Practical Rationale
Throughout the module and my piece of writing, the conclusion hypothesises growing evidence and opportunity for a New International Style of Design to cater for a rapidly changing and multicultural society. The New International Style of Design, won't be "international" in terms of idealism that the designers adhering to the cause almost want to force upon the world, but instead the world informing the style. In todays world, collaboration, inspiration and influence is global, and at the same time technology has allowed environments to be over-populated with irregular and socially irresponsible design. In basic terms, the New International Style will be a progression of the previous, while still upholding similar responsibility and objectives towards design, while also embracing multiculturalism, international collaboration and diversity.
So, the only practical concept that makes sense for me is to actually put into practice what I have written about, so I am going to collaborate across the world with designers I have never met on a project, collaborate digitally, and communicate through means such as e-mail and Skype. In turn creating an internationally considered approach to design, simply through process and dialogue.
I am inspired by my discussion with Experimental Jetset regarding their method of collaboration and they shared they don't collaborate as one big unit, as they find its inefficient and I personally agree with this through my own experiences. They instead simply take turns on a piece of design, be it by hand or on a computer, with no external input from anyone else. Consequently, each designer has their own stamp and sensibility applied to the design, by the end of it the design piece is completely collaborative. I am going to employ this same process. Literally passing a piece of work around the world, with each designer at each stage adding his/her own system of thinking, by the time I receive the file I will not adjust anything unnecessary.
Designers on Board. Barcelona, Melbourne, Hong Kong
The designers on board are truly from around the globe, and I feel they have a diverse yet synchronised system of design focused on communication and bold layouts. Also, I've kept in mind the languages accounted for by the designers is English, Mandarin and Spanish. The leading 3 languages in the world accounting for 25% of spoken language in the world.
Raimon Guirado - Barcelona
Celeste Watson - Melbourne
Hong Sang Chan - Hong Kong
Context = Wimbledon
I felt, simply applying the aforementioned international style of design concept to a publication which is essentially my dissertation would be a missed opportunity and simply uninteresting for my collaborators who have had no part in writing and researching it. So I have been brainstorming contexts to apply this collaboration concept to. In order for the international style of design to be stronger in relevance, the context needed to be a situation where international awareness and culturally responsible design is warranted.
I've chosen Wimbledon - Wimbledon, is seen as the most prestigious tournament in the world, tennis is a global sport with participants at Wimbledon from all around the world, and spectators from all around the world - so an internationally considered design style is warranted.
Also, redesigning the identity of Wimbledon is a design project I've been planning on doing for over a year as I feel Wimbledon is too set in it's own tradition, and is very "BBC" in identity and presentation. The aims of the International Style and modernism, is to reject tradition and take on a more progressive role, and that is what I plan to do here.
-
In my writing, I have stressed the positives of technology and globalisation, but also investigated the negative connotations of constantly being connected to apps and social networks. The overload of information creates anxiety, and a feeling of no control and passiveness with all the information. So instead, I'm going to focus on print, rather than using technology unnecessarily, when it is not explicitly needed. With a focus on giving spectators and the target audience control and a feeling of ease, not just in terms of visual design but user experience.
Prestige + Glamour
At the moment, I feel Wimbledon, being the most prestigious tennis tournament in the world, does not quite capture the glamour and prestige of the tournament - I aim to combine the glamour, fashion and emotion of Wimbledon as a worldwide event, with the sport of tennis.
Being inspired by the London Olympics, and their motto of 'Inspiring A Generation" underlines the importance of a sporting an event in shaping the future, similarly a socially responsible approach to designing for Wimbledon would be to target a younger audience, inspiring a new generation of tennis prospects through visual identity and aesthetic style - instead of the wealth of older spectators which crowd Wimbledon at the moment, although I need research to back up this point. It will be important to create a balance between tradition, and embracing the new.
MOTION+EMOTION
The basic visual concept for the identity at the moment is agreed by us to be focusing on motion, and emotion. Motion, is the focus towards the skill, technique and almost dancer like fluidity of motion tennis players showcase when stroke playing. Creating a sense of movement and technique within design is an exciting challenge.
Emotion is interesting as Swiss design aimed to be bold, in terms of primary colours, contrasting type and bold type, in the same sense we want the imagery to be bold and really focus on the players as individuals, with emotion and intensity. To sell the event as an intense and dramatic, sporting showcase.
Identity Aims
Cost-effective, use of stock and overprint to decrease cost. Overprinting. Serif type, serif type in todays world is purely aesthetic not for functional purposes. Consideration of language on layouts to be even more communicatively succesful. Which countries do most spectators come to Wimbledon from?
In line with an elegant and responsible form of design, we aim to make the identity of Wimbledon as cost-effective as possible, so use of strong stock shoice is extremely important. Printing a background colour, when the same colour stock can be used is inefficient, overprinting and limiting of colour pallette will be employed.
