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3D Art-American Icons.Indd A Legacy Film: Jane Davis Doggett: Graphic Artist WAYFINDER IN THE JET AGE A Personal Portrait of an American Original in a 30-minute documentary Legacy Films Link to fi lm: https://vimeopro.com/jeffjonesfi lms/pwp/video/215478391 About the Film: Jane Davis Doggett: Graphic Artist WAYFINDER IN THE JET AGE It is not likely that you would enter an airport today and not fi nd Jane Davis Doggett’s graphic design concepts of wayfi nding. The use of a common alphabet for signage, continuous title bands, overhead spanning directionals, three-dimensional sign canopies, and codifi cation of separate terminals or zones by letter—A, B, C—, color and symbol are hallmarks of her innovations. As fate would have it, when she graduated from Yale in 1956, the “piston” turned into a “jet” which opened up the way for new, bold design concepts for the jetports. It also opened up for Jane Doggett a pioneer role in a new fi eld that was emerging in the 1950’s: environmental graphics design. With new airports as her laboratory for experimenting in design theory, her wayfi nding system evolved, which proved to be not only effective in airports but also in mass transit facilities, universities, hospitals, sports arenas, museums and other cultural facilities, wherever the persuasive movement of the mass public was vital. Witty and wise, she shares her remarkable career and amazing life in the 30-minute documentary Jane Davis Doggett: Graphic Artist, WAYFINDER IN THE JET AGE. While a graduate student at Yale Art & Architecture, she was awed by the size and scope of the new environments as envisioned in architectural theory and instruction under the helm of Louis Kahn. To quote her: “It occurred to me to think about the person confronted for the fi rst time with unfamiliar spaces in these architectural behemoths. Diminished in human scale, how would this person relate to such a new world; how would this person fi nd his way?” This was the spark that ignited her goal to humanize and defi ne the public’s way by innovating with a visual language using graphic tools: alphabet, colors, symbols. The Inspired teaching at Yale under Josef Albers in design and color and Alvin Eisenman in graphics gave her the foundation and Yale “Bulldog” determination to pursue her goal. In conversational style, she invites the viewer to see the world through her unique vision. Whether describing her two-color graphic system at Tampa International Airport — still in use after 30 years — or her 23rd Psalm sculptures on permanent exhibit at Yale, or her encounter with Picasso on the Riviera during has ceramics period, she is both the consummate artist and storyteller Link to fi lm: https://vimeopro.com/jeffjonesfi lms/pwp/video/215478391 Graphic Design and Art Work by Jane Davis Doggett In the six panels that follow are selections of Jane Davis Doggett’s creative work over a long career as an artist and designer, and as a pioneer in environmental graphics design. Her design innovations have left a legacy of wayfi nding concepts and graphics design systems that are pervasive in today’s new airports and other mass public environments. “ Airports,” she says,” were my laboratories, where I experimented with every kind of symbol and signal, colors and geometrics, and the old reliable A, B, C’s and 1, 2, 3’s. I put these components to work in simplifi ed but commanding sign layouts that I conceived of as integrated parts in a system of the persuasive movement of people in a continuous progression by transport and by foot. My system began (for the fi rst time in engineered routings) at the airport roadway entrance, and was sustained in graphic continuity into and throughout the terminal environment. “ I took clippers and vacuum cleaner to the hodge-podge of ill-conceived signage in the old airports that were accelerated into rapid conversion to the coming of the jet. Out went those rental car signs in blinking neon with wires showing, jammed on nice old architectural surfaces. Out went signs with airlines titles hanging like tacky ‘for sale’ tags at a cheap shopping arcade. I gathered up the information, boiled it down to messages with essential directions, information and identities. I set them in clear layouts in the most readable alphabet forms I could design, and organized them in overhead architectural systems of message bands and spans — harking back to the friezes of Greek classical architecture.” I recognized that airports could become overly uniformed with the repeat branding of the same airlines, rental cars, Dunkin’ Donuts, etc., that would deny the individual airport its place and identity in the world. In each project, I put emphasis on the airport as a unique place, whose special features, geographic and cultural, should be featured in the designed whole as an area Gateway.” The fi rst three wayfi nding panels demonstrate major innovations that she brought to