Non-Fixed by Rules by Alberto Romanos

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Weâ&#x20AC;&#x2122;re functioning automatic. We are the robots. Kraftwerk Rules can be broken but never ignored. David Jury (About Face) The formula is paramount. The formula creates the form. Paul Gredinger (Designing Programmes)

Non-Fixed by Rules

Alberto Romanos Major Project Report MAGB&I 2009

Thanks

Lorena, Jose Luis and MÂŞ Luz. Ian and Paul. Sergio, Miguel, Jota, Elena, Diego, Ana, Marian and the rest of the LNST staff. Edouard, Ben, Jordan, Beck, Manuel, Juliana, Silvia and the rest of the LCC classmates. Armin, Chad, Henrik, Jason and Marc.

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Table o Conten

Introduction Objectives

Brief

Methodology

of nts Process

Initial research

Designing the ingredients

Designing the identity systems

Conclussions

On the need of flexibility

Answers to the research questions

References

Books

Internet

Interviews

List of illustrations

Appendix A: Visual research on identities Appendix B: Typeface design process Appendix C: System 1 design process Appendix D: Typeface design process & system 2 and 3 desgin process

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Introdu

uction Objectives

Statement of intent:

Field of Study:

Obtain a real understanding on how, by establishing certain rules, dynamic visual identity systems can be created.

Research into Design.

Explore how constraints applied to generative design can deliver flexible yet consistent outcomes, in the visual identity area. Explore the boundaries of what an identity is and what is not by making non-fixed the different ingredients that conform it. Though the main reasons for doing this project are personal, designers and other professionals involved in identity could find it of their interest.

Design process/methods.

Flexible identity systems informed by Generative Design.

“It’s official. The age of the static brand is coming to an end. Organisations, companies, institutions, even charities are realising that having identity schemes that ‘flex’ and adapt to circumstances are more appropriate in the multi-channel, multilingual world that brands now inhabit.

Relevance:

Over-controlled brands are starting to look stiff and old-fashioned, but not all clients (and certainly not all design companies) have yet woken up to this latest shift.” Johnson Banks (2007)

Flexibility is an approach with a very important role in the future of graphic branding: Allow brands to engage with the audience. Allow brands to evolve.

It is not as brand-new as it probably seems to be; it has been growing for the last three to four decades. It is not surprising today that some TV Channels were the pioneers not only by animating their logos in their indents but adapting their identities to the variety of shows they were broadcasting. Earlier in the 60’s, also in sectors like retail and manufacturing, some companies were using flexible systems already, as stated on the examples given at Karl Gerstner’s book, Designing Programmes, which first edition dates from 1964. Nowadays, cultural institutions have become good examples of flexible brands; from a range of supporting devices to be used alternatively for the Brooklyn Museum logo to a truly generative system delivered for The Walker Art Centre.

Fig 2.

Fig 3. Fig 1.

Above, Brooklyn Museum by 2x4 (New York, USA), 2004 Right, Walker Art Center by Chad Kloepfer (New York, USA) 2005

Fig 4.

Though I believe that a deep analysis of the causes of this swift would lead to write a thesis on its own, it is unavoidable to, al least, list the key aspects that influence, inform and legitimate these new attitudes towards identity: The feasibility through the technology available.

Fig 5.

But not just the loose-fittingness of TV broadcasters or the arty approach that conveys museums and exhibition spaces permit the adoption of, to different extents, flexible systems. Locally and globally, from high-end retailers to IT giants, it is possible to find out examples of flexible identities almost in any sector. Probably one of the most visible ones is Google.

Above, MTV logos by Manhattan Design, (New York, USA) 1981 - 2009 Right, Different Google logos, 1999 - 2009

The rising of internet as a new mass-media out of the advertisers control in contrast with other traditional channels, and the loss of quota of the latter. The need to differentiate from competitors in increasingly dense markets/areas. The rising of â&#x20AC;&#x153;mass-customisationâ&#x20AC;? and bespoke products and services, at least in the developed countries, as opposed to, or as a step forward from the mass-consumption model predominant during the last century.

Fig 6.

What is the role of generative design in flexible branding? â&#x20AC;&#x153;Generative design enables both clients and designers to develop completely new strategies for branding and corporate identity. Instead of having a definite set of logos, fonts and grids, an endless number of visuals can be created. These visuals are all based on the same rules. So while they are different, they obviously come from the same family.

