Research question.
What's the difference typographically and visually of the London underground identity and London underground map, now and back then in Beck's time.


Map
In the current map of London, the station points are circels and not diamonds. It’s clearer to see whitch stations are linked to each other.
You can see if there are wheelchair facilities or not. The colours are different and there are more tubelines than in Becks map.

The logo is different, texts are in a coloured box instead of a transparent one. Also there is more space between the lines.
The legenda is much bigger.
The website and tourist information phonenumber is on it.

I find the current map less decorative than Becks map. Becks map also doesn’t have a background. The names of the stations are written in uppercast in Becks map and in undercast in the current map.

Identity
The old logo was definitely more decorative and in my opinion exciting to look at. The current logo is very simple and clean.

The posters were art on its own. You would see illustrations of very rich people when the current posters contain very common and everyday people. But they have not lost their creativity!

The typeface of the oldendays was called Johnston railway underground later shortened to underground.

In 1979 it was redesigned by Eiichi Kono at Banks & Miles and called New Johnston. They still use it to this day.

Research question
Find good symmetrical design

Research question.
How do we find visually and typographically britishness during my trip in London.

I find visual britishness very classical. The classic architecture and pubs are typically british to me. Also special things like comedy pubs. Never heard of something like that, but it was amazing.

Typographically

I found a lot of typography that was sort of bold / condensed, combined with a handwritten or serif type.
Kind of hipster like, but it's nice. The pubs had a lot of golden lettering.

Todays art festival

Zoro Feigl.
The installations of Zoro Feigl (1983) seem to be alive.
His materials dance and twist. Placed together in a space, the separate works become one: large and ponderous in places, nervous or gracious elsewhere.
Feigl’s forms are constantly changing, sometimes slowly, sometimes quickly. As a viewer you become entangled in their movements.
Zoro Feigl has been a part of De ServiceGarage and founding member of Kafana. His studio practice is in Amsterdam, Netherlands, but he often resides in China or works on location for extended periods.

Structural intensity
I like this piece because I like the idea of art being alive. I like that it takes in a lot of space. It is always the same piece but every second it’s different.

What kind of portraits are to be found in art & history?

- Family trees
- Galleries
- Architecture
- Biography
- Frieze decorations
- Family paintings
- A certain style of an artist

Frieze

Gallery

St. Pauls cathedral by sir Christopher Wren

A certain style (Picasso)

Family tree

Jan Tschichold

Lauran advised us to take a look in the books of Jan Tschichold. I was quite curious why they were so magnificent, so I went to the mediathek and looked them up.
And yess it was very very impressive.