20162017
DESIGN PORTFOLIO emiko osaka
CONTENT
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shifting perspective
shot in the dark
promotional collateral
animated title sequence
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51
queer cinema institute
muni metro case study
logo design
wayfinding for sf visitors
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71
keen
about
identity + packaging
contact information
33 nba greeting cards vector illustration
shifting perspective PROMOTIONAL COLLATERAL Shifting Perspective is an annual modern dance concert presented by the advanced choreography class at San Francisco State University. The Fall 2016 dance showcase was an exploration of the human condition, creative process, and personal themes. The promotional collateral for the client, SFSU Theatre and Dance Department, included, posters, program, LCD screen, web optimized graphics, and stencils (spray chalk-paint of design around SFSU campus).
shifting perspective
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INSPIRATION The initial inspiration for this project came from preliminary meetings with the client. While discussing themes in the concert I focused on specific words that propelled the idea of the human condition relating to the choreography.
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modern. movement. exploration. strong vs weak. unexpectedness. pursuit. idiosyncrasies.
shifting perspective
CONCEPTS I experimented with breaking up the title or the image of the dancer as a metaphor for the culmination of the creative process and the diverse perspectives found in the show. Having the dancer and title interact in the composition garnered interest and visually represented one's exploration through life.
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COMPS I pushed the concept of the split characters and words to where it was still legible and turned the baseline grid on a 15 degree angle. This gave the composition more movement between the dancer and the title, where as before the dancer seemed static.
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shifting perspective
COLOR The three colors created a modern and sophisticated look that the client was wanted. I took into account the themes in the show ranged from somber to
#C5A469
#FFFFFF
#000000
uplifting so I wanted to keep the colors neutral. The muted sand color balanced the grey-tones of the dancer and the sharp white background.
AVENIR NEXT CONDENSED ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 12 3 4 5 678 9 0
FONT Avenir Next Condensed is a tall and straightforward font. This condensed sans-serif was successful in staying legible while the words and characters of the title were shifted and split. Its typographical flexibility and optimal legibility worked well for both the title and the copy at different weights.
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STENCILS The poster design was created into stencils that were chalk spray painted on the SFSU campus. Our design studio never made stencils of posters before so to execute the production a small team was assembled and we were tasked with researching, testing, prototyping, and executing the final stencil.
STENCIL PRODUCTION The poster design was separated into three layers in Illustrator; background, text, and dancer. Letters with counters were altered to connect to the chipboard
LASER CUTTING
as to not completely change the original letter form.
The laser cutter could accommodate 18”x24” material. 1/16” chipboard was used.
The dancer was converted into a simplified threshold that would be sprayed on top of the text. Once the file was ready the design was laser cut on chipboard
AI PROCESS
and then coated to protect it from warping after
The design was simplified into two layers in illustrator with a .001 stroke.
multiple applications of the chalk spray paint.
STENCIL COATING The stencil was sprayed with fixative so the chipboard wouldn’t absorb the chalk spray paint.
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shifting perspective
STENCIL APPLICATION We liked the ephemerality of the stencil but we also wanted it to be seen for more than a few hours so we applied the stencil on sidewalks of highly populated areas but not directly on the footpath flow.
STENCIL 1
STENCIL 2
STENCIL 3
A white background was applied first to keep edges clean and for the text and image to standout.
The text was sprayed with the closest color we could find to the original poster.
The dancer was the last layer to be applied. The combination of the 3 layers and colors added depth and movement.
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FINAL COLLATERAL
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queer cinema institute LOGO DESIGN The Queer Cinema Institute (QCI) is part of the College of Liberal and Creative Arts at SFSU. Their mission is to “connect academic, cultural and political fields of production, fostering exchange between emerging and established filmmakers�. QCI needed a logo to better represent themselves and gain identity recognition at SFSU and beyond since they often collaborate on projects with partner organizations. The logo had to identify the organization and appear expressive, inclusive, and professional while avoiding a corporate look.
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INSPIRATION Looking at other film production and festival logos, those with simple shapes and a subtle nod to film making were most memorable. Frameline, a distributor of award-winning lesbian and gay films, has a simple logo that expresses the same qualities that the QCI logo should possess.
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queer cinema institute
SKETCHES Altering the Q was a starting point and from there I experimented with the visual idea of film strips, projections, cameras, and “speech bubbles�. Sketching preliminary ideas allows me to keep a reminder of possible shapes, themes, and type treatments before I move onto digital concepts.