Generative design creates consistency without repetition.â&#x20AC;? Oneone Studio. Design for flexibility

Introdu Brief

Research Question:

How generative design can affect the elements of a visual identity system in order to make it flexible?

Definitions/Context:

Flexible: Characterised by a ready capability to adapt to new, different, or changing requirements.

uction Identity: Sameness of essential or generic character in different instances. Sameness in all that constitutes the objective reality of a thing. Oneness. The distinguishing character or personality of an individual. Individuality. The relation established by psychological identification. The condition of being the same with something described or asserted <establish the identity of stolen goods>.

System: A regularly interacting or interdependent group of items forming a unified whole <a number system> A group of devices or artificial objects or an organisation forming a network especially for distributing something or serving a common purpose <a telephone system> <a heating system> <a highway system> <a computer system> An organised or established procedure <the touch system of typing> Method

An equation that is satisfied for all values of the symbols

Identity System: Plenty of different definitions were found ranging from very vaguely ones to marketing driven or out of date ones so I considered to make up my own definition to work with. An Identity System is a set of devices that operates according to certain pre-established rules, intended to identify something or someone and to differentiate it (or him/her) from others.

An endless list of different sets of elements could be created if I continue looking at other authors and practitioners so, in order to eliminate ambiguities and a-prior subjective hierarchies, for the purposes of the research, the basic elements for any visual identity will be these five: Logo + Colour + Typeface/ Typography + Grid + Devices Beside that, during the project, the “devices” element has been removed from the experiments being considered a non-essential element for every identity. That resulted on a list of four main ingredients to play with:

Elements in a visual identity system: There is no real consensus in what the elements of an identity system are. According to Matthew Healey in “What is Branding?” (2008, p.4) those elements are: Logo + Colour + Typeface + Visual style + Graphic motifs Slightly different set of parts proposed by Tony Spaeth, consisting on the Logo (wordmark and/or symbol) at a higher level than the rest of the elements and then, what he defined as Visual System: Colour + Typefaces + Grids + Lines + Other devices

Logo + Colour + Type + Grid.

Flexible Identity System: It seems, from the previous considerations, that the definition has to be something like this:

A set of devices that operates according to certain preestablished rules, intended to identify something or someone and to differentiate it (or him/her) from others with a ready capability to adapt to new, different, or changing requirements. But the word flexible is not as accurate as it seemed to be at the beginning of the research; although the systems observed and created are formed by a flexible selection of variations, they behave more like an active and changing

entity. The term â&#x20AC;&#x153;livingâ&#x20AC;? coined by Armin Vit at the Brand New blog appears more appropriate, but, when asking Armin about this terminology, her reply presents both terms as valid ones, bearing in mind the subtle difference between each other:

“I remember calling this one [Award Identity] a living identity, because the identity would change and mutate as the organization developed, so it was flexible and living in that it reflected the living nature of the organization. I don’t think all flexible identities are living identities. A flexible identity can have a finite number of expressions and is typically set in stone what you can or can’t do based on certain parameters but it doesn’t evolve organically or respond to evolving stimulus. But, aside from that. Your definition is correct, I would just call it Flexible Identity, which is more accurate and easier to embrace (and sell to clients!) than Living Identity.” Armin Vit (2009) In order to maintain the format of the report, the remaining definitions follow.

Fig 7.

Above, Award Identity by Interbrand, (Australia) 2009

Living: Having life. Active, functioning <living languages>. Exhibiting the life or motion of nature : natural <the wilderness is a living museumâ&#x20AC;Śof natural history â&#x20AC;&#x201D; NEA Journal>. Full of life or vigour. True to life : vivid <televised in living color>. Involving living persons.

Living Identity System:

A set of devices that operates according to certain preestablished rules, intending to identify something or someone and to differentiate it (or him/her) from others, acting like an active entity.

Generative Design: “Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art.” Philip Galanter There are two main strategies for generative processes: Ordered systems

Disordered systems

Algorithmic or programmatic processes which generate autonomous outputs.

Chance: Random events, processes, instructions or objects which generate autonomous outputs.

It is mandatory here to clarify that we are talking about rules-based design or conditional design, but not entirely algorithmic design or computer generated design.

