INFORMATION DESIGN // SUMMER 2012 //BOOK DIS VISUAL ICON CHARETTE ASSIGNMENT ONE: DISPLAY TYPOGRAPHY IN CITIES ASSIGNMENT TWO: NEW IDENTITY AND GRAPHICS FOR PALADS 10 PHOTOS A DAY: VISUAL JOURNAL FOR STUDY ABROAD SOUVENIERS & THANKS
DIS IMMERSION & ACTIVITIES FAIR
DIS IMMERSION AND ACTIVITIES FAIR
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
VISUAL ICON // CHARETTE
ACTIVITY ICONS ABSTRACTED FROM LOGO
MAIN BRANDING LOGO
FAITH
The purpose of the event is to provide information about extracurricular activities provided by DIS as well as outside organizations. Groups and clubs cater mostly to students who play sports, volunteer, have different religious beliefs and sexual orientations, as well as those who are looking to travel.
ACTIVITIES & IMMERSION FAIR
CHARETTE PROMPT AND TIME FRAME
SPORTS
“We are looking for a recognizable visual icon for the DIS Activities and Immersion Fair that will give a sense of identity, make the event attractive to a young audience, and tell a story of what the event is about”
DIS ACTIVITIES LEISURE
WHAT IS THE DIS ACTIVITIES AND IMMERSION FAIR?
We were given a day to come up with an icon to brand fair and show it in different contexts. WHERE IT WILL BE FEATURED
BLACK AND WHITE VERSION
BLACK AND WHITE (EASILY) PRINTABLE ICON
- balloons - staff T-shirts - Banners (tall standup banner, hanging vinyl & table top banner) - Letter header - Posters behind tables (organizations would be branded along side the fair branding)
ACTIVITIES & IMMERSION FAIR
ICON CONCEPT I first tried to gather what I understand to be a Danish icon - of course the flag, the little mermaid, bikes, and windmills came to mind. Then I thought about what immersion is and how to visually represent it - water, inter-weaving and folding came to mind Thus a folded and interlocking pinwheel became the basis for the icon. MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
DIS IMMERSION AND ACTIVITIES FAIR
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
VISUAL ICON // CHARETTE
BALLOONS WITH ICON GRAPHIC
TALL HANGING BANNER DIRECTORY & WAYFINDING
LETTERHEAD - A4 STANDARD
ACTIVITIES & IMMERSION FAIR
SPORTS
ACTIVITIES & IMMERSION FAIR
Copenhagen Hockey Club Bisben Barbarians Flag Football ØKF (Soccer Club) Københavens Aikido Klub USG Vanpolo DIS ACTIVITIES
TABLE BANNERS
DIS ACTIVITIES
Study Tours DIS Visiting Family Dynamic Project Leadership DIS Buddy Network Sustainability Task Force
Vestergade 7 DK 1456 Copenhagen K
FAITH København Vinyard (Christian) ChabaDanmark (Jewish Orthadox) Mosaisk Trossamfund Shir Hatzafon (Jewish Reformed) KFS (Kristen foening for Studerende)
LEISURE
USE OF THE VISUAL ICON The icon can be abstracted to become recognizable banners and be used for way-finding purposes. The use of a pin-wheels four fins also conveniently fits the need to divide and organize the activities by type, which there are four - DIS activities, Sports, Faith and Leisure. TYPEFACES
Global Student Cop International School Københavns Biblioteker Democrats Abroad Denmark
SIGNA
(DIS LOGO STANDARD)
Immersion Fair
CALIBRI ITALIC
(DIS STANDARD)
Study Tours
CALIBRI
(DIS STANDARD)
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
DISPLAY TYPOGRAPHY IN CITIES
01
CASE STUDY
COPENHAGEN
Left: many boutiques and smaller shops such as Liebt are actually located a level below the street and have smaller display windows than stores that belong to the outdoor mall
MELISSA MIYAMOTO-MILLS // ID STUDIO SU 2012
DISPLAY TYPOGRAPHY & OVERVIEW
Historically, Copenhagen has always been a city of commerce. The city was originally named Køpmannæhafn, which means “merchants’ harbour” or “buyer’s haven.” The core of the city still holds its medieval layout and thus, many of its streets still meander through narrow cobblestone alleys. Not surprisingsly, many shops can be found all along these cozy streets. While there are still many of the store fronts along Strøget boast large floor to ceiling display windows, smaller shops make use of smaller openings. Often, to enter these smaller shops, one must take a few steps down to a level below the street. These shops often have two to six smaller windows located at street level rather than one large main window. So what does this mean for display typography? As Dan, my partner for assignment one, pointed out, the architecture of the older buildings - and the placement, size, and number of windows informs the layout of the type. Each window on its own must be display. The space between windows create the columns and gutters that guide the type and the type must be designed and placed within the workable area to create a composition. In CPH the typeface and type color often reflected what kind of things would be found the stores. The store “Liebt” used playful colors - blue, pink, yellow, and orange as well as rounded letters that appear fun and childish. Understandably, Liebt sold designed trinkets as well as children’s