Friday 31 March 2017

OUGD505 - Studio brief 01 - Ideas

As a part of the idea generation it was essential to know exactly what I wanted to celebrate and what the message would be. Thanks to feedback and personal preference I chose to celebrate Leeds city council saving the picture house in 1989 as a pivotal moment for the cinema but also the people of Leeds. Therefore I needed to clarify what I exactly wanted to show in my poster and what the unique qualities of the event were.

From research I found these key facts from the event in 1989 and the positive affect it has left:

  • Now owned by Leeds City Council as part of the Leeds Grand Theatre and Opera House Limited. This independent company within the council is dedicated to preserving, and securing the future of Leeds most historically and culturally significant venues. 
  • In the following years after the picture house was saved the building was granted grade II listing. Reserving the original features such as an ornate balcony external box office, and the only remaining gas lit cinema in the United Kingdom. 
  • Since the council saving the cinema it remains the 'cosiest cinema in Leeds'
  • Despite the influx of big cinema and streaming services such as Netflix, the picture house is all the more able to be a constant, and a regular friendly face in an ever changing social landscape.
Now that I had all the research I needed it was time to generate ideas on the best way to celebrate the council saving the cinema.
OUGD505 - Studio brief 01 - Research

One great visual research reference was looking at film posters from 1989, the year the cinema was saved from closure but also looking at independent film posters as the picture house pushes independent and art house film.

The majority of the film posters from 1989 are generic as they all seem to include gradients drop shadows and warped type but I found some really interesting typographic approaches that I think have stood the test of time, the findings are as follows:
















The reason I believe they have stood the test of time is because compared to the other poster designs these ones are more simplified. In terms of colour, layout and elements they're all toned down and muted in comparison to the outlandish norm of film posters from the late 80s. Yes the aesthetic still has that late 80s and early 90s feel but the typography helps instil a contemporary style that I personally like. The structured type of 'El Triangulo De Acero' is my favourite as its clean angles are shouty and when its paired with the bold red it contrasts well.

As the picture house pushes independent and art house films it was necessary to look at independent production film posters. But the range is far to broad so I looked at more contemporary design that relates to independent cinema. A great way to start this research was looking at Saul Bass who was probably the most influential man in cinema and design. The work he was producing wasn't exactly for independent cinema but nevertheless his work was innovative in terms of film posters back then and most likely still are. The first pieces of work I came across were his iconic film posters and opening sequences for big Hollywood films. And in each poster and sequence you can instantly recognize the 'Bass' aesthetic, with each design having bold expressive colour palettes and unique typography. What I like about the posters is that they remove the realistic sense from the film, if you look at film posters from back in the 40s, 50s and 60s they all seem to have realistic illustrations of the film stars but Saul Bass seems to introduce a more simplified approach with symbols communicating the film.































Wednesday 29 March 2017

OUGD505 - Studio brief 01 - Research & Feedback

I found one great article from the manager of the cinema who I was referred to when I emailed the cinema. After reading the article it answered all my questions regarding the cinema. I highlighted key parts of the article:

'The cinema takes its commitment to its locals and regulars seriously, and Wendy is sure that the area itself has helped the Picture House develop its particular character.

‘Hyde Park’s amazing,’ Wendy says. ‘It’s got a great history of musicians and artists who worked here and people who engaged in political dissent and social organisation. We work with the Hyde Park neighbourhood forum quite a bit to try and make sure we’re working with our local community rather than against it. We want to do more of that, basically.’Wendy talks about ‘the next hundred years’ a lot. Seeing as the Picture House has nearly seen the credits roll on its own story a couple of times in the past, she’s keen to secure the future and maintain its place as a central part of Leeds life, just as it was when it first opened in 1914.‘It seems like a crazy time to open with the war and everything, but despite that we were completely central to people’s average week; we were a fundamental way of people finding out what was happening at the front, being distracted from the war to propaganda films and patriotic dramas and escapism,’ Wendy says. ‘We were really key in people’s social calendar.’

The event I wanted to celebrate was the next stage in this brief, the events are as follows:

  • Opening of the cinema in 1914
  • 'Their Only Son' being the first film showed
  • Morale boosting dramas aired during WW1
  • Leeds City Council saving cinema from closure in 1989
  • In 1959 a live elephant was outside the cinema to promote the showing of 'The Big Hunt'
All are very diverse events which have helped shape the cinema and the people around it but I needed to focus on one. Therefore feedback was required to help my decision making and the two most well received events were morale boosting dramas aired during WW1 and Leeds City Council saving the cinema from closure in 1989. Peers did believe that all events had a positive affect on the city and people of Leeds but the two I highlighted had lasting affect. 

Morale boosting dramas aired during WW1 were aired for the entire war and as 6,000 men from Leeds enlisted it would have provided many families in the area with comfort to see morale boosting dramas and news reels. As this event lasted from 1914-1918 it made my peers more enthusiastic as its a perfect opportunity to celebrate the morale boosting dramas but also the opening of the cinema in 1914. 'It kills two birds with one stone' was one peers feedback as it celebrates two events in one idea he believed, potentially developing this idea has its pros and cons though. One good thing that would come from including two events within one, is that it truly shows the impact the cinema has had on Leeds and especially during them dark times for country. Yet having two ideas within one may cause confusion and go away from the original aim of the poster, to be celebratory.

As I mentioned another event that received positive feedback was Leeds City Council saving cinema from closure in 1989. The Picture House is now owned by Leeds City Council as part of the Leeds Grand Theatre and Opera House Limited. This independent company within the council is dedicated to preserving, and securing the future of Leeds most historically and culturally significant venues. If it wasn't for this landmark event then the cinema wouldn't be here today, and since the 1989 the cinema has continued to provide entertainment to the people of Leeds. The beautiful grade II listed building (granted listed in 1996) would most likely have been knocked down. And the city of Leeds would have lost one of its great institutes and Hyde Park wouldn't be the same without its iconic cinema located in the heart of the student area. Therefore my peers think this is most critical moment in the history of the cinema. 

'The fact that the council saved it because it is one of Leeds most historically and culturally significant venues says it all really' I and my peers also discussed about how the council saving the cinema also helped save some beautiful architecture and cinema features you never see today. Personally I can only compare Hyde Park Picture House to Tyneside cinema in Newcastle, as both have original features but Hyde Park Picture House has it all. Such as an ornate balcony and external box office, and its the only remaining gas lit cinema in the United Kingdom. Some of peers had never seen a historic cinema such as this before moving to Hyde Park, so it just shows that keeping the cinema open back in 1989 has a lasting affect as its still crucial to the discovery of cinema 27 years later in Leeds. 

