The 2009 London Underground map (Image: Transport for London)

Last week the UK’s design community was rocked (or nudged, depending on your viewpoint), by a frosty televisual exchange between information designer David McCandless and the infamously opinionated Neville Brody. Appearing on BBC 2′s flagship current affairs programme Newsnight, the pair debated the validity of information design, with McCandless in favour and Brody against. Whilst the jury’s out on whether information graphics is indeed “the language of the eye” (McCandless) or just “beguiling and seductive”, (Brody), it was a treat to see graphic design go ‘mainstream’ – even if it was at a quarter to eleven on a weekday night. However, all this talk about information graphics got me thinking about the value of information design, and about the influence of one info-graphic in particular.

The London Underground map is perhaps one of the most famous (and effective) designs of the 20th century, so when questioning the validity of information design it’s hard take a dim view when considering the map’s profound influence. But what excites me about information graphics and specifically the London Underground map, is that this type of info-graphic suggests something found very rarely in graphic design. Perfection.

Mark Ovenden (Image: Annie Mole)

Many years ago, whilst studying at university, I happened to attend a lecture on information design delivered by author and journalist Mark Ovenden. Compiled to promote his new book Transit Maps of the World, Ovenden’s talk showcased his research into how the world’s great cities tackled mass-transit mapping, introducing an audience of under-grads to the trials and tribulations of every information designer’s wet-dream.

The Tokyo Subway Route Map (Image: Bureau of Transportation, Tokyo Metropolitan Government)

I remember the most striking aspect of Ovenden’s talk was the shear breadth of mapping presented – never before had I seen so many metro maps in one place. However, instead of seeing a diverse set of mapping solutions, it soon became apparent that most of the world’s transit maps shared a single graphic ancestor: Harry Beck’s trail-blazing interpretation of the London Underground.

Harry Beck's original interpretation of the London Underground network (Image: Transport for London)

Originally drafted in 1931, Beck’s schematic re-design of the London Underground network was staggeringly original. His use of topological distancing (as opposed to geographically accurate distancing), simple iconography and the introduction of a 45-degree grid suggested a perfect solution for transit mapping.

The London Underground map before the adoption of Beck's 1931 re-design (Image: Transport for London)

In stark contrast London Underground’s previous effort, whilst well intentioned, suddenly seemed difficult to read by comparison.

A detail of the most recent 2009 re-design (Image: Transport for London)

And it’s time that’s proved the effectiveness of Beck’s approach. Since, despite being one of the most re-designed maps in existence, the logical structure Beck proposed has remained unshakable. Even Transport for London’s most recent update could do little to better it, opting for a spring-clean rather than a complete overhaul.

The Paris Métro et RER (Image: Régie Autonome des Transports Parisiens)

Yet the strongest argument for the power of Beck’s design is it’s massive influence over this form of information design: a glance at any contemporary metro map is essentially a window onto the past, showing the same graphic system Beck defined nearly a century ago. With such extensive take up, Beck’s ideas on mass-transit mapping can be seen as vital now as they were in the 1930s: an astonishing achievement for any design, let alone an info-graphic.

And it’s this near uniform adoption of Beck’s approach to mass-transit information design that suggests he hit on some kind of perfection with his approach.

Yet, to use the word ‘perfection’ could be considered somewhat an oxymoron in the field of graphic design. Design itself is a changeable vessel, a conduit for communication limited only by a designer’s skill. Perfection shouldn’t exist in a medium that offers an infinite set of valid responses, so how can there be such a thing as a ‘perfect design’?

Perfection? (Image: Getty Images)

The term ‘perfection’ is a very loaded word; when thinking about perfection, the mind immediately comes to rest on ideas of impossible beauty. It’s word filled with classic allusions: beautiful cars, beautiful villas, beautiful people; there’s an ephemeral quality about the word that suggests proportion, balance and grace. Obviously, while design can be all these things it’s very hard for design to be viewed as conclusively perfect: subjectivity simply won’t allow it. However, what makes Beck’s design timeless (and arguably perfect) is that his map is an information graphic, a very particular form of graphic design.

Information design is a form of design that values the clarity of its message above all other concerns; the medium’s sole aim is to communicate as quickly and as efficiently as possible. With this in mind, Beck’s map can be considered one of the finest examples of information graphics ever created – it’s efficiency defined.

Beck realised the previous London Underground maps attempted to communicate too much: the public didn’t need to know how far the next station was, they just needed to know how it was connected. The most important and immediate thing the public needed to know was their context within the system. By identifying this and other redundant information on the existing London Underground map, Beck was able to ditch a stylistic approach, letting the map’s function define the design’s overall aesthetic.

