Signage Design Principles PDF

**WHAT IS A SIGN?** - A **sign **is an object, quality, event, or entity whose presence or occurrence indicates the probable presence or occurrence of something else. - A **natural sign** bears a causal relation to its object. (e.g. thunder, symptoms) - A **conventional sign** s...

**WHAT IS A SIGN?** - A **sign **is an object, quality, event, or entity whose presence or occurrence indicates the probable presence or occurrence of something else. - A **natural sign** bears a causal relation to its object. (e.g. thunder, symptoms) - A **conventional sign** signifies by agreement. It is a set of agreed, stipulated, or generally accepted standards, norms, social norms or criteria, often taking the form of a custom. (e.g. punctuation marks) - **Physical objects**most commonly referred to as signs generally inform or instruct using written text, symbols, pictures or combination of these. (e.g.  road signs, collectively known as ***signage***) ** ** **What is Semiotic?** - It is the philosophical study of signs and symbols. - This includes the study of ***semiosis***, which is the way in which signs operate.   **TYPES OF SIGNS** - **Sign languages** - languages that use the visual-manual modality to convey meaning. - Sign languages are full-fledged natural languages with their own grammar. - **Signage** - The design or use of signs and symbols to communicate a message to a specific group, usually for the purpose of marketing or a kind of advocacy. - **Information Sign** - It is a very legibly printed and very noticeable placard that informs people of the purpose of an object, or gives them instruction on the use of something.  - **Traffic Sign** - Also known as *road signs*. - These are signs placed at the side of or above roads to give instructions or provide information to road users. - **Signature** - It is a handwritten depiction of someone\'s name, nickname, or even a simple \"X\" or other mark that a person writes on documents as a proof of identity and intent. - **Warning Sign** - It is a type of sign which indicates a potential hazard, obstacle or condition requiring special attention. Some are traffic signs that indicate hazards on roads that may not be readily apparent to the reader.   **10 PRINCIPLES OF EFFECTIVE SIGNAGE** **GRAB ATTENTION** - - Your sign must make a potential customer want to stop and see what's inside the business. - The first read should be a large pictorial graphic or your company logo. If text is your only option, make it dominating. **2.  MAKE IT LEGIBLE** - - People must be able to comprehend your sign quickly and easily if you are going to create an opportunity to serve them. **3.  KEEP IT SIMPLE** - - Choose type with personality and readability. - Crowding the sign with too many words or lines of text makes it impossible to read from a distance. Use as few words as possible to keep your signage legible. **4.  AVOID CLUTTER** - - You avoid clutter by keeping 30% to 40% of the sign's face area left as white space. - "White-space" is the surface area that is left uncovered by either text or graphics. ** 5.  CONSIDER COLORS CAREFULLY** - - The design and colors of your building should reinforce the design and colors of your sign. - Too many colors take away from the quick readability of the sign. - Make sure colors are contrasting. **6.  SUITABILITY** - - Your sign must be attractive and appropriate for your type of business. - It should also be noticeably better than your competitor's signage. **7.  MAKE IT MEMORABLE** - - Your sign should make your products, services, and location easy to remember. **8.  APPEAL TO IMPULSE BUYERS** - - Many decision makers mistakenly think of a sign as merely a device that identifies the business. - What they fail to realize is that 55% of all retail sales are a result of impulse buys. - People see, shop and buy. - This makes it imperative that the sign quickly communicates what the business sells. - If a sign is ineffective, it costs the business owner money every day. **9.  SAVE THE DETAILS FOR THE SALE** - - Don't attempt to sell them with too much information on the sign -- save the details until they are in your business. ** 10.  PLACE IT TO BE SEEN** - - An attractive, well-designed sign will only be effective if it is placed in a location that optimizes its visibility to passers-by. - Make certain your sign can be viewed without obstruction from any source. - Drive past your business from all directions to determine the most visible location for your sign.   **SEVEN (7) DESIGNING PRINCIPLES** 1. **Equitable Use\ **The design is useful and marketable to people with diverse abilities 2. **Flexibility in Use\ **The design accommodates a wide range of individual preferences and abilities 3. **Simple and Intuitive Use\ **The design is easy to understand, regardless of experience, language, or knowledge 4. **Perceptible Information\ **The design communicates information effectively regardless of various conditions 5. **Tolerance for User Error\ **The design minimizes hazards of accidental or unintended actions 6. **Low Physical Effort\ **The design can be used comfortably with minimal fatigue. 