Design Process of a Signage Program

The materialization of the Signage Program will be effective only if it transforms the policies.
predefined in a set of design ideas suitable for both the conditions
economic as well as the characteristics of the system and the specific environment in which there will be
of executing the project.
Designing a program involves following a method, a formula that organizes the steps.
successive and the procedures in an orderly and thorough manner, covering not only the
immediate anticipated needs, but anticipating their adaptability to needs
futures. If this were not the case, a proper program would not have been carried out, but a
simple design.
Signage design is often confused with pictogram design due to the fact
that these are usually the most striking part of the signaling graphics.

PLANNING
In carrying out this kind of projects it is essential to observe a strict
planning to achieve positive results. For this, we must follow the following
critical path

1. Analysis of the problem

It is clear that an adequate solution to a problem is based on asking the right questions.
correct, among the basic questions we must ask when starting the project of
design of a signaling system is:
How many new visitors arrive at the place daily?
¿Cuál es la prisa que tiene el usuario para llegar a su destino dentro del lugar? (Ejemplo
hospitals or airports
How complex is the distribution of the place?
What type of project is it; Definitive or temporary?
How many levels or floors does the place have and how similar are they?
What is the customer's interest in getting users to their destination quickly or
Did you find new things on your way? (For example, in a shopping mall)
Are there complex relationships at the architectural level between the different areas of
place?
Is it necessary to cover large distances within the place to be signposted or between its different areas?
areas?
Are there security restrictions within the area to be marked?
Is special signage required for disabled people or should it be bilingual?
Does the system require vehicle signaling?

2. Determine the orientation that the solution should have

Among the questions we need to resolve are:
¿Quién es el representante del cliente que dará el visto bueno y cuáles serán los
approval procedures?
Who will be the coordinator of the daily tasks on behalf of the client?
Is there any limitation on the part of the client, whether it be budget, aesthetics or
any kind?
Is there a corporate identity manual?
¿Existe alguna tendencia de diseño?
Up to where the responsibilities of architects reach and up to where those of the
designer?
Is there any technical or architectural specification regarding materials or colors?
que aplique al sistema de señalética?
Will temporary signage be required during any phase of the project?
What type of user will the project have?

3. Research
We must obtain information about the operation of the place to be signaled, we can do this
make studying the plans or answering among others the following questions:
How high is the influx of visitors?
Do everyday users eventually have to travel to parts of the
facilities they are not accustomed to?
Do the facilities have accommodations for disabled or visually impaired users?
like ramps, etc.?
Is natural light enough to illuminate all the signs?
What signals should be illuminated to be visible at night?
What signals should operate in case of emergency?
What signs can be temporary or portable?
What signals should have availability to change constantly? Like for
example menus or customer service.
What messages should be in two or more languages?
What are the restricted areas?
Are signals required in Braille system?
Are there checkpoints?

4. Analysis and development of the design program

All the collected information must be archived, organized, and analyzed for
to prepare a preliminary design program and a meeting can be held with the client
to present the project along with a design budget for approval
la realización del mismo.

5. Signal system design

Once the budget is approved, the design of the system will be carried out.
signals taking into account all the information gathered during the stages
previous ones and following the work plan presented to the client.

6. Creation of a Signage Manual for the signaling system

Once all the signals have been designed, we will proceed to the creation.
from the signage manual where all the specifications for each of the
signals.

7. Determine production costs

Based on the data contained in the Signage manual and each of its sheets.
we will proceed to quote the production of the project and the cost for supervision of
production, preparing ourselves for the design handover meeting
let's count on that data to provide it to the client, on some occasions
We will have to deliver an estimate of this from the previous meeting with the client.

8. Production of signals
Finally, the production of the signals will proceed according to the
especificaciones plasmadas en el manual Señalético. El trabajo del diseñador será ahora
to supervise that what was proposed by him in the manual is fulfilled.

From another point of view, Joan Costa describes the functional scheme of the process of
signaling programs with the following steps:

CONTACT
The program logically begins with contact with real space as long as
what place subject to treatment Signage. This space is intended for the public in
offer and provision of various services: utilities, entertainment, cultural, etc. It is
they will take into account the following aspects:
1.1 Functional Typology
1.2 Personality
1.3 Brand image

2. INFORMATION GATHERING
This stage aims to provide an accurate description of the structure of the Signage space.
as well as their conditions. They also include in this stage the nomenclatures that
define the signaling information to be transmitted.
2.1 Plan and territory
2.2 Keywords
2.3 Photographic documents
2.4 Architectural Conditions
2.5 Environmental conditions
2.6 Pre-existing graphic standards

3. ORGANIZATION
Based on a set of documents and information obtained in the stages
precedents, it is about planning what will effectively be the design work, which
it will begin in the following stage (4).
3.1 Keywords and iconic equivalence
3.2 Verification of information
3.3 Types of signals
3.4 Conceptualization of the program

