Transposed winds_no key signature

In the tradition transposed woodwinds where written with transposed key signatures; trumpets and horns where written with no key signature.
My score is in C and because my music is atonal, I was preparing all instrumental parts transposed, but with no key signatures. But in Dorico I can only choose brass without key signature, but no woodwinds.

I can change key signature in transposed woodwinds to „atonal”, what will solve the problem, but my question is: since there is no native option to have „no key signature” woodwinds in Dorico, is it wrong to have it in parts? Is it something I shouldn’t do?

If your concert pitch score has an “open” or “atonal” key signature, your wind parts should also have “open” or “atonal” key signatures, automatically. If your concert pitch score has a C major key signature, your Clarinet in B flat should have a D major key signature.

Or have I misunderstood the question?

My score has no key signature, it is written in C and it is atonal. My parts for transposed instruments are transposed. There is no visual difference between atonal and C major key signature. That is why I wasn’t sure, what is the convention of preparing the transposed parts. If I should write the transpose key signature as if the piece where written in C major or I can write it with no key signature, because it is atonal.

So, thank you for the advise. If I understood You correctly, I can prepare my transposed parts without key signature.

Off the top of my head I can’t remember exactly what goes wrong if you prepare a score in Dorico with absolutely no key signature, but IIRC it does have effects.

If you want an atonal score, invoke the keys popover and type “open” or “atonal”. If you want C major, type “C”. I’d you want A minor, type “a”.

One more thing, why I was confused.
In the past I prepared two 24-EDO custom tonality systems. And I thought, that they are both „atonal”. That is why I was confused, that my wind parts has key signatures. But after Your reply I checked it and it turned out, that one of them is in fact 24-EDO tonal system (C-major), and the second one is true atonal. And in my score there was the first one, that’s why there were key signatures.