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Foreword We are four friends sharing our last year at Central Saint Martins with one another, and seized the opportunity to work together on this live brief. Our time spent was truly collaborative; from the vast biscuit consumptions, to the late night typographic experiments in the GCD studios, to early mornings in the print room. All design decisions were inclusive, ensuring no individual had the final say. We took a hands-on experimental approach, developing our designs through conversation and multiple iterations, which have been captured within this publication. After presenting a total of three pitches, our identity was shortlisted as the runners up. We believe our identity has come together as a fusion of our practices, highlighting the diverse design approaches and outlooks we share. We are sure this will become the first of many future collaborations.
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Contents Page Part 1 The Brief Initial Research CSM Shifts Typography Strategy Colour Poster Experiments Lethaby Gallery Wayfinding
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Part 2 Reflection and Progression Visual Research Experimentation Visual Research 02 Type Experimentation User Timeline Grid System Social Media Posters Billboard Lethaby Gallery Wayfinding Reflection
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Part 3 Colour Research Colour System Kinetic Typography Research Experimentation DNA of the Building Screen Printing Further Experimentation Final Posters Final E-invite Final Billboard Final Website Banner Final Lethaby Gallery Application Final External Wayfinding Final Internal Wayfinding Final Brochure Final Social Media Animation Final Instagram Post Final AR Poster The Team
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Our degree shows are our key event of the year. They are attended by collectors, buyers, agents and future employers from the creative and cultural sectors as well as friends and family. Last year’s shows were attended by over 37,000 visitors, many of whom were potential buyers or seeking out creative work (for press, commissions and/or employment). Given the importance of the event for all involved, the degree shows’ visual identity is critical to the success, marketing and promotion of the shows, and therefore needs to work on a number of levels. The Brief: Creative and inspiring Engaging and accessible Informative and practical Communicate both digitally and in print Demonstrate knowledge and application of sustainable principles Try to think outside the proverbial box, challenge assumptions and propose a creative design response. Most importantly, any solution must celebrate the world-class creative talent at Central Saint Martins.
The selected design should:
The selected design should push the boundaries of design practice and create a strong and distinctive identity that celebrates the diversity of the College for our Degree Shows 2020 - across posters, the College website, screens, digital invites, signage, social media and way-finding.
• Consider typography, colour, scale (i.e. supergraphics), impact, legibility, audiences, environment and sustainability, our online presence, digital and signage.
The selected design approach, materials and production methods should endeavour to embed sustainable principles such as zero-waste, nontoxic, recycled/ recyclable, plastic-free, carbon footprint. You should consider the life-cycle of the project as a whole from ideation and development through to delivery and disposal/ re-use. We welcome ideas that utilise photography, moving image, illustration, typography, text and graphic communications. Imagery and colours should work across all formats/ deliverables, particularly digital and should highlight our 8
diversity. Invitations and other related information designs will be sent via email and accompany the degree show listings on the website. Proposals will be considered from individuals or teams, but due to the nature of the project, it’s highly advisable to consider working as part of a small collaborative team.
• Celebrate the College as a world-leading arts and design institution.
• Represent the diversity of practice (art, design, fashion and performance) at the degree shows Differentiate between each of the three shows (Foundation and shows one and two). • Be accessible for a diverse audience e.g. people with low vision, colour blindness and hearing difficulties. • Be inclusive and representative of the diversity of the student body.
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Address: • Consider and articulate a strong identity and be adaptable to different scales, uses, practicalities (i.e. way-finding) and platforms (print and digital) Include the design of an e-invite that works for the three shows (Foundation; Art; Design Fashion and Performance) plus other related events.Work as an integrated part of the degree show event management – so must be bold, practical and informative. This will be in both wayfinding within the College and visual impact on Granary Square. • Can optionally provide customisable signage templates that could then be used by programmes and course areas during the shows The solution may wish to include ideas for creative content such as use of student voices. Key final deliverables
Key final deliverables: E-Invite design Website designs (conforming to current website templates) Way-finding and signage files (small booklet, large plyboard posters and A3 signs, window vinyl, etc.) Plasma screen graphics Social media graphics Magazine and digital advert files Art sales catalogue template Anything else you’d like to propose for our consideration!