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CONCEPTS I created a variation of concepts stemming from the initial sketches and themes. I experiment with some color at this stage, however the form is what the focus is on.
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queer cinema institute
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COMPS After iterations of the screen projection, Q projection, and Q film strip, these three comps were shown to the client. All include the full name of the organization for immediate recognition and each one expresses inclusivity and professionalism while avoiding a corporate look.
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queer cinema institute
VARIATIONS The client was partial to the screen projection logo, so variations and refinements were made. Slightly rounding corners, adding depth with tints, and experimenting with the projection shape were some of the variations that were tested. Ultimately the client decided on the logo to the left.
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COLOR From the preliminary meetings with QCI, we decided that the logo should move away from the established association of the LGBTQ rainbow. It was important to keep the logo neutral and contemporary, purple tones were used for different sections of the projection to give it depth. A greytone palette was also created to be used when color printing was not an option.
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C = 73% R = 63 M = 100% G = 12 Y = 35% B = 65 K = 48%
C = 49% M = 94% Y = 0% K = 0%
R = 146 G = 54 B = 148
C = 24% M = 56% Y = 0% K = 0%
R = 191 G = 131 B = 185
C = 0% M = 0% Y = 0% K = 85%
C = 0% M = 0% Y = 0% K = 53%
R = 141 G = 144 B = 146
C = 0% M = 0% Y = 0% K = 30%
R = 188 G = 190 B = 192
R = 77 G = 77 B = 79
queer cinema institute
SPACE Because of the asymmetrical shape of the logo careful consideration must be made when placing it next to other graphics. The negative space from the left point of the projection to the right side of the rectangle must be left clear. Then a border half the length of the rectangle can be used as a template for positioning graphics next to it.
MINIMUM SIZE The simple shape and clear mono-weight font allows for this logo to be scaled down to a minimum of 1 inch.
ROBOTO CONDENSED
FONT
ABCDEFGHIJKLMNOPQRSTUVWX YZ abcdefghijklmnopqrstuvwxyz
The condensed nature of the letter forms gave a sense of standing tall while being legible at different sizes. It has a clean and modern look that has a slight futuristic feel without crossing over to a cold science fiction feel.
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keen IDENTITY + PACKAGING The purpose for this project was to create a new food product, product name, and product packaging all tailored to the needs of a specific consumer. The design should position Keen as the main breakfast bites choice for adult women who want creative flavors and who need energy, healthy ingredients, and a product with little preparation needed. Keen is a San Francisco based company that produces quinoa-based bite sized snacks that are all natural and perfect for people on-the-go.
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BRAND ATTRIBUTES
TARGET CONSUMERS
Keen’s brand attributes are based on being friendly,
Keen’s target consumer are women ranging from
healthy, fresh, and having creative flavor profiles
26-48 that take ingredients into account when
that are not found in competitor brands. All the
grocery shopping. This consumer needs a snack
ingredients are organic and contain no preservatives
that doesn’t require heating or preparing, that can
(short shelf life). Distribution is focused on niche
be consumed while doing other things, has creative
local SF markets and high end grocery stores.
flavor profiles, and contains extra Omega 3’s.
new creative profiles
friendly
artisanal + fresh
omega 3 25
foodie
eats organic
shop local + whole foods
healthy age 26-48
keen
MARKET ANALYSIS Although there are many “bite” products there are only two quinoa-based bites on the market. Keen will still be competing against the other “bite” snacks so the market analysis has to be on the overarching “bite” category.
• Smaller market • Higher price point
• Smaller market • Highest price point
• Large national market • Low price point
Graphics: Friendly, rich colors, 3-4 color palette,
Graphics: Stale, bland use of typefaces, projects
Graphics: Too busy, expected choice of typefaces,
nice hierarchy, complementary/fun typefaces,
health attributes, looks like health supplement
blends in with similar products at this price point.
showcases health attributes.
packaging, muted earth-tones.
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LOGO IDEATIONS
because of the circles that make up the inner arm
of the capital E’s. The circles represent the quinoa
grains and are also found in the circle pattern on the box. Frutiger Condensed was used for the text on the box because of its high legibility even at a small size and its large font family.
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A BC D E F G H I J K L M N O P Q R ST U V W X Y Z a b c d e fg h i j k l m n o p q r s t u v wx y z 1 234 567890
K een
FRUTIGER CONDENSED
ABCDEFGHIJKLMNOPQRSTUV W X YZ abcdefghijklmnopqrstuv w x yz 123 45 678 9 0
TH
The logo font Densmore was a deliberate choice
TH
K een
which was intended to immediately draw attention.
