North Head, Devonport

Information Environments #ARDN626

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Presentation/System Manual Part #2

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Presentation/System Manual Part #1

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Prototyping #3 (Final)

We’re really happy with how the copper finish turned out! There was no issue with the legibility of text or distinguishing between layers, as naturally the reflection of light and shadows did the job for us.

The metallic/copper finish also had a great effect on the ‘type blocks’/letterpress, giving a ‘sheen’ to the letters. The contrast between the metallic, red/brown-toned copper and the light speckled concrete was another great outcome. The contrast assured that the identity and wayfinding system would be noticeable and distinct, while nicely complimenting and fitting with the materiality and industrial nature of the structures on-site. Even the texture the hammered copper spray was able to emulate, mimicked the texture we had noticed on the canons and though none were actually made of copper, we were able to create both a cohesion with the site and point of difference.

Having shown a few people the prototype there was an instant connection and association with letterpress type, while overall we are very happy with the prototypes and how it successfully lends to a picture of our designed concept and system actually working as a physical piece.

The copper finish also had a great effect on the ‘contoured’/layered letter S and very much turned out as we had liked, giving us an indication of what the rest of the loop letters ‘T’ and ‘C’ would look like, following the same structural/graphic system. Ideally, the layers would be thicker, which would give even greater of a contrast, but at this current weight we are given a pretty good indication of the proposed effect/outcome.

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Map

We decided not to fully prototype the final map as we had done plenty of test cuts and trials with layering the topographical contours. The assisting type on the right-hand side would follow the same treatment as other information type, which we had prototyped as part of the signage system. 

The only difference from our test cuts is that we have added the addition of the loop tracks engraved in the layers and continued throughout/across the topography model. As each of these loop tracks would appear the same, to distinguish them we have designed the model to have an index relating to the map right-hand side that constitutes to each point and what loop track it is apart of. For example, the proximity of the points S1 S2 S3 S4 S5 etc. would be an indication of the route and direction of the Summit loop.

Below is the design file for our final map. What is in red will be engraved, and the rest layered either as type blocks if it’s type, or topography layers if it’s the map model. N.b: The block shapes have not been included below, but will exist as seen in the prototype.

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More photographs of prototype

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Environmental mock-up

Our attempts at 3D rendering for an environmental mock-up to get a sense of the scale and placement of our signage/wayfinding system on-site, and showing vaguely how it would essentially work within the environment.

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Prototyping #2

We constructed prototypes for the primary elements of our signage system; the letter ‘topography’/contours, which would be at the front face of each signage point in the trail/loop and the information board in the style of a letterpress/’type blocks’, which would be on the back face and provide some information on the attractions and structures at that point in the loop. 

By this point, we had also decided to go with copper as the material for all the signage elements and layers, and concrete for the ‘slab’/thick base the signs would be mounted onto. We thought the two would be a better fit into the environment and reference more of an industrial period, while also taking from the materials on-site; metal, concrete and brick being the main ones.

Our only concert at this point after constructing the MDF prototypes was whether spraying the hammered copper would lose the effect and differentiation of each layer since the burn marks provided an outline in a way which made each layer quite distinct. This could also possibly affect the legibility of the body text/information. We photographed the MDF prototypes against the concrete just to document as a reference before adding the ‘copper effect’.

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Type block prototyping #1

Our first attempt at creating an A3 prototype of the type blocks working on signage was a partial fail. The technician doubted the type cut-outs would even still keep their form, though they did they were too small and difficult to work with even as our prototype. We were also losing letters as they would fall between the gaps of the gridded base of the machine. So we were faced with the difficult decision of deciding whether to use these small (tiny) letters to prototype our signage system for the sake of having a whole sign completely prototyped, or scaling it 1:1 and prototyping only a section of the sign on A3 to actually get the detail. We went with the later. 

Successfully the second attempt, scaling to 1:1 allowed us to prototype the type blocks at a decent scale. This is what was cut:

Though constructing them was a tedious job we are very happy with how they have turned out, even better than we had expected. We ended up cutting the block on 6 mm MDF and the type on 3mm, the contrast in weight worked out nicely too. 

We are yet to mount them onto the base and coat with the hammered copper. 

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Preparing block test

The blocks were created so that they were the width of the letter exactly and the height of the highest to the lowest point on that line of type, excluding type forms with descenders, which would extend below the other blocks to the lowest point of the descender. The important part is that the top of each block all line-up/align at the top

A block outline to each letter has been added, which will be placed in a separate file to the type alone, both of which will laser cut and build by sticking the type to the block, as a prototype test. Once the individual blocks are made, the header and sub-header will have the type blocks set in the positions they currently are with spacing in-between, while the type blocks for all other text will be shuffled right next to the other, letter by letter with no gap, spaced only between words. 

