I predict…a sign!
On a recent trip to Cambridge I came across a rather amusing sign, but some of the people I was was couldn’t see anything wrong at first. See how long it takes you to spot the blunder!
If only we could see into the future…? (Image courtesy of Google Streetview)
Exploring the Differences in Airport Wayfinding Systems
An article by guest writer Tom Barden.
Airports are some of the busiest places on the planet, with hundreds of thousands of people passing through them every day, it is therefore essential to provide the best navigational systems to ease people through these stressful environments in the quickest and calmest way possible. This study looks towards airports to understand how wayfinding has evolved over the last 5 decades, and continues to evolve, to provide the clearest navigational solutions.
In 1967 interior architect Kho Liang Le and graphic designer Benno Wissing were commissioned to design a system at Amsterdam’s Schiphol Airport which would greatly aid the navigation around the airport. According to Paul Mijksenaar in his book Wayfinding at Schiphol, both Wissing and Le “laid the foundation for [one of the world’s first] information systems”.
This system was so effective that it stayed active from 1967 through to 1990, consistently scoring high on user satisfaction ratings. In 1990 Mijksenaar Design Agency was asked to conduct a two year study of the wayfinding system and locate any areas that may need improving. Following the company slogan of ‘preserving what is good and improving what is weak’ one of the changes that came from the study was adjusting the lettering from all lower case to title case, this change was aided by an increased understanding of how we read words or sentences.
After the 1996 Dusseldorf airport disaster in which many people lost their lives a number of airports recognised the need for much clearer fire exit signs. As a result of this Mijksenaar changed the amenities colour from green to grey so the fire exit signs had little visual competition.
With more people passing through its five terminals each year than any other, BAA Heathrow is the world’s leading international Airport. It is therefore essential that it supplies an easy to understand and clear navigational system, however, after conducting some on site research it appears this has not yet been fully achieved. A staff member mentioned to me in conversation “people are always asking for directions despite the signs around them.”
Through my own research and visits to Heathrow it is clear that, although BAA has made steps towards standardising the signage within the airport, it has not fully succeeded. Some signs differ in colour (from yellow to orange) and others use serif typefaces while the majority are sans-serif. One particular observation I have made about Heathrow’s signage is that the symbols and type do not work together as one unit. The black strip that surrounds the icons splits the sign into three sections; firstly the type, secondly the icons and thirdly the directional arrows. For a wayfinding system to work successfully all elements must complement one another, rather than competing for visual dominance.
Heathrow Airport Sign, London
To investigate how wayfinding systems differ over a worldwide basis we must investigate a smaller airport. A perfect example would be Slovenia’s Ljubljana Jože Pučnik, which handles around 1.5 million annual passengers. In comparison BAA Heathrow serves an average of 67 milllion annual passengers and Schiphol handled 47 million in 2008.
Ljubljana Jože Pučnik makes use of a standardised library of airport symbols designed by AIGA and the typography adopted is VAG Rounded. The system in place is quite successful; the clear contrast between the black and white avoids any colour clash with safety signs, while the large symbols and arrows are clear to see and on the most part recognisable. The text itself follows the rounded borders of the icons providing a considered wayfinding system that, unlike Heathrow airport does not have elements competing against one another.
Slovenian Airport Sign
If we compare the three airports studied it could be possible to conclude that wayfinding evolves in areas that need to compete to greater heights to survive. Schiphol airport, although attracting 47 million people in 2008 gets most of that number from transfer flights, it is therefore essential that it tries to provide the clearest navigational systems to the international public. Heathrow is London’s main international airport, and has the potential to provide a modern and effective wayfinding system for public spaces. However, the signage does not appear to be as polished as Schiphol airport. This may be due to the increased local competition faced by Schiphol which, in order to continue to attract a high amount of business, needs to provide a clear navigational system. Finally, due to the size of Slovenia’s Ljubljana Jože Pučnik it is unlikely to have the capital available to produce its own unique set of symbols therefore relying on an international standard. It has, however, provided a clear navigational system that can only help the flow of passengers through the airport, and in today’s world of inexpensive international travel and merging languages is an international standard of airport wayfinding systems such a bad thing?