Harry Beck's original sketch for his version of the London Underground map (Image: The Victoria & Albert Museum)

By realising such a closed, artificial system could suggest it’s own interpretation Beck acted as a guide, letting the map represent itself through the filter of his topological system. By trusting the data at hand he was able to create a map free from aesthetic choice and subjectivity. Beck’s masterstroke was to let logic define his design, and I think it’s this dogged logic that makes his map perfect, since, as Spock would point out: you cannot argue with logic.

The importance of logic in information design cannot be underestimated. Since info-graphics are regularly employed to describe the abstract, any diagram’s logic has to be solid enough to carry the reader through; this is especially important when there are no figurative images to fall back on. Beck’s map is devoid of pictorial representation, existing as a collection of topologically distanced points. It’s a map created from perfectly executed logic, and so by its nature, is perfectly executed.

The mind-bending MTA New York Subway map (Image: Metropolitan Transportation Authority)

Though my opinion on Beck’s map is obviously subjective I urge you to think about the mess made when designers try to amend his approach to transit-mapping. Though an excellent designer, Michael Hertz’s re-design of the New York Subway map was an info-graphic car crash of curvy lines and confused iconography.

Massimo Vignelli’s 1972 MTA New York Subway map (Image: Metropolitan Transportation Authority)

By attempting to reject Massimo Vignelli’s (and duly Beck’s) ideas on topological distancing, Hertz created an extremely ineffective version of this form of info-graphic.

The KICKMap, an independent re-design of the MTA New York Subway map (Image: KICKMap)

As an aside, such was the frustration with the Hertz re-design, the KICKMap was created: a further re-design of New York Subway map that pulled the logic of New York’s mass-transit info-graphic closer to the Beck template.

Dieter Rams's SK4 record player (Image: The Design Museum)

So, if a design is primarily concerned with aesthetics, there will always be a number of visual solutions that will be just as valid as the next. Obviously, some choices will be better than others, but I would argue that since aesthetics imply choice, there will always be a slightly different way to approach a successful design. In comparison, logical design offers a definitive conclusion. In other words, a solution that is quantifiably better than all others – a perfect solution.

While extreme, these ideas on logic and aesthetics inform day-to-day design more than you think. ‘Form follows function’ and ‘starting with a big idea’ are just two familiar adages that recognise great design has logic firmly at it’s core.

Communication stripped to the bare-minimum

Whilst not always exercises in logical thought, timeless design has a lot in common with great information design because both recognise the importance of stripping back the superfluous to reveal the bare minimum. Removing visual or physical chaff reduces the work the audience have to put in to read the message your design wishes to communicate. Great icons, products, branding, cars, buildings – regardless of the form they take, are all products of design and are consequently there to communicate something, and anything that makes this interplay easier needs to be embraced.

Beck’s London Underground map is one of the finest examples of this visual efficiency and while the map’s restrictive medium goes a long way to making this possible, the endurance of Beck’s thinking should be seen as evidence of a basic truth in graphic design: simplicity is the essence of good design.

The Joy of Cycling, now scandalising the crowds at the London Transport Museum

A few weeks ago I was delighted to find my entry to the Association of Illustrators Cycling in London poster competition had been shortlisted as a prize-winner.

Last night Transport for London graciously opened it’s doors to a throng of illustrators and transport enthusiasts eager to hear who had bagged the top prize. While The Joy of Cycling didn’t win the prize on paper, I like to think it’s raunchy content captured the public’s imagination.

Overall, the standard of work was incredible, and I couldn’t resist snapping a couple of my favorite posters for posterity. Some are a bit blurry, but I assure you it was the low lighting, not the Chablis.

The London Transport Museum, what a perfect exhibition space!

The London Transport Museum was great, and I made sure I got some serious exhibition time in before the winners were announced and/or the wine kicked in.

The Joy of Cycling by Jamie Wieck / London Cycle-City by Anthony Atkinson

Always Leisurely by Judit Ferencz / Cycle Revolution by Frances Castle

Bikali by Marco Viale / Life Cycles by Kevin Ward

A to B by Jeanie Ford / Cycling in the City by Sophie Joyce

Good for You, Green for London by Rachel Lillie / Easy Quick and Relaxing! by Henry Boon

TFL's answer to the Vélib'

For the bicycle enthusiasts out there, Transport for London’s answer to Paris’ Vélib’ was on display. It looked like a very sturdy specimen indeed. My girlfriend looked on sadly as her boyfriend insisted in snapping it from every angle (for want of everyone’s time I’ve only posted two of the images).

