Wayfinding on Screens and in Galleries

Two kinds of getting lost

Visitors can be lost in two ways. In the gallery, they may not know where the entrance is, which way the exhibition runs, or what they have missed. On a screen, they may not know which section they are in, how to get back, or whether there is more. The two problems are related, since both are about orientation, and a good design treats them together.

Wayfinding is the set of cues that answers three questions: where am I, where can I go, and how do I get there? Visitors who cannot answer them tend to feel uneasy, and they may leave without seeing the best material.

Wayfinding in the physical gallery

Even in a digital exhibit, the building does much of the work. Some general ideas:

• Make the route clear. Where a path is intended, arrange the space so the next area is visible or implied. Where it is open, give visitors a few suggested routes.
• Use landmarks. A distinctive object, color or large image helps people remember where they are and describe it to others.
• Keep signs consistent. Use the same type, color and placement for directions throughout. Signs need to be readable from a distance and in the gallery’s lighting.
• Offer a map. A simple map, printed or on a screen, with a clear “you are here” mark is among the most useful orientation tools. Orient it so that it matches the direction the visitor faces.
• Give a sense of scale. Tell visitors roughly how much there is to see, such as the number of rooms or sections, so they can plan their time.
• Mind the thresholds. Entrances to galleries and doorways between rooms are where people decide whether to continue. A clear sign or a glimpse of what lies beyond helps.

Wayfinding also relates to the accessibility of the building. Step-free routes, seating, lighting levels and signs at readable heights help everyone, and are essential for some. Tactile and high-contrast signs support blind and low vision visitors.

Wayfinding inside a screen

An interactive screen is a small space of its own, and visitors need the same cues there.

• Show where you are. A visible title, a highlighted section or a breadcrumb line (“Harbor > Trade > Spices”) tells people their location.
• Show what else exists. Dots, tabs or a “2 of 5” label signal that more content follows. Without such cues, visitors may leave early, thinking they have seen everything.
• Always provide a way back. A back control and a home control should be in the same place on every screen. Visitors who feel trapped will stop.
• Make the next step clear. At the end of a section, suggest where to go: a related topic, the next section, or a pointer to another place in the gallery.
• Keep depth shallow. The more layers there are, the more likely people are to be lost. If the structure is deep, make the position very clear.
• Use consistent labels. The name of a section should be the same in the menu, on the heading and in the map.

Simple navigation helps visitors with cognitive accessibility needs, and anyone in a hurry or with divided attention.

Connecting the screen to the room

The best exhibits link the two layers. A screen can show a map of the gallery with the current location marked, and point to the next object or room. It can refer to what is on the wall nearby: “Look at the case on your left.” A touch exhibit can show the object it relates to, so people connect the digital and the real thing.

Some venues offer visitor phones as a second screen for directions or guidance. If so, remember that many visitors will not use them, so fixed signs and maps should still carry the essentials. Language also matters; where a gallery serves multilingual visitors, symbols, numbers and clear icons can help, alongside translated text.

Reset and fairness

Wayfinding on a shared screen has a particular problem: the previous visitor’s position. An exhibit that stays on a deep page confuses the next person. An idle timer that returns the display to a known start means the “you are here” is always true when someone arrives.

Testing wayfinding

Orientation problems are hard to see from inside the team, since staff know the building. Useful checks include:

• Ask a newcomer to find a particular object or room, and watch where they hesitate. Do not help unless they are stuck.
• Walk the route as a first-time visitor, noting every point where you wonder what to do.
• Ask visitors, as they leave, where they think they have been and what they missed.
• Ask front-of-house staff which questions they answer most often. Frequent questions mark gaps in the signs.

Changes are often inexpensive: a bigger sign, a clearer label, a progress marker or a map moved to a better position.

A short checklist

1. Can a visitor tell, at the entrance, what the exhibition is and roughly how long it takes?
2. Is the intended route obvious, or are alternatives clearly offered?
3. Does every screen show where the visitor is within it?
4. Is there always a way back and a way to the start?
5. Does the end of each section suggest what to see next?
6. Do the signs and screens use the same words?

If the answer to each is yes, visitors are likely to feel confident, and confident visitors tend to explore more.