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. [3] [4] [5] [6] [7] Supergraphics typically wrap around multiple architectural planes or surfaces, [8] [6] and change appearance of spaces by affecting perception of their size or depth. [9] [10]
Supergraphics are one of the tools of environmental graphic design that can allow to incorporate wayfinding or branding [3] in public spaces like transit hubs, office buildings, hospitals, or schools. [4] [11] Supergraphics have also been used as a tool of urban renewal. [11] [8] Unlike murals, supergraphics are defined by their oversized scale and typically incorporate typography, multi-colored abstract graphic shapes, patterns, [12] or illustrations.
Supergraphics originated in mid-1960s [5] and surged in popularity during the 1970s. [6] Early practitioners of supergraphics included graphic designers Barbara Stauffacher Solomon, [13] [14] Morag Myerscough, Lance Wyman, [15] [4] and Deborah Sussman. [10] [9] [16] Sea Ranch, a 1965 [17] project by Barbara Stauffacher Solomon, introduced supergraphics to a wide American audience. [18] [10] [19] [20] After a decline in popularity in the decades that followed, supergraphics experienced a resurgence in 2000s. [8] [21]
The term supergraphics was first used by teacher and critic C. Ray Smith [21] [8] in 1967 [6] to describe experimental work developed by the postmodern architectural movement of Supermannerists. [8] [21] 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. [6] [8] [9] Modern interpretation of supergraphics also includes graphics that are projected digitally or displayed on screens. [21]