2021 WMU Graphic Design Thesis's profile

2036 Paralympic Games Identity

Paralympic Games: 2036 Identity Design
By: Michelle Ravellette

Thesis Statement

How can I appropriately represent a location as well as a range of disabilities and sports through the identity design of an international event?



Background & Goals
The Paralympic Games are multi-sport disability events for athletes with physical, mental and sensorial disabilities. I have designed an identity system for the Summer Paralympics of 2036. It is fictionally set in Iceland’s capital, Reykjavík, and focuses on brand identity through logo design, pictogram design, wayfinding, medal design, merchandise design and employee uniform design. The goal was to accurately merge the cultures of Iceland and para-athletes as well as inform and direct international attendees on how to navigate an unfamiliar space.


Audience
Since this is a global and televised event, the participants and audience will consist of people from a wide range of backgrounds such as race, language, disability, gender etc. Some challenges for those with disabilities in an event such as this include, being able to reach, read and understand wayfinding, find their destination and locate help when they need it. As a designer, it’s my job to find solutions to these problems for people that are disabled and non-disabled without separating the two. In this way my designs will establish a sense of inclusion rather than separate experiences for different people. I hope for society to understand that para-athletes are professional athletes and should be represented for their strength and resilience at the same level as non-disabled athletes.


Research Process​​​​​​​:

Location
The first step in my research was to look at all Paralympic host cities in the past and choose a range of cities that weren’t on the list. I then created a moodboard that listed these cities and allowed me to compare imagery from each such as art, colors, people and landscapes. From there I imagined how I would use this imagery as inspiration for an identity. I noticed that Iceland has unique landscapes and strong traditions so that’s where I began my focus. I then created a moodboard for Iceland and started doing deeper research into its history and culture learning that it is a safe and popular tourist destination. I deduced that the main ideas I needed to reflect in this identity were 
harmony, peace, a progressive society, traditional craft and the Northern Lights.


Mind Map & Image Survey
After choosing the location, I created a mind map that helped me make connections between different aspects such as location, wayfinding, disabilities, representation and attendees. Starting with umbrella terms, I generated more specific words/ideas to think about this project in new ways. This helped me produce important questions that would direct my research. I also made an image survey that centers around disabled athletes and how to visualize them through different perspectives.


Inspiration
I began to find inspiration from Lance Wyman’s book, The Monograph, to visualize the range in which an identity can reach into areas such as icon design and wayfinding to create a cohesive family of applications and elements. I used Yusaku Kamekura as a resource and was inspired by his powerful abstract logos that focus on the line. Otl Aicher designed pictograms for the 1972 Munich Olympics and I was able to understand and apply a similar process as far as using a grid structure and having a kit of parts for spacing and sizing of icon elements.


Consultations
I spoke with three professionals to gain insight into my topic and applications. The first person I spoke with was inspiring British para-athlete Stephen Miller. He helped me get perspective from someone who has been to these events and has experienced unique obstacles that would help me make certain decisions later on. The second person I met with was Nico Raddatz. He has worked on a number of wayfinding projects and environmental design in general, so I picked his brain on topics such as international audiences, adapting to disabilities and other ways of bringing my identity into the space that didn't include putting my logo on something. I used graphic designer John Rappanotti.  I noticed that he has done a lot of icon work and wanted his opinions on my pictograms before I began making my final round of them. All three consultations helped me feel more equipped to take on this thesis project.

Sketching
During the sketching process for the Reykjavik logo, I aimed to reflect each of the main ideas I learned about Iceland and moved from hand sketches to digital sketches. 
I then chose to combine a few of the sketches I’d done to create my overlapping concentric diamond designs. This is meant to reflect harmony as well as the volcanoes and mountains prevalent in Iceland. I experimented with number of lines as well as positive and negative forms.
I wanted a typeface for Reykjavik that resembled the Viking runes present in Iceland’s Nordic traditions. The one I initially found was too rounded for my graphic, so I used it as a reference to create my own font that was more geometric. I also looked into fonts to pair it with, for the words ‘Paralympic Games’. I settled on a geometric sans serif font to contrast and harmonize with my Reykjavik font.
After look at a large quantity of color combinations, I settled on red and blue for the main colors as they were variants of the colors on Iceland’s flag but also represented volcanoes and mountains and added a third neutral beige for the background. I created a huge number of logo iterations changing text location, breaking up the year, experimenting with how I applied color and altering the graphic form. 
After Settling on my final logo design, I moved on to make sketches for different applications within this project such as pictograms, wayfinding and medal design.


