OUGD405 - Study Task 01 - Wayfinding Primary Research

This post will document and analyse the way finding/navigational systems used in a diverse range of environments within Leeds. 

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Leeds Train Station.

The Leeds train station way finding visual language bears a cohesive, bold and dominating aesthetic. An extensive system, the station is abundant with signs featured at or above eye-level. This allows the audience to interact with ease of view, as all information is delivered at such a level that either the central or peripheral vision will identify and comprehend the information immediately.

Due to the majority of signage being featured above human height, hanging from the ceiling or mounted on the frame/structure of the building's interior, the scale of the informative navigational signs is larger than if they were on ground or at human height. This provides a greater amount of ground and space through which information can be communicated - clearly and distinctively.

The way finding signs featured throughout the station are a dark shade of blue with white typography, creating a tonal contrast and energy that attracts attention from the gaze and delivers all information unambiguously and coherently.

The information featured on the signage is delivered through a white, bold sans-serif typeface. This appropriately communicates the navigational prompts through a non-decorative, dignified and pertinent-to-environment typeface. Clear and distinctive type is of the most vital importance in a train station due to train times, platforms and the accessibility it must have in order to reach all audiences, from people who simply pass through and those who use the station regularly; Order and direction are a necessity in the transportation environment.

Signage within the station is presumably from its aesthetic and reaction to light made from a plastic such as PVC. This medium is economical, durable and reliable - hence its copious usage in the sector of signage and train station more specifically.

Leeds City Centre.

The way finding signage around Leeds city centre, primarily targeted at motorists, is that designed by Jock Kinneir and Margaret Calvert, or designs derived from their set foundations. This national system is a iconic combination of carefully coordinated lettering, colours, shapes and symbols.

Though the scale of elements of the system vary, sizes are specific to the audience being communicated to; Signs for pedestrians are smaller than those for motorists as to most appropriately deliver information at considered distances and heights.

Colours of the signs around Leeds, and the nation as a whole, are coordinated to specific sectors of the navigational system. Brown rectangles are used for directional information to tourist points of interest, blue circles for mandatory instructions such as 'Turn left' or indication of route information for particular classes of traffic (e.g. bikes), blue rectangles for information signage (excluding on the motorway on which these are for directional information), green rectangles are used for primary-route directional information and white rectangles are used for non-primary directional information. By coordinating a range of colours to alternating shapes more specific information is able to be communicated to both motorists and pedestrians alike via established connotation and enhanced awareness.

The typeface used for the way finding system for motorists and pedestrians was produced by Jock Kinneir and Margaret Calvert between 1957-1963. 'Transport' is a sans-serif typeface, available in two weights - Transport Medium and Transport Heavy. The decision to use a sans-serif foundation for the typeface is appropriate in that it delivers important information free of unnecessary decorative aesthetic. It is clear and effective in its simplicity. 
Transport Medium, the obvious lighter of the two, is used for white letters on darker backgrounds - such as green primary-route directional signs.
Transport Heavy, a bold variation of the typeface, is used when communicating black letterforms on white ground - used on non-primary route information signage. This allows for enhanced readability and energy via contrast.
The typeface is easily interpreted visually as a result of the completely unambiguous letterforms it uses, featuring consistent strokes, lines and curves.

The contrast produced in Kinneir and Calvert's road signage designs are present as a result of the carefully considered colour combinations and variations used. By using dark letters on light ground and light letters on dark ground, tonal energy is created via contrast that makes the signage stand out in even the most dense environments. Contrast on these signs is of the upmost importance when considering the monumental effect they have in guiding and directing, meaning they must be prominent in a multitude of scapes.

Road signage can be made using two different types of metal sheeting. The first is aluminium. Aluminium is chosen for its lightweight and durable nature. Although this metal will not rust, it must be reinforced from the back with metal braces and is the most expensive option used. The alternate option is steel, which is the most economical material used. Steel has greater strength and therefore does not require reinforcement, however is prone to rust - though this can be prevented with the application of a layer of zinc to the sheet.

Trinity Leeds Shopping Centre.