toys. Because the stores are not highly advertised, they use their type as a means of capturing interest and communicating their identity. While I would say the smaller display type mentioned above is most characteristic of Copenhagen, I also observed innovative typography used in the busier more internationalized shopping areas. On Strøget, stores such as Vero Moda (which I have never seen in the states) began to play with type and how it was displayed. Letters were used as a textile on a very small scale (as seen on manikins to the right) but also on a much larger scale - even as stand alone objects (see large “V” above and right). The single “V” becomes a statement, despite only being discovered once inside the store. I believe this strategy is intended to build a more recognizable identity. The typography can play with materiality (the “V” was covered in polaroids) and be much more ambiguous - thus sparking curiosity and further investigation. This kind ambiguity was best mastered, in my opinion however, by the very famous Danish brand Nørgaard Strøget - they’re mirrored letters can only be read once close enough to view the clothes in the display. In general, I feel that Copenhagen’s display typography reflects two strong identities - the individualized quirkiness of smaller boutiques and the experimental nature represented in the innovative quality of Scandinavian design even in an internationalized setting.
Below: Stores with identities as strong as Norgaard Stroget in Copenhagen can play with materiality in their logo and display typography. It appears hidden or ambiguous from afar and delightfully reflective and clear as the viewer approaches
Above: While Vero Moda, be more international in its look (and less specific to KBH), the bold creative use of oversized type as well as use of type as a pattern or textile relfects the Scandanavian innovative design approach
CASE STUDY
H E L S I N K I MELISSA MIYAMOTO-MILLS // ID STUDIO SU 2012
DISPLAY TYPOGRAPHY & OVERVIEW
02
It was very interesting to arrive in Helsinki after having experienced the more rural areas of Finland first on our study tour. The landscape switched abruptly from the expansive forests of tall and skinny Finnish trees to the wide-car-dominated intersections of the city. On our first night out I was soon bombarded with logo collaged highrises and very large text that was often back lit for emphasis. While walking down the main streets or through the main shopping areas, it often felt like the big stores were competing for my attention. However, I found that this hugeness and obviousness caused me to lose interest or attention. I began to overlook many of the signs despite their dominance, perhaps, maybe, because I was uninterested in experiencing the mall or mainstream as I was on a study tour, but perhaps also because they were so obvious. I did, however, notice the prevalence of neon tubing in signs (unfortunately not extensively photographed). Johan explained that many of those signs were original from the rise of Helsinki as a city center. I then started to notice the neon lettering as something that gave Helsinki character and charm rather than simply sensory stimulation. At the same time, however, I still did not feel the same kind of strong cultural or national identity that I felt in both Copenhagen. Despite this, In 2009, Helsinki was chosen to be the World Design Capital for 2012 by the International Council of Societies of Industrial Design and there were many things that sparked my interest aside from “display” or store front typography. Unfortunately, many of these exhibits were closed during our stay. However, all throughout the city, type and graphics were used - on bus stops, bike racks, and on the ground, as a means of way-finding and branding the city as a design capital. The placement of type the on sidewalks and paths caught my attention and interest much more than the stacked logos I mentioned earlier. The basic shapes used also helped with clarity and recognition. The actual type became less important as I easily recognized the white thin text against a blue circle, after only seeing it once before. In this case, the text/typography itself was much more minimal and subtle because it in itself did not need to communicate a message or identity (as did store fronts in Copenhagen). The exhibit at the Kaisma, however, displayed many ways type can be used and manipulated to make a display more complex and add meaning. However, in general I think that Helsinki under utilizes display typography or rather, type for store frontage if the intent is to create an national identity. I could feel the energy of design pulsing through the city every time I stopped at an installation or followed the blue triangles and circles on the street but it still may be some time before I can truly recognize a style of display typography as being distinctly from Helsinki.
