OUGD405 - Study Task 03 - Public Information Video Research

Pedestrian Crossing - 1948

http://www.nationalarchives.gov.uk/films/1945to1951/filmpage_pc.htm

Director: Michael Law
Duration: 2 minutes 15 seconds
Release Date: 1948
Sponsor: Central Office of Information for Ministry of Transport
Synopsis: Humorous road safety trailer on the correct use of pedestrian crossings

There were two million cars registered on the roads of Britain in 1951. This figure rose by 250 percent over the following ten years. The rapid growth of car ownership subsequently led to a rise in the number of Government road safety campaigns.

1934 saw the introduction of pedestrian crossings consisting of parallel rows of studs and Belisha beacons (orange globes on top of black and white posts) in an attempt to reduce the number of road accidents. Although at first these were successful, by the late 1940's their initial success and awareness was "waning." Research suggested the this short-lived success was a result of both pedestrians and drivers alike ignoring the crossings. 

The Pedestrian crossing short film alludes to this fact by showing how to safely cross the road by using the introduced rows of studs and Belisha beacons, informing the viewer of the manner in which to do so also.

In the film, the narrator refers to crossing the road as "everyday business," naturally highlighting the act as a common occurrence - therefore in need of being understood by all. He then goes on to state that the 2 rows of studs are the significant indicator of the crossing as an area of safety as he says "all you have to do is walk between them and you won't get knocked down." Here, the narrator reduces the act to a simple, easy and straightforward process, so long as persons remain in-between the parallel rows of studs. The short film also provides legal information to the viewer by informing them of the motorist's "legal obligation to give pedestrians a right-of-way at crossings." This additional information provides the viewer with a reinforced understanding of their right to cross the road safely when crossing in the indicated path as they should. Though the video details pedestrians rights, it also informs the viewer that they "must know where you're going and keep on the move." This suggests that whilst pedestrians have the right to cross the road at the crossings, they must adhere to their own rules and use common sense in making the trip across the road with purpose and haste.

The tone of voice used in the short film is humorous, with all speech coming from the narrator only. Humour is created in the video via the dialogue/interaction created between the narrator and the subject of the film as he prompts physical responses to questions and remarks made to the man, Mr A, such a facial expressions and nods. The interaction between the narrator and subject in the film are making a situational example to be followed by viewers after watching the piece. By approaching the matter humorously, the video is received more successfully by the viewers as it becomes more memorable and distinct in comparison to a straightforward informational film that simply states the facts through one continuous, unimaginative prose. Although light-hearted and funny, the narrator remains clear and dignified in his deliverance on the facts and importance of safety when crossing the road. His tone of voice is conversational, encouraging and lively - making for a subconsciously uplifting - and therefore more effective - receival of information.

The audience of the short film is adult men and women, whom in turn would presumably teach younger persons responsibly. The video is aimed at those for which crossing the road is "everyday business."

OUGD405 - Leeds City Centre Way Finding System In Situ

The following images show the Leeds City centre way finding system in situ throughout the city, across all sectors. As evident in the images, the bright tones featured on the signage stand out distinctly in the city environment, adding vibrance even the dullest day. These light saturations are contrasted by black edging and typographic/symbolic information that provide residents and visitors of the city with knowledge on what can be found in the centre's sectors, enhancing their locational awareness and thus allowing them to navigate Leeds via considered, clear and relevant visual co-ordination. The system seamlessly supplies sense of surroundings. 

Scale and Medium

The way finding signage would be of a similar scale to standard road signage to ensure clear visibility was available from a range of distances.

Also alike road signage, the system would be manufactured using the economic option of Steel, which has greater strength than aluminium and therefore does not require reinforcement. This metal is however is prone to rust - though this can be prevented with the application of a layer of zinc to 

the sheet.

OUGD405 - Revised Colour Palette

Feedback from the last critique influenced the decision to take a light ground - dark edge resolution forward to become a part of the Leeds City centre way finding system. This was on the condition that some of the colours were exchanged for even lighter tones of the selected sector hues. With the colours now uplifted, below is a comparison exhibiting the difference as well as the new Pantone CMYK values.