Trinity Leeds' navigational system includes a cohesive, ordered and modern formatting, with additional statement directional guidance for select establishments. Though a somewhat limited system, all signage is set at or above eye-level, allowing for consumers to interact with ease of view via central and above-peripheral vision. The way finding solution here provides more information on how to navigate through the shopping complex to the streets that surround it, as opposed to directional information to specific stores and points of interest. The signs' communication is limited to this, floor numbers and pictograms.

The scale of elements included within this system vary, dependant on location of the signs and information included.  The system consists of 3 different sized signage solutions: Large, upright columns detailing exit routes and points of interest of each of the three floors (e.g: cash machine), long, suspended horizontal strips providing information on surroundings and exits, as well as fixed flag-like signs showing floor level information and ways out. The information featured on the signage is limited as Trinity relies on the open space within from which shops can be seen from each level without direct instruction of location - hence the almost discretion of the system.

The colours used as a part of the Trinity Leeds way finding system are a combination of darker shades with both white and bright, vibrant colours to draw attention and create contrast. Each floor of the shopping centre has a designated colour that is in turn used to direct and inform consumers with an additional level of awareness. The lower ground floor is represented by green, the ground floor by yellow, and the first floor light blue. Each floor utilises its set colour as the ground-colour for all signage, excluding that which delivers information of every floor which feature dark blue ground with all colour information presented dynamically. In addition to the signage's vibrancy of colour, the system also features translucent backlit/illuminated surroundings to ensure prominence maintains throughout all times of day into the night, fluctuating in response to changes in external environment. This enhances the contemporary, youthful aesthetic of the shopping centre, providing
form and function.

The typeface featured on Trinity Leeds' navigational system appropriately communicates information succinctly and directly with a sans-serif typeface, exploiting different styles to deliver alternating information. The signage uses a mix of all-capitals, italics and standard type to highlight, order and signify importance. Though the majority of type is featured in white, on lighter ground it is featured in dark blue. This maintains contrast and cohesion with the system as a whole, unifying the aesthetic as a whole via colour and style. The contrast created through this creates tonal energy which makes the signage more eye-catching and prominent within the shopping centre.

The signage within the Trinity shopping centre is a combination of metal outer-frames which surround clear colour-illuminated acrylic infill. Inside this is opaque acrylic plastic which
provides ground for information to be communicated on. Although a relatively cheap material,
the enhancement of the acrylic through design and illumination alters its perception to what
appears to be expensive, innovative and dynamic.

Harvey Nichols, Leeds.

The Harvey Nichols way finding system sophisticatedly provides navigational information of the store via understated, minimalist monochrome designs that appear a part of the store itself rather

than an additional element.

The scale of elements featured within the system are predominantly small and insignificant, rather like optional embellishments as opposed to dominating structures; The way finding in the store is subtle where appropriate and more prominent as necessary. Signage is limited to a specific floor number, escalator identification ('Down escalator' / 'Up escalator') and a ceiling-high column providing information for all floors. The balance of scale in the store is effective in that the navigational system does not distract from the products of the store, but are easily
identifiable due to carefully considered placement and contrast.

The navigational system within Harvey Nichols is void of colour, using only black and white to provide information. This monochromatic approach enhances sophistication as well as the sense of luxuriousness and the exclusivity of the store via a dramatic, clean and sharp aesthetic. The use of black and white creates an energy via extreme tonal contrast that attracts attention from the gaze of consumers navigating around the store. The ceiling-high column found consistently across all floors provides information for each level of the store, using white typography on black ground, with the information for the specific floor on each column being black typography on white ground. Further attempts are made to ensure the floor consumers are on is made clear in comparison to other floors by back-lit illuminance to all white visual information which enriches prominence and grandeur.

The typeface used throughout the Harvey Nichols navigational system is light weight, all-capital  and sans-serif. This creates a contemporary, distinct and powerful aesthetic that reflects the importance of the store as a high-class, luxury lifestyle destination. Floor numbers are large in relation to type conveying what each floor features. The reason behind the understated visual language used by the store lies with the target; People who shop in Harvey Nichols tend to be driven professionals with disposable income - they know what they want and most likely exactly where to find it.

Acrylic plastic is used for the way finding solutions in the store, as although cost-effective, has been made to look high-end, style conscious and distinct via the selected high contrast visual language.