LEFT: Unlike Denmark, many of Helsinki’s stores are parts of stacked mega-malls. The signage can be read from a car and is designed to be read at a glance at higher passer-by speeds. ABOVE/LEFT: (top-down) The type display for the Camouflage exhibit at the Kiasma sparked intrigue with varying colors - blue, grey, and black which changed the legibility in addition to the patterned fill of the exhibits title. In stark contrast - the type for the restaurant “Fazer” leaves little for the onlooker to discover or ponder although the letters fit the frame of the doorway nicely and the neon adds punch.
ABOVE & RIGHT: Other type and graphics take attention away from the larger display window. Personally, I found these much more interesting than the huge signs and text.
ABOVE: Protest and Activism camouflaged on a chair as part of the exhibit at the Kiasma
03
CASE STUDY
S T O C K H O L M MELISSA
MIYAMOTO-MILLS
//
ID
STUDIO
SU
2012
DISPLAY TYPOGRAPHY & OVERVIEW In old Stockholm, many of the signs were flags. The type was unobtrusive despite the protruding nature of the flags, and even then the flags were usually located on the larger streets that opened to the water. These areas, however, were more frequently visited by tourists than by actual citizens. Similar to Denmark’s smaller shops, the flags help give stores an identity, however, this ABOVE: Flags in Old Stockholm “identity” may be less genuine and serve more as a tourist attraction. The type here did not have to match the constraints of the architecture and was not aimed at servicing the locals. In modern Stolkholm, however, more specifically, Sergels Torg and the Kulturhuset, type was used to make displays more interesting and engaged the onlooker. For example, the Kulterhuset was designed so that those in the plaza could see what was happening in the building and also so that those inside could observe outside. The use of large vinyl text on the fully glazed facade (facing the plaza) provides a visual composition for those looking in from the plaza as well as an experience for those looking out. The scale of the letters make them appear as more of a pattern from the inside as the scope of vision changes. Differences in light quality and their effects on type and display were also present at Sergels Torg. One of the plaza’s most prominent features is its fountain and lower shopping center. Natural light that filters through fountain water to the signs on the lower plaza create an rippling effect that peaks the curiosity of the user. It also creates a kind of movement with in the space. White letters are more easily visible and illuminated making the need for backlighting unnecessary despite the store being located underground. Above ground, it was the orientation of the type (see examples to the right) that became more important on ground level to peak the interest of the plaza users. Similarly, the entrances to the main mall used a bright transparent blue lit with LEDs to enhance clarity and draw users in. Overall, I found that Stockholm’s use of type was playful and interesting but I did not find it particularly cohesive. Where Copenhagen retained its old city plan and much of its architecture and national identity, to me, it seems that Stockholm is much more internationalized. Thus, I found that the display typography reflected many styles and influences outside of the city itself.
LEFT: Large vinyl type across the windows of the Kulturehusset are backlit by natural daylight and can be peered though to the plaza below
LIGHT - natural and artificial, as well as type size and orientation make the typography found at Sergels Torg and the Kulturehusset interactive and thought provoking.
ABOVE: Orange spiraling type is playful. This draws onlookers and also leads passer-bys into a new area in the plaza. RIGHT: The main mall’s name is composed of LED lit letters composed into a square. While the type is arranged in a way that is not obvious, the artificial light is dominates the clear cube it is fixed to.
NEW IDENTITY & GRAPHICS FOR PALADS
EXISTING SIGNAGE AT PALADS
DIS INFORMATION STUDIO// SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
EXISTING CONDITIONS SUMMARY
EXISTING EXTERIOR FACADE
-advertsisements and redundant LED information screens clutter and obscure the architecture of the space -light is used as a guide but is used in a way that is not very tackful -user kiosks cause conjestion in the main vestibule and should be streamlined -round information kiosks often get in way of viewer and take up a lot of space within the main atrium
ELECTRONIC KIOSKS
signage locations andAND materials INCONSISTENT, EXCESSIVE, CLUTTERED SIGNAGE
EXISTING PROGRAMATIC PLAN
DIMENSIONS & PLACEMENT // OBSERVED ISSUES
first floor entry level consession snacks tickets & information theatres cafe/coke lounge
colored tube lights used as a main guide up the stairs and signs on main display use backlights movie times and promo posters
STAFF KIOSKS
see sketch
directional signs for movie theatres
pixar lounge downstairs/basement
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE THE MAGNETIC PULL // CENTER FOR THE ARTS
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
A NEW IDENTITY FOR THE PALADS THEATRE
THE MAGNETIC PULL
THE MAGNETIC PULL - CENTER FOR THE ARTS
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
CONCEPT INTRODUCTION For this project, the interior architecture students adopted a new program for theatre that understandably shaped how one moves throughout the space. This change in the building’s function also shifted how it should be recognized. As a graphic design and information design student, I was responsible for re-branding theatre to help communicate my partner, Emi Katagiri’s, intent for the new Palads as well as creating integrated way-finding systems to help navigate the space. When Palads opened in 1912 it was the largest cinema in Northern Europe. Since then, it has been demolished and rebuilt in new baroque style In 1989 the facade was painted in playful candy-floss colors. While the rainbow color palette attracts a lot of attention, the various interior remodelings over the years and huge increase in advertisement placement has created a lot of visual noise and chaos. NEW PROGRAM In our renovation, Emi has evolved the current megamovie complex into a center for the arts - The space still includes several sizable theatres for film and live performance, but now also includes rentable studio spaces for local artists as well as a gallery space for them to display their work. It is our intention to create an aesthetic more suitable for a more refined culture center that would allure people with its architecture, events, and contemporary art in contrast to its current circus-like appeal.