After mulling for a few days on what event to choose to celebrate, I chose Leeds City Council saving the cinema from closure in 1989 as the event to celebrate. Just from personal opinion and peer feedback I think this idea has the potential to show everything which is great about the cinema in one poster. 

OUGD505 - Studio brief 01 - Research

As a part of research it was key to visit the cinema to get first hand research on the buildings aesthetics that may influence the traditional print.




























The grade II listed building has a handful of beautiful interior and exterior aesthetics that make the cinema so unique. Firstly on the outside it has an original ticket booth that is still in use today but what I like about the position of the booth is how it creates a symmetrical front, paired with the 4 columns which make the exterior a prominent part of the face of Hyde Park. The moulded letters spelling out "Hyde Park Picture House" appear at the entrance and contrast with the red brick and cream brick, which makes up the majority of the building. The type is a traditionalist type with elegant curves and large slabs which help give the cinema a real distinctive identity.

One aesthetic that features a lot but goes unnoticed is the diamonds that are situated alongside the type and on the ticket booth. They maybe subtle but are recognizable if you truly pay attention to the building itself. Another unnoticed feature is the original mosaic flooring which most likely would have been laid in 1914. Other than the red and cream bricks that distinguish the cinema from all the other buildings on Brudenell Road, is the bold red and yellow paint. The garish red is used for the wooden features such as the structure around the ticket booth, then yellow is used to contrast and highlight the red type. In terms of other type that is used at Hyde Park Picture House, then a clean geometric sans which looks similar to Futura is used for 'COMING SHORTLY'. Then the cinema uses a peg board that are more common in coffee shops these days but its an example of typography and layout being used at the cinema.

Tuesday 28 March 2017

OUGD505 - Studio brief 01 - Research

As a part of further research into the cinema I emailed them for more research and for any feedback on which event to choose to celebrate. They seemed interested in the project but sadly couldn't provide any further research but they did refer me to friends of Hyde park. The group aim to promote, support and participate in the cultural landscape of Hyde Park, Leeds and Yorkshire, particularly through an appreciation and understanding of the art of cinema. So hopefully by contacting them theyll be able to further my research for this brief.




Monday 27 March 2017

OUGD503 - Studio brief 01 - Display wizard development

Working within the banner templates in development would allow me to know the scale and composition of the elements placed in the template. Understanding the templates requirements was rather simple, and just knowing not to place any elements on the side panels was the only requirement.



OUGD503 - Studio brief 01 - Display Wizard development

As a part of development it was appropriate to consider the message, tone of voice and content of the banner and pop up stand.

The best possible way to communicate the building in sqm and how many creative students work within that proximity was a typographic approach with a strong message. This idea highlights that students at LCA working alongside each other and how they creatively benefit from this as a creative mind is never far away. But also it shows the space of the university and the vast amount of facilities available. As I discussed in early idea generation, I wanted to include the distinctive Yorkshire dialect to communicate one of the unique qualities of the region, yet acting as a welcoming tone.

By eck = By hell
Ey up = Hello, watch out
Allus = Always

"By eck we have 5678sqm of studios and workshops! With a creative allus 5sqm away at all times!"

"Ey up! we have 5678sqm of studios and workshops! With a creative only 5sqm away at all times!"

Feedback
Feedback included to use Ey up for the start of the message as its welcoming and most likely the most recognizable of the slang used. The message itself sums the social and cultural benefit up well with it including both the facilities and students working together in the same sentence. Using 'allus' which means always in the first sentence makes the message more clear and strong, as it stating that a creative student will always be near and one peer commented that its almost a promise made by LCA. Peers mentioned to add "(and growing)" after workshops as it shows the college is expanding and shortly it'll have even more studios and workshops for students. To make the message more clear, I decided to include a Yorkshire slang key below the message to make it more clear.  The finalised display message is below:

"Ey up! We have 5678sqm of studios and workshops! (And growing) With a creative only 5sqm away at all times!"

In terms of the body copy that would be used in the banner and pop up stand, only two aspects need to be highlighted more 'Facilities' (5678sqm of workshops and studios) and 'Community' (A creative only 5sqm away). For the facilities content I needed to reflect the outstanding facilities available, which the university prides itself on but also the new build in which more will be available. The community content would have to communicate the specialist college and the small community within which prepares you for the industry.

Facilities content
At Leeds College of Art you will not be held back by the limitations of facilities or equipment. State-of-the-art resources and libraries offer you the best possible opportunities for proving your talent and your potential. You’ll be able to produce work which meets or exceeds the demands of modern practice in art and design. Our workshops and studios which span over 5678 sqm are equipped to industry standards, and are run by highly skilled staff who contribute significantly to our teaching. And it wont be long till even more amazing facilities are available as the new build is on its way in 2018.

Community content
We pride ourselves on being a specialist college that has contributed significantly to the development of art education in Britain, having pioneered new ways to teach and to structure qualifications in the last 170 years. As a student here you benefit from working in a specialist institution, as you will work within a creative community that pushes you to prove your talent and potential. Whether its a fine art or fashion student 5 sqm next to you, you will always find a way that creatively pushes you and prepares you for the industry.
OUGD503 - Studio brief 01 - Display wizard development

From looking into LCA guidelines in research I knew I wanted to work within the colleges guidelines for this brief and integrate my ideas with the colleges icons, colours and fonts. For this stage of development I simply experimented with the guidelines and chose which aspects of it to use.


I selected six colours used from the LCA colour palette, with only one justification for picking two colours as the yellow and green are the colours of Yorkshire. The other colours are bold and shouty which could help communicate the college, in prior research for this brief I found out that Display Wizard recommended to use colours that evoke different responses in people so when using certain colours I could research more into the way they evokes feelings. In the colour matching of the general artwork guidelines it states that they cant reproduce Pantone colours as they utilize 4 to 6 colour process so I used the nearest CMYK colours to the guidelines.




Instead of using the recommended typefaces from the guidelines such as Grot and Garamond I chose Apercu for both display typeface and body copy. Aperçu is an idea to create an amalgamation of classic realist typefaces such as Franklin Gothic, Johnston , Gill Sans and Neuzeit. This is one of the reasons for choosing the typeface as its a alternative realist typeface to Grot, it offers more versatility and legibility in my opinion and can work in both display and body copy. I also like the history of this typeface and how it combines classic sans typefaces to create one design, I resonate the rich heritage of this type design with Leeds College of Art's illustrious 170 years of existence.  

