SYNOPSIS

SUPER GRAPHICS AS COMMUNICATION MEDIUM IN ARCHITECTURE

Effective graphics can transform how we understand a particular space. As the visual
information a person perceives and combines images, words and ideas, graphics and then
they are designed to produce specific effects and interpretations also Known as
environmental graphics at the scale of architecture, this type of information can include
wayfinding, branding or space shaping.

The art of making environmental signs transcends history and locale of the site, as the
modern techniques have evolved to encompass digital data displays, interactive content,
virtual or augmented theme environments and integrated smart city interfaces. Super
graphics are large environmental graphics that are usually applied over walls or floors to
form a kind of altered space.

Located across continents and multiple countries, the super graphics include homes,
offices, retail centers and training facilities. As elements that define brand and perception,
the graphics incorporate color, pattern and scale to transform spaces and façades.

Collectively, they show how environmental graphics are used to build identity and create
powerful statements. creating a micro to macro level changes in crowd identity.

MAIN PROBLEM:
The emerging architecture and interior spaces that are aesthetic based and lack crowd
identity and obscure the functionality of the building.

AIM:
We can define super graphics as large-scale or great format graphic design. The great
pioneer of super graphics during the 60s and the 70s was Barbara Stauffacher Solomon
who was followed by designers like Lance Wyman or Jean Philipe Lenclos.

the relevancy of super graphics at present considering that many graphic designers work
in spaces and buildings using super graphics is enormous.

Paula Scher or Morag Myerscough are two of the most significant figures of this trend,
named Environmental Graphics in the English-speaking world. Likewise,

Contemporary art and, in particular Street Art are closely linked and related to super
graphics.

Super graphics may be defined as large scale or big format graphic design. The word super
graphics is first coined in the United States by the architect and writer Ray Smith, in 1967.

He uses it in the articles that he used to write for the magazine Progressive Architecture,
compiled in his book Super mannerism.

1
 SYNOPSIS

New Attitudes in Postmodern Architecture.

Ray Smith thus echoed the dominant trend among architects, interior designers and
graphic designers of the time, consisting in modifying the architectural space with flat
colors and geometric shapes. This trend aimed at playing down the seriousness and weight
of architecture. This fashion was reflected in interior design magazines of the 60s and 70s,
such as Better Homes and Gardens, Elle, Living for Today or Life. At the time we could find
the term super graphics as a hook in adverts for wall paint brands. The word appears in
dictionaries in the English speaking world. However, it may be argued that super graphics
are not a new phenomenon. Pompeii paintings, Renaissance frescos and Baroque trompe
l’oeuils are all attempts to modify space with the use of paint.

Many people associate the word “super graphics” with exhibitions, building facades and
art installations. The term is used to describe large-scale graphics, typography and imagery
that adorns walls or other large surfaces – but the variety and application of these mega
graphics have increased over recent years.

OBJECTIVE:
 Achieving the goal to brighten up hospital wards, school halls, community centers
and public spaces.
 Clever, intricate wayfinding and graphics lead visitors through train stations and
gallery spaces, or huge, illustrative murals make a political statement when
printed on the wall of a dilapidated building in a run-down part of a city.

TO STUDY
super graphics as DISGUISE
super graphics as IDENTITY
super graphics as CONTEXT
super graphics as CONCEALMENT OF SPACES
super graphics as IMMGERGANCE OF NEW PERSPECTIVE
super graphics as DISGUISE
super graphics as MESSAGE
super graphics as BRAND
super graphics as EFFECT
super graphics as OPTIC
super graphics as LANDSCAPE
super graphics as A SYMBOL
super graphics for GROUND

LIMITATION:
There is numerous limitation in the field of the super graphics as there are not all the place
we as an individual can visit.

2
 SYNOPSIS

Most of the site that are present currently are out site the country.

METHODOLOGY:
1) Data collection and color pattern study
2) Display pattern and texture extraction
3) Case studies
4) Literature study
5) Study of psychology impact on user
6) Bylaws integration

REFERENCES:
Monica Yelda Lopez, [Chief of the Department of Graphic Design of the Escola Superior de
Disney de La Rioja (School of Design of La Rioja)], SUPER GRAPHICS,

Karen Lewis, GRAPHIC DESIGN FOR ARCHITECTS, August 8th 2015, Routledge Publishers, 1
edition

Foges Chris, OUTSIZE: LARGE SCALE GRAPHIC DESIGN (2003), Rocket port publishers,
Switzerland

YOO sujung, STUDY ON PICTOGRAM DESIGN DEVELOPMENT AS INFORMATION DESIGN

IN NARRATIVE PICTORIAL EXPRESSION: FOCUSING ON THE IDEA OF INFO GRAMS, MFA in
visual design thesis for Seoul national university (2006), Seoul
Gooh Youngjae, A STUDY ON THE SPACE GRAPHIC DESIGN AS A MEANS TO FORM THE
SPACE IDENTITY (2006) in visual design thesis, HONGIK UNIVERSITY
KRESS, Gunter & van LEEUWEN, Theo, Reading images, 1996, Routledge Publishers
London.

WEBLIOGRAPHY
Sarah Dawood , Super Graphics : How colour,imagery and type can transform public
spaces, February 22, 2018,https://www.designweek.co.uk/issues/19-25-february-
2018/supergraphics-transform-public-spaces-colour-images-typography-design/

Eric Baldwin, Building Identity: 10 Bold Super graphics That Make a Statement,
https://architizer.com/blog/inspiration/collections/super-graphics/

Hudson-Powell, Super graphics, Hudson-Powell for the Architectural Association 2007

,http://formsofinquiry.com/inquiry/supergraphics
Álvaro Viegas, Role of Architectural Super Graphics in generating identities in Urban
Environments,April 2011, https://issuu.com/alvaroviegas/docs/identityandsupergraphics

3
 SYNOPSIS

https://www.urbanscreens.org
https://wikipedia.org