SEEING LONDON THROUGH THE EYES OF A DESIGNER
Luca Rosean
Table of Contents Introduction 1 2 3 4 5 6 7 8 9 10 11
Mono Printing Contrast Isotype Icons, Symbols & Pictograms Stencil Map London in Type A Trip to the Park Vernacular Type Pattern High Street Mash-Up Studio Visit, SAS Bibliography
Introduction 4 weeks, 16 workshops, one final outcome. During those weeks we have experimented with many different processes and techniques, developing a portfolio or works, projects and ideas. It has been interesting and stimulating working a few hours on each subject, during the tutorial session, and then continuing, finalizing and extending it using my own skills and creativity. The book has been inspired by London’s diversity and I want to reflect that giving a glimpse on various aspects of its life, contrasting ideas and strength that make this city unique. I have chosen to show the workshops that are more significant to me, that deeper influenced my style and that have been able to inspire in a more efficient and consistent way my creative process. Experimenting with typefaces, designing them, trying to daze and amuse the viewer juxtaposing images or simply showing data are skills that every designer has to develop; I understood the visual impact of rough or drawn elements combined with a more complex and precise structure, experimenting with different media and techniques. Developing and editing each chapter made me aware of the importance of a consistent and uniform layout that can join different themes and guide the viewer through the book itself. This book is a reference of my personal thoughts and ideas that I had during the time spent with the tutors and spent working on each project. I hope you enjoy reading this book as much as I did developing the content and designing this final piece.
MONO PRINTING
During this first workshop we experimented with the mono printing technique, tracing some images of London. It is a relatively simple process, which involves covering a plate with ink, using a roll, laying upon a sheet of paper and finally trace the chosen image. After a couple ofdark images I have been able to find the right mixture of ink and pressure, obtaining a nice result, despite my drawing skills!
Images of the process during the workshop and, in the next pages, the outcomes.
CONTRAST
black-white / broad-narrow / diagonal-circular / fluid-solid / hard-soft / high-low / horizontal- vertical / large-small / light-heavy / long-short / loud-soft / much-little / pointed-blunt / plane- line / plane-volume / sweet-sour / line-volume / smooth-rough / steady-intermittent / still- moving / straight-bent / strong-weak / thick-thin / transparent-opaque
The aim of the workshop was to create a concertina booklet showing contrasting elements chosen from the list above. Our constraints were the size, an A4 sheet folded four times, the print, in black and white, the limited use of typefaces, no more than two, the use of Photoshop only to set the contrast and eventually crop the images, and the chance to use a photocopier, to create a more rough outcome.
It has been challenging and interesting walking in Elephant and Castle to gather quickly useful images and process them to highlight the contrast. The booklet is really effective, as it successfully compares two different staircases of the College building.
ISOTYPE
The International System Of TYpographic Picture Education (ISOTYPE) was developed by the Viennese social scientist and philosopher Otto Neurath as a method for visual statistics, between 1925 and 1934. During the workshop we had a brief introduction to the history and principles of ISOTYPE and other contemporary examples of visual representation.
Then we were asked to design our information graphic, based on homelessness statistics. It is better to remember simplified images, than to forget exact figures. Otto Neurath
Icons designed by Gerd Arntz, 19281965.
In fro graphic from How Do You Do, Tovarich?, 1947.
Other students’ works.
Our visual representation of the given data.
ICONS, SYMBOLS & PICTOGRAMS
The aim of this workshop was to design a new crest for London. We had to choose a London street, do an initial image research, highlight the main elements that characterize the area and draw some icons. We decided to experiment with bitmaps to obtain elements portraying the street. The place we chose is Wardour Street, in Soho, famous for its nightlife, media companies, independent cafes Crest of the City of London.
and restaurants, that create a unique and bright mix.
Initial photo research.
Sketches to highlight the main elements of the street.
The final outcome, in colour [previous page] and black&white.
STENCIL
Stencils had many different uses and it can be nowadays considered a form of art. Thinking about stencils and London I immediately recall Banksy’s works and other popular stencil graffiti. During this session we had to play with the word London creating an appealing image.
Balloon Girl, Banksy.
The final stencils.
MAP LONDON IN TYPE
Maps played an important role in the human evolution and knowledge. We developed a group activity, designing a map of London using one typeface, Helvetica, and experimenting with type elements, and technical aspects such as tracking and kerning. We had a brief induction where Jo showed us different examples of how designers used type to create maps. Section of the map designed during the workshop.
After that we started working on our part of the map, each one with a different style, and then we put all the pieces together, unveiling the final design.
Top, Alan Kitching’s letterpress Clerkenwell map. Above Mark Webber’s linocut London map.
OrkPosters’ Manhattan map. In the following page the final outcome of the workshop.
The route from Grosvenor Terrace to the LCC.
A TRIP TO THE PARK
We spent a nice afternoon in Hyde Park, observing people’s behaviour and interaction with the surroundings environment. I usually cycle through the park on my way to work and my attention was immediately drawn to the cyclists’ use of the paths, as many of them ride on footpaths, careless of the many signs.
I started analysing the map of the park, highlighting the different use of each track, and I realized how limited is the choice for the cyclist, forced to break the rules to reach quicker their destination.
VERNACULAR TYPE
Typography doesn’t have to be boring! We practiced for a couple of hours develping a hand-made, rough, typeface, using various media and techniques. The final outcomes showed a great experimentation and completely different styles. Designers combine more often rough typography with more classic grids and layouts, creating a nice mix and feeling.
Jimmy Smith’s 5-A-Day type.
Examples of vernacular typography.
3D cardboard typeface designed during the workshop.
Newstype, typeface inspired by London newspapers.
PATTERN
We had to design a pattern inspired by London. Jo showed really good examples, each one designed with a different style and technique. I chose to start from that picture of Elephant and Castle I took a couple of weeks before the workshop: it is a good element that symbolizes the area around the College.
HIGH STREET MASH-UP
During this workshop we had to compare and mix different features of two contrasting High Streets. At first we had to gather some images of the chosen places: Walworth Road and Old Bond Street. Walking in those places and taking pictures to the different shops, the contrasting use of design and colours has been an interesting and useful exercise, as we quickly noticed
the main trends and the visual impact of them. Then at the college we traced some of the pictures taken, playing with logos and starting the visual mash-up, developing this concept with montages.
The board with the initial photographic research.
Our mash-ups.
STUDIO VISIT, SAS
They describe themselves as 60 people, based in London and part of the global MS&L Group. Clients enjoy working with us because we always get the job done and they see results. But what defines our approach is a total focus on audiences. We’re interested in the emotional aspects of decision-making, in how people cope with too much information and choice; in why people get out of bed to go to
work. This is what makes our work truly effective, whether the outputs are brand identity, advertising, websites or social media. During the visit I have been impressed with the number of creative people working there and their broad portfolio, mainly focused on corporate clients.
Projects developed by SAS Design.
Bibliography Carsten, Nicolai (2009) Grids Index. Berlin, Gestalten. Ambrose, Gavin (2006) The Fundamentals of Typography. Lausanne, AVA Academia. Banksy (2006) Wall and Peace. London, Century.
Websites http://datavisualization.ch/ http://www.good.is/post/the-neighborhood-flags-project/ http://printpattern.blogspot.com/ http://www.swiss-miss.com/ http://sessions.tutsplus.com/creative/ http://ffffound.com/
Visits SAS Design, London Pick Me Up, Somerset House, London Van Doesburg and the International Avant-Garde, TATE Modern, London