4. GRAPHIC DESIGN
This stage and the next one actually constitute the set of specific tasks of
graphic design, while stages 1, 2, and 3 encompass conceptual design and
organizational - planning - of the entire process. Finally, stages 5, 6, and 7 are
they will take care of the material implementation of the program through industrial means, as well as
its installation and the verification of the functioning of the Signaling system by
from the designer's team.
4.1 Fichas señaléticas
Based on the keywords that define each service; the location of these on plans
and photographs; the signage of routes on maps and the indication of points-
clave sobre el mismo plano (dirección, pre-información, identificación, prohibición,
emergency), the preparation of records will proceed, one record for each signal
informativa. Estas fichas harán constar:
situation of the signal on the plane, which can be done with a reference
conventional, like a number or another element,
- type of sign: hanging, banner, wall panel, with stand, directory, tabletop, etc.
text (indicating it in its respective languages, if this is the case)
- pictogram (if applicable),
- directional arrow situation (if applicable),
- colores: fondo, texto, pictograma, flecha,
total measurements,
observations (for example, if the banner is double-sided).
The set of these tokens effectively constitutes the entire signaling system, which to
the continuation must be developed.

4.2 Compositional module

A la vista del esbozode cada señal -que cada ficha es de hecho- se establecerá un
module for the composition of all signals, taking into account the distribution of
the textual, iconic, chromatic elements.
The compositional module is a kind of template or matrix for distribution.
systematics of the informational elements within the space of each signal. About
this matrix will establish the composition for each of the signals that integrate the
program in accordance with the global style of it.

4.3 Tipografía
According to the data from stages 1 and 2, related to the morphology of space,
lighting conditions, viewing distances, personality and brand image - and
eventually, corporate identity program - characters will be selected
typographical. This selection will therefore obey, a the criteria
deconnotations attributed to different typographic characters and legibility.
The necessary contrast, font size, and thickness will also be defined.

4.4 Pictogramas
Taking as a starting point the usable repertoire of pictograms, the process will proceed
to the selection of the most pertinent from a semantic point of view (meaning
univocal), syntactic (formal and stylistic unit) and pragmatic (visibility, resistance to
distance).
The selected pictograms can be redesigned based on establishing.
non-particularized. Likewise, the arrow can be serious, a signaling element.
irreplaceable. Only when it is objectively justifiable will new pictograms be created.
y éstos deberán asegurar las máximas capacidades de interpretación correcta por parte
of the users, therefore, these newly created pictograms must be tested
before their incorporation into the program.

4.5 Color code

The selection of colors can be reduced to the minimum number and combinations or either
to create a more developed code. In this case, color coding allows for
differentiate and identify different routes, areas, services, departments, plants
of a building, etc.
When the corporate colors, standardized in the corresponding manual, must
having a specific weight or these are reduced to a single color can be convenient
the application of a chromatic subcode of the type we have just indicated.
In all cases, contrast tests will be carried out and it will always be advisable to have in
count the connotations or the psychology of colors, both in terms of their capacity
informational as well as brand image.

4.6 Originals for prototypes

The best way to verify the graphic intentionality of the program and its effects
Without a doubt, the realization of prototypes is real.
To do this, the designer will choose the signals that they consider most significant according to
with the program, and will prepare the corresponding originals.

4.7 Material Selection

Having the necessary information about the existing materials and a
directory of manufacturers, both of products and signals, the designer will proceed
a la selección de materiales de acuerdo con los fabricantes de máxima garantía.
The sizes of the signs, the materials will be decided; the use of lighting, if so
It is required by the conditions of the space to be treated signalically; the systems of
Panel fixing. Of course, the recommendations and standards will be observed.
international, as well as precautions against vandalism.

4.8 Presentation of prototypes

The prototypes created will be presented to the client as the result of their
approval in stage 3, organization and the study included in this stage 4. Together
with the prototypes, which will be installed in their corresponding place in reality, will
present the entire design study: typography, pictograms, color codes, cards
of the signals, etc. The result of this presentation of the prototypes is, of course,
the approval of these and of the program itself as a whole.

Consultation links:
Functional scheme of the signaling program process
Design of Systems of Signage y Signage
Typographic Magazine Article No. 21: Defining the Audience. Frascara J.
 Wayfinding
To begin with, being a word in English, it does not have an exact translation to
It's something like 'finding the way', but this literal translation
it does not fully convey the idea. It is really a way to take into account the
design within environments, a process of orientation and mobility formed by
the perception, cognition, and interaction between the person and the physical environment. Not
it's turkey snot!

Wayfinding is a visual entity that operates between the human being and the way of
develop in a specific space. And no, it's not the Poltergeist thing that you
you are imagining now.