7. **Size and Space\ **Appropriate size and space is provided regardless of the user's size or mobility ** ** **3 Most Important Design Principles for Creating Signs That Attract Customers** **1.  Colour still matters** - - Choice of color plays a big role in how affective your sign is. - The color will help you brand your business and it communicates information about your brand's identity. - Cooler colors (blues, greens, purples) often provide an inviting, professional and relaxed feeling.  In contrast, it can be used to give a very cold and unfriendly feeling as well. - Warmer colors (yellows, oranges, reds) are soothing, warm, and give a sense of creativity but can also give off negative feelings such as anger and stress. **2.  Contrast makes a big difference** - - The contrast between the background and foreground will determine what people see when they look at the sign. - The rule of thumb is to not pair similar colors. Choose a light neutral and a dark color -- either one can be used as the background or foreground, as long as they're different. **3.  Font and text size are crucial** - - The larger the letter, the easier it'll be to read. - The typeface you choose will also have an affect on how readable the sign is.   **Elements of a Sign** **1.  The DOT** - - Or point (German punkt) is an abstract concept which indicates with precise certainty the locality of a junction, a meaning, an intersection, etc. - crossing points, meeting points, and also sore points, points of friction, and so on. - In graphic terms the dot or point is a materialized area, recognizable by the human eye. - It is the smallest graphic unit, as it were the \"atom\" of every pictorial expression. - A dot seldom appears as an individual element but generally takes its meaning from a relationship with another sign, such as the dot on the i, which gives the vertical line the meaning of a vowel; or the geometric dot in the middle of a circle, which thereby comes to symbolize the expression of \"center\". - By lining up dots to form an area we create a graphic screen {raster) or tint. The dots are no longer regarded as isolated \"atoms\" but as a gray effect or the basis of the reproduction technique for halftone printing. **2.  The LINE**       a.  The imaginary line - - The viewer draws an imaginary line from one dot to another. - In ancient times, humans drew imaginary lines between stars as they gazed at the sky and the pictures thus formed from the constellations made the signs of the zodiac. - Dots arranged in a straight line at constant intervals are recognized as a line on which one is invited to write. - From the examples of dice patterns we have seen that the arrangement of three dots can evoke the idea of a triangle and that the formation of a hexagon of dots produces the idea of circular movement. - With a greater effort of the imagination one can also see a pair of crossed triangles, making the Jewish symbol of the six-pointed Star of David. - From these observations we conclude that the eye at first draws a line to represent the shortest distance between two points and is able to visualize crossovers only on further consideration.      b.  The line in itself - - The prototype \"line\" is conceived from the start as a straight line. - On this basis we could say that every linear expression consists of a dot set into motion. - An abstract idea, since the drawing of a straight line without a ruler means taking thought with regard to the anatomy of the hand and arm. - The spontaneous drawing of a line is conditioned by the nature of the shoulder, elbow, and wrist joints and naturally leads to a curvilinear movement.      c.  Horizontal and vertical - - Human movement is almost exclusively horizontal, so we appreciate the horizontal quite differently from the vertical. - The horizontal is a concrete dimension which can be dominated, controlled, and paced out. - The earth appears flat and the theoretical horizontal is an existing concept. In contrast, everything that falls on this earth follows a vertical movement and is therefore something that happens, without active human participation (e.g., lightning, rain, sunbeams). - It is necessary to emphasize here the extent to which horizontal and vertical movements can produce quite different subconscious reactions. - The horizontal is given: the vertical has to be made.      d.  The oblique line - - An oblique position cannot be grasped with certainty, except perhaps in the case of the 45° angle, which can be judged by eye with a certain precision as the position halfway between horizontal and vertical. - An oblique line is always judged in relation to the nearest horizontal or vertical. The more an oblique line approaches or departs from one or the other of these, the more its expression changes. The **closer it approaches to the horizontal**, the **stronger is the impression of lifting**, while a **closer approach to the vertical strengthens** **the** **impression of falling**.      e.  