Error: Events, processes, instructions or objects which generate autonomous outputs deemed ‘wrong’. Collaboration: Social interactions, dialogues and interventions which generate autonomous outputs.

For the purpose of the project, I focused my experiments using the ordered approach and, inside the disordered ones, the collaborative and random approaches. Because of the characteristics of the disordered systems, they always need to be complemented with an ordered one, as will be shown on the process section of this report. The error system approach has not been used because it has been considered irrelevant for the project.

Specific Questions:

Proposition

Is it possible to create a flexible identity system that generates itself with the minimum intervention?

“The word ‘Guidelines’ is in fashion, but implies flexibility. I prefer ‘Standards.’ The appearance and exposure of the corporate brand must be constant. In even the most entrepreneurial corporate culture where “all permissions are granted unless expressly denied,” identity must be the great exception, in which all permissions are denied unless expressly granted. Otherwise, chaos will rule.”

To what extent can the outcome(s) be predicted/controlled? Bearing in mind the basic visual identity elements (logo + colour + type + grid), how generative design can affect those elements in order to generate a flexible and/or a living identity system? Where are the limits when flexibility gets over the identity so it is not an identity anymore? Can a generative identity system be implemented by non-designers?

Tony Spaeth. Though the quote above is slightly dated because nowadays brands do not belong to corporate spheres only, it illustrates exactly what this project challenged. There is no need to deny flexibility as far as it is introduced into the identity values. There is no need to grant specific permissions if we already control the genesis. Modulated chaos will be ruled.

Introdu Methodology

â&#x20AC;&#x153;In order to show that C was about a wide range of art and culture, we decided to create a flexible system that would allow us to play around with the logo.â&#x20AC;&#x153; Marc van der Heijde (2009)

Fig 8.

Right, La Noche Sin Techo photos by Chusico (Zaragoza, Spain), 2009

Fig 9.

uction Testbed: La Noche Sin Techo festival

In order to be able to benchmark the outcomes achieved and avoid expending too much time researching different subjects rather than generative design and identities, the common vehicle is something that I already am familiar with. La Noche Sin Techo (roughly translated as â&#x20AC;&#x153;The Roofless Nightâ&#x20AC;?) is a cultural festival which has been lining up music, theatre, film, poetry and any other artistic manifestation for the last 5 years. The festival is free, self managed, self founded and altruist. There is no economic revenue for the artists nor the organisers. Since the beginning, it has been organised and supported by a large group of locals and people related to the locality (including myself) who have been committed unselfishly.

Although it is not a mass event, the festival is popular for being an eclectic mixture of different artistic disciplines that overlap one after the other over three defined stages along one night. The festival has some characteristics which could be very well communicated through a flexible system. Every year there has been a different identity, so a building durable visual brand is not going to be the aim. For the first system, the brand personality will focus on enhancing the sense of commitment, so both audience and staff will become an active part in the conclusion of the printed visual material. In order to represent the eclectic experience that attending the festival brings to the visitor through the identity, the second visual system proposed will try to convey that sense of surprise, uniqueness and unrepeatable experience that it is for everyone who has attended before.

Identification & Analysis

System(s) design

It has been identified which of the already collected case studies are truly based on generative principles. The reasons behind those systems and the way they work have been consulted to their creators in order to gain inputs and references to work with.

This stage consisted on a set of visual systems using the different generative approaches chosen, explained on the previous chapter, affecting the four basic elements of any identity system and applied to a common vehicle.

Preliminary minor research has been done on the cultural festival identities field. Visually relevant festival identities across Europe have been checked up bearing in mind that trying to control all the existing ones would have been out of the reach of this project. â&#x20AC;&#x2DC;La Noche Sin Techoâ&#x20AC;&#x2122; previous years identities have been visually audited as well.

Different alternatives mixing the methods have been used creating a series of systems and then applying them to a mock-up poster in order to be tested on the next step of this methodology.

Sideways, deep research on type design principles and history has been done when creating the bespoke set of fonts for one of the systems.

Especial efforts have been done at the typeface design stage, as the quality of the ingredients is crucial for the right functioning of the systems.

Testing & Feedback

Refinements & output

Since the design process is focused on doing a system and not on producing a one-off, one of the key aspects is getting feedback. Specially when the collaborative approach is into play. When possible, both system instructions and possible outcomes have been handed in to third parties in order to be tested.