Conclusion
Through working on this project, I have learned the importance of research in the design process. In order to get the perspective of the end user, I needed to learn all I could about who they are, what their obstacles are and what gets them excited. I now have an understanding that disability is just another subset of demographics like gender, race and language that should always be considered in design. The most difficult aspect of my thesis project has been its scope. I challenged myself to create an identity system that is extensive with a wide range of applications and with the right time management and organization I’ve been able to create a system that is cohesive, accessible and informative.
References
IPC | International Paralympic Committee Sports & News. Paralympic.org. Retrieved 3 February 2021, from https://www.paralympic.org

A Brand Identity Showcase. Identity Designed. Retrieved 23 January 2021, from https://identitydesigned.com

Accessibility and wayfinding: Key considerations for your next event. Rapiergroup. (2019). Retrieved 22 January 2021, from https://www.rapiergroup.com/make-events-accessible/

Asafti, S. (2018). The Brand Identity Design Process [Blog]. Retrieved 23 January 2021, from https://blog.prototypr.io/the-brand-identity-design-process-walkthrough-46677bd3ac1b

Berry, J. (2012). A Uniform Approach? Designing Australian National Identity at the Sydney 2000 Olympic Games. Journal of Design History, 26(1), 86-103. https://doi.org/10.1093/jdh/eps016

Bierut, M. (2007). 79 short essays on design (1st ed., pp. 167–169). Papress

Calori, C., & Vanden-Eynden, D. (2015). Signage and Wayfinding Design: A Complete Guide to Creating Environmental Graphic Design Systems [Ebook] (2nd ed.). John Wiley & Sons, Inc. Retrieved 23 January 2021, from https://ebookcentral.proquest.com/lib/wmichlibebooks/detail.action?docID=1895384

Hodson, E. (2016). Prisms of the abstract: Material relations in Icelandic art. Journal Of Material Culture, 22(1), 72-92. https://doi.org/10.1177/1359183516679185

Holliday, G. Wayfinding for the Olympic Games. City Wayfinding. Retrieved 23 January 2021, from https://www.citywayfinding.com/wayfinding-for-the-olympic-games/

Icelandic Runes and Staves. (2017). [Blog]. Retrieved 22 January 2021, from https://adventures.is/blog/icelands-ancient-mystic-runes-staves/

Kolatch, J. (2014). Behind Sochi’s FTheDOITCenter. (2019). Pursuit of a More Equitable World: Disability Culture & Society [video]. Retrieved 22 January 2021, from https://www.youtube.com/watch?v=AVRjbY0DhQQuturistic Logo. The New Yorker. Retrieved 27 January 2021, from https://www.newyorker.com/business/currency/behind-sochis-futuristic-logo

Lance Wyman. Lancewyman.com. Retrieved 23 January 2021, from http://lancewyman.com

Logo-archive.org. Retrieved 23 January 2021, from https://logo-archive.org

Mars, R. (2018). Making a Mark: Visual Identity with Tom Geismar. 99% Invisible [Podcast]. Retrieved 22 January 2021, from https://99percentinvisible.org/episode/making-mark-visual-identity-tom-geismar/transcript/

Our Work. Canny Creative. Retrieved 24 January 2021, from https://www.canny-creative.com/our-work/

Shaughnessy, A., Shaughnessy, A., Brook, T., & Smolarz, E. (2015). Lance Wyman: The Monograph (pp. 64-67, 92-95, 120-161, 264-391, 402). London: Unit Editions.

TheDOITCenter. (2019). Pursuit of a More Equitable World: Disability Culture & Society [video]. Retrieved 22 January 2021, from https://www.youtube.com/watch?v=AVRjbY0DhQQ

The Noun Project: Free Icons & Stock Photos for Everything. Thenounproject.com. Retrieved 23 January 2021, from https://thenounproject.com

Wyman, L., Brook, T., & Shaughnessy, A. (2015). Lance Wyman: The Monograph. London: Unit Editions

[@geology_with_helga]. (n.d.). Posts [Instagram profile]. Retrieved January 20, 2021, from https://www.instagram.com/geology_with_helga/




2036 Paralympic Games Identity
Published:

2036 Paralympic Games Identity

Published: