Massimo Vignelli New York Subway

I have started my research looking at the New York Subway system design as it is the perfect example of way-finding and signage that has been designed to amazing effect and continuity. In the 1960's the New York subway system signage was not at all consistent and was confusing and difficult to navigate.

 The map much like the London underground uses 90 degree and 45 degree angles to keep clarity and consistency throughout.

The designs keep a consistent Helvetica typeface throughout this keeps the typography readable and clear. The colours shown here are all very basic and different from one another. The principle of the map is that each different line of train is represented with a different coloured line and every station with a dot, not dot no station. This is a clear and simple principle that is implemented to all aspects of the map design. There is no over complication within its design and it remains legible throughout.

The spacing of the map is not relative to the geography of the city, but to keeping the design as clear as possible. Areas of high density within the city had been expanded much larger. 

For this project I think this kinda of ultra readable and clear modernist graphics is a perfect starting point for this project. The designs have been really amazingly well thought out. 

 

From this image you can see the clarity of the designs the sign post does not need to be large and in your face the signage is clear and the white on black text really assist this. 

The arrows in a signage system are vital in a design for 

Wayfinding especially within a subway system as travelling from different areas of the station to the next are the vital part of the way we interact with the design. Taken from the standards manual you can clearly see the different ways an arrow can show a different direction. For there designs the arrows are extremely bold and thick this is because arrows can be the key fact in which way a user of the subway would be walking.

The keening and letterspacing is pretty close to keep all the information concise and not too large. Yet the appropriate spacing between each letter has allowed the designs to remain legible.

Within this project I think the small details and small alterations is what makes the design so consistent, precise and informed. I am sure the use of each colour has been greatly considered for this project the two blues for example shown here and the picture below it is imperative for this design that these two colours much be distinguished from one another. This work has raised the point about how important colour is within a way finding project. I am defiantly going to try and emulate this similar principles in my colour theory and how I pick my colours.

This Leaflet shows the clarity and readability of the design and the way the modernist and simplistic use of line and text together. I am really interested in modernist way finding graphics as personally I feel if they are done accurate and in detail I think best show the user which way to go in a consise manor.

This graphics standards manual I feel is an brilliant way of displaying my work in an ordered gridded system that is consistent throughout this allows for the  different aspects and slight differences in each symbol or typeface. I am going to greatly consider the presentation of my way finding system and showing it in a variation of places and contexts informed by the New York City graphics standards manual.

The designs created really reflect the city of New York the clean modernist use of line and colour along side the Helvetica typeface has created a recognisable design that can be quickly associated with New York.

This idea creating a legacy within a design is very important to Vignelli and how he creates his designs. I would like to look at the similar design ideas and principles of design that Vignelli has used and try and reflect these into my own designs.