MAGNETIC POLE ATTRACTION + SITE @ AXELTORV FIRST DEVELOPED GRAPHIC FOR PALADS NEW IDENTITY AS THE MAGNETIC PULL
ACCESS TO THE SPACE
SIGNAGE OPPORTUNITIES
SEEN ON BUS
SEEN ON BIKE
SEEN ON FOOT
use of b/w for graphic indicates simplification as well as polarity
NEW IDENTITY Located at Axeltorv near Central Station this new center for the arts will be the main attraction and major draw to the plaza. It pulls people in from all walks of life; and just as the polarity in a magnet’s north and south pole can swap, the artwork and life within the building interchanges as different artists rent spaces and bring new life to the building. Additionally, these tenants will provide work for monthly exhibitions and maintain this center of the arts as a magnetic and dynamic space. The new Palads, now known as “The Magnetic Pull” - A center for the arts - or simply “The Pull” will serve as a community hub yet also offers visitors a taste of culture for tourists and visitors as it offers a variety of art/entertainment and pleasantries for all ages.
MAGNETISM & VISUAL INSPIRATION
pinched lines convey attracting forces and movement/change
BUILT INSPIRATION (LEFT TO RIGHT: interior @Palads, pop-up exhibition in Gammeltorv, ALDO backlit signage, existing back lit signage,
cube @ Bella Center)
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
TYPE STUDY & LOGO DEVELOPMENT
N
s
FIRST LOGO CONCEPT
LOGO DEVELOPMENT
A key aspect of The Magnetic Pull campaign is to refocus attention to the building’s architecture. Thus, this iteration experiments with a motif based on the theatre’s iconic archways.
What the first logo lacked was connection and continuity with the idea and concept of “The Magnetic Pull.” Thus a new logo developed inspired by the Avante Go typeface and the black and white identity graphic I first created.
ARCHWAY MOTIF - LOGO
TYPEFACE - AVANT GO
THE MAGNETIC PULL
sketch 1 black and white blocked out logo with full name underneath
THE MAGNETIC PULL
TYPEFACES When choosing typefaces for The Magnetic Pull, it was important that the letters be alluring themselves yet not too bold. The choice to use thinner letters helps brand the space as more refined and delicate, while a little irregularity sparks curiosity and interest.
