VIRTU DESIGN INSTITUTE

Written by Rachel Hawkins

2D & 3D GRaphIc DesIGn VDIs10019

enVIRonmenTal GRaphIc DesIGn: UseR cenTRIc DesIGn In naVIGaTIon,

InTeRacTIon anD InTeRpReTaTIon

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Introduction

The focus of this lecture is to identify Environmental Graphic Design with a focus on understanding the definitions and design aspects of ‘User Centric Design’. We will also analyse how navigation, interaction and interpretation impact the user experience in Wayfinding Design.

In this lecture we will look at how traditional graphic design media has been challenged into the 3D form. We will also look at some interesting case studies of how traditional graphic design has extended into the 3D with environmental typography, experiential design and wayfinding design.

Below are some definitions for the above terms;

UseR cenTRIc DesIGnUser-centered Design (UCD) is a process (not restricted to interfaces or technologies) in which the needs, wants, and limitations of end users of a product, service or process are given extensive attention at each stage of the design process. User-centered design can be characterized as a multi-stage problem solving process that not only requires designers to analyse and foresee how users are likely to use a product, but also to test the validity of their assumptions with regard to user behavior in real world tests with actual users. Such testing is necessary as it is often very difficult for the designers of a product to understand intuitively what a first-time user of their design experiences, and what each user’s learning curve may look like.

WayfInDInG DesIGnWayfinding is the art of using landmarks, signage, pathways and environmental cues to help visitors navigate and experience a site without confusion. These cues should be well planned, seamlessly connected and esthetically pleasing, creating a positive first impression and a sense of security, comfort and wellbeing.

expeRIenTIal DesIGnExperience Design (XD) is the practice of designing products, processes, services, events, and environments with a focus placed on the quality of the user experience and culturally relevant solutions. Experience design draws from many other disciplines including cognitive psychology and perceptual psychology, linguistics, cognitive science, architecture and environmental design, haptics, hazard analysis, product design, theatre, information design, information architecture, ethnography, brand strategy, interaction design, service design, storytelling, technical communication, and design thinking.

enVIRonmenTal GRaphIc DesIGn Environmental Graphic Design implements many design disciplines to address visual aspects of identity, sense of place, information, direction and promotion for careful planning and communication.Environmental graphic designers develop creative executions in 2-dimentional and 3-dimentional designs which are informational, directional and promotional in nature for public and private purposes that are relevant in every day social life.

sourced from: http://en.wikipedia.org/, https://medium.com/@pincock/604964f95c34 and http://www.biesek.com/

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Traditional media for Graphic Design

Tracing through history graphic design was predominately seen in newspapers, magazines, books, posters and signs. As printing methods and technology improved, the area of graphic design extended to more complex signage and exhibition design.

This step saw a change in the way people handled and viewed the graphics. Instead of a media that lay flat or was hand held, graphics were now seen from a different perspective. Typography was viewed in self standing structures in an upright position. This new perspective required designers to give consideration to the type weight, use of Serif or San-serif fonts, colour, contrast and scale.

Exhibition Design and more recently signage, challenges the designers conceptual base for a project and how to extend typography and imagery into the physical, three-dimensional form. An exhibition and wayfinding signage is more than just informative, it draws on innovation, creative and practical solutions to challenge communication in and experiential environment. An exhibition or environment is a three-dimensional space within which a story or message can be told.

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The newspaper in 2D & 3DThe Newspaper is perhaps one of the most traditional pieces of 2D periodic graphic design in high circulation for hundreds of years.

New technologies such as the internet, smart phones and tablets has seen readership of the traditional rag decline in staggering numbers as people read their news and books online or on their personal devices. As such the newspaper has changed its format almost completely however it still remains a 2D representation of the news. Instead of print on paper, the news is now on back-lit screens.

There are however a few instances where the designer/artist has challenged the traditional 2D form of the newspaper.

cocinas corona - corona Kitchens newspaper adThis clever newspaper ad has referenced the classifieds section of a newspaper and used typography to create depth on a flat page. The illustration shows a kitchen with bench space and a range-hood which is very subtle to the eye. By simply using two key aspects of depth and perspective, the newspaper print ad has been given a third dimension.

