OUGD405 - Way Finding Evaluation

Whilst collecting primary research from a range of locations across Leeds city centre to inform my practice throughout the Way Finding brief, it became abundantly clear that Leeds lacks the presence of any system to inform and direct residents and visitors of the city through its streets and sectors.  An ever expanding, developing and fast-paced city, Leeds was in much need of an environmental identity. The city may be small, but is not without its difficulties in the field of navigation. I planned for the system to focus primarily on the centre.

Through the information I gathered during the collection of primary research, once analysed, I was able identify commonalities bearing suggestion of what makes a successful way finding system. These prevailing factors were concerned with the importance of scale, contrast, sans-serif typography styles and materials, all things I considered as a result throughout the development of the Leeds system. Further research into the city allowed me to determine the different sectors of the city, these being The Civic sector, Shopping sector, Financial sector, University sector and Eastgate sector. By investigating into each of these sectors individually I was able to identify locations of significance and interest, which would later inform the particulars of the way finding visual language. The exploration of the city also allowed me to gather details of the £130 million development of Victoria Gate in the Eastgate sector of the city, set to open in late 2016 - allowing me not only to design for the present circumstance of the city, but the future also.

Initial ideas generated for the city centre way finding system consisted of a signage concept that co-ordinated colours to the different established sectors of Leeds, using a format reminiscent of road signage, but featuring a more pedestrian-focused target and distinct character through personalised symbols and pictograms. Each sector was to be communicated via its own selected colour, exploiting connotation for the target to establish psychological links and connections.

Though only one strong concept presented itself, multiple styles were explored in an experiment with tonal contrast. Explorations were centred around light tones versus dark shades for the representations of each sector. It was my aim to produce a system that could easily be integrated into the city due to its road signage-alike principles, however was distinct enough to be differentiated from this and guide people using a more creative resolution. Through critique, the light tones with dark edging and typographic/symbolic information came out on top.

The format/shaping of the signage began with a black square with rounded corners, excluding that featured top left, before being in-filled with the same shape but this time smaller and blue as to create the edging. 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 format establishes a subconscious visual guide to ensure information is immediately seen.

Typographic information, communicated through Univers due to its 'visual sensitivity between thick and thin' strokes and strong legibility, is aligned left of the composition and set in a standardised format featuring capitals for the start of words and lower case thereafter. This resulted in 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 - an ideology of which I supplied to the signage. Using 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. All type featured on the signage is optically kerned to ensure optimum readability is achieved.

Exploration into colour, connotation and combination was copious, with a number of changes being made between initial selection and final resolution. The colours selected for the ground of the signage are all light tones and saturations, used in contrast with black typographic information and edges to produce strong tonal contrast that maintained vibrance and distinction in comparison to all other signage solutions present within the city. The colours used and tonal energy created ensure the system cannot be overlooked. Colours include red, yellow, green, blue and orange - each co-ordinated to a specific sector of the city through relevant and appropriate deciphering of meaning. For example, the green used is a mint tone, signifying finance through colour association and psychological connection to The Royal Mint, manufacturer of coins.

  
Symbols designed and featured on the way finding system have been created with instilled personality and consideration of Leeds most significant landmarks. These enhance understanding of sectors via representative visuals that provide immediate psychological links. For example, 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. 

Despite variations in colour, the Leeds City centre way finding solution successfully provides sector and location specific information through a carefully considered and constructed visual language that enables individuals to enhance their environmental awareness and thus have the confidence to navigate and explore all that the small city has to offer. A system reliant on the experience of spacial awareness, this resolution will effectively attract attention due to its bold, distinctive and clear aesthetic qualities. 

OUGD405 - Leaflet Final Evaluation

After viewing a 1948 Pedestrian crossing public information video and analysing its message, I began to consider Pedestrian crossings in the present day, how the sector of road safety has progressed and what precautions have been taken to ensure pedestrians and motorists alike are informed on how to engage with crossings. Experiencing pedestrian crossings as both a pedestrian and a motorist myself, this brief supplied me with the opportunity to become more experienced and informed on a subject that I encounter daily. Though crossing the road may have been a simpler venture in the 1940s, there is now a much more extensive highway code to be considered and preached.

Though I was aware there were different types of pedestrian crossing, I was clueless as to how many or what differentiating factors they attained. Through research, I identified that there were in fact 6 types of crossing; Zebra, Pelican, Puffin, Toucan, School and Pegasus crossings. I also discovered that the way pedestrians and motorists engage with them is much different to one would expect. Developments in technology have hugely impacted the way in which crossings are used and how they are made and varied to provide a balance in safety and rights for each party that uses them. Crossings now consider not only pedestrians and motorists, but also cyclists and for equestrianism.