playing with the slant of the “M” as a means of integrating letter with image
exaggerated slant implies movement “N” serves as a midpoint where polarized attractive forces act
variation 1a incorporates the program of the building (painting) to relate the logo to the identity as a center for the arts
“M” resembles arrows that make the name look more like a graphic than a word
variation 2b experiment with color and possible logo for online media
EXPERIMENT WITH “N” HIGHLIGHT AND GRAPHIC LETTERING
variation 1c black and white blocking from first version experimenting with materiality for potential tickets
DIRECTIONAL/TRIANGULATION - SKETCHES
after deciding on a basic outline I made iterations of different shading and hidden lines to create different depths - including a black and white version I also experimented with different orientations of the graphic and placement of the letter icon
BEGINNING OF ONLINE ICON
ABBRVIATED GRAPHIC
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
TYPE STUDY & LOGO IN CONTEXT
A4 STANDARD LETTERHEAD 1.5 CM
EXPERIMENTS WITH COLOR HIGHLIGHTS blue seems out of context (although later used in mobile app), inconsistent with general aesthetic of logo
1.5 CM
THE MAGNETIC PULL Axeltorv 9
-
1609 Københaven V
-
T: 70 13 12 11
CENTER FOR THE ARTS
1.5 CM
THE MAGNETIC PULL
grey is subtle yet makes the whole name/graphic much less legible
Jeanette Hendeliowitz Vestergade 7 DK 1456 Copenhagen K Denmark
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BLACK AND WHITE SPLICE ITERATIONS the weight and contrast of the splice create an interesting graphic that resembles the polarity of a magnet, however as a sign it is hard to read. perhaps could be used in a magazine ad where more artistic liberty exists
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BLACK AND GREY SPLICE ITERATIONS
THE MAGNETIC PULL
a more muted version of the black and white splice. while more legible it also becomes less interesting
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Med venlig hilsen,
THE MAGNETIC PULL
Joeseph Smith Manager
4 CM
jsmith@thepull.dk
SIMPLE BLACK NEGATIVE - FLUSH LETTERS
THE MAGNETIC PULL
1.5 CM the letters become lost instead of being highlighted and the graphic is much less powerful
1 CM
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
LOGO IN CONTEXT
BUSINESS CARDS (SMALL CONTEXT) SCALE = 1:1
BANNER (LARGER CONTEXT)
2.5 M
LOGO DETAILS THE MAGANETIC PULL center for the arts
2 CM
JOSEPH SMITH MANAGER email: jsmith@thepull.dk
SILVER REFLECTIVE BAND
10 M
THE MAGANETIC PULL center for the arts
5.5 CM
JOSEPH SMITH MANAGER email: jsmith@thepull.dk ABSTRACTED LOGO GRAPHIC
WHAT DRAWS YOU? CMYK 0/0/0/0 RGB 255/255/255 HTML FFFFFF
CMYK 0/0/0/100 RGB 0/0/0 HTML 000000
SIZABLE LOGO AT EYE LEVEL LOCATED AT FOOT OF HANGING BANNER
CMYK 0/0/0/10 RGB 230/231/232 HTML
8.5 CM
ANIMATION
1M
THE MAGNETIC PULL
center for the arts
CONGRADULATIONS! your ticket has been verified... enjoy the show!
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MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
GRAPHIC IN CONTEXT & SECONDARY TYPEFACES
SECONDARY TYPFACE EUROPEAN UNDERGROUND
MAGAZINE ADVERTISMENT / PROMOTION
INTRODUCING THE MAGNETIC PULL CENTER FOR THE ARTS
super thin letters are unobtrusive and take more time to read, but graphic should be identifiable enough to avoid losing understanding
INTRODUCING THE MAGNETIC PULL THIRD TYPEFACE CENTURY GOTHIC
QR CODE BRINGS YOU TO WEBSITE THE MAGNETIC PULL
while still a thinner typeface, century gothic is a very legible san serif. this typeface is used for all information and wayfinding purposes
CENTER FOR THE ARTS
UPPERCASE (MAGAZINE AD)
@AXELTORV, NEAR CENTRAL STATION visit online @ thepull.dk
center for the arts
LOWER CASE (HANGING BANNER)
FRONT SIGNAGE DETAILS
1M
PAINTED BLACK STEEL LETTERS
WHITE ACRYLIC BACK PLANE (BACKLIT)
FRONT BUILDING SIGN
FRONT BUILDING SIGN
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
MODES OF TRANSPORATION & POTENTIAL EXTERIOR SIGNAGE LOCATIONS
BUS STOPS ALONG AXELTORV - TAKEN FROM GOOGLE MAPS STREET VIEW
SIGNAGE OPPORTUNITIES
RAILWAY, CAR, BUS, BIKE & WALKING ALONG HAMMERICHSGADE
BICYCLE PARKING OFF OF STUDIESTRAEDE
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
POTENTIAL PROMOTIONAL SIGNAGE LOCATIONS
NOV. 1. 2011 CELEBRATING THE ART OF DANCE
THE MAGNETIC PULL @AXELTORV, NEAR CENTRAL STATION visit online @ thepull.dk
PROMOTIONAL ADS FOR THE CENTER ITSELF SPANS BUSES THAT FREQUENT AXELTORV
MONTHLY FEATURED EVENTS DISPLAYED IN FRONT OF THE BUILDING
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE THE MAGNETIC PULL // CENTER FOR THE ARTS
LOGO & EXTERIOR WAY-FINDING INTEGRATION IN THE PLAZA
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
POSSIBILITY FOR LOGO TO BECOME DIRECTIONAL GRAPHICS ON THE GROUND
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
PALADS BEFORE & AFTER OBVIOUS & DISTRACTING Palads current candy-floss palette includes over six colors that are in no way related to the promotional posters or signage systems. The color scheme resembles a circus more closely than a movie theatre, but more importantly, there is no continuation of playful theme inside and thus there is no real reason for using such distracting colors.