Original Palette before Critique



























Revised Colour Palette post Critique



Civic Sector - Red

Pantone P 45-3

CMYK Values:

Cyan: 0
Magenta: 50
Yellow: 50
Key: 0


Shopping Sector - Yellow

Pantone P 166-4

CMYK Values:

Cyan: 6
Magenta: 0
Yellow: 53
Key: 0


Financial Sector - Green

Pantone P 130-2

CMYK Values:

Cyan: 27
Magenta: 0
Yellow: 16
Key: 0


University Sector - Blue

Pantone P 118-3

CMYK Values:

Cyan: 38
Magenta: 0
Yellow: 6
Key: 0


Eastgate Sector - Orange

Pantone P 20-4

CMYK Values:

Cyan: 0
Magenta: 29
Yellow: 58
Key: 0


The new colour palette enhances tonal contrast and energy, making for brighter, more distinctive resolutions that are eye catching, uplifting and reflective of the vibrance of the city. The light tones provide a mature, dignified aesthetic that doesn't look artificial and overwhelming, but instead relies on contrast to achieve recognition.

OUGD405 - Light Tones VS. Dark Shades Solution Critique

With two possible signage resolution styles to decide between, I searched for feedback in regard to the two in an attempt to discover which of the Leeds City centre way finding systems visual languages most appropriately, relevantly and effectively worked as an aid to environmental awareness and sense of place.

Visual Solution 1

Visual Solution 2

Critique 

Looking at both solutions, which do you prefer/feel is most effective and why?

• I prefer the first solution. It seems more complete and finished, whereas the second seems like its missing something. I can't put my finger on what but there's something lacking. I also find the first easier to read because of the dark type on the light backgrounds, though I think the red and orange need to be lighter.
• Definitely the first. It seems altogether more clear and the colours are more defining. I think people would relate to them more because they're bolder.
• I prefer the second I think. The colours are more vivid and bright.
• The second. They look clean and cohesive, not that the others don't, but these especially do.
• The first solution is my favourite. Its a lot easier to read, they look more distinct and I think you could see them from a further distance. I also think they seem different to standard road signs.
• I like the second aesthetically, but practically I think the first is more effective. The yellow is hard to read on white too so I'd go with the first solution. 
• The first but I think the blue, red and orange need to be lighter. They need to be more contrasting, like the yellow. The yellow one works really well.
• I can see the text and symbols much more clearly on the first so that one.
• I prefer the second, some of the colours in the first seem dull.

The responses I received through this critique were very much varied, with some having preference for the first, as some for the second. Those in favour of the second seemed to prefer it for aesthetic reasons over functionality. I received much more considered responses to resolution one in ways its was already effective and ways it could be improved, and therefore this is the solution I will carry forward.

Points taken from the critique:

• Solution number one is overall more effective.
• Find lighter tones of blue, red and orange to improve the contrast and overall effectiveness of the system.

OUGD405 - Signage Solution - Dark Shades

After establishing the compositional layout/formatting of the Leeds City centre way finding
system in the previous post, I produced an alternate resolution using the dark Pantone shades identified previously. This solution instead uses darker shades of the selected sector hues for
edging and typographic/symbolic information, set on white ground to achieve the contrasting
tonal energy needed for distinction in the busy city environment.

This episode of experimentation is shown below.

Although both these and the resolutions from the previous post will be critiqued before any further development, initial analysis from myself finds that although the darker shades and white ground are clear and considered, they appear somewhat simplistic, child like and basic. The combination of yellow and white presents ever-problematic issues also.

OUGD405 - Initial Signage Solutions

Having established decisions on concept, typography and colour, I have reached a point at which I can begin to produce initial resolutions. The first approach to the signage I plan to explore is the use of light tones as ground with black information and edging to achieve strong tonal contrast that is effective in catching the gaze of individuals in Leeds City centre.

The preliminary step in producing this signage style was to establish format/shape for the selected typeface (Univers) and colours to be applied.

Beginning with a black square, I then rounded all corners excluding that featured top left. Following this, I created the same shape at a slightly smaller scale and using Pantone Blue 0821 C for colour before centring the blue shape within the black. By surrounding the light tone with a black edge, the distinct, stylised shape can be appreciated - however this is not primarily for aesthetic purposes. By disrupting the format in one selective area, attention is drawn to this point. This corner has been selected as in western culture people are taught to read top to bottom, left to right, and therefore this planned inconsistency draws the gaze to the top left of the shape where typography is expected to, and will, be featured. This formatting establishes a subconscious visual guide to ensure information is immediately seen.



With the shape/format of the way finding signage considered and determined, typography is ready to be set within the composition. Typography to be featured on the signage includes the sector name, and locations of significance and interest also. Symbols will be featured alongside these locations.