When needed, refinements have been done to the rules, going back to the system(s) design step and testing again until considering the proposed route failed or succeeded. At the end, two independent systems have been completed and their respective guidelines manuals have been created.

In overlap with the whole process, I tried to contact and interview practitioners involved in flexible identity systems and generative design, in order to contrast my opinions in the subject. The task has been slightly frustrating with just a few short emails in response, although there have been some good inputs on the replies.

secorP

Process Initial research

Living Identity Systems

Visual Audit. See Appendix A for extended details.

Fig 10.

Above, Melbourne City Identity by Landor (Sydney, Australia), 2009

s Other festivalsâ&#x20AC;&#x2122; identities

LNST previous years identities

Visual Audit. See Appendix A for extended details.

Fig 11.

Fig 12.

Above, Gouda Bij Kunst Licht Identity by Trapped

Above, La Noche Sin Techo 2007

in Suburbia (Den Haag, The Netherlands), 2008

by Alberto Romanos (Spain), 2007

Process Designing the ingredients

Typeface alteration system

There is already an endless list of typefaces available for any purpose, but when talking about identities, a font can work as the minimum item needed to be shown in order to get the brand identified. Having said so, it seems safer to develop a bespoke typeface with enough personality to avoid identification problems, rather than using an existing one. Every design process involves an initial (and sometimes intermediate) stage(s) of hand drawn sketching in order to avoid the constrictions of the computer and get a quick look-and-feel of what is intended to achieve later on. With the idea of a modular generative system, the right choice seemed to be designing a monospace typeface. This would facilitate the development of a grid based system where the characters themselves would build the identity automatically in the space given without too much intervention when creating the outcomes. The slab serif feature was brought into play to give the new identity some continuity with last year identity, formatted entirely with the geometric slab family Lubalin Graph (see Appendix A).

Right, Monospace slab test. See appendices B and D for detailed illustrations of the process.

s Fig 13.

Bringing the modular concept deeper to the typeface structure, a series of tests were made trying to reduce the anatomy of the font to a limited set of arcs and linking strokes. With the resulting kit of parts, a system for creating any glyph

could have been worked out, but the complexity of type anatomy and the ambition of the idea resulted on a set of interesting sideways explorations with no real link to the aim of this project.

Fig 14.

“It is interesting to note that not one “real” type designer considers Rotis a typeface. Aicher certainly didn’t do himself a favour by aiming so high with his first proper type design”. Eric Spiekermann (2004) Bearing in mind the previous quote and after facing serious issues with legibility and visual perception on the glyphs produced (although a strong sense of personality was transmitted), modifying an existing face pointed out to be the right strategy.

An underlying structure is needed to avoid losing the coherence when interchanging different faces. As designing type from scratch is a very complex process that requires not only time but also a lot of experience that I do not have, an “easy” or not that harmful solution is the creation of different variations of the same original one. The selected font to work with, was the Condensed Regular weight from the Frutiger family because of its already proved legibility and functionality. Through the addition and modification of distinctive visual elements from the typeface anatomy, such as different serif styles and some stroke modulation, I was able to add a complete new style to every variation of the font without breaking the skeleton. Also the alteration of the metrics given was avoided.

With much respect to the work of Adrian Frutiger, three variations of the original typeface were crafted. The resulting new typefaces are contemporary and different enough between each other allowing to use different tones of voice inside the same set of proportions.

“Then (1960s and 1970s), as today, it was also the norm to set sans serifs tighter than serif fonts. [...] Still, most designers would agree that spacing for a contemporary font should not be obviously tight or loose.” Karen Cheng (2005, p.218)

By using the existing and already effective structure and metrics of the original font, the efforts were focused on the making of the subtle variations produced. Although the main purpose of the three faces is to be used as corporate fonts for “La Noche Sin Techo” festival identity, they may end up serving other purposes in the future, especially if the rest of the weights are developed. Above, initial serif additions tests using Frutiger. See Appendices B and D for detailed illustrations of the process. See typeface showcase for the outcome.