AL
drastic change from the food-product type norm,
HE
TH
AL
Densmore is a geometric art-deco font that is a
TH AL HE
HE
FONTS
H
on the specific product or flavor.
T AL HE
color of the logo will be interchangeable depending
kEEN kEEN HEAL
sion. The logo lockup will be consistent however the
TH AL
designed with the idea of possible product expan-
kEEN kEEN kEEN DENSMORE - REGULAR HE
is a new company, it was important that the logo be
kEEN kEEN TH
H
definition; sharp, strength, and eager. Although Keen
T AL HE
is the base ingredient in all of Keen’s products. Its
HEAL
kEEN kEEN kEEN
The name Keen is a play on the word quinoa, which
keen
COLOR The brown cardboard box conveys earthiness, nutrients, and a local artisan feel. To contrast the base package, the logo and images pop because of the vibrant colors that represent the creative flavor profiles of the quinoa bites. The colors are outside the norm
#F7C341
#742B64
#83CCAF
#F47F64
found in traditional food packaging, however recently some food products have moved toward a modern feel while still keeping appetizing colors in mind.
GRAPHICS With the rise of food allergies and the importance of healthy eating it was important to highlight that Keen products are gluten free and a great source of Omega 3’s (which is an important brand attribute). Both graphics use Avenir Bold to keep legibility when scaled down.
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PACKAGING DEVELOPMENT The package was the first decision to make, considering it had to hold 5 medium sized quinoa bites without smashing them when the package is stacked on each other. Since this is the first time run of Keen bites, a smaller package for a single serving size was needed. A larger package that will hold 18 bites will be in consideration in the future.
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keen
DIE CUT I wanted the consumer to be able to see the actual product, so a circle die cut was implemented that
101/4”
also went with the circles in the logo and the circle pattern on the box.
Glue
1/4” 3/4”
11/4” 7/8”
1”
71/2”
17/8”
73/4”
13/8”
circle diameter
5/8” 1”
Glue
83/8”
15/16”
1/2”
1” 5/16”
17/8”
113/16”
Glue
71/8”
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FINAL DESIGN When designing for the box it was important to convey the health benefits and ingredients while keeping the fun and modern appeal of the product.
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FINAL PACKAGING
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nba greeting cards FLOWER SERIES: VECTOR ILLUSTRATIONS This was a personal project that stemmed from trying to find a birthday card for a friend who is a NBA fanatic. I didn’t want a card with a standard message that usually ended up in the trash. I created vector illustrations of NBA players and added flower arrangements as accessories.
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INSPIRATION I took inspiration from photographs of men with flowers interwoven in their hair, as well as cheesy NBA valentine cards from the 90’s. The juxtaposition of the associated toughness of NBA players with the feminine floral arrangements and cheesy basketball related message, made for a unique and personal card that became a keepsake for the recipient.
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nba greeting cards
BRUSHER
ABC D E F GH IJ K LM N O PQRST UV WXYZ a bc d e f g h i j k l m n o pqr st u v wxy z
FONTS Both Archer and Brusher have a friendly and personal feel that was perfect for greeting cards. Brusher is a casual script font that has a carefree
ARCHER
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
and graphic stroke that emulates handwritten letters. Paired with Brusher is Archer, a friendly serif font that is both personal, straightforward, and simple enough where it complemented the free flowing nature of Brusher.
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PS + AI PROCESS
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PHOTOSHOP
1
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3
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Original image is on the left. I increase the contrast of the image in Photoshop. This helps define the shapes of shadows that will create the face.
I begin to outline the highlights and shadows with the pen tool in Illustrator. I start with the most detailed features (eyes, nose).
Next I add the hair and beard to define the head shape. Then I fill in the forehead, cheek, and chin.
Outline of completed face. I overlap shapes which makes it easy to later adjust points.
Completed face. I wanted to keep the face shapes rectilinear to contrast the smooth and curvilinear flowers.
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The flowers were created by Tomodachi and individually positioned and altered by me.
Once the flowers are positioned I make final color adjustments to the face. Flowers by: Tomodachi
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FINAL VECTORS I applied the same design process for all three vector illustrations. The fill and stroke of the flowers were changed for each illustration to match the inside of the card.