Typographic information, communicated through Univers due to its 'visual sensitivity between thick and thin' strokes and strong legibility, is aligned to the left of the composition and set in a standardised format featuring capitals for the start of words and lower case thereafter. This will create signage with ease of reading via more distinct line ends and enhanced readability due to the gaze being able to more easily identify individual letter forms from varying character qualities.

According to Massimo Vignelli's modernist design ideologies, typically only two type sizes should be featured in a single piece, though there are exceptions to this rule. Here I have supplied the signage with a larger type size for the sector title, and a smaller size - just above half of the title size - for the points of interest within the sector. Both type sizes are large enough in terms of scale within the shape to be seen from short distances away. 

Symbols featuring on the signage enhance understanding of the sector via representative visuals that provide immediate psychological links. For example, here on the University Sector sign, square academic caps are featured left of the names of Leeds' universities as this is a significant item associated with university and the reason students attend - to graduate with a degree, on which day they will wear this cap with a gown. 

All type featured on the signage is optically kerned to ensure optimum readability is achieved.

With the construction of the University Sector sign complete, I then applied the same visual language to the remaining 4 sectors, using the selected co-ordinated light tones and sector-specific information and symbols.

This signage system uses light, bright tones of colour to represent the diversity and vibrance of Leeds city centre in combination with black information and edging for contrasting tonal energy and ease of information receival. The black edging and information also creates a sense of cohesion and consistency throughout the system, whilst distinct symbols enhance awareness and understanding of sector location.

OUGD405 - Leeds City Centre Symbols

In attempt to give residents and visitors to the Leeds City centre an enhanced level of environmental awareness, I have produced symbols to visually communicate information on points of interest and significance on the way finding signage/system.

I began by sketching out basic representations of the required symbols using a layout pad and pencil.



On a new layer of the pad, the sketches were then outlined and filled in black, ready to be scanned in for adaptation, refinement and digitalisation.



The image below shows the refined symbols alongside established symbols used throughout navigational signage in the UK. Please refer to the numbering of the symbols as locations are shown for affirmation and justifications of the symbols.




























Symbol 1

Symbol number 1 is a location pin that will be used for locations/areas that cannot be defined by an individual symbol, such as streets The Headrow and Briggate.

Symbol 2

Symbol number 2 depicts a symbolic representation of one of two stone lions that feature outside of Leeds Town Hall. These are a significant recognisable element of the building, and therefore appropriate in their presence in the way finding system.

Symbol 3

Symbol number 3 has been designed to represent Leeds Art Gallery and the Henry Moore Institute next to it. The symbol is inspired by one of Henry Moore's iconic reclining figure sculptures. Not only is this sculpture significant in the art world, but its feature on the City Centre way finding system will be a subtle homage to the artist whom studied in the city. 

Symbol 4

Symbol number 4 signifies an open book, in reference to Leeds City Library, of course associated with reading.



Symbol 5

Symbol number 5 provides a representation of the golden owls found outside Leeds Civic Hall, located in Millennium Square. The owl is also a prominent symbol within Leeds.



Symbol 6

Symbol number six may at first seem ambiguous - however provides a simplified representation of the architecture of the new £130 million Victoria Gate retail development - which cannot be mistaken for anything other than the to-be iconic structure of the John Lewis within the upcoming retail destination.



Symbol 7

Symbol number 7 provides a basic representation of the Corn Exchange, found in the east of the city. Though the symbol does the buildings architecture any justice, the visual is a clear reminder.



Symbol 8

Symbol number 8 depicts a simple graduation-hat shape. This a significant piece of imagery associated with university as it represents the ambition of all students who attend.



Symbol 9

Symbol number 9 is the logo of Leeds Trinity shopping centre. Used throughout its branding and fixed to the exterior of the building, this will be recognisable to those in the city.



Symbol 10

Symbol number 10 is a basic pound sign, immediately associated with finance and the currency of the UK.

Symbol 11

Symbol number 11 is the already established sign of hospitals, used nationally. This particular symbol will be use in representing Leeds General Infirmary.

Symbols 12 and 13

Symbols 12 and 13 are the established pictograms associated with bus and train stations, recognised by all.

OUGD405 - Required Sector Symbols

In order to give residents and visitors to the Leeds City centre an enhanced level of environmental awareness, information on points of interest and significance will included on the way finding signage - communicated through symbols/pictograms.

