Test 4 by Nick Cook

Contents

Introduction 01-4

Colours 05-8

Typography 09-30

Brand Values and Vision

Hues of Sea Green

The Need for a Rebrand

Other Colours of Southampton Airport

Choosing the Right Style 07

Making Legible Typography The Aeris Family Typeface Comparison

Pictograms 01-4

Way-finding 05-8

Who, What, Why & Where

How the Pictograms Were Designed Pictogram Comparison

Hues of Sea Green 03

Other Colours of Southampton Airport

012 014

INTRODUCTION Idea & Progression

A distinctive brand is a way of projecting a unique, clear and consistent impression of a product, service or place. Southampton Airports re-brand is designed to help people to understand what is special about the Airport, and what to expect from it as a place to visit, and do business in.

Southampton Airpor t Vision

Brand Values & Visions

My objectives are to research and

The intended outcome of the project will

investigate all areas of designing for

be a new and better Way-finding system

transportation and Way-finding systems.

and identity, which will better express the

Taken the research and turning it into a

ideas and aims of the company.

step by step process of the project. Finally creating a new corporate identity for the

A place that people naturally gravitate

airport, which includes a bespoke

towards for a high quality experience in

typeface, logo, bespoke Way-finding

all aspects of and airport and that people

system, and paper products.

are proud to promote

When you think about an airport, innovative

A place that is both confident in its role at

and interesting aren’t exactly the first things

the heart of the region, that stimulates

that spring to mind – but it doesn’t have to

development outside its boundaries and

be that way. When I decided to rebrand

which is valued beyond the city region.

Southampton airport, I knew I wanted to create something that was much more than

A place which promotes health and

just a logo and a business card: I wanted to

well-being and continuously improves the

challenge preconceived perceptions about

quality of the airport experience.

what an airport has to be. My project takes something traditionally outdated and plain like an airport, and turns it into a unique and exciting experience for passengers and staff alike. Airports don’t have to be stressful. A major part of the project is about improving the user experience of airline travel. I have done this updating and making the way-finding system more involved, offering a more peaceful and enjoyable experience for passengers. the approach to the design will hands on investigation, gathering relevant research to be able to fully inform myself of the best techniques and resources to use in creating and designing the bespoke corporate identity.

These brand values are the core set of associations that together represent what the airport of Southampton stands for.

The values inform the creative brief for all aspects of Airport design and communications.

They are inherent in all Southampton Airports visual outputs, messages and in the physical environment.

High quality is the underlying attribute that should infuse every experience of the brand.

The need for a rebrand

Effective Brands are constantly evolving. Even the worlds most iconic brands are in a constant state change. This does not necessarily mean revolutionary change. Often it is a gentle evolutionary shift over time to keep a brand in touch and relevant with a changing world. Rebranding can either be 'Evolutionary' or 'Revolutionary' but regardless of the process, the intention for rebranding is always the same: To differentiate the business or service in the minds of their target market.' Rebranding can also be one of the most rewarding and transformational undertakings an established business can make. However rebranding a business needs to be done for the right reasons:

Need to differentiate the business from competitors. Many industry's are very competitive and have a

In the life cycle of a business - a business will often begin, and experience growth, without necessarily

large "middle tier" i.e.;

having a professionally

where the majority of

designed brand. However

businesses sit in terms of

Rebranding becomes a

competitive advantage.

crucial step for businesses

Usually the Mid Tier is

to be taken seriously as

undifferentiated and most

they expand into more

businesses struggle to

aggressive markets.

demonstrate an advantage in service. E.g. The Financial Services industry.

To remain relevant to consumers in a changing market place. This is particularly appropriate to retail businesses. To shed a negative perception of image from the past.i

COLOURS A New Look

hues of sea green

Deep Sea Green 100c 27y 75k PMS 316 RX GX BX

Deep Sea Blue 100c 27y 75k

Sea Blue 100c 33y 67k

Light Grey 5k

Mid Grey 40k

Sea Foam Green 58c 32m 54y 7k

Mid Sea Foam Green 52c 24m 47y 1.5k

The city itself is visually represented by the colour sea green. The base Southampton sea green is complemented by a family of hues which are used to add visual richness, depth and range to the base colour.

Mid Sea Blue 100c 31y 23k

Light Charcoal 90k

Sea Foam Green 42c 17m 39y

Bright Sea Bue 100c 27y 0k

Charcoal 92k

Sea Foam Grey 100c 27y 21k

other colours of Southampton airport

Red 90m 85y

Deep Orange 80c 95y

Orange 50c 100m

Bright Yellow 100y

White

Black 100k

Desaturated Orange 35m 85y

Desaturated Yellow 5c 90y

Sky Blue 69c 14m

Summer Green 59c 99y

Winter Green 59c 20m 59y 10k

Deep Winter Green 59c 10m 59y 50k

The others colours have a variety of depths and contrasts, that will add to the airports new visual diversity. The colours add a bright contrast to the calm colours of sea green.