At the moment, the font choice is Helvetica, or perhaps Aperçu Bold from the Colophon Type Foundry, to represent a modern take on Swiss Style, with Aperçu being increasingly popular and in a sense, the new Helvetica in most contemporary circles. Use of Serif-Font is abandoned, as in todays digital world a serif-font is used purely for aesthetic, and not functional reasons.
Flexibility of the International Style
I aim to showcase the flexibility of an International Style of design, reminiscent of the Swiss Style of design but in a progressive manner towards a contemporary concept. I feel Wimbledon is a relevant context as it steps away from exhibition and publication scenarios towards a global sporting event, showcasing the flexibility and effectiveness of pure, communicative design.
I will use Wimbledon 2013 as source material in terms of daily match timetables and seeding, as 2014's schedule and seeding doesn't exist at the moment.
The following are products I aim to produce and/or propose.
Product Range
Print
- Redesigned logo and identity - taking into account legibility, the digital age and social media.
- Print invites and tickets
- Annual Wimbledon magazine - 'SW19' is the working name at the moment, as we feel it sounds like a fashion collection and will be focused on stories and bespoke features leading into the tournament. Will hopefully be embossed.
- Posters and billboard proposals - of top Wimbledon seeds, promoting the event, and perhaps specific matches during the event such as semi-finals & final.
- Match logs - focusing on print, similar to a diary the spectator fills in and tracks scores of matches attended. Giving the audience a sense of control, instead of influx of digital information and push notifications.
- Organisers/Calendar
- Day Programmes - Breaking down matches to be played, will be produced daily so need to be cost-effective and more ephemeral than the annual magazine.
- Invites - Again focusing on print, to be sent out to spectators instead of e-tickets or the like, to create a sense of importance to spectators and VIP invitees. Will hopefully be embossed.
Proposals
-Redesigned idents
- Match coverage interface
- TV coverage proposals
- Billboards & Campaign
-Wayfinding & Signage
I feel, as this project is essentially showcasing an International approach to design in a Wimbledon context, it is not fully required to flesh out needless detail and be inefficient with time. For example when working on a magazine, it might not be wise to spend days doing layouts, when simply showing a handful of layouts and visuals would suffice. I would love to fully envision the identity so I'm not treating this an option at the moment.
Further posts will break down the existing problems of Wimbledon, colour palettes, existing Wimbledon identity and design process.
Throughout the module and my piece of writing, the conclusion hypothesises growing evidence and opportunity for a New International Style of Design to cater for a rapidly changing and multicultural society. The New International Style of Design, won't be "international" in terms of idealism that the designers adhering to the cause almost want to force upon the world, but instead the world informing the style. In todays world, collaboration, inspiration and influence is global, and at the same time technology has allowed environments to be over-populated with irregular and socially irresponsible design. In basic terms, the New International Style will be a progression of the previous, while still upholding similar responsibility and objectives towards design, while also embracing multiculturalism, international collaboration and diversity.
So, the only practical concept that makes sense for me is to actually put into practice what I have written about, so I am going to collaborate across the world with designers I have never met on a project, collaborate digitally, and communicate through means such as e-mail and Skype. In turn creating an internationally considered approach to design, simply through process and dialogue.
I am inspired by my discussion with Experimental Jetset regarding their method of collaboration and they shared they don't collaborate as one big unit, as they find its inefficient and I personally agree with this through my own experiences. They instead simply take turns on a piece of design, be it by hand or on a computer, with no external input from anyone else. Consequently, each designer has their own stamp and sensibility applied to the design, by the end of it the design piece is completely collaborative. I am going to employ this same process. Literally passing a piece of work around the world, with each designer at each stage adding his/her own system of thinking, by the time I receive the file I will not adjust anything unnecessary.
Designers on Board. Barcelona, Melbourne, Hong Kong
The designers on board are truly from around the globe, and I feel they have a diverse yet synchronised system of design focused on communication and bold layouts. Also, I've kept in mind the languages accounted for by the designers is English, Mandarin and Spanish. The leading 3 languages in the world accounting for 25% of spoken language in the world.
Raimon Guirado - Barcelona
Celeste Watson - Melbourne
Hong Sang Chan - Hong Kong
Context = Wimbledon
I felt, simply applying the aforementioned international style of design concept to a publication which is essentially my dissertation would be a missed opportunity and simply uninteresting for my collaborators who have had no part in writing and researching it. So I have been brainstorming contexts to apply this collaboration concept to. In order for the international style of design to be stronger in relevance, the context needed to be a situation where international awareness and culturally responsible design is warranted.
I've chosen Wimbledon - Wimbledon, is seen as the most prestigious tournament in the world, tennis is a global sport with participants at Wimbledon from all around the world, and spectators from all around the world - so an internationally considered design style is warranted.
