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.

1. VIRTU DESIGN INSTITUTE
Written by Rachel Hawkins
2D & 3D GRAPHIC DESIGN
VDIS10019
ENVIRONMENTAL GRAPHIC DESIGN:
USER CENTRIC DESIGN IN NAVIGATION,
INTERACTION AND INTERPRETATION

2. VIRTU DESIGN INSTITUTE: 2D & 3D GRAPHIC DESIGN - VDIS10019 2
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 DESIGN
User-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 DESIGN
Wayfinding 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 DESIGN
Experience 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 & 3D
The 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 Ad
This 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 Design
Adapted from Wayfinding: Designing and implementing graphic
navigational systems (RotoVision)
By Craig Berger
http://www.graphics.com/article-old/need-environmental-graphic-design

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ELEMENTS OF ENVIRONMENTAL GRAPHIC DESIGN
1. Signs and Symbols
Most 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. Materials
Metals 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 Lighting
It 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. Typography
The 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 Wayfinding
Wayfinding 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 Experience
People 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.
Landmarks
To 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.
Orientation
In 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.
Navigation
Navigating 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 design
When 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 typeface
A 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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Interpretation
The 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 Myerscough
London 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://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 Graphics
Multi 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.youtube.com/watch?v=hAZnmCYBqXg&feature=plcp
Outreach Trailer
The 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 Design
EPA 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/docs
IdN 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 Issue
http://issuu.com/idnworld/docs/v17n5
IdN - Environmental Design Issue
http://issuu.com/idnworld/docs/v20n1