NEW TYPEFACE Design, Development and Creation

Aeris Bold Oblique

Every element of typography has its own tone, unique perspective and specific use. The font style chosen sets the mood, tone and style of the business.

Choosing the Right Style It’s funny how many fonts there are out there, but

How do you know what kind of emphasis you are

people still end up using an inappropriate typeface all

looking for? Figure out where the text will be placed. Is

the time. Anything that uses letters, numbers, and

it the main heading of a web page Then this definitely

symbols, whether it’s a sign outside your store or the

needs a bolder approach compared to the rest of the

report you need to submit to your boss, requires a

text on the page. Is it something that should only

specific typeface that would make all the difference. The

represent the fine print on an ad? Then choose a font

typeface dictates what message you are trying to send

that comes across as subtle and unobtrusive, but still

across, what the tone is, and even who its creator is.

readable. Is it going to be used for the brand name on a store signage? Then choose something that would

Some fonts may come across as casual, while some

stand out from a mile away. And if you’re looking for a

may look formal and professional. Others show a fun

font to use for the tag line beneath that brand name,

and carefree identity, while some give you an impres-

then make sure that there is just enough emphasis for

sion that they’re meant to be used for more serious

it to be noticed without overshadowing the name above

things. This is what typefaces do. They give any text they are used on its own personality, allowing people who read it to identify with it more effectively. Fonts were created to give life to the text, but there are times when font designers overdo it and end up creating

Four Basic Classifications of Sans-Serif Typefaces:

typefaces that can barely be read. Some fonts may also be too thin to read, while some may be too bulky that it’s hard to distinguish one letter from another when an entire word is spelled out. Some fonts give more emphasis to text compared to

News Gothic

Helvetica

Gill Sans

Futura

others. The font Impact for example, stays true to its name as its width makes the letters stand out over other typefaces. Some fonts also come in varied styles to allow you to lessen or improve the amount of emphasis that it gives. Helvetica Neue, for instance, also gives you options for light and ultra light, aside from the usual bold and italic styles.

Cap Height

Serif

Typeface design Ascender

Stem

Tail

Descender

Bowl

Kerning

X-Height

Baseline

Typeface design By Albert Jan Pool

Important Questions - Will the design be a text face, or will it be a display face? A typeface will need to be created for the brand that can be used on documents, tickets etc. The Brand will benefit more from a typeface primarily based around a serif type face this Will give the brand a modern and up to date feeling. People donâ&#x20AC;&#x2122;t want to think vintage when flying on an airplane

making legible typography

A tall X-Height makes text much more legible at a smaller font size. This is very important in the legibility of the typography FF DIN

as although it will be big up close. It will appear very small from a distance. This is extremely important for people with sight problems and also non English readers.

Akzidenz Short X-Height

abcdefghijklmnopqrstuvwxyz123

- Works great at a bigger point size - Not very good for way-finding systems

Tall X-Height

abcdefghijklmnopqrstuvwxyz123

- Works both small and large point size - Easier on the eyes

Aeris

KERNING

The space between lettering is important for reading from a distance and the those with poor eye sight.

Spacing too close

Too close and the letters become blurred and hard to distinguish from a distance. Factors that make this worse are typography on screens.

Spacing correct

Recommended kerning as this will reduce the problems in the other two as much as possible.

Spacing too wide

Too wide and the letters donâ&#x20AC;&#x2122;t appear as to be together and large tables of text and information become distorted.

WORD SPACING

Basic spacing between words of a related message is between 40-50% The X-Cap Height Spacing between unrelated messages is 100-120% Of the X-Cap Height

Cap Height 45%

The spacing of words is very important. If messages are placed to close together the messages will blur into one.

100% Space between related messages is importunate for legibility. And also to make sure that people know its part of the same message.

200%

50% 150% 50%

Spacing example of the relationship between an arrow, symbol, and message.

Disabled Access

Cap Height

Cap - Height

X - Height

Base line

Cap - Height

X - Height

Base line

Aeris is the typeface that I have created for the Southampton Airport. The font is a Neo-grotesque san serif typeface. Aeris shares similarities with other neo-grotesque fonts like Univers and Akzidenz.

Aeris is a multi purpose font. It should be able to fulfil all the brands typographic needs. Whether it needs to be used on a ticket or document or as a display font for way-finding. Aeris is designed to be perfectly readable from 7pt and up. The typeface can be used as low as 5pt but the legibility starts to decreases.

