Graphics Reference
In-Depth Information
vey an important environmental message. By using recycled or repurposed materials, several of
which are biodegradable, the designers imbued the project's narrative with meaning.
The material chosen could be used to reinforce the concept of the design; it may be
selected because the design needs to be durable, practical and long-lasting or it may
be because the design has to incorporate movement or include some sort of anima-
tion. This chapter explores various media, and discusses the reasons why they might
be selected for a range of projects.
Choosing appropriate media
Knowing which media to select is a very important factor when designing. It is not
just a case of choosing what you like; often the media can be designated for you.
However, depending on the project, information may have to be conveyed across sev-
eral platforms and through various media, and in this case, you may have to provide
numerous ways of delivering the data through many different materials.
As an example of this, we have chosen the signage for Metropolitan Wharf in London
by Mind Design. The building is an iconic eight-storey Grade II-listed Victorian river-
side warehouse. It has recently been restored and now provides accommodation for
offices. Mind Design produced the signage and a customized font for the project.
Since the development is located on the embankment of the River Thames, studio
founder Holger Jacobs and his team came up with the idea of using driftwood for the
tenants' board. The project was technically quite challenging. Driftwood had to be
found in the right dimensions, then cleaned and dried. The question of how to apply
the lettering had to be carefully considered. Most of it was done with sandblasting,
but some of it had to be manually enhanced with wood dye. Each piece had to be
drilled from the back and fitted with studs that clamped onto large copper rails. This
way, each sign can be removed individually and exchanged if new tenants move in.
When the tenants' board was completed, only around half of the units were occupied;
this meant certain pieces of driftwood had to be left blank so names could be added
later. The typeface was designed in collaboration with Neal Fletcher and matches the
historic lettering on the outside of the building. In order for the font to work practic-
ally, two versions were completed with subtle differences - one for sandblasting and
one for printing.