Show Two:
Central Saint Martins The Granary Building 1 Granary Square King’s Cross London N1C 4AA
Courses: BA Architecture BA Ceramic Design BA Culture, Criticism and Communication BA Fashion BA Graphic Communication Design Foundation BA Jewellery Design Show: BAPerformance Design and Practice At King’s Cross and BA Product Design Waterlow Park BA Textile Design Dates to be confirmed Graduate Diploma in Fashion MA Graphic Show One: Communication Design MA Character Courses: Animation BA Fine Art MA Design (Ceramics); MA Art and Science MA Design (Furniture); MA Fine Art MA Design (Jewellery) MA Photography MA Industrial Design MRes Art: Exhibition MA Innovation Studies MRes Art: Moving Image Management MA Material Futures MRes Art: Theory and MA Narrative Philosophy Environments Research
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Previous Shows Previous years utilised shape and form driven designs, we saw this as an exciting opportunity to utilise typography as the driving force behind our designs. Last year the show was solely orientated around a monochromatic colour scheme, therefore we wanted to utilise colour so that our design choices were reflective of our individual practices as designers.
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Research We begun an investigation to where typography has been implemented effectively into other exhibition designs such as in the Kingston Graduate show ‘Units’. Within the design, they produced a ‘dynamic identity’ that communicated the assembling of people combining and transforming to become part of a larger whole.
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Typography Influenced from previous years, typography wasn’t used as a key element of visual language. As we begun to investigate which typefaces would be appropriate, we felt it would be an exciting opportunity to use the newly released variable typeface ‘CSM shifts’. Described to encompass the ‘past, present and future’, which is ‘not set in stone, to represent the ever changing community.’ we felt this aligned to our initial concepts behind our designs.
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To accompany this, we decided to utilise Helvetica Neue as a secondary typeface, due to ease of legibility at multiple scales and in contrast to the variable typeface. Initially we decided we wanted to implement the typography playfully and ensuring the highlight the key details and features within the three variables. This approach influenced the thought processes and initial experiments that came together to form our strategy;
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ABCDEFGHIJKLMN OPQRSTUVWXYZ 0123456789 ABCDEFGHIJKLMN OPQRSTUVWXYZ 0123456789 Branding Identity
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CSM SHIFTS PAST
CSM SHIFTS PRESENT
ABCDEFGHIJKLMN OPQRSTUVWXYZ 012346789
ABCDEFGHIJKLMN OPQRSTUVWXYZ 012346789
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CSM SHIFTS FUTURE
HELVETICA NEUE
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Students come to CSM to embrace the creative community, alongside discovering and honing in on their skills whilst developing their practice which they will take with them in to the creative world.
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This is the main insight that has influenced both our strategy and application of design. Zooming into visualise and amplify our journey through focused sections of typography. Zooming back out to represent our future mark on the creative world.
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Research As highlighted from our research from previous years, we wanted to ensure we utilised a bold accent colour such as Neon coral, to represent the loud voices of the student body.
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Poster Experiments We begun to experiment with applying the vibrant coral to the enlarged letterforms for the initial poster applications.
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DNA of the building As a further development, we explored how this could work when layered onto the concrete of the building, and giving us a sense of how vinyl or cutouts on the posters could be applied throughout.
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DE Show Three:Design 19–23 June 2020
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Show Three:Design 19–23 June 2020
Lethaby Gallery For the vinyl placed externally on the lethaby, negative areas of the posters reveal the activity within in the building, that becomes a part of our design and identity. We wanted to utilise this format as a way of interactivity with the potential of giving the students showing their work or possible even the public the opportunity to peel the letterforms away in the build-up to each show. Creating anticipation and allowing the public to enter the building through the typeface. In regards to sustainability this gave us the opportunity to reuse the offcuts across the building to enhance publicity.
Show 19–23
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w Three:Des ign 3 June 2020
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Wayfinding For the initial wayfinding, we gave several examples of how the CSM Shifts typeface could be implemented into the building. Using bright coral vinyl against the brutalist concrete structure within the building to clearly help the audience navigate the various spaces. We experimented using positive and negative space. We thought that using the negative space would maximise the efficiency of the material used.
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Wayfinding Further experimentation of how the letterforms could be aesthetically implemented within the building and across lift doors. However also how this could guide the user through the environment.