Wayfinding design is the creation and development ofinformation systems with

the purpose of guidingto people in natural, urban situations and
architectural. Simplifying all of the above in one sentence, wayfinding is a
tool that attempts to facilitate - with its elements - the movement by which a
the person moves.

-¿Es igual a la señalética?

Yes and no. Let's say that signage can be part of wayfinding, but
it does not only reduce to that.

The beauty and breadth of the discipline is the concern for the user.
not in terms of consumer, worker, or investor, but in terms of person. And it is
that wayfinding addresses the diversity of people, their abilities and
physical, cultural, and social variables alike.

And now... let's think. Normally, people tend to use previous experience.
to get your bearings but... hasn't it ever happened to you that you've walked into a
different supermarket or in a hospital and you didn't even know where your face was? Exactly
That is why wayfinding systems exist.
What is the function of wayfinding?

Its purpose is to inform people about unfamiliar environments. It studies the

location and the way to display information at strategic points. But how
Can we know if a system is effective or not? Well, the first thing is
that the system must be clear and consistent - it should not require thinking - it should show
only the necessary and important from the space and, therefore, eliminate any stimulus
irrelevant.

The application of wayfinding resources in environments has many benefits for

the people:

Avoid disorientation and stress

Optimize time in space
Generate economic advantages
 Gestalt Laws
Similarity
Donde interviene la similitud por alguna de sus características físicas o
conceptual.
Continuity
The details that maintain a pattern or direction tend to cluster, like
part of a model. Perceive continuous elements even if they are
interrumpidos entre sí.
Closure
Closed and finished forms are visually more stable, which makes
that we tend to close and complete with our imagination the shapes
perceived as seeking the best possible organization.
Proximity
The elements and figures that are closer tend to be seen as a
unity and to isolate oneself from others. The figures or points that are closest
they gather in units even though they are all the same.

Figure and background

It establishes the fact that the brain cannot interpret an object as
figure or ground at the same time.
Figure: it is an element that exists in a space or field standing out in its
interrelación con otros elementos.
Background: Everything that is not a figure is the part of the field that contains
interrelated elements that support the figure that by its contrast
tend to disappear.
Symmetry and Order
Ambiguous stimuli tend to be analyzed in the simplest way. The
elements are organized into the most symmetrical, regular, and stable figures
that it may be possible.

Simplicity
It claims that the individual tends to organize their perceptual fields into traits.
simple and regular.
Experience
This principle is based on how we perceive the world according to our
experiences.
Combined Laws
Sometimes the Gestalt Laws can be combined to achieve even more effects.
creatives.
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Now let's delve a bit deeper into these principles by looking at some
examples.
Similarity
When objects look similar to each other, we often see the elements
individuals as part of a pattern or group. This effect can be used
to create a single illustration, image, or message with a series of elements
separated.

The similarity between different elements can be in shape, color, size,

texture,... An element can be emphasized when it is different, breaking the
pattern of similarity within the group. This effect is called anomaly.

This cover of the album Hard Day's Night by The Beatles uses the principles of similarity and anomaly.

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Continuity
Continuity is the principle by which the eye is drawn to a path, line.
or curve. This can be used to point towards a secondary element
of the design and that everything fits in perfect harmony.
A greater value for higher education.

Closure
Closure is a common technique in design, it utilizes the tendency of the human eye.
for seeing closed shapes. The human brain will work on an object which
incomplete perception, completing the missing information. This technique is
widely used in logo creation.

The World Wildlife Fund logo uses the principle of closure to depict a panda, despite the fact that
the shape is not completely closed.

Proximity
This principle uses the close arrangement of elements to create a
association of group among those objects. If the individual elements also
they are similar, they will tend to be perceived as a single whole, despite the fact that
separate elements. The principle of proximity or grouping can be
achieve in different ways, these include, shape, color, texture, size or
any other visual attribute.
Figure and Ground
This principle describes the tendency of the human eye to see a separate object.
of what surrounds him. A classic example is that of the vase or candlestick that tells us
shows two profiles. This principle works because human eyes
they want to see the figure (foreground object) and the background as two planes
different approaches.

Symmetry and Order

In short, this principle says that a composition should not
to provide a feeling of disorder or imbalance, otherwise
the viewer will waste time trying to locate the missing element, or
solve the problem, instead of focusing on the message that the composition
the design wants to convey.
Simplicity
We perceive the elements in the simplest way possible, highlighting in
set what is truly important.

Experience
From a biological point of view, the nervous system itself is formed based on
the conditioning that the outside world has on us.