Process Designing the identity systems

System 1

Collaborative logo Semi-collaborative colours Fixed typeface Fixed grid (Ordered typography) Testing + Feedback + Refinements + Output

Right, festival collateral. See Appendix C

In order to enhance the sense of participation of the festival, everyone involved from the staff and the visitors as well, were an active part of the identity process by drawing a circle at every printed collateral produced. That resulted on endless variations of the same element making every piece unique, but maintaining a common feel throughout. In contrast, the fixed typeface and grid system helped to balance the already uniqueness of every single printed piece increasing the consistency of the identity. “If only certain choices are available within the system, one can focus on making the right decisions within a narrowed set of possibilities, rather than exploring endless variations of layout and composition in the hope that something will eventually ‘work’.”

for detailed illustrations of the process. See guidelines for the outcome.

Mark Holt & Hamish Muir (2005, p.263)

s Fig 15.

Fig 16.

Fig 18.

Fig 17.

Fig 19.

Above and right, the system working the day of the venue. See Appendix C for detailed illustrations of the process. See guidelines for the outcome.

Fig 20.

Fig 21.

Fig 22.

Fig 23.

Fig 24.

Fig 25.

Fig 26.

Fig 27.

Outcomes were controlled from the core of the instructions given, by asking others to draw one of the basic geometric shapes. Also by assigning two different thicknesses according to the page size, proportions were maintained through the diverse collateral produced. Even with the guidelines suggesting the use of alternative marking tools and materials, the fact of delivering a three colour set of markers already restricted the variations, without denying them. Because of the particular procedure that this identity involved, the instructions had to be as clearer as possible. Apart from the detailed guidelines manual, a reduced version with special input on the circle task was delivered wrapped around every single marker handed in.

Fig 28.

Fig 29.

The main problem appears when trying to apply those rules on a screen based environment. For web based communications, maybe through a flash application allowing the user to simulate the drawing process, the issue could be solved but it becomes incredibly limited for movies and animations. In that case one-offs are unavoidable. A very safe solution was to ignore the collaborative circle part of the system and to create the screen collateral based only on the typographic rules. By doing so, the identity got less recognisable on screen mediums and the sense of participation was not transmitted. Although it was not mandatory in the brief and it is not necessarily an issue, this identity has a life as short as one festival edition because once the game has been played, the surprise factor dissolves.

In order to represent the hectic mixture of artistic performances taking place during the festival, the development of an ever changing visual language was demanded. A set of different typefaces (see previous section designing the ingredients) was created in a way that by overlaying them in multiple ways, it would create abstract visual analogies with the surprise and uniqueness feel of the festival experience.

System 2

Generative logo Generative colours Variable typeface Fixed grid (Ordered typography) Testing + Feedback + Refinements + Output

Right, 9 of the 468 possible configurations of the system. See Appendix D for detailed illustrations of the process. See guidelines for the outcome.

By randomly combining the three bespoke typefaces with three process colours (cyan, magenta and yellow) along a basic three column grid, the system resulted in 36 different valid alternatives. With the aim of expanding the range of possible combinations without increasing the complexity of the instructions too much, the grid was divided into three rows and the overprint of a range of elements were encouraged along two or three of the rows and the columns. The system had the potential of allowing the generation of 468 different configurations, that expanded into uncountable outcomes when copy and/or pictures were added to the mix.

a a aaa

aaa a a aaa

aaa aaa a a

a a aaa

Fig 30.

aaa a a

Fig 31.

The ideal scenario would have been the creation of a software application that randomly generated one of the possible combinations at a time, but the lack of knowledge in the programming filed and the lack of resources to hire professional help leaded this part of the system to rely on less bespoke aleatory methods. About the election of colours, black ink was excluded of the system in order to maintain the “trinity” and to allow the overprint effect working properly. The remaining process colours were slightly

Left, system posters. See Appendix D for detailed illustrations of the process. See guidelines for the outcome.

modified in order to balance their contrast with the white paper background, without fading away from their recognisable characteristics and subtractive behaviour. This modification was not needed in screen, where additive light based colours contrast very well against the black background. Different colour palettes, with a more balanced contrast against the white background among the three components, were tested; but the “secondary” colours produced were not defined enough, limiting the variety of system outcomes.

System 3

Collaborative logo Semi-collaborative colours

Encouraged by the success of the previous systems, the idea of combining both random and collaborative methods was reasonable. All the elements of the identity were going to be flexible by definition as a way of challenging the sense of identity.

Variable typeface Variable grid (disordered typography) Testing + Feedback + Give up

Right, failed experiments. See Appendix D for more illustrations of the process.