It is hard to view the image when viewing the ad closely. The 3D effect relies on the viewers gaze being drawn in close but also viewing from a far. In this way the 3D ad has created a new experience from the reader. https://www.behance.net/gallery/Cocinas-Corona-For-Newspaper/14291979

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The newspaper in 2D & 3D

st.Galler Zeitung and lUGa (swiss spring fair)Here we see the traditional newspaper extended into an experiential exhibition design. The project was a collaborative design project completed by students from the School of Design St.Gallen who worked in conjunction with Kanton St.Gallen and a creative agency called Konform. The typographic content of the exhibition is a special edition of the St. Galler Zeitung publication. The defining aspect of this exhibition design that clearly separates the finished product from being purely exhibition design to being ‘experiential design’ is the inclusion of bench seats. The viewer is invited to walk on the exhibit and to view the newspaper from all perspectives. The seats invite he viewer to interact with the structure, to sit and read a traditional newspaper while enveloped by a 3D publication. This play on space and perspective creates an experience for the viewer that challenges perspective and scale while employing a light hearted playful sense of humor. http://baselinemagazineblog.wordpress.com/2014/04/30/typographic-design-2-and-3d-par-excellence/

play Is an ImpoRTanT paRT of an expeRIenTIal DesIGn.

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Where did environmental Graphic Design come from?The demand for Environmental Graphic Design and number of specific design firms is growing each year. As a profession, environmental graphic designers will substantially increase in the coming years. Professional reputation, creativity, experience with similar designs, professional relationship and prior market success are relevant in scouting for firms or designers.

Firms report that they have more than 50 percent repeat rate. Majority of the work comes from the sector that is associated with needs in institutional and wayfinding needs. With the globalization of most businesses, institutions and industries, concerns for appealing brand identity and consistent universal presence increase. These factors which were nearly non-essential a decade ago are now the driving forces in this line of work.

The need for such extensive signage and identity support in our surrounding environments is something new to the 20th Century. Historically, signs were simply advertising on buildings and maps were hand held. The need did not exist previously which begs the question, why? Where did environmental Design come from?

The below mentioned article deals with this question in good detail outlining the affects of the rise of modern architecture, vehicular speeds, higher expectations, explaining the landscape around us, multilingual and multicultural society, and the integration of the design professions.

The need for environmental Graphic DesignAdapted from Wayfinding: Designing and implementing graphic navigational systems (RotoVision)By Craig Bergerhttp://www.graphics.com/article-old/need-environmental-graphic-design

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elemenTs of enVIRonmenTal GRaphIc DesIGn1. signs and symbolsMost commonly used signs and symbols are arrows, letters and numbers. Arrows have become the universally and commonly used symbol for wayfinding and information graphics. Letters and numbers, on the other hand, are generally used to represent areas and places. Communicating and defining a place through symbols have become easy for us. Every environmental graphic signage has to communicate on its own because every visual representation has a different meaning altogether. Classic examples to these are the ‘No Parking’ and ‘No Smoking” signs. They are also easily understood and universally acknowledged.

2. materialsMetals are mostly used for signboards. Metals are highly powerful. Stainless steels are used for numbers and letters for doors, walls and house address signs. It may also be used for interior architectural signs and wayfinding sign systems. Boards and wood may also be used for a wide variety of outdoor uses.

MDO or Medium Density Overlay, an exterior type of plywood with a weather resistant resin overlay, is the most commonly used material for road and adverting signs. This material resists water and can withstand any weather condition.

3. color and lightingIt is important to know that color is another sign element. For example, the color red is mostly used for stop, yield, warning and ‘do not’ signs. Green is used for background color for guide and information signs. Blue is used as background color for information signs, traveler services and evacuation/emergency signage. Signs alert people through color. It tells people what they should do. The foreground and background are an important challenge. They must have contrast to ensure readability. Lighting and brightness are material in color contrast for better visibility. Lighting needs to be analyzed according to the time of day and location, be it indoor or outdoor.

4. TypographyThe selection of the typeface contributes to the visual signature of the design. Considering the scale of the typographic element as well as other factors such as viewing angle and the affects of light and shadow are significant.

Arial, MS Sans Serif, Tahoma, Helvetica, Futura and Geneva are some typefaces that are commonly used because people find it easier to read.

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navigation and WayfindingWayfinding is knowing where you are in a building or an environment, knowing where your desired location is, and knowing how to get there from your present location.

Navigation from place to place is a fundamental human activity and an integral part of everyday life. Where are you and where are you heading to? People use their knowledge and previous experiences to find their way in the built environment. They use landmarks to map their orientation and route in their mind. The designer needs to work with the human perception of the space/environment and present the information in a format that reflects balance and focus using visual conventions like signs and symbols while being visually interesting and easily understood.

here is a basic checklist to consider in the design of a wayfinding system:Simple & Universal - Do not make them think - the answers should be obvious, use visual conventions

Communication System - Create a comprehensive, clear and consistent visual communication system with concise messaging

Minimalistic approach - Show only what is needed

Simplify relevant information - Show information that is relevant to the space, location and /or navigation path.