Initial idea generation for the Pedestrian Crossing Public Information leaflet consisted of a range of formats bearing visuals associated with pedestrian crossings, such as Belisha beacons and black and white stripes, exploiting these familiar aesthetics to create a design that would capture the attention of the target audience through visuals relative to subject content. Whilst generating the ideas, I attempted to think of every possible design element, considering the job description, purpose, target audience, format and point of delivery to ensure ideas were not random and carelessly thought of, but instead using relevancy as the vehicle driving the process.

Through critique and feedback, ideas were refined to a single plan of action: to produce a leaflet using the visual language and recognisable features from pedestrian crossings to create a familiar and bold design for the target that would be easily identifiable. The concept to produce one leaflet for pedestrians and one for motorists was established in order for more target-specific led designs to be created for an ultimately more suitable resolution. Symbols for each crossing were to be made an addition so that the target could establish visual association and easily distinguish and identify each crossing more effectively. The use of a concertina format was ruled the best approach to creating a more engaging and unique leaflet that would capture the attention of the target audience, as well as assist with design order and structure. 

The ideas and decisions for the leaflet were progressed and developed, as previously noted, through a search for the most relevant features. Pantone colours Process Black C, Cool Grey 11 XGC and Yellow C were selected as the representing colours of crossings and the leaflet as a whole. Following this, after an exploration into type, Futura was identified as the most appropriate typeface to convey the leaflets information due to its primary Bauhaus principle of Form and Function. It is a sans-serif typeface that does as is required, delivering content through a simple, geometrically founded and well-balanced aesthetic free of complication and unnecessary additions. It has a slightly heavier weight of line that creates a bolder, more prominent presence that still maintains strong legibility at even small point sizes. It was ultimately chosen for its  youthful, modern visual language to capture the target. 

The leaflet's visual identity was further progressed by the development of symbols to represent each of the 6 types of crossing, starting as basic pencil sketches on a layout pad, outlined and filled black to create silhouettes before being image-traced in Adobe Illustrator to create the vector symbols. Cohesion was maintained to the visual language via the use of previously selected colours/tones/shades of black, white, grey and yellow to enhance the symbols. They provide visual information from which the target can create and establish memorable connections to each crossing.

As a result of the extensive planning and establishment of design decisions prior to full production of the leaflet, the resolution bringing all elements together in unity seamlessly came to be. This re-created pedestrian crossing aesthetic enhances suitability for purpose and target through the syntactic field it makes evident. It establishes an immediate connection to featured content, and also evokes response from the target through familiarity. 

Typography featured on the leaflet uses the theories and ideologies of multiple industry practitioners, including Vignelli and Fassett, to achieve optimum readability for the target. Only two point-sizes of type feature on each page, one double the point size of the other, and information is delivered in a standard format with capitals used only at the start of sentences, words of importance and for names. This suits the formal, direct informational tone of voice used in the leaflet. All typographic information on the leaflet is optically kerned, 45-65 characters in line length and set flush left for optimum readability to be experienced by the target due to the clear starting point and distinct line-ends from the unjustified rag line. On the back of the leaflet, bullet points are used to present the information as to provide structure and break up what would alternatively be large, monotonous bodies of text.

Printed on 135gsm satin paper, the stock has enough weight to be regarded as a high quality piece of design, yet is light enough to not distress when folded and allow the leaflet to lay flat in its dynamic concertina format. The satin finish ultimately makes for a more durable leaflet less prone to scuffs and tears due to its smoother finish, which also enhances the leaflet's sense of quality, and therefore make the target more conscious of keeping it and protecting it from damage.

There are many contributing factors to the leaflet that make it a success in suitability for purpose and target. Relevant, appropriate and considered design decisions in conjunction with supported theory result in a design that effectively captures the subject of the leaflet visually whilst appearing familiar, and therefore of interest, to the target audience. A limited colour palette adds to a dignified and well structured aesthetic, efficiently optimising space and hierarchy to present multiple visual elements. The leaflet intertwines a series of investigations into the most appropriate decisions for a specific visual language that effectively communicates details, knowledge and information in a clear, understandable and engaging format. 

OUGD405 - Pedestrian Crossing Final Critique

Below is feedback regarding the final resolution for the Pedestrian Crossing public information leaflet  received in critique.

Do you believe the leaflet is suitable for purpose? Why?

• Yes, you can tell from the way it looks that your design decisions have been informed by the content and subject of the leaflet.
• The leaflet is suitable for purpose because you instantly know what its about, before you've even read the information.
•  The balance between information and visuals is good. The theres quite a lot of information on the back compared to the front though, which I don't know if is good or bad. Just a point.
• Its clear, well ordered and the concept is relevant, so yes.
• It might have worked better if it was bigger.