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Initial thoughts Feedback from the first initial pitch was that the notion of zooming could be explored more rigorously and extreme than our initial designs communicated. This could be applied through treating the type as image and zooming into the extremities of the typeface, past the point of legibility. Begin an enquiry into exploring various mechanisms of zooming in and out. 38
Consider the concept and how well this is communicated through our design decisions. How our designs differentiate and communicate the three shows differently, this could potentially be shown through different modes of production. Finally, rethinking our strategy to how the audience could be considered as a part of the narrative behind our concept.
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‘Powers of 10’ Charles and Ray Eames
Research Taking from our feedback, we referenced the ‘Powers of Ten’ short film by the Eames brothers, to present the extremes of zooming in and out. We began investigating and mapping out the various techniques we could utilise or experiment with to produce varying results. Through our research, we highlighted different notions of zooming; enlargement, movement, magnification, focus and possibly distortion that are results of zooming in and out.
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Research Based on our feedback, we started to research various artists and designers that utilised type as image rather than a functional design tool. Referencing Wolfgang Weingart, a predominant figure within the swiss new wave typographic movement, who began to break the established rules of typography. He liberated letters through new forms of distortion, playing around with weights, scales and layouts, redesigning and bushing the boundaries of how we view and interact with grid systems. His playful approach challenges the norms of functional typography, and instead highlights the beauty of it’s details.
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Macro Lens The first experiment we began to develop was utilising a macro lens on our phone cameras to enlarge textures within the building, and also how the typography appeared on the screen, enlarging the pixels and separating the RGB.
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Type in motion Another key phrase, that was used when describing zooming, is the action of movement. Here are some experiments of combining physical movement of the page with a digital method of scanning to represent movement of typography.
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Long shutter speed Using long shutter speeds, and the physicality of focusing in and out utilising a camera lens to create an effect. We took these initial images and played with the contrast settings to suggest the idea of emerging and unveiling, however we found that they were too expressive as individual images and lacked a vibrancy which we were trying to achieve within the identity.
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Digital Experiments As an extension to utilising the camera focus, we then took the images into photoshop and trialed using different effects to reference the notion of zooming. We found these resulted in being too chaotic aesthetically and were hard to integrate colour cohesively. 55
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Physical Grid Systems Using an analogue approach we scanned and enlarged sections of the typography to create an experimental organically tiled grid system, placed onto the wall to map out how different elements of type could integrate and work together. These experiments allowed us to consider how a system
could be applied to digital grids. This process was a pivotal point for the project as it allowed us to utilise chance and control to break out of the limitations of digital software, and resulted in a more humanistic treatment of the type.
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Digital Experiments Some tests of how the analogue approach could be transformed digitally, and here we began to implement parts of block colour with effects to represent distortion from zooming to clarity.
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Research We referenced Erik Brandt’s ‘Ficciones typografika’ project; he uses overprinting as a tool to create a contrast between the original posters designs and to highlight the detailing within each unique print. His use of extremities of different scales gives a playful, rebellious character to the work, which we thought aligns to our student body.
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Experiments By utilizing the motion of zooming, we have experimented with cutting up each variable of the typeface to randomly generate new letter forms. There are three versions, split up three times within the grid for each letter. We liked the concept of extracting shapes from the typefaces to translate type into image.
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Scales of Typography Inspired by our physical tiling experiments we decided we wanted to develop a system zooming into sections of the letterforms. We used scales of 0, x1000, x2000, x3000 & x4000 to get varied results while keeping the scale consistent and formative to each letter.
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PRESENT
FUTURE
4000
3000
2000
1000
PAST
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User Timeline Referring back to one of our feedback points from the original pitch, we wanted to put the user at the forefront of our design therefore generating a system which developed depending on the users position in time and distance to the show. From our tiling experiments we devised a grid system which changed depending on the positioning of the viewer in the lead up to the show. 82
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We created grids that were divisible by 2, starting at 8x8, 4x4, 2x2 down to 1. The larger the grid, the busies it would be in order to create a sense of curiosity in the leap up to the show. We applied each grid to a specific point on the timeline, the timeline references both the distance the viewer is from the location of the building, alongside how far away the show is time wise.
For example, an 8x8 grid would be applied when each show is initially announced, and would be applied externally in the billboards furthest away from the kings cross, however aa 4x4 would be in the Kings cross area, 2x2 in the CSM building and 0 implemented into the wayfinding representing full clarity.