Friday 24 March 2017

OUGD505 - Studio brief 01 - Timeplan

As the final print is due after the easter holiday I took it upon myself to plan my next few weeks in advance to make sure I get the print done during the holidays. As I'll be in Leeds for the majority of the holiday I'll be making the most of the studios but knowing when they are open was a part of my timeplan. Below is the opening times of the print room over the easter and it was assuring to know the facility is open for most of the holiday, as both level 4 and 5 will be using the printing facility for this brief so its shrewd to know the dates in advance. I'm planning to print on the 10th April so that allows the week later to fix any problems if anything goes wrong.


OUGD505 - Studio brief 01 - Research

As the poster has to be traditionally printed I decided to research into traditional printing methods which are available to me here at LCA. To understand the potential and limitations of the printing technologies available to me, then it would later make production more easier. By also knowing the techniques then I could aim to relate them to research on Hyde Park Picture House but also knowing the potential and limitations was essential.


Screenprinting
Screen printing is the traditional printing technique which I am most familiar with and is the one which I am the most confident in undertaking. The process consists of a mesh that is used to transfer ink onto a substrate, except in areas made impermeable to the ink by a blocking stencil. A squeegee is moved across the screen to fill the open mesh apertures with ink, and a reverse stroke then causes the screen to touch the substrate momentarily along a line of contact.

For research into screenprinting I preferred to look into the materials and inks in which you can print with as its something Ive never experimented with before.

  • Discharge ink is used to print lighter colours onto dark background fabrics, they work by removing the dye of the garment, this means they leave a much softer texture. The cons with this process is that they are less graphic in nature than plastisol inks, and exact colours are difficult to control. One of the pros of using this process is they are especially good for distressed prints and under-basing on dark garments that are to be printed with additional layers of plastisol. It adds variety to the design or gives it that natural soft feel.
  • Expanding ink, or puff, is an additive to plastisol inks which raises the print off the garment, creating a 3D feel and look to the design. Mostly used when printing on apparel.
  • Flocking consists of a glue printed onto the fabric and then flock material is applied for a velvet touch.
  • Foil is much like flock, but instead of a velvet touch and look it has a reflective/mirror look to it. Although foil is finished with a heat press process it needs the screen printing process in order to add the adhesive glue onto the material for the desired logo or design.
  • Glitter or Shimmer ink is when metallic flakes become an additive in the ink base to create this sparkle effect. Usually available in gold or silver but can be mixed to make most colours.
  • Gloss ink is when a clear base laid over previously printed inks to create a shiny finish.

Linocut
Linocut is available to me here at LCA and a technique ive only done once before so learning more it was key. The printing technique revolves around a variant of woodcut in which a sheet of linoleum (sometimes mounted on a wooden block) is used for a relief surface. A design is cut into the linoleum surface with a sharp knife, V-shaped chisel or gouge, with the raised areas representing a reversal of the parts to show printed. The linoleum sheet is inked with a roller and then impressed onto paper or fabric. The actual printing can be done by hand or with a printer. Colour linocuts can be made by using a different block for each colour as in a woodcut, but such prints can also be achieved using a single piece of linoleum in what is called the 'reductive' print method.

Monoprint
Monoprint is the technique which I personally enjoy the most, I find it more satisfactory than say screenprinting but also easier to do. Its a form of printmaking that has lines or images that can only be made once, unlike most printmaking, where there are multiple originals. There are many techniques of monoprinting. Examples of standard printmaking techniques which can be used to make monoprints include lithography, woodcut, and etching.

OUGD503 - Studio brief 01 - Display wizard development

Following feedback and genuine thought into what will best represent and communicate LCA as a specialist art college. I decided to choose the ideas of LCA map and imagery in development to see which one would potentially work best.

For the first stage of development I worked on the LCA map idea, and I had a clear vision of what I wanted to say for this idea which was; the building in sqm and how many creative students work within that proximity. This idea highlights that students at LCA work alongside each other and how they creatively benefit from this as a creative mind is never far away. But also it shows the space of the university which is a benefit shown from research. The solution to this idea was accessing the LCA floor plans to find out the building in sqm and from there I would find out the rough amount of students attending LCA at Blenheim walk.

The floorplans I received were exactly what I was but sadly they didn't reveal the buildings overall size in sqm. Therefore I'd have to count each rooms sqm individually to know the size of the building, nevertheless I found this to be a blessing in disguise as it made me realise I only needed to know about the workshops and studios as this is where the students work alongside each other. So I ignored the sqm of the canteen and reception for example and focused on the areas in the college where students work. This would firstly make the process more quick for me but also help to highlight the facilities of the college by showing how much space is available.

It was a timely process counting each room on 4 floors individually but in the end I got there, with a grand total of 5678 sqm in workshops and studios being available to students here at LCA. The next step was knowing how many students study here at Blenheim walk, the estimate was rather easy to come across as it came up in google bio, but I also checked reliable sources such as WhatUni and UCAS to check the numbers and the occurrent figure was 1170 undergraduates studying at LCA.

Simple math was then needed to know how far a creative is from you at all times while studying at LCA. By dividing the workshops and studios sqm of 5678 by how many students studying in the workshops and studios, it'd give me a rough idea of how far away creatives are at all times.

5678 ÷ 1170 = 4.85

From here I simply rounded the sum to 5. Therefore it means that when studying at LCA you'll always work within a close proximity of creatives, with one being only 5sqm away at all times.
































The second idea of imagery of the studios and workshops was a more literal response as it visually shows what the university has to offer, so to make it more diverse I wanted to show the pace of the university but also the student path while at LCA. The idea of long exposure photography would show students moving around the studios but also show students working together in close proximity.
As long exposure shows figures overlayed and interlinking it could potentially also communicate colloboration and the fast pace of industry which LCA prepares students for.

















































Above is developed idea of the imagery of LCA showing students working together in close proximity but also the fast pace of industry which LCA prepares students for.

Feedback
Following feedback on these two ideas I decided to pick the idea about while studying at LCA you'll always work within a close proximity of creatives, with one being only 5sqm away at all times. This is because my peers believed this message and the inclusion of math would engage people more than imagery. They believed the first idea can be developed even more while the imagery only has a certain limit to it. The next stages of development for the first idea would have to be message and tone of voice to best communicate social/cultural aspects of studying at LCA.