The logo was intended to be created linking four dots positioned on the corners of an invisible 45ยบ rotated square with a single line, allowing the user to choose where to begin and how to draw the path. Colours were supposed to be picked from the set of three primary colour markers delivered, as it was done in the first system.

Fig 32.

Fig 33.

Fig 34.

The three typefaces created for the second system came into play on a similar way, combined through columns, through rows or even alternating every character when typing. In some tests, the original Frutiger was added as a forth type in order to increase the variety of choice. Different grid structures were tested trying to accommodate all the ingredients mentioned with more difficulties than real solutions. The two different brand promises expressed successfully on the two previous systems, participation and eclectic experience, were intended to be expressed at once in the same system, which clearly resulted in a wrong decision because trying to express two different messages at the same time with a very loud voice for each one, never worked properly and it did not work this time either.

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Conclus On the need of flexibility

â&#x20AC;&#x153;The immediate purpose of all trademarks and the design programs, of which they are a vital part, is identification. Most of the time, identification is achieved by recognition. Recognition implies repetition, preferably frequent repetition. However, repetition is not the answer to all corporate identity problems. It can become too much. The repeated message can be so monotonous that it becomes difficult to catch the full attention of target groups. [...] The challenge for the designer and the client is to develop a design programme that provides both identity and enough room for variation. One way of solving this is to create a mark as versatile as Michelinâ&#x20AC;&#x2122;s Bibendum. You meet him in a great number of different postures, but you always recognise him.

usions Variation has become part of the identity. Change has come to stay.â&#x20AC;? Per Mollerup (1998, p.210)

It was already clarified in the introduction, but through the research along the project, it has been demonstrated that flexible identities and lively identities are not a trend but a powerful strategy for graphic branding. Their underlying principles and motivations have been around almost for the last fifty years. Of course, every brand will demand different levels of flexibility and it is the designersâ&#x20AC;&#x2122; task to find out and decide when to develop a traditional system, a flexible one, a living identity or any combination of them, according to the brief given and the real problem to solve in every situation.

Conclus Answers to the research questions

See all Appendices for visual tests.

usions

Trial and error is mandatory and when asking ‘to what extent can the outcome(s) be predicted/controlled?’, the right question should be

Is it possible to create a flexible identity system that generates itself with the minimum intervention?

Although systems are intended to stand alone, refinement is always needed to clarify the instructions given or to add new ingredients or a-prior non contemplated conditions that only appear when applying the system on a real environment. The only way to achieve this is through feedback.

‘To what extent should the outcome(s) be predicted/ controlled?’.

Clashing with the principle of generative art theory that advocates for unexpected outcomes, big limitations must be applied to the system rules in order to predict the possible outcomes. That does not necessarily mean that the untrained eye should be able to preview the outcomes just by reading the instructions, in fact, being predictable without looking obvious, could increase the ‘identifiable’ property of an identity system.

Bearing in mind the basic visual identity elements: logo + colour + type + grid

How generative design can affect those elements in order to generate a flexible and/ or a living identity system?

The answer to this question lays on the very different nature of each element and, consequently, the impossible task to set common rules to all of them. Making all of them non-fixed implies playing with different systems. this translates into too much complexity and more than one visual language at the same time for what should be a unique voice at once.

That may sound contradictory with the definition of flexible identity system previously stated but it is needed to clarify the dichotomy between the potential of being different every time with the uniqueness at its very own instance against the multiplicity of â&#x20AC;&#x2DC;differentsâ&#x20AC;&#x2122;. Visual identity systems where logo+colour and logo+colour+type were flexible, have been tested successfully but always maintaining a grid as the cohesive element. Every attempt of adding a self generated grid to the mixture has resulted undoable.

before

now

vs.

now

Fig 35.

after

Where are the limits when flexibility gets over the identity so it is not an identity anymore?

“Vital question: can a mark be variable without at the same time forfeiting its marklike character? Counter question: what is typical about a mark, the proportion or the “configuration”? My answer is known: it is not an cannot be a question merely of proportions as such. Proportions can never be anything but good (or bad) relative to the task. But, in the structure of any sign, however great the number of variants, there is always one which must be declared to be the exemplar. The “configuration” must not suffer as a result of the variability”. Karl Gerstner (2007, p.70)

Although answered on the previous question, an interesting phenomena occurs when non-fixing any of the elements stated. The anchor that gives consistency to the identity becomes that variation, so rather than expecting the repetition of the same element, a different outcome based on the same rules is expected.

