Best Practices for Graphic Designers, Color Works

We use wayfinding to establish landmarks, enabling

people to quickly decipher and differentiate spaces.

For wayfinding, color is often used as a powerful

mnemonic device; but color within wayfinding is

reliant upon the context of its situation.

Wayfinding

and Color

Cartlidge Levene

Shown is a close up of the color-

coded wayfinding system that uses dif-

fering tones of color. At the headquarters

of the Guardian newspapers in London,

every level of the offices is color-coded.

Within the dynamic, horizontally shifting

signs, individual values of each color palette

are applied to differentiate floor locations.

These color values are inspired by the pal-

ettes used within the actual newspaper.

fig. 001

124 Color Works Production & Information Wayfinding and Color

4.5

4.3

4.3

At the headquarters of the

Guardian newspapers in London, every

level of the offices is color-coded. Within

the dynamic, horizontally shifting signs,

individual values of each color palette are

applied to differentiate floor locations.

These color values are inspired by the pal-

ettes used within the actual newspaper.

For instance, airport wayfinding mechanisms might not work for

a city’s street signs. Or signage in one city might not work for signage

in another city.

Color-coding can establish hierarchy and differentiate areas/zones

more clearly. In buildings, wayfinding can be applied not only to hang-

ing and standing signage but also to interior and exterior wall spaces

and zones. Color may also be applied to entryways and exits to signify

a change from one color-coded zone to another. Floors are also

a possibility: Color-coding can make it easier to define a space.

This type of work is highly sensitive and collaborative, and decisions

regarding wayfinding cannot be made by the designer alone. Several

professionals, from architects to fire and safety inspectors, will have

a say in what colors can and cannot be used in an environment. The

majority of the time there is no subjective rationale behind color

choices. Rather, choices result from a clear, objective understanding

of the situation at hand.

As a designer, there are many things to consider:

When designing within buildings, know what other colors and

materials are being used in the same surroundings.

Design for individuals with disabilities.

Avoid using too many colors—a palette that’s too broad

reduces the mnemonic power of color and makes it more

subjective.

Rules and regulations differ from country to country, and

even town to town.

As in print, color studies will need to be shown in the physical space to

determine whether the colors will work in the given environment. Use

Pantone PMS colors for interior signage and AkzoNobel, DuPont, or

Dulux for exteriors. RAL is an equal alternative to Pantone PMS colors.

Originating in Germany in the mid-1920s, RAL (Reichsausschuß für

Lieferbedingungen und Gütesicherung—“State Commission for Delivery

Terms and Quality Assurance”) was created as a color standard for

industry. Originally a simplified system with forty colors, RAL now

comprises more than 1,800 colors. RAL is normally used by graphic

designers with a focus on wayfinding, as well as architects and industrial

designers. It uses a four-digit system: The first digit represents the color

hue, the second is neutral (always zero), the third number is lightness/

brightness, and the fourth numeric is the chroma.

Natural and artificial lighting conditions are an important factor in

choosing color for wayfinding. Depending on its location, natural light

can play havoc on color. It is very important to know whether the location

is consistently gray, overcast, sunny, or hazy. This knowledge allows

you to determine whether your palette is too soft or too extreme for its

environment. Discoloration may occur if the colors are exposed to

extreme natural daylight, so selecting durable materials and colors is

fig. 002