The Barclays bike from the front

Just because it's social Notworking, don't think I won't be putting the effort in! (Image: Glug)

The speaking season is clearly upon us, since I’ll be speaking again following my presentation to The Typographic Circle, at Glug Brighton on Friday 9th July.

There’ll be sun (I checked the weather), sea (I checked the location) and sex (I checked the presentation), so I’ll sea (*cringe*) you there.

There won’t be any more puns, I promise. Check Glug Brighton’s Meetup page for more details.

Airside: Typadelic, a talk at the Typographic Circle 24th June 2010

Just a quick update whilst I’m on holiday, but I wanted to let those who might be interested that I’ll be speaking at The Typographic Circle along with Airside’s Alex Maclean on the 24th June 2010.

In Airside: Typadelic! Alex and I will delve into the Airside archives to see how the studio’s unorthodox use of type can lead to surprising, and often, unexpected consequences.

The talk starts at 7:00pm and will be held at the JWT building, 1 Knightsbridge Green, London, SW1X 7NW. I hope to see you there! Please come over and say hello, I’ll be the one looking like a burnt lobster.

The Joy of Cycling, Five Essential Tips To Get You Riding

During my time at Airside I’ve pitched a great number of ideas to many different clients, but as with all pitching, some of the ideas that you’re just convinced will go through inevitably fall by the wayside. Most of the time they fall for a very good reason, infact most ideas reveal themselves to be quite half-baked with the luxury of time. However some ideas, a very select few, become fondly remembered like an old eccentric uncle you can’t quite forget. The Joy of Cycling is one of these projects.

When my good friend Erica alerted me to a competition devised by the Association of Illustrators and Transport for London to get London cycling I saw the perfect opportunity to dust off The Joy of Cycling, an old (and perhaps inappropriate) Airside idea for an innuendo led cycling poster rendered in the style of The Joy of Sex, Dr. Alex Comfort’s infamous sexual tome.

If you read the copy it’s all very innocent, but it was great fun drawing my long suffering colleagues in a way that would give even the hairiest sexual caveman follicle envy. And before I get complaints from wives and girlfriends: no, none of the men actually grew beards, that’s the power of the pencil for you.

Guy, with beard

Natalie, sans beard

Yours truely, with (a truely hideous) beard

Malika, sans beard

Yoshi, with beard

Robert, with beard, and full-on 'woodsman' hair

Greenpeace's Airplot identity (Image: Airside)

I was pleasantly surprised to hear that the Airplot identity I designed at Airside has won a place in the 2010 I.D. Annual Design Review.

Airplot - a modular identity for Greenpeace's fight against the Heathrow expansion (Image: Airside)

This is the second award for the Airplot identity since winning a Platinum Award for graphic design at the 39th Creativity Annual Awards.

Read more about the Airplot project, including how I created the typeface, over at Airside’s blog.

Margo the narrowboat, she's doing her best

Following Bertha the tram, here’s Margo the narrowboat, another machine with a stoic name and a heart of iron.

Margo, detail

'What's the best piece of advice you've ever been given about graphic design?'

If I told you that by the end of this article you’d be a better designer would you believe me? It’s a bold statement and not one I make lightly but I’m willing to put your trust and my reputation on the line to share with you what could be the most useful piece of advice concerning graphic design you’ll ever hear. Even if you disagree, I’d still argue the following advice is an incredibly effective take on the design process.

Recently I had the pleasure of giving a talk to a fantastic group of students from Aberdeen college on the subject of graphic design. The topics covered were varied and numerous, but in the question and answer session that followed I was asked by one student to give my take on “what was the best piece of advice you’d ever been given about graphic design?”

This is without a doubt my favourite question to answer: not only because the anecdote is rich like a good old-fashioned story, but because it really did change my outlook on design. In fact I’d go as far to say that you can pretty much divide my professional career into two halves, a before and after, it really was that important.

Bob Gill (Image: Phaidon Press)

I was in my second year of college when I stumbled across the teachings of legendary designer and Fletcher / Forbes / Gill – later Pentagram founder Bob Gill.

'Forget All the Rules You Ever Learned about Graphic Design, Including the Ones in This Book' By Bob Gill (Image: Bob Gill)

And stumbled I indeed did: the Central Saint Martins copy of his book ‘Forget All the Rules You Ever Learned about Graphic Design, Including the Ones in This Book‘ quite literally hit me in the face as I careered hap-hazardly into the library’s bookshelf. It would prove to be the best misstep I had ever taken.

