Job No:01077 Title:The fundamentals og Graphic Design
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Barking Learning Centre
(left and below)
The signage for the Barking Learning
Centre was created by Studio Myerscough.
As with other communications developed
for a company, signage not only tells us
where to go, but it informs us about the
organisation and speaks for the company.
It conveys an organisation’s aspirations
and aims as part of its overall identity. In
this example, the signage is very clear,
precise and large, and sits comfortably with
the purpose of a learning establishment.
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Outdoor media
Signage appears in a variety of outdoor media such
as billboards and the sides of buses, trains and taxi
cabs. Each different media presents its own design
challenges in terms of scale and exposure time.
Scale
Outdoor media has a wide range of scales – from
the relatively small size of a taxi cab to a 48-panel
billboard (or larger). The scale of the active area
affects the amount and size of content that will be
displayed on it. A large billboard should not contain a
great deal of detail in small text as it is unlikely that
the audience will be able to get close enough to read
it. Large billboards are meant to make a big
impression that people can see from a distance.
Exposure time
Not all outdoor media is stationary and this means
they may be exposed to viewers for a limited time.
When a communication is to be displayed as mobile
media, such as a poster on a bus or taxi, it should
focus on creating a memorable impression rather
than providing extensive detailed information. For
these reasons, outdoor media designs tend to include
a striking image, minimal text and perhaps just a
brand and slogan. This also holds for fixed media
where people are likely to be mobile, such as posters
displayed in train stations and along roadsides. In
locations where people will be stationary, there will
be increased exposure time, and this allows for the
inclusion of more detailed information. Many
advertisements inside urban transport systems
feature detailed texts as passengers will have the
time and inclination to read them on their journey.
132 The Fundamentals of Graphic Design Delivering the message
National Portrait Gallery
(right)
These posters by NB: Studio
use a standard format that
provides a large space for a
design to be eye-catching
when displayed outdoors.
While the text cannot be read
at a distance, the eyes in both
portraits are positioned in
line with the rule of thirds,
which engage the interest
of the viewer.
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Screen design < Environmental design 133
pobl + machines
(right and above)
Why Not Associates
collaborated with artist
Gordon Young t o c re a te
this outdoor installation
for the National Waterfront
Museum in Swansea. The
design features letter-shaped
seats that chart the industrial
heritage of Wales and
spell ‘pobl’, which means
‘people’ in Welsh. Each letter
also represents a machine or
an item on display in the
museum, highlighting
that outdoor media
encompasses more than
the traditional billboard.
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Curators
When creating an exhibition space, a designer often has to work with the curator programming the exhibition material.
A curator determines the content of the exhibition, develops the key themes and formulates its order or sequence. Once all
the material has been decided, it is then the designer’s job to interpret and visualise these ideas and organise it into a coherent
and functional three-dimensional space, using appropriate signage.
Exhibition design
Exhibition design is about engaging someone within a
three-dimensional environment rather than providing
a static display of well-ordered artefacts.
Interactivity, marketing material support, websites,
narrative and structure all contribute to a more
rounded and balanced approach to exhibition design
that is more appealing to the public, facilitating the
educational process and transfer of knowledge. Both
exhibition and print-design planning start with clear
objectives about the information to be presented and
what the key messages are, conveyed via a linear
narrative to maintain a certain pace and intensity.
Exhibitions are not books on walls
An exhibition is typically accompanied by supporting
print material in addition to the text presented in
the physical environment. It is unrealistic to expect
the audience to absorb information as they would
when reading a book as an exhibition hall has
distractions (movement from other visitors or noise),
making it difficult to concentrate. Heavy editing of
material is required to distil the message into
a form that can be transformed into an easily
understandable and digestible visual experience.
Designers work with a c
urator who determines
exhibition content, develops the key themes and
formulates the sequence. A designer interprets and
visualises these ideas and organises them into a
coherent and functional three-dimensional space,
with appropriate signage.
134 The Fundamentals of Graphic Design Delivering the message
Design Now Austria (right)
The installation in this example uses scale and curved forms to
interact with space and guide people around it. It was created
for the exhibition Design Now Austria by Büro X.
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London Open City (left and below)
The London Open City exhibition at
Somerset House, London and Bucharest
was jointly designed by Studio
Myerscough and Gerrard O’Carroll for
Design for London. Notice how internal
and external spaces are used together
with changing scales and the
unexpected. The telescopes had pre-
recorded panoramic videos of London.
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