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Grid System From our tiling experiments we devised a grid system which changed depending on the positioning of the viewer in the lead up to the show. We created grids that were divisible by 2, starting at 8x8, 4x4, 2x2 down to 1. The larger the grid, the busies it would be in order to create a sense of curiosity in the leap up to the show.
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Grid and Type Here are examples of how the section type is implemented into the grid. We used a scale system to determine the different extents of enlargement that were applied. As a further development we would like the build and algorithm, which would be able to randomly generate combinations that would be utilised within each grid. In a 8x8 grid we worked out there are this many results 9131491 239612469862967335725868479336909762 1239200 creating endless possibilities, echoing the traffic through the building for each show and variety of students exhibiting. 85
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Social Media The system would also be applied digitally, with different posts for each grid changing and getting smaller in the lead up to the show. We would use abstract forms within each grid for still within social media, however moving images such as the example here to give clarity and introduce colour for each show. 87
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FOUNDATION 18TH MAY- 22ND MAY CENTRAL SAINT MARTINS
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20 20 8x8
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FOUNDATION 18TH MAY- 22ND MAY CENTRAL SAINT MARTINS
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FOUNDATION 18TH MAY- 22ND MAY CENTRAL SAINT MARTINS
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CENTRAL SAIN
ART DEGRE
20 - 27 JUNE GRANARY SQUARE
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NT MARTINS
EE SHOW
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8x8 Billboard An example of advertising within a public space outside the proximity of the university. Using the 8x8 grid alongside large format sections of type to give a snippet of the content behind the show. With the information written in clarity and utilising the 2020 within the design, we started to drop hints of colour as the 8x8 grid is furthest point away from the show. 93
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The Lethaby gallery Window vinyl shows the 4x4 grid, with further zoomed in typography. As the audience walks through the glass doors the window vinyls will reduce to a 2x2 grid and finally to full scale when inside the show.
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Final vinyl design
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Wayfinding Arrows We researched a company called the graphic tree that produced work, based on its environmental credentials, as most of their printers used waterbased inks. Their methods/environmental policy states that they manufacture vinyl without any chlorine or plasticisers and they come with water based semi permanent adhesive which is a greener solution for the window vinyls. We have experimented with using sections of typography to be used as arrows, within the show. Graphical trees also use latex inks, which are made from 60% water, these greener options are less hazardous as they don’t emit gasses and odours to the environment, that also prints onto recycled paper.
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Colour research We began to investigate colour application working together, however also separately for each individual show. We looked at color wheels and how they can layer together to form new colours. Inspired by Karen Martins and screen printing processes’ and how this works through analogue layering and not just digitally through CMYK. This helped us to develop an understanding of how colour works as it quickly began to become a key aspect within our system and visual language. Developing our designs, ensuring that colour was at the forefront of our designs
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Visual research Research of how other designers have utilised colour within their designs, looking at a range of mediums.
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Colour Swatches Beginning to generate colours and test which tones work together, we needed to ensure that each colour worked not just alone but also in pairs together, creating a sense of cohesion yet differentiation between each show. We started with four colours and experimented with applications of varying shades, before refining down to the three most successful.
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Final Colours The final three we decided on was Blue, Pink and Orange. Based upon our feedback to enhance colour use and apply the colour to an efficient system, we generated a system in pairs where two colours were applied to the visual designs for each show and one of the colours would carry on to the next show. This created a sense of cohesion throughout the designs however also differentiated between the first, second and third show. We decided against using red and yellow as we believed in conjunction with the CSM Shifts the designs could potentially correlate with the pre existing identity of central saint martins.
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Samuel Bloch We wanted to create a sense of movement through our use of type as image, and began to look into references that reflected this. Samuel Bloch’s work for Ryoji iIeda exhibition was a really good example of how this could be visualised and how we could begin to break down the regimented grid structure we had formed.
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Studio Dumbar Within our research we were also inspired by the work of Studio Dumbar for Cities in Motion, creating a flexible, dynamic and playful type campaign. Using type that condensed and expanded in evolving grid systems; We felt this was an example of work that closely aligned with our grid system that evolved through the user experience of both time and location. 113
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Experiments We started to experiment with using the scales of typography and texture. We staretd to excourerate textures overlayed onto the typography and decided that from this we should start to use our own textures, and how the textures can be further pushed through physical foramts such as screen printing.