Do you believe the leaflet is appropriate considering target audience? Why?

• Yes. Its quite formal and sharp but the visuals make it engaging. I think a lot of people would relate to it.
• Even though theres a bright colour, the rest of the leaflet is grey, black or white. The limited colour palette is appropriate to your audience. 
• Because of how its structured/ordered, everything is really clear to see and understand, so yes I would say so.
• It looks considered overall, which must have involved target knowledge.
• The symbols definitely make it more appropriate.

Which elements of the design are most effective? Why?

• I think the limited colour palette is what makes the leaflet look professional.
• The limited colour.
• The way it has been made to represent the look of crossings.
• The symbols give something to remember for each crossing.
• The symbols and structure of the leaflet are the most effective elements.

How does the satin finish and weight of paper (the stock choice) make you feel about the leaflet? Why?

• The finish makes it feel more expensively produced, not something to just throw away.
• I think it could have been heavier.
• The leaflet seems like something to keep. It doesn't feel or look cheap.
• Considering the fold I think the choice was well made.
• It feels/looks like a normal leaflet.

Any additional comments?

• Really like the colour scheme.
• Concept is good.
• The symbols are nice. 

The feedback I received in the final critique was majoritively positive. People understood the 

leaflet, its function, purpose and target, and felt that the design decisions made were considered 

and relevantly selected. I feel the leaflet successfully and effectively does as is required through 

a cohesive and consistent aesthetic that uses form and function as a primary utility.

OUGD405 - Leaflet Stock

Due to the concertina format the Pedestrian crossing Leaflet takes, stock choice is of vital importance. Too heavy a stock and the leaflet will not sit flat; The structure of the fold will make it want to lift. Too light a stock and the leaflet will appear poor quality, be prone to damage and also show through the high contrast designs featured on each side.

Points of consideration here include colour, gsm (weight of paper) and finish (matte, satin, glossy etc.).

Colour

The colour I will be printing the leaflet on, naturally, is white. As there is plenty of white ground and type featured on the resolution, this is the only available option when printing digitally - as digital printers only print CMYK (cyan, magenta, yellow and key/black).

Identifying Stock gsm

Initial exploration began in the G. F. Smith stock collection. This provides numerous types and weights of paper, showcasing the entirety of their collection(s). From this I wanted to identify the most suitable weight of paper considering the concertina format of the leaflet.

I looked at a range of weights from potential paper types, the first being from the G. F Smith Colourplan collection, contemplating the feel of the paper. Initially, I explored a range of weights, including 120, 135, 175 and 220 gsm. The most suitable from this range felt like the 135gsm weight of paper. It felt strong, yet light enough to fold and stay in the desired flat-format (until expanded/opened).

G. F. Smith / Colour Plan / 120, 135, 175 and 220 gsm 

I also looked at the Heaven 42 Soft Matt collection. This had a softer, smoother quality - although oddly felt as though a heavier gsm would be more suitable, around 170gsm

G. F. Smith / Heaven 42 / 200 and 170 gsm

Finish

Although the papers I identified in the G. F Smith collection had a quality feel, the finishes lacked what I desired. I instead found a satin/gloss finish paper at around 135gsm in weight in the digital print room. This weight felt most suitable for the concertina format of the leaflet, as it had enough weight to be regarded as a higher quality than standard 'printer paper,' yet was light enough to not distress when folded and allow the leaflet to lay flat. The satin finish ultimately makes for a more durable leaflet less prone to scuffs and tears due to its smoother finish. This will also enhance the leaflet's sense of quality, and therefore make the target more conscious of keeping it and protecting it from damage.

OUGD405 - Leaflet Production (Back)

With the leaflet's cover established, production of the back of the leaflet could begin. Having an established visual language and research ready to be condensed and transferred, the greatest task here will be setting the type to ensure maximum readability is evident to the target.

First however, the A4 page is set up using the signature three horizontal Pantone Cool Grey 11 stripes on the white ground to divide the document into six sections - supplying each of the six crossings with apt individual space as well as structure.

This is followed by the addition of symbols, set right in a straight vertical line down the right of the composition. These simple, cohesive and relevant symbols enhance the design's identity and provide greater balance between information and visuals. They seamlessly integrate into the visual language due to the consistent colour palette whilst providing visual information from which the target can create and establish memorable connections to each crossing. The Pantone Yellow C rings that surround each symbol not only extend the presence of uniformity, but also allow each individual piece of visual information to maintain prominence regardless of ground colour - whether sat on a grey or white stripe of ground.

Following this I wanted to evaluate remaining space to resolve concerns around ordering information.   I filled each of the six sections with Lorem Ipsum before setting the type according to theory.