Give context - Include the information in the context of the greater surroundings

Visually appealing - The design should be aesthetically appealing and fun

Geographical maps vs Journey experiencePeople orientate, navigate and remember the build environment by creating a cognitive map. This cognitive map is based on how the human brain interprets a space/environment and embeds it in memory.

landmarksTo create a legible environment it is necessary to mark specific spaces and / or locations. This reinforces the recognition of places and plays a part in overseeing a larger area. With the use of landmarks and marking elements an area will become more visible and will be understand better in the human memory. Landmarks can be art-objects, buildings, street art, wayfinding signs or striking elements in a landscape. These elements combined will shape the identity of an (unknown) area as seen from your perspective.

orientationIn order to navigate, you need to know where you are in the build environment and where other destinations are located. Preferable it is good to know the distance in time from one place to another. If you are able to orientate yourself within the build environment, it will be easier to understand destinations and to navigate by landmarks. In wayfinding, maps are common used to indicate your location. The usage of maps is a very powerful way of expressing and overseeing the build environment. Be sure to display the maps heads-up in the direction you are facing, this way you can easy relate yourself to the build environment.

navigationNavigating the physical reference to a particular area, setting or destination. With the usage of directional (static) signs people will be guided along their path towards destination(s).

strategic wayfinding designWhen creating a signage system for an area, building or architectural structure it is essential to develop a strategic wayfinding scheme. With this step you are able to build up a modular wayfinding system that will adapt to the built environment and the human expectations for orientation and navigation purposes. Research is an important step to understand the build environment and where information is needed to maximize legibility of the wayfinding system.

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signage Design Basics

InfoRmaTIon SIGnS - for instance a sign pole will locate a destination and/or orientate yourself in the built environment.

DIRecTIonal SIGnS - where information is displayed to find destinations, located on several strategic points in the built environment.

IDenTIfIcaTIon SIGnS - where information about individual locations is displayed such as buildings, locations and public facilities.

WaRnInG SIGnS - to indicate safety procedures such as a fire escape routes, no smoking areas and other regulations that is, or is not allowed in a specific area.

signage typefaceA signage typeface is usually a sans-serif type and available in various weights with a simple easy-to-read straightforward design. They have a good legibility with a large X-Height and wide letter proportions with prominent ascenders / descenders to ensure a good readability.

When using an easy-to-read font the typeface is recognizable for many people to read and to understand the message clearly. Therefore the choice of a signage typeface is one of the key factors in order to make a wayfinding system work. When selecting a typeface for a signage design / wayfinding project you should use the following characteristics:

• A clear and straightforward type design, sans-serif• Easy recognizable letter forms• Positive letter spacing to enhance the visual appearance• The Font Family includes a package of many different weights• The typeface has a large X-height for good readability

Sourced from http://designworkplan.com/wayfinding/introduction.htm

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8 Principles for effective wayfinding include:1. create an identity at each location,

different from all others.2. Use landmarks to provide orientation cues

and memorable locations.3. create well-structured paths.4. create regions of differing visual character.5. Don’t give the user too many choices in

navigation.6. Use survey views (give navigators a vista or

map).7. provide signs at decision points to help

wayfinding decisions.

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InterpretationThe interpretation of images and form is subjective and relies on a persons cultural background and experiences.

We can analyse how a graphic presentation may be perceived by exploring different perspectives such as:

• Personal perspective • Historical perspective• Technical perspective • Ethical perspective• Critical perspective

It is important to also take into consideration a persons social and cultural background as this strongly informs how they interpret signs and symbols. In this way it is important to know who you are designing for and to make use of universal sign and symbol conventions

People use their knowledge and previous experiences to find their way in the built environment. When doing so, people orientate, navigate and remember the built environment by creating a cognitive map. This cognitive map is based on how the human brain interprets a space/environment and embeds it in memory.

Environmental Design, signage and structures send lots of subtle but compelling messages to it’s various audiences, leaving them with the knowledge. It is the individuals interpretation of this information and knowledge in the context of their cognitive map that determines a designs success.

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case study - morag myerscoughLondon born Morag Myerscough is an inspirational Graphic Designer that brings typography into the 3D in clever, fun and vibrant Environmental Designs. She studied graphic design at Central St Martins, and then completed an MA at the Royal College of Art, and was initially inspired to create large scale ‘supergraphics’ after seeing an exhibition of stage sets by David Hockney.

Morag Myerscough started her Studio Myerscough in 1993, and has won many awards for her integration of graphics within architectural settings. The multi-disciplinary studio is best known for its work in the integration of graphics within architectural settings. Highly acclaimed projects include Westminster Academy which won the 2008 Design Week Award for Wayfinding and Environmental Graphics; the Kentish Town Health Centre which won multiple plaudits, including a RIBA and Civic Trust award, and, the wayfinding for the Tea Building in Shoreditch – a hub for the creative community in East London.