The curve - - The vault of the sky and the terrestrial globe are the origins of the concept of the circle in the life of humans, who are aware of the vault and pass their lives within the circle. - The feeling of the circle leads to a concept of eternity: sun and stars \"turn\" over humankind, who have always observed them. - When humans look at the sky, from whatever point, they always find themselves to be in the center of a circle. - In graphic expression there are two basically different kinds of curved lines: - one derived from precise geometry; and - the other the result of a spontaneous movement of the artist\'s hand. **3.  Relations between lines**      a.  The manual movements of drawing lines - - It is very significant that we speak of \"drawing\" a line, since the musculature of the hand is such that the movement of \"drawing\" (i.e., \"pulling\") a line can be carried out more easily than a \"pushing\" movement. - Based on observation against the rapid drawing of a simple cross on paper, we find that the vertical is naturally drawn from top to bottom and the horizontal from left to right (assuming righthandedness). - The ease of drawing a cross has the consequence that it is the most widely used sign of all. It is used for marking, counting, signing and even for oath taking. - A second kind of connection: a vertical line that touches a horizontal one at its extreme point. - The third connection between two lines consists of a T-shaped junction or \"touching,\" which may also be called as  \"welding,\" where the end of one stroke touches the other line at any desired point. - Analysis of the hand movement required shows a completely different approach: the point of connection forming the T calls for higher \"tactile concentration\" and a lifting of the hand in order to set it down again at a given point.      b.  Alignment and rhythm - - Two parallel lines do not make a sign but rather express an order of counting, an expression that is strengthened further by the addition of a third line. - A larger number of closely set parallel lines produces the graphic effect of the materialization of an area, a system that is also known as \"hatching.\" - This kind of alignment, repeated at regular intervals, allows the visualization of a concept of \"rhythm\". - The varying lengths of the strokes, an alignment of this kind can be made to evoke an image of musical time. - These considerations naturally draw us away from the sign as such into the field of applied art, where linear repetitions are used for the representation of frameworks, friezes, textiles, etc.      c.  Proximity - - The expression of grouped signs or sign elements depends on the intervening space that connects or separates them. - A familiar example is the difference between letterspacing and word spacing in print. The word spaces must be distinctly larger in order to allow the groups of letters to stand out as self-contained words. **4.  The morphology of signs**      a.  The \"geography\" of perception - - The viewers of a sign not only take a certain standpoint but also occupy a geographical position in relation to the sign itself. - In the case of a square, they will regard themselves as being either inside or outside it. - Within the space, concepts such as floor, walls, and corners are perceived. - Seen from the outside, an object such as a cube or a window is perceived.      b.  Symmetry and asymmetry - - Symmetry is made up of exactly similar parts facing each other or around an axis. - Asymmetry is lack of equality or equivalence between parts or aspects of something. - Asymmetrical signs are having parts which fail to correspond to one another in shape, size, or arrangement; lacking symmetry. - In most cases the position of signs are symmetrical: horizontal (level) and vertical (gravitational).      c.  Morphological Table - - Provide a structured approach to concept generation to widen the area of search for solutions to a defined design problem. **5.  Sign Topology** - - There is a mathematical theory for the geometrical calculation of surfaces and volumes that divides bodies of all kinds and forms into groups. **The Basic Signs** - **The Square** A square is a special case of many lower symmetry quadrilaterals: a rectangle with two adjacent equal sides. a quadrilateral with four equal sides and four right angles. a parallelogram with one right angle and two adjacent equal sides. - **The Triangle** A triangle is a polygon with three edges and three vertices. It is one of the basic shapes in geometry. - **The Circle** A circle is a round shaped figure that has no corners or edges. In geometry, a circle can be defined as a closed, two-dimensional curved shape. - **The Arrow** The definition of an arrow is a shape with a wedge at one end and a triangle at another to indicate direction. - **The Cross** A cross is a geometrical figure consisting of two intersecting lines or bars, usually perpendicular to each other. **Joining Signs Together** **     1.  Relations between signs of the same form** - - Two adjacent circles are seen as a pair sign when the area between them is at least as great as their inner areas. - The space between signs is one of the most important aspects of typeface quality. - The spaces between letters (2) must be specified by the manufacturer so that reading can proceed undisturbed in the printed word or sentence. Let us consider two touching circles: a.  