One question that needs answering is ‘why does the world need another typeface?’ And the answer is it doesn’t. There are millions of typefaces to choose from. But there is something special about have your own typeface. Giving Southampton Airport its own typeface creates a sense of pride in the brand. It also helps separate Southampton Airport from other airports around the world. It is always nice when something has a personal touch.

The Aeris Family

Aa Ee Rr Uu Qq Zz

Exhibition abcdefghijklmnopqrstuvwxyz

0123456789 20

regular (68pt)

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Yy Zz 0123456789 & ? () [] ‘ : ; ~ @ <> 21

oblique (68pt)

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Yy Zz 0123456789 & ? () [] ‘ : ; ~ @ <> 22

bold (68pt)

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Yy Zz 0123456789 & ? () [] ‘ : ; ~ @ <> 23

bold oblique (68pt)

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Yy Zz 0123456789 & ? () [] ‘ : ; ~ @ <> 24

Regular

Oblique

Bold

Bold Oblique

Typeface Comparison

Aeris gas lots of similarities with other neo-grotesque typefaces, but the typefaces also have a lot of differences. The comparison help show this.

The ‘a’ shares a general shape with the other typefaces, but many differences include the angle of the ‘a’ here.

The kick at the bottom of the a is very different from the other two especially Akzidenz.

Comparing contrast - how much the stroke is modulated.

Aeris

Univers

Comparing the contrast in modulated stroke - a stroke that varies in width as it proceeds around the letter form.

Akzidenz

Letter Comparison

PICTOGRAMS Design, Development and Creation

who, why, what, & where

The English language makes communication difficult. Take these sentences as an example: ‘The bandage was wound around the wound.’

Is a set of pictogram which are defined in the international standard ISO 7001, by Roger Cook and Don Shanosky well established pictograms are universally understandable, crossing language and culture boundaries.

The International Standard

‘Since there is no time like the present, he thought it was time to present the present.’

A pictogram is a stylized figurative drawing that is used to convey information of an analogical or figurative nature directly to indicate an object or to express an idea. Pictogram can fulfil many functions. They are used to replace written indications and instructions expressing regulatory, mandatory, warning and prohibitory information, when that information must be processed quickly (e.g. road traffic signs), when users speak different languages (i.e. non-natives), have limited linguistic ability (e.g. people with low levels of literacy or little education), or have visual problems (e.g. older people), and especially when there is a legal obligation to inform, and for the user to comply with information, mainly for safety purposes (e.g. use of dangerous materials at work). A pictogram needs to capture users' attention (users need to see the pictogram), to improve users' comprehension of warnings (users need to attend to it), and it also needs to increase their awareness of risk.

There are a number of recognized advantages of pictograms in the literature. First of all, they have the potential to be interpreted more accurately and more quickly than words. Thus, they can serve as “instant reminders” of a hazard or an established message. They improve understanding of warnings for those with visual or literacy difficulties. They can make warnings more noticeable or “attention grabbing”, and they can improve their legibility. Pictograms or brief textual information are suitable when users undertake familiar or routine tasks .In addition, pictograms are more easily processed at a distance compared to textual information, although a distinction should be made between abstract symbols and more explicit icons.

Understanding pictograms can be difficult. In order to be adopted, a pictogram must reach a certain level of effectiveness, especially when the information to be conveyed concerns safety.

Here you can see how the pictograms fit to a grid the same as the typeface. This is important because of using the typeface to create the basic shape of the pictograms.

How the pictograms were designed

Pictograms are an extremely big part of an airports environment. They are universally understandable and this is very important because not everyone speaks the same language. The pictogram design incorporate the shape of the Aeris typeface. This allows a greater connection between the typeface and the pictograms when used together on way-finding and other information signs.

The pictogram for the departure and arrival pictogram was created by making the curves from the arcs of the a. The wings follow the slant of the oblique typeface

On the pictogram for the water transport the a makes the curves and the L makes the shapes at the top of the ship. The oblique l makes the angle of the ship

The pictogram for the departure and arrival pictogram was created by making the curves from the arcs of the a. The wings follow the slant of the oblique typeface

The pictogram for the people were created by using the arc of the a to make the shoulders and the tail of the a for the ends of the dress. The angle of the dress follows the slant of the oblique typeface.

The disabled pictogram uses the arc of the a to create the shoulders and the angle of the disabled person is the same as the oblique typeface.

The Hotel information pictogram was designed by using the both the arc from the c and the a The design also uses the question mark from the Aeris typeface

On the pictogram for the Escalator the arc of the a was used to create the rounded edges and the arc was also used for the shoulders of the person.

Pictogram Comparison