicative design in a context rarely seen when studying Swiss Style design. We have used Wimbledon 2013 as source material in terms of daily match timetables and seeding, as 2014's schedule and seeding doesn't exist at the moment.
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Product Range: A heavy focus on print, as this aligns with my own growing direction within design and also to give spectators and viewers a feeling of control and ease, through material such as match logs and schedule planners instead of digital counterparts such as mobile apps and websites proving information, instead of the user creating it themselves.
1. Redesigned logo and identity - taking into account legibility, the digital age and social media. 2. Posters – Communicating just the required information and focusing on top seeds as individual players and characters. 3. Schedule Planner – To be produced daily at Wimbledon, breaks down matches to be played by court number, organising information in an orderly and effective manner, creating no confusion. 4. Annual Wimbledon magazine - 'SW19' is the working name at the moment, as we feel it sounds like a fashion collection and will be focused on stories and bespoke features leading into the tournament. Will hopefully be embossed. 5. Match logs - focusing on print, similar to a diary the spectator fills in and tracks scores of matches attended. Giving the audience a sense of control, instead of influx of digital information and push notifications. 6. Day Programmes - Breaking down matches to be played, will be produced daily so need to be costeffective and more ephemeral than the annual magazine. 7. Invites - Again focusing on print, to be sent out to spectators instead of e-tickets or the like, to create a sense of importance to spectators and VIP invitees. Will hopefully be embossed.
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