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Designing #2

Redesigned the map from prior, to integrate the typographic system developed for the signage in the last post. It was important to create a coherent and cohesive visual language and identity thus it made sense to continue the typographic treatment throughout. We intend on recreating the topographical contour ‘model’ and incorporate it as part of the large map component. 

With each layer extruding/building outwardly, the surface area decreased, which created a problem for us in terms of how we would show points on the map. Eventually, we came up with the solution of indexing certain points; having just the numbers/letters engraved onto the contour layers, and what those points were indexed to the side, under all the other type elements. We also were not sure how to distinguish and show a visual of each of the 3 loop routes on a single layer map, without having to revert to colour which would throw off the system given 'the colour’ of every other element, would be the material. 

Thus we merged to problems to create a solution for both that was to have each route engraved, continuing across each layer but with no colour, just the engraving so pretty much all looking the same. The key stops/points throughout each walk at each sight/attraction would be indexed with the first letter of the loop and number ie. S1 S2, T1, C4 etc. These points would be engraved onto the map in their location so that what ‘loop’ each route belonged to would be easily established via proximity of points beginning with the same letter. This part of the map is still being worked on and materialised; not currently pictured.

How the typographic system was set out and the space taken up by adding the indexing system, the text/information that was detailed in the map prior, of the different attractions and length of each was too much to fit within the map. Remembering G once mentioning the idea of having three separate panels at the entrance, in line, made me think of adding three separate signage components; one for each of the loops briefly detailing what it consisted of.

Here is using the Summit Loop as an example:

Again all type, each and every letter would be made into a type block, besides the ‘S1 S2 S3 S4 S5′, which would be engraved given that none of the points would have been reached yet with this sign being at the entrance. 

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Designing #1

Initial drafts playing around with layout, hierarchy and typefaces. Aim is to draw from the visual language and graphic style of the late 19th century newspapers while sustaining an expression that is contemporary and brings the past into the present with design. 

The typographic pair of the heading and subheading immediately worked well in providing a contrast that complimented the forms; one a heavy, bold slab serif, and the other, also a slab serif, but with great contrast in type weight from thin to thick. 

But something was not working, and later I found this to be the adding of ‘Barracks’ another typeface almost similar in size and weight to the headings, which confused the hierarchy. Also, the indentation of the body type while everything was centred to the margins, did not make sense.

After some tweaking, thinking and further adjustments I developed the close to final design for signage at points set throughout each one of the loop walks, providing information about sights and history at specific points on the site. I decided it wasn’t necessary to have North Head sub-headed on every time, as these signs would follow the main map/entrance thus making it redundant. 

This allowed me to reduce the system down to a stronger hierarchal structure. I also used line dividers to help me reinforce this as well as being a reference to newspaper systems; how sections and text was broken up. 

In physical form ever letter of type would be made into a type block and mounted onto a base/board to reference the early printing press; how newspapers were printed and information distributed at the time. 

‘S1 S2 S3 S4 S5′ would act as a marker system to notion how far along and at what point in the track users were at, at the point of reaching the signage post. To distinguish this, the current point (in this case, S4) would be made into a type block as the rest of the type. The rest (S1 S2 S3 S5) would simply be engraved into the base board. This line of markers would later be moved down aligned to the bottom margin, to allow for signage needing space for more body text.

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Plan

Map

Wide landscape format; layered topography ‘model’’ of North Head, layers extruding outward/contours building inward. 

Loop signage

Signage placed at certain points throughout each track, functioning both as wayfinding/navigation as well as informing and engaging the user with the historical context and the site’s military heritage 

Letter ‘topography’, layered contours of the first letter of each loop track; summit, coastal and tunnel. This will be on the front of the signage panel, acting as an indicator of the specific loop track. Stylistically exists in parallel to the topographical model featured on the map, thus tying each signage component together coherently; ‘full circle’ (loop)

Typography set as resembling metal/wood type blocks mounted on the other side of the letter ‘topography’ or next to, in case of the map. Information system set and designed with similarities to late 19th century ‘design’, how newspapers were set for the printing presses, newspapers as the medium by which information was shared at the time. Type system made up of a number of typefaces, mostly slab serif. Focus on establishing a clear hierarchy of information and interesting composition.