Thursday 23 March 2017

OUGD503 - Studio brief 01 - Display wizard development

In development it was time to select ideas to further develop, from feedback and personal preference I chose LCA map, imagery of studios and workshops and infographics. These ideas would visually represent the social and cultural benefits of LCA being a specialist college with outstanding facilities and creatives all around.

LCA map
With the LCA building of Bleneheim walk only being small compared to other university campuses it allows all the students to work within close proximity, and unlike other universities you will work alongside creatives all day. In some cases other universities have mixed campuses buildings in which a graphic design student could be placed next to a chemistry student, their is no relevance for either student but here at LCA everyone is a creative in one way or another, so you can benefit from working alongside eachother. Therefore for LCA map idea I had the idea of highlighting the building and how students work alongside each other, ways in which to communicate this are:

  • Size of building in sqm and how many creatives are within the building in sqm
  • Blueprints of the building to highlight the size of the campus

Imagery of studios and workshops
Imagery of the fantastic facilities available here at LCA may be the best way to communicate a specialist college to people interested in attending the university. Images could show the studios and workshops in use but also show off what is available here at LCA. The banner and pop up stand could potentially have full bleed imagery of the facilities available to communicate the idea in full effect. Type would accompany the imagery to further highlight the studios and workshops and how they are a social and cultural benefit.

Infographics
Infographics could communicate so much about LCA being a specialist college in a number of ways, so for this idea I needed to select what the infographics would focus on solely. Similar to the LCA map idea of size of building and how many students within building was the focus but this time through graphical elements.

Feedback
Feedback on these more developed ideas was similar to the last feedback I got as people believed the three ideas could potentially be blended into one, as they are communicating the same thing.  The ideas definitely have the potential to link together as the infographics could potentially be of the LCA map with the use of imagery adding to it. The delivery is the key to successfully communicating a specialist college though, as to many ideas in one may deter the original message.

OUGD503 - Studio brief 01 - Display Wizard ideas

Following on from the feedback I received from my peers it was clear that LCA being a specialist college with great facilities and working with creatives on a day to basis was the best social and cultural benefit of the university. So from here I needed to brainstorm visual ideas on how to represent this through a banner and pop up stand design. The main points I wanted to get across were working with creatives in a creative environment and being surrounded by outstanding facilities.

Another consideration in ideas was the tone of voice and message of the banner design, I needed to reflect the university with my message but also reflect the city of Leeds with the tone of voice. The idea of using Yorkshire distinctive slang words would represent the city of Leeds but also act as a welcoming tone of voice.





























All the ideas aim to focus on visually representing a specialist college and I believe the three main inspirations for the ideas were the building of LCA (Blenheim walk), the students and the facilities. By basing the ideas of these key details of a specialist college I was able to easily note down visual ideas.

Feedback
I required peer feedback to allow me to select two ideas to develop further, it seemed that many people swayed towards the infographics idea as it would easily visually represent the specialist college. My peers commented that the name list, blueprints and heat map were all ambiguous responses which wouldn't communicate the idea well enough. 'It has to be a clear and bold message to work' this was a remark from one peer which heavily informed my decision making on which ideas to take further. During the critique the possibility of combing ideas was briefly talked about and my peers suggested that the LCA map of studios and workshops could be mixed with infographics of students, plus imagery of studios and workshops could be integrated into other ideas.
OUGD503 - Studio brief 01 - Display Wizard ideas

For the start of idea process I noted down my three concepts of Alumni, Creative Leeds and Specialist uni then started to jot down important aspects of each point. These included visual ideas and words that link to the cultural and social aspects of the university.






























For further development of the ideas I brainstormed three main messages or visual ideas which were informed by my primary and secondary research. The three main messages or visual ideas portray the cultural and social benefits of alumni, specialist uni and creative Leeds.

Alumni
  • Alumni stories / quotes
  • Timeline of notable alumni
  • Alumni name list mosaic
Specialist uni
  • Working with creatives
  • Outstanding facilties 
  • Real life feel
Creative Leeds
  • Creative community 
  • Cultural institues 
  • European city of culture 2023
Feedback
Feedback on the ideas was that the specialist university idea represented the university the best as mostly the students believed it was the most advertised aspect of the university before they joined. One peer commented that it was a social and cultural aspect they come across on a daily basis but without really knowing so. They later expanded on this point saying that it just apart of the norm here at LCA, that you work side by side in a creative atmosphere. A number of peers suggested  to combine ideas for the specialist ideas as the creative and facilities can have a direct link.

People liked the alumni idea of quotes and timelines but felt that LCA have 'played that card before', I noted that this is more of a student point of view and not the university stating what they believe is the most cultural and social benefits of studying here. I showed an example that is similar to the alumni idea from the college prospectus, with quotes in a serif font. From there people imagined a giant banner design with a quote on it but questioned if it was relevant to the current students of LCA. The creative Leeds idea received the least positive feedback as peers believed it had no relevance to LCA itself, everyone agreed that the university has clear links with industry in the city. Nonetheless people thought that alumni and specialist university has more social and cultural benefits.
OUGD503 - Studio brief 01 - Display wizard concepts

Following research into brief, Leeds College of Art and the social and cultural benefits of studying at my university. It was time to combine all the research into specific concepts, in which I could generate ideas from. From first hand and second hand research it was abundantly clear I believe what the social and cultural benefits of LCA are. From both student and staff perspective the fact that the university is a specialist art institution, is considered be a huge benefit to both social and cultural aspects of being a student at LCA. "The beauty here is that the studios and workshops are all next to each other rather than being spread across a huge campus, and the students all see each other in the cafes, so there is a strong community that supports individuality within those networks" This quote is from Simon Thorpe, I discovered this quote in prior research and this helped inform the concept of a specialist college being an idea to push forward for this brief. One other notable and frequent thing that occurred in research was the alumni being a big part of life at Leeds College of Art. The principal uses the alumni to address interested students in the prospectus,  I think this speaks volumes about the importance of the alumni and is a concept I wanted to develop more in idea generation. Leeds being a very creative city is another concept, this concept covers the 2023 bid for European city of culture and the creative community in the city that has strong links to LCA.
OUGD503 - Studio brief 01 - Display wizard research

I collected first hand research on what students at Leeds College of Art thought were the most important social and cultural benefits of studying here. The questions I asked were the following, In your in opinion what are the social and cultural benefits of LCA? and What attracted you to study here?