the dramatic change in the air transportation environment, beginning in the 1950’s. The other three panels display selected art works from recent two-and three- dimensional creations. • Graphics Built Into Architecture • Coding by Color, Letter and Symbol • The Airport as a Gateway • 3D Art: Graphics in Dimension • 3D Art: American Icons • Waterscapes Graphics Built Into Architecture Concepts and Designs by Jane Davis Doggett At Memphis, Jane Davis Doggett brought a new functional aesthetic adapted from German Standard, a forerunner of Helvetica. Unifying to airport design: signs built into architecture — as she describes it, all titles and directional messages in this highly legible font became “not hanging like price tags and labels in an arcade hodgepodge a hallmark of Doggett’s airport graphic design, and the use of a which was the airport scene at the time. When I graduated from Yale common sans serif alphabet evolved as a standard in airports as now Art and Architecture, it so happened that the piston turned into a jet, seen worldwide. and with it came the demand for new airport design to inteface with the new airplane technology. Memphis was my fi rst airport project, • George Bush Intercontinental-Houston Airport and it was among the fi rst to debut the dramatic change in design of (fi rst three photos, second row) the air transportation environment into the jet age.” • Cleveland-Hopkins International Airport She initiated continuous message bands, signboards spanning (fourth photo, second row) Note sculptural housing of signs suspended corridors as beams, and information canopies installed in key from ceiling, which complements the curved forms of the airline decision points to provide passengers with three-dimensional viewing information counters. of messages intensifi ed by illumination of the canopies. The graphic components initiated at Memphis were adopted in subsequent • Newark Liberty International Airport airport design projects, as demonstrated here. (fi rst two photos, 3rd row) • Memphis International Airport • Tampa International Airport (photos, top row) For the fi rst time, airlines allowed their titles to (third photo, bottom row) Note intensifi ed lighting at canopy to accentuate appear without their logos on a common band that Doggett decision paint. designed as “a ribbon of continuity” that wrapped around the entire central terminal. She set all airline titles in “Alphabet A,” a font that she Coding by Color, Letter and Symbol Concepts and Designs by Jane Davis Doggett PIER PIER PIER PIER PIER A B C D E Doggett’s graphic wayfi nding systems are structured on codifi cation. • George Bush Intercontinental-Houston Airport She was the fi rst to codify airport terminals by color and letter — Red (all photos, second vertical row) The Houston Airport was Doggett’s vs. Blue, Terminal A, Terminal B, etc. She added color in geometrics fi rst design challenge based on a multi-termiminal complex. This is to enhance terminal separations. Recognizing that space and time where she fi rst introduced the A,B, C terminal codifi cations. Note the limitations make it diffi cult for people to read lists of airline titles which effective readouts that the large letters in separate colors project over are greatly reduced in size due to roadway space limitation, she used a long vehicular approach distances large color/letter or color/symbol to codify the airlines in each terminal or zone. Once codifi ed, the large letter or symbol can then stand alone, • Baltimore-Washington International Airport easily readable from a great distance. Whereas, the small airline titles (top photos, third vertical row) The big “B” reads at a very far distance are not discernable. in the Terminal. Doggett’s coding utilizes the nautical letter/signal fl ag system —A (Alfa), B (Bravo), C (Charlie), etc. Each “Pier” (concourse) is The coded system has contributed to the safe and orderly fl ow of designated by a separate letter with its nautical symbol displayed to vehicular traffi c since drivers are not slowed down to a crawl to try to enhance codifi cation. read the messages, impeding the fl ow of traffi c behind them. Also, it has been proven that sign coding greatly reduces the number of • Philadelphia Mass Transit System signs, resulting in cost savings in signage production and maintenance. (photos, bottom, third vertical row) To create visual separation for the interconnecting mass transit lines, she used geometric patterns and • Tampa International Airport separate colors — curving loops for the subway lines, squares for the (all photos, fi rst vertical row) Airport roadway entry signs demonstrate buses and other surface vehicles, chevrons for the commuter rails. the effectiveness of color-coding with large symbols in distance viewing. Note how the red symbols project from the curbside canopies where smaller airline titles are not as easily legible.
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