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Experiments We also started to experiment with using the the scales of typography with less layersing, using the shapes as even further abstract shapes.
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Screen Printing Another application was to consider how we apply texture to our system to add depth to our designs. We decided to use the material DNA of the campus to incorporate the physicality and the history of the building that houses the rich community that is CSM. The predominant materials of the building consist of; glass, metal, wood and concrete. We took these images with a macro lens then exposed each texture onto different screens.
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This gave us the opportunity to not only print the textures, but begin to experiment with the forms by stencilling through each screen. This experiment utilised chance and control to test colour combinations, application of texture and how these could work cohesively with the letterform shapes.
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Stenciling This gave us the opportunity to not only print the textures, but begin to experiment with the forms by stencilling through each screen. This experiment utilised chance and control to test colour combinations, application of texture and how these could work cohesively with the letterform shapes.
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Experiments Beginning to incorporate the idea of using the letterforms to frame poster formats. We did some quick tests and experiments with gradient application, bit mapping and half tone onto the initial four colours we had chosen pre-narrowing them down. We tested how the letterforms could frame student’s work as a potential development and additional feature of our system. Also beginning to trial how the text would sit across the page, inspired by the application of the letterforms in our designs. 135
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2x2 Further development of encourerating sections of typography, screen printed textures and opacity.
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Final Foundation Posters Here is how the three aspects of type, colour and texture would work in correlation with the timeline system we have devised, beginning with Foundation. Here we’ve introduced the Helvetica Neue, which is utilised to house information, and creates a contrast against the bold visuals. We’ve created a hierarchy, having the university’s name, date and location set to the bottom left hand corner. Whilst each Show’s name and ‘2020’ can be playfully integrated within the design. 141
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Here is how the three aspects of type, colour and texture would work in correlation with the timeline system we have devised, beginning with Foundation. Here we’ve introduced the Helvetica Neue, which is utilised to house information, and creates a contrast against the bold visuals. We’ve created a hierarchy, having the university’s name, date and location set to the bottom left hand corner. Whilst each Show’s name and ‘2020’ can be playfully integrated within the design.
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Final Art Posters From the left, this would be the 8X8 for the initial advertising, utilising all varieties of the scales of type (1000 through to 4000) At each stage along the timeline, the largest scale of typography is removed, revealing the more legible forms of typography as image. 146
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Final Design Posters We also applied the texture to each form depending on its position within the timeline, enlarging the closer the audience is to the show, in both time & distance.
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E-Invite As the user interaction is at the forefront of our design, we are now going to talk you through the experience that the audience would undertake. Here we will walk you through specifically Show 1: Art and how our system can be implemented across multiple formats. In preparation for each show, we understand there’s multiple emails sent out, hence why our designs evolve over time, creating a sense of intrigue. Our design begins with the initial email invite, utilising the 8X8 grid, when the show would be first announced.
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Billboard This is the initial stage of the timeline featured in a public setting across london, furthest away from central saint martins.
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Website Banner As the user interaction is at the heart of our identity, we thought the website banner would be an exciting opportunity for the viewer to interact and activate our concept themselves. We have created the banner for the website through coding so it correlates with the methods of creating our shapes, of zooming in and expanding certain sections. When the mouse is hovered over the banner it zooms in and out of the shapes and reveals the information for the show. 163
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Website Banner Code var myFont;
push()
function setup() {
textSize(20);
createCanvas(750, 350);
textFont(myFont); text(“22-26 MAY”, 170, 265);
myFont = loadFont(“HeleveticaNeueLt.ttf”);
pop();
//pre-Load the image
push() textSize(20);
img1 = loadImage(‘/pngfiles/image1.png’);
img2=loadIm-
textFont(myFont);
age(‘/pngfiles/image2.png’);
text(“KINGS CROSS”, 170, 340);
img3 = loadImage(‘/pngfiles/image3.png’);
pop();
img4 = loadImage(‘/pngfiles/image444.png’); img5 = loadImage(‘/pngfiles/image55.png’);