Calling all students!
Written or researching an essay on wayfinding and information design or just want your say on a particular topic you’re passionate about?
I’m looking to publish an article from a guest writer next month and I’m calling on the student community in the hope of finding some fresh views and new perspectives. The topic can be anything from hieroglyphics to augmented reality and all that lies between.
All you have to do is send me an email with the subject ‘Guest Article’, attach your article (approx 500 words), a short bio and any links to accompanying images to wayfindinguk@googlemail.com before Sunday 6th November.
Any questions feel free to get in touch.
Case Study – The Work of Lance Wyman continued…
The 1970 World Cup was also held in Mexico. Design principles that were adopted for the 68 Olympics were applied to the World Cup. Not only was the same typography used, but a similar system was applied to seat finding on the tickets. Wyman could have designed something totally new, but he knew that the existing system worked, and using it again would not make the design any less of a success. By tweaking his designs he created a system of symbols that were recognizable, worked well and were as easy as ever to use.
Mexico 70 football tickets.
Wyman’s symbol project for the Mexican metro is the first example of pictograms in such a daily public facility as the subway. Yukio Ota explains in his book on Pictogram Design it was very significant that they were not designed by law as in the case of road signs. They were not restricted to a given period such as a world exposition and were provided for use by everyone. Unlike the Olympic designs, these symbols were going to be in use for a significant period of time. Wyman wrote that the signs he designed were effective even in the case of illiterate people or foreign tourists. The main reason that the system was so effective was that pictograms were used to represent each station.
“The icons are designed to represent an important aspect of the sta- tion neighbourhood, a reference to history, an important landmark or an activity in the station area. The icons are wayfinding helpers on station signs and system maps.”
Mexico City subway icons
Like his previous designs, Wyman used Mexican history and culture to inspire and inform his designs. In this example, it was crucial that the pictograms accurately depicted the connection with the individual stations. Wyman took advantage of the culture and used reference points to represent stations and their neighboring area. These pictograms demonstrate how surroundings and context can greatly affect the design and meanings of the symbols. Wyman suggests that if you can describe a pictogram it will work. All off the station symbols do this and these descriptions link to the station and its immediate environment. The duck itself cannot single handedly represent the station, but in the right context it communicates clearly and efficiently. The way in which Wyman used the history, culture and surroundings to create the pictograms has not only given the signs a lease of life, but has greatly aided communication.
“Wayfinding offers the designer an opportunity to reference the history, culture, and essence of place in an immediate way that will be seen and used on a daily basis. An effective wayfinding system can be a visual ambassador…”
Wyman’s work for Mexico did exactly that. The pictograms he designed throughout the 1960’s and 70’s not only created great international communication devices, but told a story about Mexico. Using pictures alone, a piece of history was depicted and element of Mexican culture was revealed. The pictograms not only represented the object/facility, but embodied what Mexico was about. Wyman’s pictograms ultimately showed that pictograms can have personality or display cultural characteristics and communicate across language barriers.
Coming soon…the conclusion to the Pictograms, International Communication and Cultural Diversity series!
Case Study – The Work of Lance Wyman
It is arguable that the set of Mexico 68 Olympic pictograms are one of the best there has ever been. Created by Lance Wyman along with Manuel Villazón and Matthias Goeritz, these pictograms were much more than great pieces of information design. They did not just point visitors in the right direction. They told a story of Mexican history and of art culture popular at that time. They demonstrate how pictograms aimed at an international audience can also have cultural identity injected into their design and that pictogram design does not have be governed by strict rules.