Emma Cheng - BA HONS Photography

Q1 "In terms of social benefits I would say the student union is beneficial as they organise parties, events and sport activities. Even though I don't take part in most of these events, I believe its a great option to fall back on for social activities" "From time to time I notice a creative community that you could call a cultural benefit. Recognizing the same faces at LCA events and outside college events gives a sense of the Leeds creative culture"

Q2 "Sometimes I think this cant be a legitimate reason but I found the prospectus and website really engaging so I picked LCA as one of my five choices. As I did more research into the college I realised it was a really prestigious institutions and the fact it was a specialist college would only benefit me more" "In terms of the location of the college, only being a short distance from Newcastle was another reason to study in Leeds",


Ben Cooper - BA HONS Graphic Design

Q1 "Since the start of second year I have noticed that the 170 year anniversary of LCA signified how important the alumni of the college are. I realised the college has a real legacy which is a real benefit for me once I graduate"

Q2 "Leeds as a city attracted me to study here, its not too big or too small and has a cool scene that is getting more recognition"

Joe Baker - BA HONS Illustration

Q1 "Its helpful to have animation next door then graphic design a floor below, it eases concerns about how'd an illustrator such as myself would fit into the creative industries. What I mean by this is that LCA feels like one big creative studio, where you can seek help easily"

Q2 "I visited the city a few times before moving here as a student and felt at ease straight away, its laid back thats why"

OUGD503 - Studio brief 01 - Display wizard research

Two great sources of research were the Leeds College of Art prospectus and The City Talking article on Simon Thorpe (A director at LCA). Both discuss social and cultural benefits of studying at LCA but this time from the heads of the institute. This was a good source because both resources are aiming to paint the brightest picture of LCA similar to pop up and banner stands of the brief.

The 2017 prospectus introductory pages has a welcome note from the Simone Wonnacott who is the principal of LCA, in her welcoming note she starts by naming notable alumni who have studied at LCA. In previous research I noted that alumni has a big role within the college and this is evident again within the principals words. "Leeds College of Art is one of only a few independent art schools in the UK, our students enjoy a small, close knit community in a creative atmosphere where anything feels possible. We believe this is the best environment in which to grow as an artist or designer" This quote perfectly sums up what the principal thinks of the social and cultural benefits of LCA. Another point from the principal is that there's a real life feel to studying at LCA. 'You'll have countless opportunities to learn from, network with and work for some of the best names in your chosen field, thanks to our contacts with industry and practising artists and designers' This is down to many courses having a creative skill set award I believe, which integrates you with industry.

From the article on Simon Thorpe he talks about how he reinforce the importance of collaborations, connections and integrity that students require in the world after college. “As a specialist institution we’re relatively small, and as everything we do is to prepare students for life in the creative industries, that creates its own distinct culture. Within that are individual cultures within each discipline, so the culture in fashion design is quite different to fine art or photography, but there is commonality across those cultures to bring them all together. The beauty here is that the studios and workshops are all next to each other rather than being spread across a huge campus, and the students all see each other in the cafes, so there is a strong community that supports individuality within those networks that are so important" This is a very strong point to take forward in my idea generation as Simon discuses in depth the social and cultural benefits of the university.
OUGD503 - Studio brief 01 - Display Wizard Research

As the brief states I need to in my designs, to create stands which showcase the best social/cultural aspects of studying at your University/College. For secondary research I looked at LCA and Whatuni website as they were helpful resources for me when I was applying to the university. These sources proved helpful as they gave me answers on enterprise, employability, social life, Leeds as a city and art and culture within the city.

The first step of research was looking into the enterprise and employment at LCA,  the university is committed to helping maximise students success. They connect you with industry while you’re studying, and provide lots of opportunities to build the skills and experience you need for an impressive CV. The option to go freelance is also accommodated for as LCA prepare for going freelance or for finding just the right job and for developing your career once you’re on the first rung of your ladder. A number of courses in the uni have been awarded the creative skill set which means that the course is industry standard.

One factor I think is important to LCA is the alumni which helps with social life, the uni aims to stay in constant contact with all graduates and notable alumni. Having famous alumni can bolster the universities status but it can also inspire students within the building to succeed. 'Leeds College of Art hopes to create a lifelong relationship with our alumni' this quote was took from the website, and represents how LCA aims to build and nurture the creative community of College alumni, staff and current students. Every student who has passed through the College, from its beginnings as Leeds School of Art, to its time as Jacob Kramer College (1968-1993) and Leeds College of Art and Design, are all part of our alumni community. With notable alumni spanning right from the first graduates of 1846, this is a pretty special community to become a part of.

Alumni benefits include:
  • Quarterly Email Bulletin, with all the latest news, events and opportunities
  • Invitations to Exhibition Previews
  • Invitations to College and Alumni Events
  • Alumni Discounts on Postgraduate Study. All Home and EU BA (Hons) graduates qualify for a £500 discount on fulltime postgraduate study, and £250 per year for part time study. 
  • Access to Leeds College of Art Alumni LinkedIn Group
  • Access to use the Leeds College of Art Library for Reference. Please get in touch to make an appointment. 
  • Opportunities to present to current students and industry peers
  • Creatives in Residence Scheme
  • Studio opportunities at Duke Studios and Barkston House
  • Invites to Creative Networks events
Another social aspect of LCA is that Leeds is wide awake around the clock. There’s a huge range of live music in hundreds of venues around the city. Whether you’re into house, dub-step, indie, rock, hip hop, techno, funk, soul, folk, punk, jazz or classical. Also Leeds is the only English city outside of London to have its own theatre, opera house, ballet company and national museum.

I researched into the city of Leeds in more depth, and found out that Leeds is set to become one of the UK’s most sustainable cities. Local businesses and public-sector organisations have committed to reduce carbon emissions by 40% by 2020, and over 1 million sq ft of new developments are rated by BREEAM as ‘excellent. Leeds is one of the most popular locations for businesses in the creative industries, especially graphic design, advertising, film and new media. Many of these companies are eager for fresh new talent, so student are exposed to some incredible opportunities while studying and after you graduate.

One great quote I found which speaks very highly of the creative scene here in Leeds, is from one of the founding members of Village Bookstore. “Leeds has no shortage of great art collectives, independent businesses and projects, all of which are people doing what they do simply because they love doing it. There are some very inspirational people who have really helped us out while setting up, everyone is more than happy to help each other out just to see the community as a whole develop further.” From two years in the city I have been introduced to this booming art and culture scene which Leeds has, you can sense a real community which is definitely a social and cultural benefit of attending LCA.