Although the initial feedback from the festival staff was demanding an official version of the identity for press purposes, that was due to traditional preconceptions about what an identity should be, not because the system was not working properly. It has been proved during the project that there is no need to declare an exemplar variant out of the multiple available, even when only the underlying structure is maintained. The range of variations becomes the mark redefining the term “mark”.

If the identity is already present on the elements, no matter what structure is used or what outcome is produced, the identity will be perceived anyway. The grid is usually invisible. A colour or a combination of colours would only be recognisable without type or logo when placed on a particular context. Even in living identity systems, logo and colours are not as flexible as written language is. Sometimes, by making those elements variable, we are denying the possibility of owning a corporate colour scheme.

It seems to be that the key element of any identity system is a corporate typeface, especially if it is bespoke. You could write whatever you want, the identity will be there without needing support from any of the other elements.

Can a generative identity system be implemented by non-designers?

It depends on the rules of the system, the level of knowledge needed to understand them and the complexity of the system itself, but certain level of guidance would be needed in any case.

â&#x20AC;&#x153;The identity is simple in idea but complex in creation which can sometimes muddy the waters when explaining.â&#x20AC;? Chad Koepfler about Walker Art Center identity. (2009) The idea behind could be wonderful and the system full of potential, but it is crucial to be able to transmit the instructions properly; the task of explaining the rules becomes as important as the design process, especially when non-designers are going to use it. Although one of the principles of the generative methods is the sense of stand-alone and no intervention once the system is created, it would be naive to believe that any identity could be accurately applied without supervision during the implementation process.

Personal comment

The experiments done during this project were heavily conditioned by the testbed chosen and especially by my thoughts and skills as a designer.

Where I failed, others could success.

sec

erefeR

Referen Books

Branding & Identity

Adams, S. et al. (2004) Logo Design Workbook. Gloucester, Massachusetts. Rockport. Healey, M. (2008) What is Branding? Mies. Rotovision Mollerup, P. (1998) Marks of Excellence. London. Phaidon Press.

Generative Design / Graphic Design

Elliman, P., Kopsa, M. (2005) Dutch Resource: Collaborative Exercises in Graphic Design. Amsterdam. Werkplaats Typografie. Gerstner, K. (2007) Designing programmes. Baden. Lars M端ller Hara, K. (2008) Designing Design. Baden. Lars M端ller.

nces Type Design Holt, M., Muir, H. (2005) 8vo On the Outside. Baden. Lars M端ller. K端sters, C., King, E. (2001) Restart: New Systems in Graphic Design. London. Thames & Hudson. Martens, K. (2001) Printed Matter. London. Hyphen Press. Mevis, A., Deursen, L., Elliman, P. (2005) Recollected Work: Mevis & van Deursen. Amsterdam. Distributed Art.

Cheng, K. (2005) Designing Type. London. Laurence King. Jury, D. (2002) About Face. Mies. Rotovision.

Referen Internet

Branding & Identity

Kroeter, S. (2009) Untitled by Anonymous: An Ode to Branding [internet] Design Observer. Available from <http://designobserver.com/ archives/entry.html?id=39097> [Accessed on June 5th 2009] Shaughnessy, A. (2006) Google and the Tyranny of Good Design [internet] Design Observer. Available from <http://designobserver.com/ archives/entry.html?id=12078> [Accessed on June 10th 2009]

Spaeth, T. (unknown) Guidelines and Standards Manuals [internet] Identity Works. Common Identity Tools. Available from <http://www.identityworks.com/ tools/guidelines_and_standards_manuals. htm> [Accessed on June 10th 2009] Vit, A. (2009) A is for A lot of dots [intenet] Brand New. Available from <http://www. underconsideration.com/brandnew/ archives/a_is_for_a_lot_of_dots.php> [Accessed on October 29th 2009] (2007) All Change [internet] Johnson Banks. Available from <http://www. johnsonbanks.co.uk/thoughtfortheweek/ index.php?thoughtid=210> [Accessed on May 26th 2009]

nces Generative Art

Galanter, P. (unknown) Generative Art [internet] generative.net. Available from <http://www.generative.net/read/ definitions> [Accessed on June 12th 2009]