CURIOUS & ATTRACTING A more reserved and simplified palette shifts the viewers attention to the architectural detailing of the building. Additionally, adding signage that appropriately fits the architecture, rather than at a random heights independent of column spacing, actually improves the aesthetic while also serving an informative function. The banners feature a key image that catches a passerby’s attention, yet they must come closer to actually inspect what it is they are attracted to. It is intentional that the viewer has to approach the building to read the finer text.
KEY ASPECTS - toned down paint job and signage highlight architecture - signage respects and responds to architectural form - banner graphic is noticeable/recognizable from afar however draws people in for a closer look
- exterior better reflects interior aesthetic
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
INTERIOR WAY-FINDING & SIGNAGE LAYOUT FLOW DIAGRAMS
BACK OF HOUSE/STAFF
COFFE BAR (LOUNGE)
STUDIO (3)
STUDIO (2)
WC
STUDIO (1)
SM. THEATRE (poetry/music)
OPEN TO BELOW
CAFE CLASSROOM MEETING ROOM
GALLERY
SECOND FLOOR
BACK OF HOUSE/STAFF WC
BAR
FILM THEATRE
KITCHEN LOUNGE AREA
CAFE
FILM SNACK BAR
TICKET S
T ICKETS
FIRST FLOOR SIGNAGE SYSTEM EXPLANATION
KEY - SIGNAGE TYPES
3
There are three main entries all of which are met with a “PRIMARY OR GENERAL” sign that point in the direction in which to purchase tickets. The right and left entries are met with hanging (25 cm x 10 cm) signs, while the center is met with a more decorative logo inspired hanging cube (see drawing)
PRIMARY/GENERAL SIGN
Once through the entry a “FLAG SIGN” (sign that extends above doorway in the cooridor) which gives the user an easy visual que to where programmatic elements are located ex. cafe, bar, theater...etc.
SECONDARY/SPECIFIC SIGN
2
1
FLAG SIGNS
FLOOR PLANS (RAISED/TEXTURED)
POSSIBLE EXITS
Lastly, the user approaches a “SECONDARY/SPECIFIC” sign which is simply a plaque or larger spanning sign that confirms what the space is.
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
NEW SIGNAGE SYSTEM SLIDING CLEAR ACRYLIC PROTECTIVE SLIP
SIGNAGE MATERIALS
25 CM
INTERCHANGEABLE STUDIO PLAQUE - NAME PLATES
CLEAR ACRYLIC INTERCHANGABLE STUDIO SIGNS
10 CM
JACOB ARNOLD - PAINTING
ALUMINUM
YOUR NAME - ART TYPE
PLAQUE SIGNS AND BANDS THAT SPAN FLAG SIGNS
PAPER SLIP PRINTED FOR EACH NEW TENANT
studio 1
BLACK MATTE ACRYLIC FLAG SIGNS & BATHROOMS
SPECIFIC SIGN PLAQUE
10 CM
tickets
bio 1 20 CM 80 CM
SPECIFIC BATHROOM SIGNS TO BE MOUNTED ON DOORS
gallery
25 CM
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE THE MAGNETIC PULL // CENTER FOR THE ARTS
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
REPLACING INCONSISTENT & EXCESSIVE SIGNAGE acrylic logo motif backlit with leds that match the color (which changes) of the stairs - here shown in red “mp” logo in the center also backlit with leds/ same materials as front signage - black painted steel and white acrylic back panel wall graphics are integrated with architecture and are not disruptive or distracting as well as easily legible placement of these more decorative fixtures will discourage placement of excessive advertisements and preserve the simple and clean aesthetic of the space
EXISTING ENTRYWAY
EXISTING SIGNAGE - theatre navigation uses several different typefaces, colors, and sizes which causes confusion - ads and kiosks clutter the atrium and convolute the ticket/show information
tickets
tickets
- architecture and spatial quality of the building is lost behind unncessary distractions
ALTERNATIVE GENERAL SIGN
hung with silver steel wire that reflects light and creates an abstraction of mp logo
ets tick
tickets
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
SECTION VIEW OF ONE NAVIGATION PATH
2 gallery
bar
artist’s studios
1 SIGN FOR CAFE
3
2
1
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
PICTOGRAM-ED PLAN WAYFINDING PICTOGRAM / ICON LIBRARY
TICKETS
INFORMATION
CAFE
DINING
BAR
GALLERY
THEATRE
POETRY/MUSIC
PLAN WAYFINDING STATION TO BE LOCATED AT THE FOOT OF THE GRAND STAIRCASE - raised outlines and brail for the blind - pictogram / icon library as secondary information
MAIN HALL
STUDIOS
RESTROOMS
MEETING ROOM
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
THE MAGNETIC PULL - ONLINE WEB PAGE
CENTER FOR THE ARTS
CENTER FOR THE ARTS
CONTENT PAGE - STUDIO RENTALS
HOME PAGE The website is the easiest way to find out what exhibits are open for the current month and it explains how to contact The Pull about renting out a studio. People can easily find the site by using QR codes found on posters and in magazine ads.