Mexico 68 Olympic Pictograms
The graphic system for the Mexico 1968 Olympic games is cited as one of the most successful in the evolution of visual identification. The work Lance Wyman continued to create in and around Mexico after the Olympics of 1968 demonstrates how pictograms have the potential to break free from standardisation and become a little more exciting. In in D&AD lecture I attended in November 2006, Wyman suggested that bringing culture into pictograms is always tricky. You have to be very sensitive to that culture, but it can be so enriching and rewarding if it works. He also described how he took a different approach to the pictograms from the very start.
“The sports icons focused on an expressive detail, a part of the athletes body or a piece of equipment…”
According to Abdullah in his book Pictograms, Icons and Signs, the Mexico 68 pictograms used a very different pictorial language to their predecessors, subsequently making a more striking impact. Less detail was required, making the symbols more compact and closed. The pictograms, unlike many other Olympic pictograms, were very colourful. The bright vibrancy became a characteristic of the marketing for the Olympics of 1968. Lance Wyman, of course, did not come up with these ideas by chance. Inspiration came from several sources.
“The Mexico 1968 logotype, based on traditional forms from Mexican culture as well as being 60’s Op-art kinetic typography, set the tone for the entire graphics system.”
Op Art Inspired Designs (left) Work of Bridget Riley (right)
Mexico 68 Pre-Hispanic Inspired Designs (left) Pre-Hispanic Art and Glyphs(right)
Op-art, although not so prominent in the pictograms, was clearly influential in many areas of the games, especially the logotype. At a lecture I attended back in 2006 Wyman clearly stated that the work of Bridget Riley was extremely influential to him at the time. Inspiration can also be seen from Mexican history in the form of Pre-Hispanic culture and Huichol Indian art. This carries through to the design of the pictograms, where Pre Hispanic glyphs show close similarities to the designs. Wyman also described how he spent a lot of time in the Museum of Anthropology and that he found early Mexican cultures extremely captivating. It was his intention to inject this Mexican culture into the design of the pictograms and the whole Olympic Games.
Wyman used pictograms extensively in the design of the games. He not only created pictograms for the individual sports, but also constructed cultural and service symbols and pictogram designs for tickets.
“A visual language was used in place of words to communicate effectively with the international participants of the Olympics. Icons identified services, literal silhouettes…identified seating accommodations and the competition areas for the athletes in the arenas.”
Mexico 68 Tickets (left) Stadium Pictograms for Seating (right)
Sign systems and street furniture were created to guide people around the city. The way in which some of the three dimensional elements were designed was also linked to artifacts found in Tula. Almost like a totem pole, elements of street furniture were stacked and pieced together like a jigsaw. A unique system of pictograms was devised to guide people to their seats in Olympic stadiums. The time was indicated using a analogue clock face and the sporting event using the relevant pictogram. Symbols withing the arena’s environment matched up with symbols on the tickets, to create a visual language that made sense to people from all backgrounds.
Statues at Tula (left) Frame Units for Directional SIgns (right)
This system was so simple that even the illiterate would be able to understand its commands. Wyman went to great lengths to ensure all his designs would not only be a great representation of Mexico, but would also be accessible to everyone, regardless of sex, age, race or education. The Mexico 1968 pictograms successfully showed that pictograms can display cultural identity and communicate to an international audience. The work that Wyman did was so successful that he used similar tactics in other work he created for Mexico.
The stats helper monkeys at WordPress.com mulled over how this blog did in 2010, and here’s a high level summary of its overall blog health. Thanks to everyone who has visited this site.
The Blog-Health-o-Meter™ reads Fresher than ever.
A helper monkey made this abstract painting, inspired by my stats.
A Boeing 747-400 passenger jet can hold 416 passengers. This blog was viewed about 10,000 times in 2010. That’s about 24 full 747s.
In 2010, there were 20 new posts, not bad for the first year! There were 12 pictures uploaded, taking up a total of 3mb. That’s about a picture per month.
The busiest day of the year was September 7th with 134 views. The most popular post that day was Pictograms, International Communication and Cultural Diversity (Part 3).