Horizontal alignment - - - This connection expresses a condition of equality. - In its complexity it could be the sign for friendship or brotherhood. b.  Vertical alignment - - - This evoke the idea of a hierarchy, with upper and lower; the effect of the sign is of a rather precarious balance and it is like a statue or monument. c.  Oblique association - - - Some aggression comes into play and the expression is more of pulling or pushing. d.  Two circles join together - - - The eye following the stroke just as well in two circular formations as in alternating from one circle to the other. - We recognize here the character of the figure 8 and also, in the case of the horizontally placed sign, the sign for \"infinity.\" a symbol of eternal recurrence. **     2.  Relations between signs of different forms** - - It is clear that associations between different forms immediately stimulate the creative impulse much more. - The reader\'s imagination will identify in these examples associations such as sheltering, balance, loudspeaker, and even a primitive human figure. **     3.  The expression of the inner area** - - A closed sign, whatever its shape, but principally a square or rectangle, is not only a sign but above all the enclosure and bordering of a surface. - This is most readily apparent when a second sign, figure, or object is placed within it. - In such cases we will call the outer border the ***volume*** and the sign within it the ***object***. - This automatically produces a geographical situation, the area being divided into sections with different meaning and power of expression, producing concepts such as upper, lower, pushed into a corner, and displayed in the center.      **4.  Relations between closed and open signs** The cross with a circle and the square with a trident: - - - So long as the open sign is \"welded\" to the closed sign with one end on one line, the association appears in an ideal way, because this assembly produces a new and easily \"readable\" combined sign, with a relationship which can be rich in meaning. - With some overlapping, the two individual signs become more easily recognizable, while their association changes its meaning through the crossing of the incoming stroke and a certain feeling of volume is produced. - As soon as \"welding points\" are produced by the connection of several line endings, the power of expression of the individual sign suffers, as does that of the combined sign in most cases. - When the two signs are put together in such a way that the lines either cover, prolong, or cross over each other, the expression of the signs changes to such an extent that they are usually unrecognizable. - A complete fusion of the two signs once again produces fully coded signs.      **5.  Experiment with two fork signs** - - Two opposed forks either attract or repel each other, depending on the value given to the triangular shape. which may be seen either as an arrow or as an angle sign (in mathematics, greater or lesser than). - By coming together, the extremities join up and form a square, which was already present in imagination. In this way the two forks completely lose their character and the square prevails. - A further inward movement reveals the forks once again, showing clearly the importance of the stroke endings. The reduced square loses much of its autonomy through the shortening of its sides and the reemergence of the two fork shapes. - If the two signs are centrally superimposed, the original fork shapes disappear completely.  The resulting shape is a much more simply structured, symmetrical star. - Further displacement produces two arrow signs but the fork shapes remain recognizable. - Only through the restoration of the inner space of the angles do the two signs reappear as such, although the merging of the common horizontal lines once again gives a stronger impression of a single sign than of two signs joined together.      **6.  The \"complete\" sign** - - The Chinese invented a game called \"tangram,\" using squares divided into seven parts each, jigsaw-fashion. - The players must use their imagination to assemble abstract or figurative pictures with the seven parts.  The game has no \"winners\" but is a mental, contemplative, and creative exercise. Abstract Signs A group of blue symbols Description automatically generated Object Signs  **     7.  Between diagram and figure** - - **Diagram** is a plan, drawing, sketch or outline to show how something works, or show the relationships between the parts of a whole, while **figure** is a drawing or diagram conveying information.     **8.  Puzzle signs** - - In connection with the appearance of an object in the most simplified form of sign, though only marginally to our considerations, of the game of puzzle signs. - Anything with a double meaning awakens interest, giving occasion to a visual and mental puzzle. - The signs concerned are purely object signs, only coded by choosing a point of view which conceals the figure\'s normal outline or perspective.