The dust cover of this particular edition made this book an oddity (Image: Bob Gill)

I’d been looking for something completely different, but picking the book off the floor I was immediately grabbed by the cover’s authoritative yet contradictory title. Turning the book over I realised that the title was in fact the book’s opening paragraph that snaked its way across and under the dust jacket to continue within the book. I was hooked: this curious book demanded my attention. Discarding my more frivolous reading-material, I sat down in the library aisle, and read the book there and then.

“Unless you can begin with an interesting problem, it is unlikely you will end up with an interesting solution.”

Bob Gill

It was this single sentence that hit me like a sucker punch to the stomach. Its astonishing brevity in the way it condensed Gill’s countless years of academic toil and experience into a simple statement floored me. It just seemed to make so much sense. For me this single piece of advice had all the hallmarks of a paradigm shift, a sea-change moment, since on reading it and re-reading it, the teaching just seemed so glaringly obvious. How could I have never seen design this clearly?

It was at this precise moment that I began to become a graphic designer. I realised that until a few moments ago I hadn’t had the faintest idea of how to design something. As shameless as it sounds, I’d confess that before I’d read Gill’s book, the closest I came to being a designer was copying (and tweaking) another design I liked.

You'd be surprised at the number of variations Gill's advice can be compared to

The statement’s power comes from its seemingly universal truth. You may have even encountered variants of this advice in more quantifiable professions, like accounting or programming. Here the adage of ‘garbarge in, garbage out’ is rigourously followed: you simply can’t get valid data if your input data is flawed. I find it’s this cool reductionism, an approach to design seemingly at odds with such a notoriously subjective profession, that makes Gill’s teaching so very effective.

At a more base level, in the same way ‘you can’t polish a turd’ or ‘throw good money after bad’ if you begin with an ill-defined or boring problem you will be totally unable to think of an interesting response. Only by re-defining the brief into something interesting, cutting to the core of what you or your client really wants to communicate, can you truely come up with an unexpected response. You may not be answering the actual statement of the brief but you will be answering the true problem of the brief: the solution informing everything from your choice of typeface to the illustrations you will use.

Since the solution naturally suggests the aesthetic choices Gill’s rule serves as the perfect compliment to the idea that ‘form must follow function’, another universal truth of graphic design.

The problem (Image: Bob Gill)

As Gill’s approach to problem solving forms the thematic core of ‘Forget All the Rules…’ the rest of his fantastic book is devoted to illustrating his thinking in a variety of ways. Looking back over the book (it’s since been re-printed a few times) his RentaNooYawka logotype is, for me, one of his most memorable solutions. It not only perfectly illustrates his attitude to problem solving, but it appeals to my love of language. Bob Gill explains:

The solution (Image: Bob Gill)

“I had a client who supplied guides to tourists, they were called ‘Rent a New Yorker’ and that was the problem. Well, I’m sure every third year design student would immediately do a logo with the skyline of New York with some contemporary typeface underneath it saying ‘Rent a New Yorker’. To me that’s pretty boring. So the first thing I had to do was to try and convert this problem, which is a very conventional one, into an interesting one. I decided the most interesting statement I could make, the most interesting problem to give myself was to say that ‘our guides are authentic New Yorkers, they’ll really show you New York!’

Well, how do you communicate that a guide is an authentic New Yorker? Well, eventually I came to the conclusion that if I could give their logo a New York accent that might in some way communicate that these are real New Yorkers. So I suggested to the client that they could spell their name in a New York accent: ‘RentaNooYawka’. Well, they loved it, but that’s an example of making what is essentially a conventional problem into an interesting one.”

Bob Gill

Reading my enthusiasm for Bob Gill’s approach to design you may be mistaken in thinking I’m slavish to the process. I can’t deny how astonishingly useful it’s been, but I’m not interested in distilling the design process into a dry academic exercise. Gill’s approach is useful because it strips away the indecisiveness that hounds any new problem. All designers are, after all, communicators and what Bob Gill reminds us is that we need to first and foremost concentrate on answering the client’s problem, and anything that can streamline this or make this exercise quicker is to be applauded.

So forget what design is meant to look like, there’s no such thing as ‘style’. Just concentrate on re-defining the problem to get a better solution. And one more thing, purchase some notebooks. I promise you won’t regret it.

Bertha by name, Bertha by nature

All aboard Bertha, a tram with a big heart. Hot on the heels of An Occurrence on Godiva Road I’ve once again limited myself to three colours as I work on my next screenprint series. This is the first of three screens, more to come.

But is it art? Stroke chin... Now!

Coming out of a meeting with Transport for London I swung by everyone’s favourite converted (that rules you out Battersea) powerstation, Tate Modern, and saw this.

For a split second I thought the Tate had done something very, very, clever… Before realising that it actually was just a van of welding equipment.

Or is it? Discuss.