Leeds 2023 bid for the European capital of culture is another pulling power of the city at the moment, even though many independent institutions are disagreeing with the bid. The bid will draw students and tourist in for the social and cultural benefits.

OUGD503 - Studio brief 01 - Display wizard research

As a part of research I found it relevant to analyse the current banner, pop up stands and general artwork around LCA as they may gave me an indication of what is successful around the university in terms of advertising and display. Ive always noticed the banners and pop up stands around the building but never gave them any real interest, so it was interesting to see what the university does in terms of this form of printed output.



























The pop up stand to the left is advertising the student election within the college. It used bold uppercase type and a simple colour palette, along with dashed lines which signify speed and importance I believe. It has limited content which strictly informs people of the most important details, what I like the most from this pop up stand is the positioning of the elements which allows the exposed space to highlight the top half of the banner. The 'RUN' is  more prominent I believe because of the exposed space below it.

The design to the left is for the LCA student union, this one is less informative than the student election design. Instead it uses icons to showcase the services and activities it provides which enable it be more engaging. It is simply aiming to highlight what the union can do for the students which relates to the Display Wizard brief in some ways. Similar to the first pop up stand, it uses a strict colour palette and from what I've seen is key to a good banner design. This is because a strict and simple colour palette doesn't distract the viewer too much. The use of the parallel lines draws the viewers eyes to 'Your Students Union' which is key as it uses 'Your' which indicates a community.


These banners and pop up stands are official LCA promotions which change each academic year, this is an example of a design being applied to different sizes and formats as the Display Wizard brief asks. The paintbrush stroke design contrasts well with the white logo which is the strongest aspect of this design. The identity of LCA comes across the same in both designs which keeps consistency in the campaign which is key. From reviewing banners and pop up stands within the LCA building I can see what works and what doesn't. All the banners styles are consistent throughout and all aim to be precise and informative. 




























This piece of artwork is one I'm familiar with as its situated outside the graphic design studios in LCA. From what I know its a joint project between Peter and Paul and Dan Everitt who is graphic design graduate from LCA. Sheffield based studio Peter and Paul have been working with Leeds College of Art for a while now, they've designed a new look identity, interiors and print.Before I started studying at LCA, they ran a couple of projects with the students to design some interior artwork and come up with a campaign and identity for the end of year show. Both of which I am now familiar with as they are two pieces of polished graphic design, Harrison Parks 'Going Going Gone' campaign is a nice and simple concept which has been executed perfectly.
























OUGD503 - Studio brief 01 - Display Wizard research

As this brief requires me to design for my university/college I found it necessary and relevant to look at other design work for universities which I like. It isn't necessarily relevant in terms of what I need to produce exactly, but it is helpful to look at how designers aim to represent core values of certain universities through print and digital media. I looked at University of Suffolk's and Goldsmiths who have both recently been rebranded by Leeds based studio Only.




























Above is the identity for one of the newest universities in the UK, University of Suffolk. Similar to LCA the institution recently gained independence and met the criteria for University Title. Only studio were commissioned to create a bold and progressive identity for the new University. The brand was to reference 'change' as a theme central to the institution's core proposition that of a new university for a changing world. I think Only created a bold, contemporary and flexible identity with a clever reference to the University's location in the South East of England within the logo itself as they use an angle in the design. I like this particular attention Only pay to clients, such as the recent project they did for Printworks in which they cleverly created an identity that had clear roots within the Printworks building and history. This is apparent yet again in this identity for University of Suffolk as the angle is utilised across various design such as the in bottom left hand corner. Again the angle is used in the bottom right hand corner but this time used within photography to create a visually striking poster. This is similar to LCA mosaic, both universities use a versatile symbol across a number of outcomes. What I can get from reviewing this identity is the consistency within all the designs which is ultimately down to the typographic applications, simple colour palette and the angle icon which is so simple yet so adaptable. These three consideration together can result in innovative design which I can push forward in this response for Display Wizard.


























Only studio again but this for Goldsmiths in London, Only were tasked in creating the website for Goldsmiths who recently had a identity overhaul. 'We started by mapping the range of informational possibilities, considering the message, who it was for, how it would be accessed and where it would be seen' This quote is from Only's website and is important because they talk about the message and who its for. This is relatable to the Display Wizard brief as I need to fully consider who the banners and pop up stands are for and what they are aiming to achieve. One design element I like from the website is the typographical application, the type is incredibly engaging due to the positioning, colour and small underlines.

OUGD503 - Studio brief 01 - Display Wizard research

The Display Wizard step by step guide to creating a display stated to consider brand guidelines and colour when designing. So the best way to research this and find possible informative information which could later influence the design was looking at the LCA brand guidelines. I was provided the guidelines by a tutor and within the file, the logo, colours and typography etc are all presented and explained which proved extremely helpful as it prompted ideas of relating the branding of LCA within the designs.Below are screenshots from the guidelines, Ive highlighted elements which are relevant to me and the brief.

Learning the rules for the clear space that has be around the logo was insightful as it will give the banners and pop up stands more of a structure, a helpful note to take was also learning the minimum size the logo can be which is 15mm. Understanding what to do and what not to do with a logo is always important, you cant reverse, rotate, change the typeface or alter the mosaic when using the LCA logo. But you can change the logo colour but the typeface colour must always remain black or white. The colours of LCA are flexible and you can add to them if it fits your requirement, for this brief I'd like to stick to the colour palette if possible and aim to use colour that has a informative reason behind. This is because in prior research for this brief I found out that Display Wizard recommend to use colours that evoke different responses in people.



The logo and the theme of the mosaic are at the core of LCA's identity, the mosaic itself is versatile and can be applied in numerous ways as I learnt from looking through the guidelines. The mosaic of LCA has been around for many years now and is a fundamental part of life at this college, as I'm a second year now I've realised how the mosaic varies and its almost mandatory in all graphical output. I believe it would wise to include the mosaic within my design as it represents LCA, it allows variety when using it therefore makes it easier for the designer I believe. In the bottom right hand corner you can see the mosaic in use, its simply a yellow outline of the shape. This example shows the limits to which you can use the mosaic. 


