Supergraphics

Not to be confused with a graphic novel imprint by Jim Steranko.

Supergraphics are large-scale painted or applied decorative graphics used over interior or exterior walls, floors, or ceilings in order to alter visual perception of a building or interior space.^{[1][2][3][4][5]} Supergraphics typically wrap around multiple architectural planes or surfaces,^[6][4] and change appearance of spaces by affecting perception of their size or depth.^[7][8]

Supergraphics are one of the tools of environmental graphic design that can allow to incorporate wayfinding or branding^[1] in public spaces like transit hubs, office buildings, hospitals, or schools.^[2][9] Supergraphics have also been used as a tool of urban renewal.^[9][6] Unlike murals, supergraphics are defined by their oversized scale and typically incorporate typography, multi-colored abstract graphic shapes, patterns,^[10] or illustrations.

History

Supergraphics originated in mid-1960s^[3] and surged in popularity during the 1970s.^[4] Early practitioners of supergraphics included graphic designers Barbara Stauffacher Solomon,^[11][12] Morag Myerscough, Lance Wyman,^[13][2] and Deborah Sussman.^[8][7][14] Sea Ranch, a 1965^[15] project by Barbara Stauffacher Solomon, introduced supergraphics to a wide American audience.^{[16][8][17][18]} After a decline in popularity in the decades that followed, supergraphics experienced a resurgence in 2000s.^[6][19]

The term supergraphics was first used by teacher and critic C. Ray Smith^[19][6] in 1967^[4] to describe experimental work developed by the postmodern architectural movement of Supermannerists.^[6][19] Smith's definition of supergraphics excluded depiction of alphanumerics or figurative illustrations. Over time, the term had been expanded to include any large-scale architectural graphics that alter the viewer's perception of architectural environment.^[4][6][7] Modern interpretation of supergraphics also includes graphics that are projected digitally or displayed on screens.^[19]