According to Fassett's Theorem of Legible Line Length, 'line length that contains 45 to 65 characters (including letters, numerals, punctuation and spaces) are legible. Line lengths exceeding these limits challenge legibility.'

With this in mind I supplied the dummy text to the leaflet, ensuring line lengths were within the theorem's limits.

Whilst the above experiment showcases the visual language's ability to effectively provide order and structure to the hierarchy of the design, the space in-between the bodies of text and symbols is too much, leaving a disruptive gap in the leaflet's aesthetic. 

Swapping the Lorem Ipsum for the leaflet's real content before type-setting and ordering the information to again meet Fassett's Theorem, I then shifted the bodies of text right, in an almost central compositional placement. This in turn moved the abundance of remaining space to the left of the composition. I utilised this space by supplying heading's for each crossing with vertical baselines, reading from bottom to top. This optimises space within the leaflet whilst giving each element of visual information room to breath and be identified singularly, and also as a well structured whole-aesthetic.

White and yellow text is applied to the grey stripes of ground, whilst grey text is applied to white stripes of ground. This enhances the ordered aesthetic of the leaflet whilst creating tonal energy via contrast that allows the targets' gaze to seamlessly navigate between each crossing's information and its boundaries. Yellow is used as a feature colour to differentiate secondary information and highlight significant information.

Headings for each crossing, being Zebra, Pelican, Puffin, Toucan, School and Pegasus, are set at a point size of 20. This differs to the 10 point size used to deliver all other featured information. This point size is a standard size used in print, with type size generally being between 10 and 12 point size in this sector (including .5 sizes). This puts Massimo Vignelli's ideology into use via the presence of only two point-sizes of type on a page, most notably one large point size followed by half of the original point size.

The information is delivered in a standard format with capitals used only at the start of sentences, words of importance and for names. This suits the formal, direct informational tone of voice used in the leaflet. Readability also benefits from this setting, as words are more easily understood and absorbed as a result of the familiarity of this way of writing. Bullet points are also used to present the information as to provide structure and break up what would alternatively be a large, monotonous body of text.





Typographic information on the leaflet is optically kerned and set flush left for optimum readability to be experienced by the target. Another of Vignelli's theories, the flush left type is the easiest formatting to read as the gaze has one starting point and clear, distinct line-ends due to the rag un-justified rag line.

There are many contributing factors to the leaflet that make it a success in suitability for purpose and target. Relevant, appropriate and considered design decisions in conjunction with supported theory result in a design that effectively captures the subject of the leaflet visually whilst appearing familiar, and therefore of interest, to the target audience. The aesthetic is dignified and well structured, optimising space and hierarchy to efficiently present multiple visual elements. This is appealing to late teens on there verge of adulthood and adults thereafter.

An alternate leaflet specifically targeted at motorists uses the same visual language to deliver the succinct information for purposes of consistency and cohesion, however features alterations in rules and regulations that apply to them, ensuring the audience is targeted directly. 

OUGD405 - Leaflet Production (Front)

The first step in producing the leaflet was to reproduce (visually) and construct the visual language of pedestrian crossings, using the most significant associated aesthetics - Belisha Beacons and horizontal black and white stripes.

Production began with dividing an A4 document into six sections via the use of three horizontal Pantone Cool Grey 11 stripes on white ground. This was followed by the addition of an over-layed vertical strip interrupting the grey and white stripes, appearing left compositionally. This strip depicts alternating Pantone Process Black C and white sections with rounded ends to create the cylindrical illusion of depth - mimicking a Belisha Beacon post. The post is completed with a circle of Pantone Yellow C at the top signifying the sphere of light. A subtle glow enhances the realism of the crossing-aesthetic.

This re-created pedestrian crossing aesthetic enhances suitability for purpose and target through the syntactic field made evident. This will not only establish an immediate connection to featured content, but will also evoke response from the target through familiarity. The setting provides apt space for an ordered hierarchy and inclusion of type.


















Next, white and yellow text is applied to the grey stripes to inform the target on the leaflet's subject, featured content and specific target. By setting white text on the dark grey, tonal energy is created via contrast that draws the targets' gaze to the lightest visual element(s). Yellow is used as a feature colour to differentiate secondary information and highlight significant information.

Another visual aid used to make a distinction between the title and following information is the modernist principle, as detailed by Massimo Vignelli, of using only two point-sizes of type on a page, most notably one large point size followed by half of the original point size.

Page taken from 'The Vignelli Canon'

For example, the leaflet features the title 'Pedestrian Crossings' set in Futura at a point size of 40.
All other information featured is also set in Futura, but at a point size of 20.