Leyes Combinadas
Sometimes the Gestalt Laws can be combined to achieve even more effects.
creatives where there is always something hiding behind each of them.
 Signage against signaling
Signage and signaling are not equivalent concepts. Signage is a word not
pickup at theDictionary of the Spanish Language(from theRoyal Spanish Academy).
Thisneologismo, however, it should designate the study of signal systems,
while the very set of them used within a public space should
It is called signaling, a word accepted by the Royal Academy.
The signage is aimed at regulating human and motorized traffic in spaces.
predominantly outdoors. The code used has been previously approved and
normalized, and it is indifferent to the characteristics of the environment (for example, the code of
circulation). The signage, on the other hand, aims to identify, regulate, and facilitate access to
some required services.
Signage is the conjunction of various signs or signals that have in common
various features such as: color or color codes, synthesis of representative shapes,
typographies, etc. It addresses the development of signaling systems and their representations
considering factors such as: geographical location, local language,
nationality, identity or representative elements of the site, etc., so that the signals
that compose the signaling system should be coherent not only with what it refers to
they refer, but to those in their environment

CLASSIFICATION OF THE
SIGNS
Signs, posters, or billboards can be located on communication routes (roads,
routes, etc.) within towns and cities or in buildings, both outside and in
the interior of the premises. Based on these location characteristics, one
they establish three main classes:

Interurban (on routes).

Urban (in towns and cities).
In buildings.

Another classification is given according to two criteria: the first is based on its objective or
function, and the second is according to its system of placement, fastening, or location.

Classification according to its objective:

Guides: Their purpose is to place individuals in an environment, such as for
an example is maps or location plans.
Directional signs: They indicate a direction or route. In general, these are systems of
arrows and are located at the points where the visitor must choose a path.

Indications: They are used to point out spaces, places, or objects. They can be found in...
general at the beginning or end of a route (Offices, shopping centers, institutions,
universities, etc.) Pictograms or texts are usually used.
Informativos:Brindan información específica y detallada sobre asuntos, horarios,
routes, instructions, etc. It generally refers to texts.

Regulators: Indicate danger and prohibition zones. Reflect a dose of coercion.

and are generally accompanied by pictograms and warning texts.
It is further subclassified into:

Preventivas:Alertan sobre peligros posibles para el usuario (Ej. Cuidado pisos

humid).
Restrictive: They specify limits of action for the user (e.g. Only staff)
authorized).
Prohibitive: They impose the prohibition of certain actions (e.g. prohibited
Park.
Ornamental: They are like decorations, but they are identified in some way by
example: the monumental flags that are located at different points of the
city, works of art such as sculptures.
Classification according to its fastening system
or placement:
Attached: It means the same as stuck, most of the signal will be supported.
on a wall.

Transportation: It is when it is anchored to the floor or stopped with one or two posts.
Other authors call it Self-supporting because they are able to bear all the weight.
of the stacking without suffering any deterioration.

From the band: When the signal is subject to two walls, columns, or posts in a manner
perpendiculars.
By flag: When the signal is anchored perpendicular to the wall or column of one
from its sides.

Hanging: When the sign hangs from top to bottom, usually from the ceiling.
Identity marker: It is a signal with volume.

Estela directories: It is also a signal with volume but it is only for directories.

Scissors: It is a double signal, it is placed provisionally.

Box label: It is when there is a light box or a frame that has an interior light.
for example, a pharmacy sign.

Data terminal screen (V. D. T.): It is volumetric, it is electronic and is used for
requesting information is based on cathode rays that appear on the screen.
Light reflector displays: Electronic display systems where a formation occurs
through color disks that respond to an electric current.

Liquid crystal: They are meant to be read at short distances, and a digital typography is used.

Traffic signs are classified into:

Verticals: They are the traffic regulation signs, mostly intended for the
drivers of vehicles, placed at the side of the road or elevated above the roadway
aerial
Horizontal: They are the traffic signals marked on the roadway, for the purpose of
regular, transmit orders, warn of certain circumstances, direct traffic
or to indicate prohibited areas.

Luminous: Signals with their own light, continuous or intermittent, intended for the user of the
public way, which aim to transmit orders or prohibitions that modify the
general rules for the case, to warn of certain circumstances, to channel and regulate the
circulation, through the use of colors, arrows, or specific figures with location
and predefined forms. They are controlled by manual or automatic devices of
mechanical or electronic technology. (e.g. traffic light)

Transitional: They signal the execution of construction and maintenance work in the
way, or in areas close to them, its main function being to achieve the
safe and comfortable movement of vehicles and people, avoiding risks
de accidentes y demoras innecesarias. (Ej. conos, vallas, tambores, etc.)

Accessible signage for everyone

Signs particularly designed for people with physical or sensory disabilities,
which requires a large number of considerations, with the purpose of creating spaces
accessible to all. The types of signals in this case can be: tactile, spoken,
GPS technology, infrared or wireless and alarm