KEY FEATURE - INTERACTIVE CALENDAR While all artists must apply for studio space and submit a portfolio with examples of their work before being approved - the calendar online can help them plan when to apply and how to get in contact with those in charge of studio rentals.
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
THE MAGNETIC PULL - ON YOUR PHONE MOBILE APPLICATION
THE MAGNETIC PULL MOBILE APP
Magnetic Pull
BACK
T: 70 13 12 11
home
IPHONE HOME SCREEN
events/exhibits
search...
Åbningstider: Alle ugens dage: 9.30-21.45 Fredag og lørdag aften er der tillige åbent til midnat
Axeltorv 9 1609 København V
Magnetic Pull
INFORMATION
MORE INFO
films
Børnebillet (under 12 år): 60 check-in
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APP HOME SCREEN
vents/exhibits
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GENERAL INFORMATION includes: address, hours, ticket prices, and search function
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vents/exhibits
films
check-in
SIMPLIFIED QUICK BUTTONS FOR MOST COMMONLY USED FUNCTIONS
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
EXAMPLE TICKET THE MAGNETIC PULL
NOW FEATURING:
THE MAGNETIC PULL
NOW FEATURING:
BACK
SUBMARINE
Rated: R (97 min) Director: Richard Ayoade 15-year-old Oliver Tate has two objectives: To lose his virginity before his next birthday, and to extinguish the flame between his mother and an ex-lover who has resurfaced in her life.
WITH NEWLY OBTAINED INFORMATION ONE CAN EITHER PURCHASE TICKETS ONLINE OR AT THE DOOR
TODAY: 10:30 13:45 14:45 15:45 18:00 23:45
CLICK FOR SHOWTIMES
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“QR” quick response code can be scanned with smart phone which brings you to the website or can be used to check into avoid long lines
heck-in
IF YOU HAVEN’T YET PURCHASED A TICKET, YOU CAN ROWSE MOVIES HERE
SMART PHONE CHECK-IN
already purchased your ticket? no more waiting in line just scan your QR code here!
scan here >>
checking in... homee
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CONGRADULATIONS! your ticket has been verified... enjoy the show!
the check in que uses the logo as a time-turner animation that spins as it processes ... home
events/exhibits
filmsc
heck-in
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
EXTENDING LOGO & IDENTITY TO THE PLAZA
ABSTRACTING THE LOGO - INTERACTIVE SCULPTURE/FOUNTAIN By means of further branding the plaza as a part of the magnetic pull, a sculpture that resembles the new logo will increase the recognition of the space as well as serve as a identifiable landmark for the space. The materiality of the sculpture could spark curiosity and draw people to the plaza. While some of the planes would be solid colors (black,white, or brushed steel or aluminum) some would be mirrored. The sculpture would then reflect pieces of the plaza, dematerializing its structure and entertaining onlookers. Furthermore, people would be able to walk through the sculpture which on hot days could also double as a fountain. People can interact with the water and their own reflections which will likely be very attractive features. LOGISTICS: The three structures would be tied together with steel wire at their midpoint above head height and held to the foundation with hidden tied steel and concrete footings.