LEBRON JAMES
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JAMES HARDEN
RASHEED WALLACE
nba greeting cards
FINAL GREETING CARDS Initially the James Harden birthday card was the only one I had planned to design but with the positive reactions the card received I designed two Valentine cards with Lebron James and Rasheed Wallace.
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FINAL GREETING CARDS
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FINAL GREETING CARDS
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shot in the dark ANIMATED TITLE SEQUENCE Shot in the Dark is a fictional mini series thriller whose protagonist is a vigilante femme fatal. For this project we were to create a title sequence for our fictional TV show by combining green screen videography, music and sound effects, kinetic type, and motion graphics into a one-minute cohesive piece.
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INSPIRATION Upon deciding the theme I was immediately drawn to Quentin Tarantino’s film, Kill Bill. I took inspiration from Uma Thurman’s assassin character and Tarantino’s composition and framing of shots.
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shot in the dark
STORYBOARDS
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MUSIC The song, “Goodnight Moon� by Shivaree was used for the title sequence. Its surreal and dreamlike sound paired well with the illustrative approach to the video and the sultry voice added to the femme fatal theme. Since the title sequence was about one minute the song had to be edited in Adobe Audition.
GREEN SCREEN I filmed two sequences with the green screen, one was a woman looking behind a wall and the other was of a person gagged and bound to a chair. Since the title sequence takes a more illustrative approach the green screen shots are used as grainy silhouettes.
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shot in the dark
FONT Blackout is a sans-serif display font with filled counters. It has a mysterious yet playful manner that pairs well with the illustrative quality of the title sequence. The type is almost like its own character within the video. It's not meant to blend into the background, it’s apart of the environment.
BLACKOUT ABC DE FG H IJ K LM N O P Q RSTUV WXY Z
abcdefghijklmn opqrstuvwxyz MOTION Once all the assets were made (edited music, foley sounds, green screen videography, illustrations), I moved into After Effects and began animating scenes in sections.
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FINAL: SCREEN SHOTS The final title sequence captured the feel of the femme fatal thriller while staying cohesive from scene to scene. The illustrative quality of the video and the minimal uses of the green screen silhouettes were a successful combination that conveyed the narrative. https://vimeo.com/165988834
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muni metro case study WAYFINDING FOR SF VISITORS The significance of this case study is to understand the difficulties that SF visitors encounter when attempting to navigate Muni Metro. The problem is most concerning at Powell Station/Hallidie Plaza where the combination of tourists, convention attendees, shoppers, and airport arrivals all converge. It is these people who need wayfinding signage the most.
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THE PROBLEM Muni Metro and the surrounding Powell Station area lacks an efficient signage system for inclusive information outreach, wayfinding, and brand identity that currently does not inhibit new ridership, especially with SF visitors.
? Hallidie Plaza is lacking appropriate
Muni Metro riders find it difficult to see
International tourist have trouble
signage and ID markers to direct Muni
important information on maps, signs, and
understanding text heavy signs and miss
Metro riders to the station. Many tourist
ID markers due to poor legibility and size.
important information that would help
have difficulty finding the station entrance.
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navigate Hallidie Plaza and Powell Station.
muni metro case study
RESEARCH METHODOLOGIES + PERT CHART Six qualitative research methodologies were used to examine how tourist use and feel about Powell Street Station; Literature and web reviews, expert interviews, user interviews, site observation, mapping matrix, and surveys. A PERT chart was created to schedule and organize project tasks for a two month period.
10.02.16
10.11.16 FIELD STUDY RESEARCH
DESIGN RESEARCH • • • • •
Prob. Statement Define Purpose Hypothesis Beta Survey Contact Experts
• • • •
Observation Surveys User Interviews Meet Experts
LITERARY RESEARCH • • • •
Journals Thesis Papers Internet Gov. Resources
›››››› 10.17.16
MID-TERM • • • •
Story Boards Presentation Book Mockup Presentation
›››
10.29.16 SYNTHESIZE DATA • • • •
Organize Info. Insight Themes Patterns
DESIGN SOLUTION • Brainstorm • Iterations • Solution
›››
11.15.16
12.02.16
FINAL REPORT
››››››
• • • •
Write Ch. 4 Review Send to Press Presentation
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RESEARCH + SURVEY RESULTS
EXPERTS
Visitors outnumber residents: 28 to 1
24.06 MILLION SF VISITORS
= $10.6 BILLION
What about Muni Metro and Powell Street Station is most confusing for tourists? “How to buy tickets and the difference between Muni Metro and BART.”
“I’ve seen tourists in the plaza asking where they can find Powell Station.”