The top referring sites in 2010 were twitter.com, arrowsandicons.com , and digg.com .
Some visitors came searching, mostly for pictograms, pictogram, toxic symbol, piktogramme, and airport pictogram.
These are the posts and pages that got the most views in 2010.
Pictograms, International Communication and Cultural Diversity (Part 3) July 2010
Pictograms, International Communication and Cultural Diversity (Part 1) June 2010
Pictograms, International Communication and Cultural Diversity (Part 2) June 2010
1 comment
Pictograms, International Communication and Cultural Diversity (Part 4) September 2010
Place identity and architectural signage – the best from the UK May 2010
1 comment
Perception and Meaning
Following on from my previous musing on how we form a picture, I began thinking about how we create meaning from the things we see around us. Can we take what is there and distort or manipulate it to change its meaning? Is our perception of the things we see based just on what is in front of us…and how does what we already know affect our thought process? Just as situations can be misinterpreted or misread, people can view the same thing and see something totally different.
How do we interpret the things we see?
UK mapping products comparison continued…
Frequency Update
UKMap
UkMap works on a 3 year cycle of updates. Retail use is surveyed every 12 months.
OS MasterMap
There are updates issued by the Ordnance Survey every 6 weeks for MasterMap, which means according to the OS, that the data is never more than 6 months out of date.
Functionality
In this context functionality means the ease of utilising the data on a project.
UKMap
UK map is a new product that not all users will be familiar with. The data structure is complex, based on primarily 5 fields from which the data classification of land use can be symbolized. There are also 2 other fields which allow the symbolizing of Points of Interest and Retail Classification. The complex feature coding system allows for multi-level classification of data, breaking land uses down into sub-classes The land use classification requires a degree of work being able to employ these classifications with symbolizing the data, but once done once can be applied to future versions of UKMap data.
OS MasterMap
MasterMap is an established product so will be easily recognisable to users as will the structure of the data. The data structure is relatively simple, based on primarily 2 fields from which the data classification of land use can be symbolized. This makes the data easy to use straight away but limits the actual number of classifications and levels of classification available.
Delivery Format
UKMap
The delivery format of UKMap is in Industry standard GIS file formats so are easily read into most GIS packages, which will also make the receiving of updates and integration into the existing dataset easier.
OS MasterMap
The delivery format of OS MasterMap is GZ this is a zipped GML dataset (Geographic Markup Language), this is an open source format but is not easily opened in any of the major GIS packages. This means that a conversion process is required before it can be brought into a GIS or Graphics package.
Overall Advantages of using GIS
The last point brings me to another observation, I am obviously biased but I can’t understand as to why GIS is not utilised by the some of the wayfinding industry. The advantages to the creation of base maps are numerous;
Symbolise by Attribute: By using the products above you are able to apply a palette of colours to the map based on the land use, rather than the selecting of individual parcels and applying a shading to them. Line weights, hatching density etc. can be applied based on the attributes of the data.
More available data: GIS is a convergent technology, by which I mean that it is able to read multiple file spatial formats, including, dxf, dwg, dgn, kml/kmz (Google Earth) to name a few non-GIS formats. There are an amazing range of datasets that are available in GIS, rangimg from base mapping at a huge range of scales, socio-economic, demographic, and environmental datasets.
Export to Illustrator: Once the data has been set up and layered within GIS it can be exported straight out .ai format.
GIS is often thought of as an expensive option and the mainstream well known packages ArcGIS and MapInfo are pricey but there are many other cheaper options. QGIS is free, Manifold GIS is available for around £250 depending n the exchange rate. Both are able to do the simple tasks and match the expensive product options. Manifold is a personal favourite of mine and I often use it in preference over ArcGIS and MapInfo.