Generative Design / Graphic Design

Mevis, A. (2006) Insight Lectures [internet] Walker Art Center. Available from <http:// channel.walkerart.org/detail.wac?id=2728> [Accessed on August 9th 2009] (unknown) Generative Design: Rule-based Images and Design for Flexibility [internet] OneOne Studio. Available from <http:// oneone-studio.com/theme/theme_ generative> [Accessed on June 5th 2009]

Type Design

Other

Spiekermann, E. (2004) Rotis. Is Rotis a typeface? [internet] Spiekerblog. Available from <http://spiekermann.com/en/rotis/> [Accessed on October 5th 2009]

http://www.merriam-webster.com/ dictionary/flexible http://www.merriam-webster.com/ dictionary/identity http://www.merriam-webster.com/ dictionary/living http://www.merriam-webster.com/ dictionary/system http://www.chusico.com/lnst09/

Referen Interviews

Branding & Identity

Kloepfer, C. (2009) Email conversation about Walker Art Center identity process <http://superserious.net/ work18.html>. New York. [October 27th 2009]. (Chad Kloepfer designed the identity for the mentioned institution). Kubel, H. (2009) Email conversation about FaulknerBrowns identity process <http://a2swhk.co.uk/>. London. [October 29th 2009]. (Henrik Kubel is Studio Partner at A2/SW/HK).

Little, J. (2009) Email conversation about Melbourne identity process <http:// www.behance.net/Gallery/City-ofMelbourne/276451>. Sydney. [October 12th 2009]. (Jason Little is Creative Director at Landor Associates Sydney office). Van der Heijde, M. (2009) Email conversation about C broadcast identity process <http://www.studiodumbar. com/>. Rotterdam. [October 23rd 2009]. (Marc van der Heijde is Design Director at Studio Dumbar). Vit, A. (2009) Email conversation about Living Identities and Flexible Identities. Austin. [October 30th 2009]. (Armin Vit is founder of www.underconsideration.com)

nces

Referen List of illustrations

p.3

p10

Fig 1.

Fig 7.

Guidelines extract, Brooklyn Museum

Award Identity by Interbrand, (Australia) 2009

by 2x4 (New York, USA), 2004

Source: <http://www.underconsideration.com/

Source <http://www.2x4.org/>

brandnew/archives/a_is_for_a_lot_of_dots.php>

Figs 2 - 4.

p14

Walker Art Center Identity by Chad

Figs 8 - 9.

Kloepfer, (New York, USA) 2005

La Noche Sin Techo 2009 by Chusico

Source: <http://superserious.net/>

(Zaragoza, Spain), 2009 Source: <http://www.chusico,com/lnst09/>

p4 Fig 5.

p20

MTV logos by Manhattan Design,

Fig 10.

(New York, USA) 1981 - 2009

Melbourne City Identity by Landor

Source: <http://images.google.com>

(Sydney, Australia), 2009 Source: <http://www.behance.net/

p5 Fig 6. Different Google logos, 1999 - 2009 Source: <http://www.johnsonbanks.co.uk/ thoughtfortheweek/index.php?thoughtid=210>

Gallery/City-of-Melbourne/276451>

nces p27

Fig 15.

La Noche Sin Techo 2009 collateral. Source: Own.

p28 - 29 Figs 16 - 29. The 2009 identity working the day of the venue. Source: Own.

p21 Fig 11.

p31

Gouda Bij Kunst Licht Identity by Trapped in

Fig 30.

Suburbia (Den Haag, The Netherlands), 2008

9 of the 468 possible configurations of the system.

Source: <http://www.behance.net/Gallery/

Source: Own.

Gouda-bij-kunslicht-festival-identity/251239>

p32 Fig 12.

Fig 31.

La Noche Sin Techo 2007 by Alberto

2010 System posters mock-ups.

Romanos (Spain), 2007

Source: Own.

p35 p23

Figs 32 - 34.

Fig 13.

Failed experiments.

Monospace slab test.

Source: Own.

p43 p24 - 25

Fig 35.

Fig 14.

Clarifying the dichotomy between the

Initial serif additions tests using Frutiger.

potential of being different every time with

Source: Own.

the uniqueness at its very own instance against the multiplicity of â&#x20AC;&#x2DC;differentsâ&#x20AC;&#x2122;. Source: Own.

Non-Fix by Rule