The information is delivered in a standard format with capitals used only at the start of sentences, words of importance and for names. This suits the formal, direct informational tone of voice used in the leaflet. Readability also benefits from this setting, as words are more easily understood and absorbed as a result of the familiarity of this way of writing.

Typographic information on the leaflet is optically kerned and set flush left for optimum readability to be experienced by the target. Another of Vignelli's theories, the flush left type is the easiest formatting to read as the gaze has one starting point and clear, distinct line-ends due to the rag un-justified rag line.








An abundance of factors make the leaflet cover successful in suitability for purpose and target. Relevant, appropriate and considered design decisions in conjunction with supported theory result in a cover that effectively captures the subject of the leaflet visually whilst appearing familiar, and therefore of interest, to the target audience. The aesthetic is dignified and well structured, and in that appealing to late teens on there verge of adulthood and adults thereafter. Information on content is succinctly detailed and straight to the point.

There will be two leaflets produced, one for pedestrians and one for motorists. Using the same visual language to deliver the information for purposes of consistency and cohesion, the cover specific to motorists features alterations in wording to ensure the particular audience is targeted directly. This is where yellow emphasis of words is at its strongest and most effective, evidenced below.

OUGD405 - Production Preparation: Process Reminder

Through a process of exploration and critique, I have been able to make appropriate and relevant design decisions that will ultimately ensure the Pedestrian crossing leaflet will be suitable for purpose and target. These investigations into design choices have supplied me with a set of established choices ready to be set into production.

Established Design Decisions:

• Concertina leaflet - engaging format allows for ordered and structured information to be interacted with by the target. Will fit into the standard envelope size (22x11cm) to be sent out to learner drivers and also in thin, transparent cases attached to posts at crossings.
• Concept - A leaflet using the visual language and recognisable features from pedestrian crossings to create a familiar and bold design for the target that will be easily identifiable for what it is and what the content will be.
• Limited colour palette - White, Process Black C, Cool Grey 11 XGC and Yellow C. This pantone colour palette will capture the target audience through familiarity and association of visual language whilst also being suitable for the purpose of delivering information on pedestrian crossings through considered choices that are concept and content relevant.
• Typeface - A sans-serif typeface will be used to convey the leaflet's information as it is purely informational, no decorative embellishment is required or appropriate; The type style should not be a distraction from the content it delivers. Futura is a typeface that does as is required; It delivers messages through a simple, geometrically-founded and well-balanced aesthetic free of complication and unnecessary additions. It has a slightly heavier weight of line creates a bolder, more prominent presence that still maintains strong legibility at even small point sizes. It has a more youthful, modern visual language that would capture the target and serve its purpose well. 
• Symbols - featuring symbols on the Pedestrian Crossing leaflet will enhance the design identity and provide greater balance between information and visuals whilst also cohesively supplying the target with visual references and connections.

OUGD405 - Symbol Development (including critique)

Having received feedback via critique that featuring symbols on the Pedestrian Crossing leaflet would enhance the design identity and provide greater balance between information and visuals, I set out to sketch the symbols using a layout pad.

Required Symbols: 

• Pedestrian - representative of pedestrians
• Large and Small pedestrian - School crossing
• Steering wheel - representative of motorists
• Bicycle - Potentially for Toucan crossing alongside pedestrian 
• Horse - Pegasus crossing
• Pelican - bird used in reference to crossing
• Puffin - bird used in reference to crossing
• Toucan - bird used in reference to crossing

My aim/objective is to design effectively simple, cohesive and relevant symbols that will work in unity with the plans for the overarching visual language of the leaflet whilst providing visual information from which the target can create and establish memorable connections to each crossing. 

Step One

Firstly, on a layout pad, using a pencil I drew out basic representations of each required symbol, including a more dynamic-look pedestrian. 

Step Two

On a new layer, I carefully traced and filled all black information before scanning in to Adobe illustrator and creating vector shapes of each symbol.

Step Three

With vector shapes created, I then tided any edges and (where appropriate) applied colour; Colour was necessary in signifying each representative bird. Cohesion is ensured via the use of previously selected colours/tones/shades - White, Pantone Process Black C and Pantone Yellow C. I also used the existing pedestrian shape, duplicated, rescaled and then merged to produce my own version of a school sign.

Step Four - Critique

With a range of representative symbols now in my design arsenal, I looked for feedback on the designs. This follows:

What are your thoughts on these symbols, are they successful and why?

• The limited colour palette gives consistency to the symbols so you can tell they are a set.
• They're effective because they aren't complex. Just simple shapes and lines.
• Even though they're similar, they're different enough to clearly show each crossing singularly.

Can you identify each bird individually? First a simple yes or no until everyone has answered, followed by explanation.