Her approach is to think less about the graphic challenge of marketing and more about the total context of the work (the set on which the narrative is performed) has guided her work ever since. She is passionate about the responsibility and impact of helping people move through a space, and how they might feel as a result.

check out articles at the below links:http://www.dezeen.com/2013/09/28/the-pavilion-by-morag-myerscough-and-luke-morgan/

http://www.eyemagazine.com/feature/article/in-the-thick-of-it

http://studiomyerscough.com/

http://issuu.com/idnworld/docs/v20n1

http://www.youtube.com/watch?v=wa2nwBE_U48

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case study - multi media marketing associates

Multi Media Marketing Associates are a firm that work out of Florida, USA. They work with a focus on powerful multimedia and interactive solutions.

Two projects of particular interest to this course are below. Download their case study documents and watch the youtube video which shows the project from concept to completion.

e.p.a environmental GraphicsMulti Media was selected by the U.S. Environmental Protection Agency (EPA), Region 2 to design environmental graphics for their new office space in Guaynabo, Puerto Rico.http://www.multimediamktg.com/pdf/casestudy_EPAmurals.pdf

http://www.youtube.com/watch?v=hAZnmCYBqXg&feature=plcp

outreach TrailerThe U.S. Army Corps of Engineers Natural Resources Program requested Multi Media provide conceptual and development services for a mobile outreach tool that their rangers, volunteers, and administrators could use to educate the public.http://www.multimediamktg.com/work/outreach-trailer.html

Multi Media collaborated with EPA team members to finalize the content to be communicated. To develop the creative direction of the environmental graphics, our creative team then began conceptual research and layout which resulted in us proposing to design the artwork for the eight (8) walls into twenty-eight (28), 6’2” x 4’, graphic panels that could be easily removed. We selected a bold color palette and modern aesthetic for the eight “murals” that enhanced the interior décor of the new “green” space.

As tasked, Multi Media delivered the initial conceptual design for all twenty-eight graphic panels within 28-days and continued to make a series of revisions until receiving

final approval. To create the final designs, our creative team developed custom icons, illustrations, and a stunning color-coded 3D floor plan of the new office space.

We chose to print the graphics on Bioboard, a 100% recyclable printing substrate, to adhere to the requirements of being environmentally friendly to the maximum extent possible. The graphics were packaged, crated, and shipped directly to the EPA office in Guaynabo. Our staff was onsite in Puerto Rico to receive the crate on the anticipated date of delivery and was able to complete installation by close of business that day. Aluminum standoffs were used to mount the graphic panels.

The mission of U.S. Environmental Protection Agency is to protect human health and the environment.

The Challenge Multi Media Marketing Associates, Inc. was selected by the U.S. Environmental Protection Agency (EPA), Region 2 to design mountable environmental graphics for their new office space in Guaynabo, Puerto Rico. The graphics, featured on eight (8) walls throughout the office, would introduce the public to the EPA’s responsibilities throughout the Caribbean Environmental Protection Division, as well as showcase the sustainable aspects of the space and help encourage green building practices.

Photo Top: One of eight (8) murals designed for the EPA’s Puerto Rico Office.

Photo Above: Split view of EPA’s floor plan, before and after, in which we developed a 3D layout of the office space for Mural 1.

Work

954.433.0988 www.multimediamktg.com

Graphic DesignEPA Environmental Graphics

Work Multi Media managed all services needed to fulfill the project requirements. Our team collaborated with Corps administrators to define the key outreach messages. Once key messages were determined we developed conceptual sketches, content, and graphic design that educated the public on the Corps, navigation, and the recreational opportunities along the Okeechobee Waterway. Multi Media installed a video digital system with buttons, designed the outer wrap, and worked with a local theming company to outfit the trailer based on approved shop drawings.

The Challenge The U.S. Army Corps of Engineers Natural Resources Program requested Multi Media Marketing Associates, Inc. to provide conceptual and development services for a mobile outreach tool their rangers, volunteers and administrators could use to educate the public. Photos: Outreach trailer closed and ready for transport.

954.433.0988 www.multimediamktg.com

Public Outreach Outreach Trailer

Jacksonville District’s area of responsibility encompasses the state of Florida and the Caribbean. Providing planning, engineering, construction and operations products and services to meet the needs of the Armed Forces and the nation.

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Idn magazine - http://issuu.com/idnworld/docsIdN magazine is an international publication for creative people on a mission to amplify and unify the design community in Asia-Pacific and other parts of the world. It is devoted to bringing designers from around the globe together to communicate with, learn from and inspire one another. It has truly become what the initials of its title proclaim it to be: an international designers’ network.

Check out IdN Magazine at the online flick book magazine site - Issuu. There are two issues of the magazine of particular relevance to this lecture.

Idn - The wayfinders Issuehttp://issuu.com/idnworld/docs/v17n5

Idn - environmental Design Issuehttp://issuu.com/idnworld/docs/v20n1