LCA use a wide variety of typefaces which I was unaware of, above are examples I highlighted as the most useful but in total the college uses main 4 fonts which change each year. The main ones are A2 Grot, Bureau Grot, Cheltenham and Elementa. Garamond is sometimes used as it has similarities to the type in the logo, it is used for a more authoritative tone which I believe will not be required in this brief. They use other typefaces such as Trebuchet and Georgia as substitutes for Grot and Garamond. I like Cheltenham which is an elegant typeface which I recognized from the prospectus, it used to quote alumni with Cheltenham giving off a historic feel about the college.
OUGD503 - Studio brief 01 - Display wizard research

A necessary part of research was to look at past winners of the competition to gain an idea of what style/delivery the judges are looking for. It is also helpful to see the banners and pop up stands on display, so I'll know the scale I'll be working at. For the final stages the judges, select five finalists then whittle it down to three winners, below are last years finalists:























1st place winner James Ainsworth and Michael Jackson from Blackburn College came first with this peacock feather response, this is what they had to say about the design. "This campaign aims to promote The University Centre At Blackburn College. This is done with vivid, eye catching displays." "We chose to use animals as visual metaphors, that are also recognisable based on aspects of their appearance." Its a very strong visual response with the collage of the feathers which I believe prompts diversity due to the vivid mix of colours. In term of the social/cultural benefits of studying at Blackburn College, Its an ambiguous message with 'Be a peacock' the only possible message other than the imagery. It remains consistent when applied across both the pop up stand and banner stand which makes this design cohesive. This may prove to be a part of the design that resulted in James and Michael's design winning, the judges are looking for a design that can be applied to both the pop up stand and banner. This design definitely ticks that part of the criteria off, therefore I think this is the best of aspect of the winning response.























Fiona Havelock from University of Edinburgh come second with a intricate design that focuses on the collaboration between NASA and University of Edinburgh. Fiona said the following about her design  "The inspiration for my design is the current collaboration Edinburgh University has with NASA. The Robot depicted here is the Valkyrie which is held at the school of Informatics." "I chose to use this subject as I wanted to highlight the interconnected qualities of Edinburgh University." "I hope that this design will show prospective students that by choosing to study here they are opening their horizons outward to a multifaceted intellectual community."

I like the overall design of this response but maybe the inclusion of some bold colours would add so much more to this work, the colours used are very dull and aren't engaging in my opinion. On the banner stand design, you can see different colour has been used which in way brings the illustration more to life. So I don't know why the same hasn't been done with the pop up stand design.





















This minimalist, primarily typographic design from Emmeline Hewstone from University of Reading is very much so a graphic designers response. Using a strict grid and Swiss typography Emmeline has created a visual striking banner that abides by swiss graphic design such as pioneers such as Josef Muller Brockmann. "To appeal to prospective design students, I needed to create a consistent brand. I took inspiration from a design style that I have never experimented with before, but one that I absolutely adore – Swiss typography." "I wanted to represent the historical and educational aspects of the course, having been exposed to Swiss typography and its influential designers through lectures and seminars focusing on the history of graphic communication."



Ive gained a great amount at looking at previous winners such as not focusing just on the University but trying to be specific to a course such as minimalist response above who focuses on BA Graphic Communication and Typography. By doing this Emmeline was able to focus on her inspirations relating to her course. The design that came second looked elsewhere for inspiration, by looking at exterior collaborations with NASA. This creates enthusiasms in my opinion by linking the University with notable names. In my research I'll be keen to look into links my university has within the creative industries and elsewhere.

A helpful resource was provided by Display Wizard which I used as research, they provided entrants with a guide to designing the perfect exhibition stand. The steps below are the key pointers for designing a promotional piece:


Keep it simple

















Display stands are often placed in high-traffic locations such as exhibition halls and reception areas, and as such usually aren’t looked at by passers-by for a long period of time.Whilst you may want to list all the best things about your organisation, an exhibition stand should be designed as an at-a-glance overview of your company, with the biggest focus on your logo and illustrative pictures rather than text.

Use relevant high resolution images















Images are a vital part of any exhibition stand design: if a low-resolution image is supplied, the final display will be blurry and look unprofessional. To avoid this, I need to make sure the images I submit are a minimum of 25% of the finished size, at least 300 DPI and in CMYK format.

Colour it in

Colour is a key consideration when designing any type of display-to-go so I need to make sure I think carefully about the best colour scheme for my marketing message. Different colours evoke different responses in people, so I need to make sure I know what response I want before I design my stand.
For example, an unknown start up business exhibiting at a new event might utilise brighter colours such as red, orange or yellow to attract new business, while a more established business might choose calming, authoritative colours such as blue or green to give off a professional tone.

Follow brand guidelines



Display Wizard recommends to follow brand guidelines, If you work for a larger company or organisation, you may already have brand guidelines which you have to follow. Even if you haven’t got these yet, you may have created other printed promotional material such as a company brochure which can help you with inspiration for your display. Maintaining similar design elements throughout your promotional material will give your organisation a consistent brand identity, making it more recognisable as time goes on.
OUGD503 - Studio brief 01 - Display Wizard brief

As a substantial brief for responsive I'll be undertaking the Display Wizard student award, the brief requires me to design two display stands focussing on the social/cultural benefits of studying at your University/College. In my designs, I need to try and create stands which showcase the best social/cultural aspects of studying at my University/College. I need to ensure the branding is consistent across the display stands and the design fits with the dimensions of the stand, whilst all the time trying to appeal to prospective students who may want to study at your institution. To be eligible I will also need to provide a 250-300 word description which explains the inspiration for my designs and how I think it will stimulate interest in your institution and its city.

One big motivations to undertake this brief is the prizes available, the winner will be rewarded £500, a Wacom tablet worth £250 and an option of undertaking a summer internship at Display Wizard. With second and third place winning £100 and £50. It's a great opportunity for me to work on a real-life marketing project and showcase my work to The Design Council, University marketing department, the large-format print industry and the wider design world.

The brief states for inspiration, to think about my own experiences at the University/College and, in particular, how a sense of community is created there. What makes being a student at my institution so special from a social perspective? Why would a prospective student want to stay on your campus or live in my city?

I believe I can respond with a piece of design that speaks volumes about my university, it'll be fun to aim to represent Leeds College of Art in the form of graphic design. As this is a substantial brief, I'll be conducting research into the university and the city of Leeds to help push my ideas further. My ambition for this brief is to create an engaging contemporary banner that reflects Leeds College of Art and hopefully something I can include within my portfolio.