Yes or No

• No
• Yes I think so
• Yes

Explanation

• I knew they were all birds and related to the crossings but I didn't know which was which. Thats why its good that you're having them on the leaflet, because it will teach people who don't know and help them make the connection.
• I think the small white one is the Pelican, the long-beaked one is the Toucan and the small-beaked one is a Puffin.
• Yes, thats right.

Are they any suggestions on improvements for the symbols?

• I think the shapes/sizes of the symbols are too different, they need outlines.
• Try putting each symbol into a circle so they're more cohesive and uniform.
• Definitely need to be in circles.

Step Five

After receiving the above feedback, I put each of the representing symbols into yellow circles for a vibrant surround that maintained cohesion whilst ensuring the symbols were easily seen, making them ready for integration into the established visual language.

Top row from left to right: Zebra, Pegasus, School.
Bottom row from left to right: Pelican, Puffin, Toucan.

OUGD405 - Typography

As confirmed in critique, the typography to be featured on the Pedestrian Crossing leaflet must be simple, clear and dignified. It for this reason that a sans-serif typeface will be used to convey the leaflet's information. As the leaflet is purely informational, no decorative embellishment is required

or appropriate; The type style should not be a distraction from the content it delivers. 

Below I will explore a range of sans-serif typefaces to identify the most appropriate for the job, considering purpose and target.

Helvetica Regular

Helvetica was specifically created to be a neutral typeface that gives no impressions, suggestions or meanings - making the type versatile. Its simple letterforms create a high level of legibility and is easily interpreted (visually). This typeface is suitable for purpose in that it can communicate information objectively, whilst its high legibility make it easy to comprehend for the target.

Futura Medium

Futura is a typeface that holds the most significant value of the Bauhaus at its core: Form and Function. It is a typeface that does as is required; Futura delivers messages through a simple, geometrically-founded and well-balanced aesthetic free of complication and unnecessary 

additions. It has a slightly heavier weight of line creates a bolder, more prominent presence 

that still maintains strong legibility at even small point sizes. It has a more youthful, modern 

visual language that would capture the target and serve its purpose well. 

Gill Sans Regular

A typeface exhibiting classic simplicity, Gill Sans Regular remains clearly legible at even small point sizes and from short distances away. Though this typeface hints at a slightly more decorative aesthetic as a result of its Roman origins, the peculiar ear and eyeglass letter 'g' for example, Gill sans still appears clean, understated and modern. Designed for use as both a body and display type, this typeface would be suitable in the communication of the leaflet's information whilst 

maintaining solid legibility.

DIN Alternate Bold

A standard typeface for the road signage of Germany, DIN's distinct visual makes it a favourite of many. Legible, simple and clear, DIN is another contender in its ability to effectively deliver information without distraction.

Selected Typeface

Futura is the typeface I will use in the communication of the Pedestrian Crossings leaflet. The characteristics detailed alongside the typeface are the motivation behind this decision, in addition to its well-rounded style and distinguishable visual language.

OUGD405 - Pantone Colour Selection

Having established which colours will be used on the pedestrian crossing leaflet to best create a visual language reminiscent to pedestrian crossings themselves through plans and critiques, I must now identify the specific shades/tones of black, grey and yellow (White cannot be printed and therefore will not be explored).

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

Black






The black required for the leaflet was pure black, as to match that used on Belisha Beacon posts. The colour identified that matches this criteria is Pantone Process Black C.

CMYK Values:

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










Grey









































The desired shade of grey for use on the leaflet needed to be a dark, cool grey. Dark enough to create a strong tonal contrast with white ground and type, yet light enough to clearly distinguish it from the small addition of black on the leaflet. The shade I identified with these qualities was
Pantone Cool Grey 11 XGC.

CMYK Values:

Cyan: 12
Magenta: 0
Yellow: 0
Key: 74

Yellow

Although the intensity of the light, and therefore tonal value, on a Belisha Beacon changes as it intermittently flashes, the tone can be ultimately be reduced to a bright, yellow/orange - often referred in terms specific to pedestrian crossings as amber. The colour I have selected, due to its intense, vibrant quality and orange tint, is Pantone Yellow C.

CMYK Values:

Cyan: 0
Magenta: 1
Yellow: 100
Key: 0

Pedestrian Crossing Leaflet Colour Palette.



The above colour palette, plus white, will allow me to produce a leaflet the successfully captures the target audience through familiarity and association of visual language whilst also being suitable for the purpose of delivering information on pedestrian crossings through considered choices that are concept and content relevant.

OUGD405 - Leaflet Critique

Having produced a detailed sketch on my ideas and concepts for the Pedestrian crossing public information leaflet, I took the sketch to propose the final concept in the critique - prepared with questions and ready for feedback.