push()
img6 = loadImage(‘/pngfiles/image6.png’);
textSize(20);
img7 = loadImage(‘/pngfiles/image7.png’);
textFont(myFont);
img8 = loadImage(‘/pngfiles/image8.png’);
text(“GRANARY SQUARE”, 170, 320);
img9 = loadImage(‘/pngfiles/image9.png’);
pop(); //texture curve D
}
image(img4, 340 -mouseX/1, 130 -mouseX/2, image1S, image1S);
function draw() {
//top of pink fill t
background(250);
image(img7, 300 -mouseX/4, 80 -mouseX/4, image2S, image2S); //font
//top stroke a
strokeWeight(3);
image(img1, 480-mouseX, 240-mouseX/2, image1S, image1S);
fill(30);
//zoomed in stroke r
var image1S = mouseX + 110;
image(img6, 550 -mouseX/2, 90 -mouseX/2, image2S, image2S);
var image2S = mouseX + 50;
//zoomed in stroke r image(img9, 30 -mouseX/2, 90 -mouseX/2, image2S, image2S);
//change (0, 0) point to middle of canvas // blue top t
push()
image(img3, 100 -mouseX/2, 250 -mouseX/2, image1S, image1S);
textSize(30);
// half of pink A
textFont(myFont);
image(img5, 480 -mouseX/2, 60 -mouseX/2, mouseX + 10,
text(“CENTRAL”, 10, 272);
mouseX + 10);
pop();
//blue fill r image(img8, 630-mouseX, 210-mouseX/2, image2S, image2S);
push()
//zoomed texture A
textSize(30);
image(img2, 130-mouseX/2, 100 -mouseX/2, image1S, image1S);
textFont(myFont);
push();
text(“SAINT”, 10, 306);
textSize(30);
pop();
textFont(myFont); text(“SHOW ONE: ART”, 10, 37);
push()
pop()
textSize(30);
push()
textFont(myFont); text(“MARTINS”, 10, 340); pop();
textSize(30); textFont(myFont);
}
text(“2020”, 180, 70); pop();
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Lethaby Gallery As the user walks towards the building, they approach the 4X4 designs which is applied to the lethaby gallery and initial entrances to the building. We have created the design in mind of how light would still flow into the building, utilising bitmap textures from our screen prints and strokes to minimise the amount of vinyl used. With sustainability in mind, we have found a possible alternative to window vinyl, which is created without chlorine and PVC therefore not emitting any harmful chemicals back into the atmosphere when disposed of. We have considered not using vinyls at all, however also realised how the window space is a strong engaging advertisement point, helping to enhance the audience’s experience.
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As the user walks through the entrance, they will physically enter the building through the typeface therefore becoming participants of our concept. 169
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Within the second set of doors, we will apply the 2X2 designs as the user is now within the building. 171
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Wayfinding Banners Finally they will be presented with the final stages of the timeline, which houses part of the wayfinding within the building, this is one of our wild card proposals. Utilising the ‘1000’ scale which aligns to spell out each show, and incorporates navigation around the building.
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Wayfinding Here’s the simplest forms of our designs. Within the building we have strived to create the most clear and legible way finding to enable the user to navigate the building with ease, whilst allowing the student’s work to speak for itself. This is the final stage within our concept, therefore presenting ‘clarity’ to the user. As an alternative to using a large quantity of posters around the building, we would like to screen print onto recycled wood, the pre existing billboards where possible or potentially finding a way to reuse materials around the building, extending their life span. In addition to this, as there are three separate shows we felt there could be an opportunity to project parts of information around the building in order to massively reduce single use signage, and make further use the universities resources.
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Inside of brochure
Front of brochure
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Brochure Sticking to our system, the brochures users would be given would be simplistic and refined, with predominantly the Helvetica Neue utilised for ease of information consumption. We would like to apply the initial letter of each show, the clearest scale, in each variable of the shifts typeface to the front cover. We would also like to propose the brochure to be printed onto recycled paper and to unfold to house a print within it, therefore encouraging them to be kept and celebrated.
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Animation 8x8, Here are examples of the three stages that will be released in anticipation to each show, via social media, animating each grid system.
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4x4
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2X2
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Instagram Another example of how our designs could be utilised across social media, is for the letterforms to house the student’s work, here’s an example of one closest to the show in a 2X2 grid.
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AR Poster We have implemented our animations into an AR app where you are able to interact with the posters by scanning them with your phone, in order to enhance the user experience. As a further development to this, we could apply this aspect for an informative use rather than purely aesthetic and attach a PDF interactive version of the brochure, when the posters are scanned, in order to help reduce printing and wastage.
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