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.
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.
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