Below are the questions and feedback received:

Does the sketch include everything necessary/is there anything missing? What does the sketch show?

• You have planned the layout of the leaflet well, including some of your design decisions, which will make it easier to produce. Everything has its place and it looks clear.
• There's a good balance between space and information, especially comparing front to back. It looks well structured.
• The sketch is a good starting point. You'll need to consider ordering of information in each section though.

The colours/tones/shades I have opted to use are Black, White, Grey and a yellow-orange. What are your thoughts on this?

• There are limited colours but thats not a bad thing. I think it will work well for the target.
• These colours will help you match the visuals of crossings which makes your design decision informed and appropriate. I think it will look good. 
• Even though there aren't many colours, you could use the yellow-orange to emphasise important information. Also, the way you're using the colours is quite complex so the limited amount will help with a more neutral look.

Im considering the use of a sans-serif typeface. Would you agree this is the most appropriate style?

• Yes, there's no reason to use a serif typeface when delivering information.
• I think almost all informative design uses sans-serif. Serifs are decorative and irrelevant in your subject and chosen style so far.
• Yes, the subject of your leaflet isn't fancy. Its about safety and I think serifs would be a distraction for the seriousness of the information. 

Targets and aims for the leaflet informed by critique feedback:

• Consider ordering of information.
• Identify specific pantone colours to use in design.
• Use Yellow/Orange to highlight key information in the design. 
• Identify sans-serif Typeface.

OUGD405 - Drawn Leaflet Plan

After receiving feedback on my ideas and concepts for the Pedestrian crossing public information leaflet, I produced a sketch to propose a final concept in the next critique. Below is the sketch exhibiting my plans for the resolution.




























The plan details the proposed colour palette, folds, text settings, design concept and general placement of visual elements. This will be taken to the next critique along with further questions to develop the resolution.

OUGD405 - Leaflet / Concepts and Ideas Critique

Initial idea generation for the Pedestrian Crossing Public Information leaflet consisted of a range of formats bearing visuals associated with pedestrian crossings, such as Belisha beacons and black and white stripes, exploiting these familiar aesthetics to create a design that would capture the attention of the target audience whilst providing order and structure to the information in an appropriate and suitable-for-purpose visual language.

5 Critique Questions and Feedback

Do you believe the pedestrian crossing aesthetic inspired visual language will be effective in reaching the target audience? Is it suitable for purpose and target?

• Yes, the associated visuals will make the leaflet clear in what its communicating before any information has been read. 
• Definitely - by using the stripes you can separate the information and make it easier to navigate by the target.
• I think it will be bold and eye catching.
• It will instantly be recognisable, visually, for what the content is which means it will be suitable for purpose and target.

Would one leaflet for pedestrians and one leaflet for motorists be better than one that targets both? Why?

• It would probably be easier to produce one, but one for each would be more target specific and therefore more effective.
• Yes, pedestrian crossings are viewed differently by each so there should be a different leaflet for each.
• Keep the same visual language for both but alter the content in each to make them more specific to the selected target. 
• One leaflet would reach a wider audience, so it depends on if you want them to be specific or not.

Would a limited colour palette be suitable for target and why?

• Yes, young adults and adults especially don't need a range of bright colours to attract them. It wouldn't be appropriate.
• A range of colours might make it easier to separate information.
• To use the look of crossings you would need to limit the colours, or it would become unrecognisable to the target.
• The leaflet would look more professional and sophisticated with a limited colour palette so would work well for adults in particular.

Do you think I need to include symbols/pictograms for each of the crossings? Why?

• I think it would be nice to include symbols, it will give each crossing an identity that the target can use to remember them.
• Definitely, because the leaflet is purely informational it needs something to make it less text heavy and more visual.
• Symbols would add something extra to the leaflet. It might be boring without them.
• Yes, keep it simple - use bullet points and symbols to deliver the information so its not difficult to read and easier for the target.

Which format/concept do you believe will be most appropriate and engaging and why?

Everyone in this critique unanimously agreed that a concertina format for the leaflet would be most engaging as it would force the target to interact with the folds and information in each section. It will assist the order and structure of the information and also appear different to standard leaflets. 

Targets and aims for the leaflet informed by critique feedback:

• Produce the leaflet using the visual language and recognisable features from pedestrian crossings to create a familiar and bold design for the target that will be easily identifiable for what it is and what the content will be.
• Produce one leaflet for pedestrians and one for motorists for more target-specific led designs that will ultimately be more suitable for purpose and target.
• A limited colour palette is vital to maintaining familiarity and therefore reaching the target audience.
• Produce symbols for each crossing so that the target can create visual association and easily distinguish and identify each crossing more effectively. 
• Use a concertina format for a more engaging and unique leaflet design that will capture the attention of the target audience, as well as assist with design order and structure. 