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“FOCUS ON 3 ZONES; BIG DESIGNATOR (IDENTIFICATION), DIRECTIONAL SIGNAGE, INFORMATIONAL SIGNAGE.” Mitchell Mauk, Principal of Mauk Design
VISITOR SPENDING
What would help tourists (English and non-English speaking) get to landmarks using Muni Metro routes? Bigger signs at stations and stops
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Landmark pictograms on maps
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Mobile APP
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Talking to a person
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Other
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“8 SECOND RULE: YOU HAVE 8 SECONDS BEFORE A PERSON LOSES INTEREST.” Shanna Hurley, Wayfinding Strategist SFMTA: MUNI
“RECOGNIZE THE INFORMATION LOAD. HOW MUCH IS TOO MUCH OR TOO LITTLE AT EACH DESTINATION POINT.” Chimmy Lee, Chief Graphic Designer SFMTA: MUNI
muni metro case study
OBSERVATION I wanted to pinpoint the problems tourists encounter navigating Powell Station and Hallidie Plaza. To accomplish this I spent time observing tourist patterns and what wayfinding issues arise as they navigate the environment. I found that a majority of the time, tourists enter Hallidie Plaza on the far east entrance (A), entering through the main Powell Station entrance, and then turning west to Muni Metro and down the stairs to the Metro platform. The same path is used a majority of the time when exiting Powell Station. The second most used entrance and exit is the North-East (B), followed by North-west (C), and finally West (D).
POWELL STATION
HALLIDIE PLAZA (WEST)
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PROPOSED DESIGN SOLUTION A three-part updated wayfinding system focusing on ID markers, directional signage, and informational signage. The updated system will be specifically designed for tourists using Muni Metro and having to navigate Powell St., Hallidie Plaza, Powell Station, and Muni Metro platform.
DESIGN SOLUTIONS
i
INFORMATIONAL SIGNS: “Informational signs are about moving toward a destination than supplementing the trip with useful information along the way. DIRECTIONAL SIGNS: “Directional
DESTINATION POINTS
1
STREET LEVEL
2
HALLIDIE PLAZA
3
POWELL STATION
4
METRO PLATFORM
signs appear at junctions or anywhere someone might look for directions.” IDENTIFICATION MARKERS: “Identification signs identify where the reader is, and point out specific landmarks or structures.”
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muni metro case study
DESIGN IDEATION Taking the data found in the research phase I sketched signage for each destination point, focusing on what information is needed at each specific location. When designing the free-standing signs it was important that the structure match it’s surroundings (Hallidie Plaza = Brutalist + International style elevator).
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COLORS When meeting with Shanna and Chimmy from MUNI, I was given the in-progress brand guidelines and decided to stick with the official MUNI color palette. Since Powell Station houses both MUNI and BART I didn’t want to only have MUNI colors, specifically MUNI red, be the overarching color pallet for Powell Station. The alternate color pallet of grey tones and yellow will be used on signs and environmental graphics in areas that are BART and MUNI neutral.
STATIONS WITH MUNI + BART
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C 0 M 0 Y 0 K 100
C 0 M 0 Y 0 K 90
C 0 M 0 Y 0 K 30
C 0 M 0 Y 100 K 0
C 0 M 0 Y 0 K 80
OFFICIAL MUNI COLOR PALETTE
C 50 M 100 Y 0 K 0
C 52 M 6 Y 0 K 25
C 100 M 0 Y 85 K 24
C 0 M 39 Y 96 K 0
C 100 M 90 Y 10 K 0
C 0 M 100 Y 45 K 20
muni metro case study
FONTS Franklin Gothic is used on all signage found at the four destination points. It is a Grotesque sans-serif font that is legible and also has a condensed version that is helpful for maps and small areas of text.
FRANKLIN GOTHIC ABCDEFGHIJKLMNOPQRSTUV W X Y Z abcdefghijklmnopqrstuv w x yz 1 2 3 4 5 678 9 0
FRANKLIN GOTHIC CONDENSED ABCDEFGHIJKLMNOPQRSTUV W X Y Z abcdefghijklmnopqrstuv w x yz 1234567890
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DESIGN SOLUTION: Pictograms & Icons Pictograms and icons are helpful for riders especially international tourists. The eight icons below are used throughout the signage solutions. For Muni Metro I created a new icon that features only Muni M. This will be used only for Muni metro information and the original Muni logo will be used for buses. It was important to include an icon for the San Francisco Visitors Information Center since it is a great, but usually missed, resource for tourists. The pictograms were created for tourist attractions and historical SF sites. The decision to make the pictograms detailed was from a group of tourist feedback. With so many historical buildings the simplified version of the pictograms looked too similar.
