Typography Study - IONIQ 5 Cluster Redesign (2022)

Design by: Sangheon Chung(3D Cluster), Jonghwan Chung(2D Cluster)

1) Set project direction
This project started with the design identity of Ioniq 5. 
The Ioniq 5 has a design identity of “Timeless Value” and was designed with inspiration from Pony, and it can be said that it has a theme called Newtro (New + Retro = Newtro) as a word used these days. 
Looking at the exterior of the Ioniq 5, we could see the design of the pony in detail such as the vehicle's posture and headlights, but it was not the case in the interior. 
In the Pony EV concept vehicle released by Hyundai in the same year, it was confirmed that the Pony dashboard was reinterpreted and released with a Newtro design. 
Through this project, the purpose of the project was set to redesign the cluster screen of the IONIQ 5 into a design that matches the design identity so that passengers can feel the Newtro sensibility even indoors. 

2) Pony and Ioniq Research
By comparing the dashboards and clusters of Pony and Ioniq, we checked the overall configuration and information provided in the cluster. 
We were able to confirm that Pony had a simple structure, but Ioniq had a lot of information. 
To bring the simple configuration of the Pony, we decided to boldly remove parts of the Ioniq cluster that seemed unnecessary from the design.

3) Draft Visualizing
We decided to make two outputs, 2D and 3D, and started with a few drafts.

4) Font / Typography
The font started by finding a font that has a retro and modern feel at the same time.
Through research, it was confirmed that the 1970s was a period of economic and technological boom, and people's lives were happy and affluent, and happiness and abundance were also felt in the font.
As keywords, we thought ‘glamorous’ and ‘groovy’ were the most appropriate.
The curves of the fonts were large and thick, and there were many fonts that gave a full feeling.
It was judged that modern gives a calm and neat feeling, so finally, we decided to find a font with a large curve, glamorous, and neatness, and apply it to the selected cluster draft.

    

Two of the five fonts were selected, and the "Knuckle Down" font was applied to the 2D cluster, and the "Onick" font was applied to the 3D cluster.
However, in the feedback process, there was a feedback to find a new font in "Commercial Type" by reflecting the feedback that the margins of the font were narrow and the letters looked lumpy when viewed from a distance.
So, the name of the last confirmed font is "Graphik".
"Graphik" was a font made based on a font designed in the mid-20th century, and the font's purpose was to suit for digital design.
We decided to apply the font onto 2D and 3D clusters using the specified font.


5) Font setting
Overall, it was decided to apply the Graphik font family by classifying the main and auxiliary fonts so that there is no feeling of playing separately.
I used Graphik XX Condensed for the main font and Graphik Bold, Graphik Medium, and Graphik Light for the rest.

6) Font detail correction
There was feedback on the tail and the blank space of the numbers in Graphik XX Condensed font.


The 3D cluster was modified because there was feedback that the unity of the right and left panels and the location and classification of symbols would be better.
And we made a correction to increase the color saturation so that the gauge could be seen a little better.



In the 2D cluster, there was feedback that it would be nice to have a difference between main information and auxiliary information through the thickness of the font,
and the overall thickness of the font was changed by reflecting the feedback.


7) Final outcome
The final result has 2D cluster Day Version and Night Version, and the 3D cluster also includes the mode change screen classified by color along with Day & Night Version.