INSPIRATION (LEFT TO RIGHT) ARNAUD LAPIERRE’S cylinder of mirrors at the center of the place vendome in paris CHRISSIE ABBOTT’S graphic design work
REFLECTIVE/MIRRORED FACES
CONCEPT
PLAN VIEW TO THE MAGNETIC PULL
MIRRORED SURFACE
MIRRORED SURFACE
LOGO
TE TA RO ) 3 x (
ELSEWHERE IN THE PLAZA
D
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
CREATING A NEW IDENTITY & GRAPHICS FOR PALADS THEATRE
DIS INFORMATION STUDIO // SUMMER 2012 VESTERGRADE 7 DK 1456 CPH, DENMARK
THE MAGNETIC PULL // CENTER FOR THE ARTS
POSTCARDS // TAKE-AWAY SOUVENIERS
STANDARD POSTCARD SCALE = 1:1
14.8 CM
IN BLACK AND WHITE iconic graphic without text
IN COLOR gives idea of interior design and pattern but is offset with modern abbreviated iconic typeface
10.5 CM
MAGNETIC NORTH AND SOUTH POLES the magnetic pull’s forces taken literally but with superimposed graphic recognized from large banners spanning the building
MELISSA MIYAMOTO-MILLS // UC BERKELEY, CALIFORNIA, USA
Y DA A S TO PHO 10
STUDY ABROAD VISUAL JOURNAL
DIS // SUMMER 2012 WEEK ONE
DENMARKLANDIA // 10PHOTOS A DAY FIRST TIME IN THE CITY
DAY ONE OF SCHOOL MON. 6. 18.
DAY TWO TUES. 6. 19
DIS // SUMMER 2012 WEEK ONE
DENMARKLANDIA // 10PHOTOS A DAY
DAY THREE WED. 6. 20
DAY FOUR THURS. 6. 21
DIS // SUMMER 2012 WEEK ONE
DENMARKLANDIA // 10PHOTOS A DAY
DAY FIVE FRI. 6. 22
WEEK TWO
DAY SIX MON. 6. 25
DIS // SUMMER 2012 WEEKTWO
DENMARKLANDIA // 10PHOTOS A DAY
DAY SEVEN TUES. 6. 26
DAY EIGHT WED. 6. 27
DIS // SUMMER 2012
DENMARKLANDIA // 10PHOTOS A DAY
WEEKTWO
DAY NINE THURS. 6. 28
WEEK THREE LONG STUDY TOUR SWEDEN & FINLAND
SKIP FRI >> DAY ELEVEN AT. 6. 30
DIS // SUMMER 2012 WEEK THREE
DENMARKLANDIA // 10PHOTOS A DAY
DAY TWELVE SUN. 7.01
WEEK FOUR
DAY THIRTEEN MON . 7.02
DIS // SUMMER 2012 WEEK FOUR
DENMARKLANDIA // 10PHOTOS A DAY
DAY FOURTEEN TUES. 7. 03
DAY FIFTEEN WED. 7. 04
DIS // SUMMER 2012 WEEK FOUR
DENMARKLANDIA // 10PHOTOS A DAY
DAY SIXTEEN THURS. 7.05
DAY SEVENTEEN FRI. 7.06
DIS // SUMMER 2012 WEEK FOUR
DENMARKLANDIA // 10PHOTOS A DAY
DAY EIGHTEEN SAT. 7.07
WEEK FIVE
RETURN FROM STUDY TOUR
DAY NINETEEN MON. 7.09
DIS // SUMMER 2012 WEEK FIVE
DENMARKLANDIA // 10PHOTOS A DAY
DAY TWENTY TUES. 7.10
DAY TWENTY-ONE WED. 7.11
DENMARKLANDIA // 10PHOTOS A DAY
DAY TWENTY-TWO THURS. 7. 12
DAY TWENTY-THREE FRI. 7. 13
DIS // SUMMER 2012 WEEK FIVE
DENMARKLANDIA // 10PHOTOS A DAY
DIS // SUMMER 2012 WEEK SIX
DAY TWENTY-FOUR MON. 7. 16 WEEK SIX
DAY TWENTY-FIVE TUES. 7.17
DENMARKLANDIA // 10PHOTOS A DAY
DAY TWENTY-SIX WED. 7. 18
START SHORT STUDY TOUR WESTERN DENMARK
DAY TWENTY-SEVEN THURS. 7. 19
DIS // SUMMER 2012 WEEK SIX
DENMARKLANDIA // 10PHOTOS A DAY
DAY TWENTY-EIGHT FRI. 7.20
DAY TWENTY-NINE SAT. 7. 21
DIS // SUMMER 2012 WEEK SIX
DENMARKLANDIA // 10PHOTOS A DAY
DIS // SUMMER 2012 WEEK SIX
DAY TWENTY-NINE >>CONTINUED
WEEK SEVEN
FINAL PUSH FOR FINAL REVIEW WEEK OF 7.23 >> 7.30
DAY THIRTY SKIP TO >>TUES. 7.24
MY PARENTS FOR MAKING THIS EXPERIENCE POSSIBLE & TO JEANETTE HENDELIOWITZ MY PROFESSOR THIS SUMMER