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Train Icon (BART)
Metro Icon (MUNI)
BART Logo Icon
MUNI Metro Logo Icon
Visitor Info Center
Elevator Icon
Metro Train Stops
Locate Icon
muni metro case study
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S ST
BUSH ST
SU T T ER S T
DESIGN SOLUTION: Mapping Information
DOW
POST ST
Creating a map was not initially planned but after user interviews and site observations I received many suggestions that were not found on the large scale map found at Market St. between Powell St. and Cyril Magnin St. Mapping design
GEARY ST
was not the focus of the study, however I wanted to showcase user suggestions and have a map that matched the branding of the other signs and solutions.
user suggestions • • • •
Time estimations for walking to destinations. Pictograms of popular attractions and historical sites.
CIVIC CENTER
Knowledge of neighborhood perimeters and districts.
O'FARRELL ST
ELLIS ST
Where underground Muni Metro trains/stops are found.
EDDY ST
ELLIS ST
TENDERLOIN
TURK ST
GOLDEN GATE AVE
MCALLISTER ST ST
N L M
CITY HALL
K T
GROVE ST
J
7T
8T
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6T
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BR
DESIGN SOLUTION: Street Level & Hallidie Plaza At many decision points, where signage is critical, there is either no sign to help you, or the sign at hand provides inadequate or confusing information. Before entering Powell Station one needs to find Hallidie Plaza and then the station entrance. If riders enter Hallidie Plaza from the West or North entrance it’s more likely that they have trouble finding the Powell Station entrance. The West side of
SIGN A
Hallidie Plaza is bare without any identification or information, whereas the East side
Sign A is an identifier and informational sign to be placed on the sidewalk on Market St. between Powell St. and Cyril Magnin St. It identifies the location, district, and information on what Metro trains stop at Powell Station. The large scale map gives an overview of San Francisco along with pictograms of popular attractions.
of Hallidie plaza has information that is poorly placed and hidden by shrubbery.
B C
A
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muni metro case study
SIGN B
SIGN C
Hallidie Plaza (West) entrances needed to give users an overview of the area and Hallidie Plaza. Sign B would be placed on the North-West entrance. The information is specifically for the West side of Hallidie Plaza since the East side of the Plaza and the Powell Station entrance can not be seen from this area.
This standing sign will be placed in Hallidie Plaza (East) as a large identification marker. “Powell� will light up at night for easy identification from street level. Muni Metro operating hours and train information is clearly displayed along with directions to BART, Muni Metro, and the San Francisco Visitor Information Center.
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DESIGN SOLUTION: Powell Station Entrance Powell Station is unique in that it houses two transit agencies, Bart and Muni. This results in confusion about the difference between the two and the shared space. The main Powell Station entrance connects to Hallidie Plaza and the first thing that people see are the Bart ticket machines. This immediately confuses first time riders since Muni Metro ticket machines are somewhat hidden near the gate. The solution separates the main ticket station into both Muni and Bart while clearly differentiating the machines and the direction of each transit agency.
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DESIGN SOLUTION: Muni Metro ceiling hung sign + metro routes map The ceiling hung sign will be placed at the main Powell Station entrance and can be seen when walking down the Hallidie stairs. The colors and text provide high contrast for easy legibility and should be the first directions the user sees when entering. The wall mounted Muni Metro Route map will be placed at the entrance of Powell Station as well as the ticket machines found in between both BART and MUNI Metro.
real-time train tracker map Another problem is the real-time train monitors. The previous design looked as if there was only one track, by removing the fill it is clear that there are tracks for each direction.
identification markers Location markers are incredibly important for underground transit. Besides station characteristics a Metro rider lacks the above-ground perspective to establish reference points. The solution consists of placing large identification markers on the walls next to the tracks.
*From the beginning the development of this case study has been an educational practice with a theoretical solution. The research and solution ideation have been thorough and based on real facts and observation, however factors such as project timeline, MTC standards, ADA standards, city planning, engineering, and most of all funding will keep the design solutions theoretical.
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emiko osaka graphic designer visual communication sfsu school of design based in san francisco perpetually curious lets go dubs trust the process
let’s create eosaka101@gmail.com behance.net/emikoosaka linkedin.com/in/emiko-osaka