OUGD405 - Maquettes / Leaflet Formatting

Before thumb-nailing/sketching potential ideas for the pedestrian crossing leaflet, I first explored paper maquettes/paper formats that would adhere to some of the points of delivery detailed previously. These were for the leaflet to be:

• Sent in the post with provisional driving licenses - This provides those new to driving and theory with an immediate source of information and knowledge to progress from.
• Given out/available at driving test centres - Drivers taking their tests will be supplied with a comprehensive guide on pedestrian crossings and a reminder on how to engage with them once they begin driving independently. It will be a point of reference. 
• Fixed to posts at pedestrian crossings - Rather than sending out leaflets by post to every home, this provides pedestrians with the option to engage with the leaflet, which they are more likely to do if they feel they have freedom in the receival of information.  

Considering the above points of delivery, below are three differentiating format ideas that would meet criteria for eligibility for said potential choices -

(Please see separate worksheet for to-scale paper formats) 

Small Booklet / Paged Leaflet.

This small booklet format would provide each crossing with a full page, giving sufficient space for information aimed at both pedestrians and motorists.The page count is not overwhelming, and  the booklet format is a standard format that should be well received by the target as a result of its familiar nature. The size of this booklet has been determined considering the standard envelope size used by the DVLA to send out provisional licenses (22x11cm) and therefore would easily be made an addition to the documents sent out at this time.

Double-sided A4 Sheet Leaflet.



This double-sided A4 sheet leaflet provides sufficient space for each of the 6 types of pedestrian crossing to be detailed. A format that is easily explored, well accepted and commonly used in the deliverance of information - this sheet-style would efficiently convey information and subject free of complication. The standard A4 sizing has been chosen considering larger envelopes (32.4x22.9cm) as well as meeting the sizes of almost all other standard documents, theory test results, driving test sheet and driving certificate. This will provide the target with a point of reference via a guide on pedestrian crossings and a reminder on how to engage with them once they begin driving independently - to be given out alongside the other documents detailed.

Concertina Leaflet.



This concertina format leaflet allows for ordered and structured information to be efficiently delivered to the target through a unique and engaging format (in terms of public information deliverance). The target will be forced to interact with the folding of the format as they explore the different sections of the leaflet. Not only will this leaflet fit into the standard envelope size (22x11cm) to be sent out to learner drivers, but would also have potential to fit into a thin, transparent case that could be attached to posts at pedestrian crossings for choice of exploration. 

OUGD405 - Job Description / Purpose / Target / Point of Delivery

Job Description

Studio brief 02 requires the production of a public information leaflet, which effectively communicates the keys facts, details and knowledge I have identified within Study Task 03 and research thereafter.
The leaflet, which should be no larger than 35.3 cm by 25cm, needs to communicate identified information in a clear, understandable and engaging format, whilst being suitable for purpose and target audience.

Purpose

The leaflet I plan to produce will be concerned with the different types of Pedestrian Crossings. The purpose of the leaflet is to inform and share their similarities, differences, identifiable features and how both pedestrians and drivers alike should engage with them in an attempt to influenced and inspire a more knowledgeable society in the sector of road safety.

Target

The target audience for the leaflet begins at 17 year olds. This decision is based on the fact that it is at this age teenagers become eligible to begin learning to drive, however they must first pass their theory test - on which questions on types of pedestrian crossing and how to identify them will be included. It is also a significant age in the transition to independence and young adulthood in which becoming informed on a more substantial level of road safety is required (again considering the desire and ability to drive).
This target age continues to rise up until it reaches adults aged 35 (even beyond). A survey carried out in 2013 found that the average age for couples to have their first child was 30. Considering this, parents should be informed on a distinct level of road safety themselves so that they are able to teach children the facts and pass on the information of how to safely cross the road to young children. They themselves most likely are not aware of the development in technology featured on some crossings, and therefore re-familiarising themselves with updated information would be beneficial for them and generations to come. The leaflet will be produce for both male and females.

Point of Delivery


The point of delivery for the leaflet needs to be decided primarily considering the target. Below is a list of potential points of delivery and why:

• Sent in the post with provisional driving licenses - This provides those new to driving and theory with an immediate source of information and knowledge to progress from.
• Given out/available at driving test centres - Drivers taking their tests will be supplied with a comprehensive guide on pedestrian crossings and a reminder on how to engage with them once they begin driving independently. It will be a point of reference. 
• Fixed to posts at pedestrian crossings - Rather than sending out leaflets by post to every home, this provides pedestrians with the option to engage with the leaflet, which they are more likely to do if they feel they have freedom in the receival of information.