One of last year’s winning students, Michael Jackson, said of the competition:

“This was a great brief to work on that provided a lot of scope for creativity. Winning the competition and undertaking the internship has been a great experience for me personally and should aid my professional career going forward.”

Below is my self-management for this brief, managing my workload and meeting the deadline in May will be achievable as the module submission is 27/4/17 so this will force me to get the brief done.






OUGD503 - Studio brief 02 - Evaluation

To conclude on a brief that I personally feel has been a success, not just for me but the whole group in which I collaborated with. Before the group even undertook any work we had to fill out a creative partnership form, with questions such as what creative skills and non creative skills do you have to bring to the team? and what roles do you see yourself doing in collaboration? I feel as if I have stuck by my original plans for this collaboration with me offering my skills when needed. I noted that I am organised in my own work so I hope that reflected in my collaboration work for this brief, such as setting job roles and tasks for us all to undertake.

In the creative partnership questions, I felt that 'What do you see your specific job roles being in collaboration?' as the most important.












Above is my response and as you can see I stressed that finding distinct roles for this brief was key and now that its all done, I can say that it all worked. To start with research we all separated tasks which was time efficient and made it easier to collate all our findings but when it came to production, myself and Ben were able to easily decided upon the jobs a graphic designer would have to undertake. In terms of my team, I am glad I worked with both as our working relationship was smooth throughout the brief. Our regular meetings allowed us to iron out any concerns about the brief which made it easier for everyone to progress along the way.

To talk more about the brief itself, picking Parisian youth culture to represent was a shrewd group decision as I feel like Ive learnt so much about this upcoming youth culture. I especially liked the research process as it allowed me to research French graphic design and the industry within Paris which was insightful to say the least. In terms of what the team created, I couldn't be more happier as we all feel its such a well justified concept and final piece. From the use of Noto to the colours used in the posters, video and stickers we felt the amount of research we undertook payed off in the end.

OUGD505 - Studio brief 02 - Research

Once I undertook some primarily research into the issue of ageing I found it relevant to look into design solutions which are helping the ageing population. We have to rethink and redesign our future so that getting old is no longer something to be feared and that older people are seen as an asset and not a burden. Old people are experienced, knowledgable, valuable and in some cases wealthy member of society so  I found it interesting to see how the creative industries are engaging with old people.

What if Amazon did housing?
In my overview of an ageing population I found out that it is imperative that governments design innovative policies specifically targeted to the needs of older persons, including those addressing housing. So I found an interesting article about if Amazon designed housing for all ages, as housing is key to providing a better future for our older selves. Research reveals that we would much rather spend our latter years in our homes than in a care facility (no surprise there). But most housing, in the UK at least, is ill-equipped to cater for the needs of older people. And the role of the home itself is changing. In future, healthcare and work may increasingly take place where we live. So the article is about if service-based, or so-called ‘disruptor’ corporates got involved with housing and what would housing look like if it was designed and run by, Amazon?

As a part of the home section of the Design Museum’s NEW OLD show, Future Facility who are a agency who helps clients reach grasp the future to inform the present, were asked to design a future-proofed home environment for independent living into old age for Amazon. Future facility's response imagines an apartment complex for today’s ‘Digital Natives’ as they reach their later years.

“Despite the implicit promise of digital technology to make our lives simpler and easier, there is a crisis afoot for the growing, older population,” Future Facility say. “Although many household appliances are easily acquired, these same products are inherently difficult to manage and maintain over time; what was once purchased as a convenience has potential to become a burden in later life. As we age, we become less likely to navigate the conditions that shops and manufacturers require of youthful consumers. This puts the ageing population in an unfortunate position – abandoned at the exact moment when they need better products, increased assistance and servicing. Alienated by the speed of change in trade, manufacturing and technology, older consumers would benefit from a revolutionary domestic independence.
























In the first section of the future house proposal you have a washer/dryer which as you can see has a a single button with one setting and not endless interfaces. It is positioned at standing height, with a shelf below, to avoid the need for bending down. On the service side, large boxes of powder that last up to a month are installed. The fridge has two doors with on the living side, the left-hand door houses new ordered produce that has been delivered and is moved to the right side for consumption. On the service side, there is only a right door for delivering the orders. One pretentious addition in my opinion is the water fountain appliance which allows the user to have a choice of filtered or branded waters to be plumbed in.

Future Facility are not suggesting that the Amazin Apartment is necessarily a good idea but merely a concept to provoke discussion. From the concept imagery you can clearly see the simplicity for usage of each appliance, with an older would easily be able to manage and maintain.

Warning elderly people road signs
In 1981, the UK’s Department of Transport introduced a new road sign. The winner of a competition for schoolchildren, it was meant to warn drivers of the presence of elderly people, acting as a counterpart to Margaret Calvert’s classic ‘children crossing’ sign from 1964. Ever since its launch, the warning, elderly people road signs has been the focus of complaints and controversy.

The problem of the sign is that it portrays a small proportion of the older generation and the frail depiction of an older couple is disrespectful. The designers must have assumed that everyone old looks like this but they don't. But I found a solution from design studio NB who challenged the creative community to come up with a better message. In order to see whether it was possible to come up with a more appropriate message, design studio NB and designer Michael Wolff issued a challenge to designers and illustrators to come up with an alternative design.

The project was called Sign of the Times with the intent to raise awareness about how old people are treated by the media, government and society. As to the wider issue, the key is a series of small steps towards changing the cultural stereotypes, and combating the issue of ageism in general. The more awareness and support there is for an issue like this, the more businesses and governments will be forced to act. The responses were varied as it pulled in a number of responses from notable names such as Milton Glaser and Margaret Calvert but the designs were nothing to be taken to seriously as a alternative to the 1981 road sign. Nevertheless I think the responses worked for making people think of needs of older people.







































Japan:Designing a society for all
As Japan is faced with the challenges of becoming the oldest society in the world, it has embarked on a mission to adapt universal design principles to its unique culture, a process which has seen unprecedented collaboration among its major brands. Japan has been taking influence from European and American approaches to old age but in a very Japanese way. Traditionally, collaboration and harmony have been central to Japanese culture and these attitudes, along with the rapid ageing of the population, have helped shape developments in Japan by prioritising empathy, kindness and consideration for others over pure functionality. The goal is to ensure that towns and cities, transport systems and public services are accessible to all, creating an inclusive and welcoming society in which all people can participate and contribute.