Also, redesigning the identity of Wimbledon is a design project I've been planning on doing for over a year as I feel Wimbledon is too set in it's own tradition, and is very "BBC" in identity and presentation. The aims of the International Style and modernism, is to reject tradition and take on a more progressive role, and that is what I plan to do here.
-
In my writing, I have stressed the positives of technology and globalisation, but also investigated the negative connotations of constantly being connected to apps and social networks. The overload of information creates anxiety, and a feeling of no control and passiveness with all the information. So instead, I'm going to focus on print, rather than using technology unnecessarily, when it is not explicitly needed. With a focus on giving spectators and the target audience control and a feeling of ease, not just in terms of visual design but user experience.
Prestige + Glamour
At the moment, I feel Wimbledon, being the most prestigious tennis tournament in the world, does not quite capture the glamour and prestige of the tournament - I aim to combine the glamour, fashion and emotion of Wimbledon as a worldwide event, with the sport of tennis.
Being inspired by the London Olympics, and their motto of 'Inspiring A Generation" underlines the importance of a sporting an event in shaping the future, similarly a socially responsible approach to designing for Wimbledon would be to target a younger audience, inspiring a new generation of tennis prospects through visual identity and aesthetic style - instead of the wealth of older spectators which crowd Wimbledon at the moment, although I need research to back up this point. It will be important to create a balance between tradition, and embracing the new.
MOTION+EMOTION
The basic visual concept for the identity at the moment is agreed by us to be focusing on motion, and emotion. Motion, is the focus towards the skill, technique and almost dancer like fluidity of motion tennis players showcase when stroke playing. Creating a sense of movement and technique within design is an exciting challenge.
Emotion is interesting as Swiss design aimed to be bold, in terms of primary colours, contrasting type and bold type, in the same sense we want the imagery to be bold and really focus on the players as individuals, with emotion and intensity. To sell the event as an intense and dramatic, sporting showcase.
Identity Aims
Cost-effective, use of stock and overprint to decrease cost. Overprinting. Serif type, serif type in todays world is purely aesthetic not for functional purposes. Consideration of language on layouts to be even more communicatively succesful. Which countries do most spectators come to Wimbledon from?
In line with an elegant and responsible form of design, we aim to make the identity of Wimbledon as cost-effective as possible, so use of strong stock shoice is extremely important. Printing a background colour, when the same colour stock can be used is inefficient, overprinting and limiting of colour pallette will be employed.
At the moment, the font choice is Helvetica, or perhaps Aperçu Bold from the Colophon Type Foundry, to represent a modern take on Swiss Style, with Aperçu being increasingly popular and in a sense, the new Helvetica in most contemporary circles. Use of Serif-Font is abandoned, as in todays digital world a serif-font is used purely for aesthetic, and not functional reasons.
Flexibility of the International Style
I aim to showcase the flexibility of an International Style of design, reminiscent of the Swiss Style of design but in a progressive manner towards a contemporary concept. I feel Wimbledon is a relevant context as it steps away from exhibition and publication scenarios towards a global sporting event, showcasing the flexibility and effectiveness of pure, communicative design.
I will use Wimbledon 2013 as source material in terms of daily match timetables and seeding, as 2014's schedule and seeding doesn't exist at the moment.
The following are products I aim to produce and/or propose.
Product Range
- Redesigned logo and identity - taking into account legibility, the digital age and social media.
- Print invites and tickets
- Annual Wimbledon magazine - 'SW19' is the working name at the moment, as we feel it sounds like a fashion collection and will be focused on stories and bespoke features leading into the tournament. Will hopefully be embossed.
- Posters and billboard proposals - of top Wimbledon seeds, promoting the event, and perhaps specific matches during the event such as semi-finals & final.
- Match logs - focusing on print, similar to a diary the spectator fills in and tracks scores of matches attended. Giving the audience a sense of control, instead of influx of digital information and push notifications.
- Organisers/Calendar
- Day Programmes - Breaking down matches to be played, will be produced daily so need to be cost-effective and more ephemeral than the annual magazine.
- Invites - Again focusing on print, to be sent out to spectators instead of e-tickets or the like, to create a sense of importance to spectators and VIP invitees. Will hopefully be embossed.
Proposals
-Redesigned idents
- Match coverage interface
- TV coverage proposals
- Billboards & Campaign
-Wayfinding & Signage
I feel, as this project is essentially showcasing an International approach to design in a Wimbledon context, it is not fully required to flesh out needless detail and be inefficient with time. For example when working on a magazine, it might not be wise to spend days doing layouts, when simply showing a handful of layouts and visuals would suffice. I would love to fully envision the identity so I'm not treating this an option at the moment.
Further posts will break down the existing problems of Wimbledon, colour palettes, existing Wimbledon identity and design process.
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