All signage in copper mounted onto a wooden or concrete ‘slab’/thick panel, securing it to the ground. 

[scan notes]

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Kathy prototyping our designs to work within both the textural environment and terrain of North Head. I was surprised to see how this quick experimentation materialised what we had designed into the given environment, and how relational the environment/textures are on the effect and ‘fit’ of the information design working in that space.

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Progression Session

After weeks of experimenting with concepts, materials and processes we were feeling a bit confused and overwhelmed with where we exactly going with this. Taking the time to reflect and consolidate thoughts and ideas was extremely helpful and beneficial to us moving forward. We were also able to run through some final concepts with G, which helped in clarifying and coming to a clear direction and ‘plan’.  

[Scan plan diagrams]

Thinking about how we could combine wayfinding elements of the map we were developing with informational/navigational systems for each of the loops using typography and topography, also how our system would be materialised? What would our overall identity be? How would a coherent visual language be carried throughout our way showing system?

We decided on the following:

Concrete or wooden or metal (?) slabs. All signage would be mounted onto slabs with information on the front and back. Easy to locate as an information point, and the materiality of a concrete slab, for example, would add to the time and place; industrial nature. 

The map at the entrance would be mounted onto a wider slab, setting it apart from the loop walk signage ‘slabs’, which would be about one-half or one-third in width. 

Roughly there would be a number of around 5-6 slabs/signs/points spaced throughout each loop walk, all with the starting letter of the specific walk on the face of the slab, and some information regarding that point in the walk, notable sights, some history etc. Each slab could also have a scale indicator as to how far into the walk or how close to completing, these points were-but in a format that related to the established visual language.

The idea for the backs/other side was to have a late 19th-century style poster plastered onto the back, again to tie in a feeling for that sense of time and place. Refer to ‘Typography Research’ post and images.

At the entrance, we thought we could design a ‘newspaper’ information guide in the same 19th-century slab serif style, also acting as a piece of ephemera that can be taken away from the site.

The ‘basic map design’ would also incorporate more of this 19th-century slab serif graphic style, which we will need to adapt as we develop the entire visual language. 

After discussion with G, he suggested that instead of a literal newspaper and posters to reference the graphic history of the period, why not look into how those newspapers were made at the time? This brought us back to our idea of metal type blocks, and possibly wood type, as we had previously considered and explored briefly. So instead of having a newspaper and poster in the 19th-century slab serif style, we could have the information set in metal or wood type blocks as newspapers would’ve been prepared and formatted. This would also engage that three-dimensional layering notion, which would tie into the layered letters and map model. 

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1:1

A3 print out at a 1:1 scale, to get an idea of the proposed ‘actual’ size and how it reads and functions in ‘real life’. From a distance, the type appears a bit small and could be increased by a few type sizes for better readability and impact.

Zoe features in the last mock-up as an indicator of people height vs. map height. I think it could be raised a bit higher to avoid having to bend down to read bottom type. Or perhaps we should also consider keeping the body copy above the midline or two-thirds of the map height.

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Typography research

Mid-late 19th-century news posters, featuring slab serif typefaces

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Hammered copper

Since early on after visiting and researching the site to find it is rich in military history, Kathy and I had been interested in incorporating textures from the site into the graphic identity. We wanted to experiment with metal, though left it for the meantime as it was not a practical or easily accessible material to experiment with. It also could not be laser cut or engraved in the digital lab.

We thought about spray-painting wood or MDF to resemble a metallic finish as close as possible and found a spray paint that could supposedly create a hammered copper finish. We tested the spray paint on one of our MDF cutoffs and we were pleasantly surprised by the finish. It was pretty epic how it worked like regular spray paint, but would dry to create this very textural, hammered copper finish. We were really happy with it and how it resembles so closely the texture and materiality of the canons at the site. 

Whether we would use this spray on all our signage entirely was probably not a possibility as it would cover the engraving, and we wouldn’t be able to engrave onto MDF with the hammered copper already sprayed/coated on top. It did give a nice contrast with the MDF, which if we replaced the MDF with wood it could be an interesting ‘marriage’ of texture/material; contrasting man-made and natural.

Here, where it was sprayed more evenly and at more of an appropriate distance, the texture was more subtle, whereas below, the part which I sprayed too close up, the texture was much more exaggerated and in a way ‘cooler’ looking. 

We are also interested in how else we can create and manipulate textures, whether it be sanding and scruffing up some parts or adding other sprays and colours on top, creating some sort of rust?