Listed below are the centre's 5 established sectors and the points of interest that lie within them.

Civic Sector

• The Headrow
• Leeds Town Hall
• Leeds Art Gallery/Henry Moore Institute
• Leeds City Library
• Leeds General Infirmary 
• Civic Hall (in Millennium Square)

Shopping Sector

• Briggate
• Trinity Shopping Centre
• Arcades

Financial Sector

• Major Banks
• Train Station

University Sector

• University of Leeds
• Leeds College of Art
• Leeds Beckett

Eastgate Sector

• Victoria Gate
• Kirkgate Market
• The Corn Exchange
• Bus Station

The locations and establishments will be considered in the production of the way finding system's symbols.

OUGD405 - Way-finding / Pantone Colour Selection

Having established which colours will be co-ordinated with each sector of Leeds city centre for the most appropriate, relevant and informed communication of the areas, confirmed in critique, I must now identify the specific shades/tones of the detailed hues:

Red (Civic), Yellow (Shopping), Green (Financial), Blue (Universities) and Orange (Eastgate).

I will be selecting both a light tone and a dark shade of the colours as to explore and experiment with tonal contrast - a vitally important visual aid in gaining attention and prominence within busy environments - such as Leeds City Centre.

CMYK values will be attached to these colours as this is the colour mode used in and for printed materials. 

Red - Civic Sector































Light Tone

This light, 'warm' tone of red is still identifiable as its original hue, rather than a lighter saturation of pink. The colour is bright, but not as intense as that used in the communication of danger allowing for clear distinction. Black type should still dominate the the tonal energy when used in conjunction with this tone.

CMYK Values: 

Cyan: 0
Magenta: 58
Yellow: 57
Key: 0





Dark Shade

This dark shade of red also differs from that used in signs of danger; It has a less artificial appearance. This shade would be easily seen set on white ground, with tonal contrast and energy being strong.

CMYK Values: 

Cyan: 0
Magenta: 86
Yellow: 63
Key: 0










Yellow - Shopping Sector


















Light Tone

This bright tone of yellow with higher light value is uplifting, suitable in association with shopping. Black typography on this colour ground would create distinct tonal contrast and therefore attract the gaze of persons within the Leeds City centre.

CMYK Values: 

Cyan: 1
Magenta: 0
Yellow: 48
Key: 0







Dark Shade

This shade of yellow, with a lesser light value, is intense enough to create a distinct tonal contrast with white ground. In large quantities it may be overpowering, however typo graphing setting in this colour should create an effective tonal balance.

CMYK Values: 

Cyan: 0
Magenta: 1
Yellow: 100
Key: 0








Green - Financial Sector


















Light Tone

A bright, almost mint-tone of this hue immediately establishes connection to finance through consideration of 'minting' coins, The Royal Mint etc. Its light tonal value would create strong tonal energy via contrast with black.

CMYK Values: 

Cyan: 39
Magenta: 0
Yellow: 25
Key: 0






Dark Shade

This darker shade of green is perhaps a more typical choice when first considering green, and the green space within the sector of the city. With clear definition between this shade and white, contrast is evident.

CMYK Values: 

Cyan: 93
Magenta: 0
Yellow: 63
Key: 0









Blue - University Sector

Light Tone

This intense light blue appears energetic and confident, reflecting the buzz of university life. When used in conjunction with black tonal energy and contrast should be enhanced.

CMYK Values: 

Cyan: 47
Magenta: 0
Yellow: 7
Key: 0







Dark Shade 

This deep blue immediately shows strong tonal contrast in addition to white. Distinct and dignified, this colour represents the strength of the Universities in the city, with three in such close proximity to one another.

CMYK Values: 

Cyan: 100
Magenta: 0
Yellow: 0
Key: 20








Orange -  Eastgate Sector




Light Tone

This softer light tone of orange may not be vibrant, however orange as a hue is a distinct colour that remains a statement no matter the light value.

CMYK Values: 

Cyan: 0
Magenta: 45
Yellow: 86
Key: 0







Dark Shade

Deep, Intense and bold, this statement colour represents the foreshadowed energy of the revived east sector of Leeds. The darker shade ensures tonal contrast.

CMYK Values: 

Cyan: 0
Magenta: 65
Yellow: 100
Key: 0








The colours detailed above will allow for apt exploration into tonal contrast, energy and variation within this formal element when applied to signage designs of the Leeds City centre
way finding system.