Author Bio
Damien is a GIS professional who has recently begun to move into a more technological consultancy role. His background is a BSc in physical geography and an MSc in Land Information Management and Mapping. He has worked in many sectors, including Urban Design, Transport, Environment, Demographics and Flood Modelling. Through this work he has been granted fellowships with the British Cartographic Society and the Royal Geographic Society and has also been chartered by the latter. He has his own blog on all things geospatial where he collates his thoughts, some coherent some less less so (his own words). Visit http://geospatialandtechnology.blogspot.com/ for more information.
On a recent project, one of my tasks was to help create wayfinding maps for a city centre. During my three years working as an information designer I have only ever drawn diagrammatic maps of buildings and never map information based on geographical data. The only time I had ever drawn a city map was back at university when I traced every street and key buildings in Illustrator. So when I was first given the task, I wasn’t sure where to start. I thought a good place to start would be the company’s GIS team. I knew little about the capabilities of GIS software or exactly how it could help me on the project and likewise the GIS team knew little about how I was going to use and manipulate the data they provided me with.
Mapping products and creating wayfinding maps
An article by guest writer Damien McCloud.
As a newcomer to the Wayfinding Industry I thought I would give a couple of observations I have made in my short time in the field to date. So far I have only worked within the UK and only on a couple of projects so firstly, apologies if I’ve got it all wrong……My main observation is that there is a surprising lack of knowledge and awareness of the availability of base mapping products that can be used to drive the map creation. For external wayfinding maps there is a wide range of freely available (OpenOS data) and paid for products (OS MasterMap and UK Map). This data can be used as the driver for creating external wayfinding cartographic products. By having and understanding and employing these products it should simplify the first stages of putting together any map in the UK. With some of these products with now clarified ‘derived data’ definitions from the OS, tracing can be done legally to construct the base structure of a product and to extract the key elements required.
The aforementioned may happen, but the licensing of a chosen product and the issues of what constitutes derived data and the surrounding licensing are not widely understood or known. For a project to be successful and ‘legal’ these have to be fully understood before anything is deployed, I am not entirely sure this happens 100% of the time. The Ordnance Survey has clarified these in recent weeks which can only be a good thing. By having a full understanding of the mapping available and legal boundaries to its use, dramatic time savings and so reduced costs can be introduced to a project.
UK mapping products comparison
The two main products in the UK that will be of use are the Ordnance Survey Master Map and Citilabs UK Map. These two can be used to automate and create detailed base maps very easily using predetermined colour schemes based on land use.
What’s delivered
UKMap
UKMap is made up of a suite of layers, although these all come as standard. These layers are:
UKMap
OS MasterMap
OS is brought by the product, the topographic layer comes on its own as a discrete product.
OS Mastermap
Coverage/Scale
UKMap
UKMap covers only the London Urban Area (see below) and is captured at 1:1000 scale.
UKMap 1:1000
OS MasterMap
OS MasterMap covers the entire UK, with the urban areas captured at 1:1250 scale and the rural areas captured at 1:2500 Scale.
Click here for Part 2
Forming a Picture
When trying to understand an environment we form our own mental image of the surrounding area, but how is this picture formed? How do we take the snippets of information we see and process them? Is it as simple as piecing a jigsaw puzzle? If there are gaps do we still read the information? In some instances we can form a good picture without having 100% of the information, but this can also lead to a misinterpretation. For numberous reasons I have always found Austin Kleon’s blackout poems intriguing, but in this context it helps to demonstrate that by manipulating information and keeping some elements hidden, you can change the original intention, meaning and context.
Many aspects of wayfinding include the manipulation of information, a manipulation that encourages and area or an environment to be used and navigated in a specific way. We hide information for the benefit of the user, but is this also a form of deception? For example, living in London for 3 years now I know that in some instances if I ignored the information presented to me on the underground network and used different passageways at interchanges, I might actually be able to cut down the distance I travel. In some wayfinding scenarios, manipulating information and forming a false image can help to process and manage people and their movement. How wayfinding designers choose to form a picture is key and can vary greatly in different scenarios.
How do we see and interpret the information given to us?
