- I once asked a designer
to work on a draft for a signage program at a hospital.
He came back with a solution
that was experimental and energetic.
He explained the design conceptually.
It had something to do with a person in public space.
Unfortunately, as hip as it was,
nobody would ever find a stairwell or exit.
Grids and proportions are all
at the heart of environmental graphics.
In signage, we want to quickly identify a sign
and find the information.
When I begin a signage project,
I look first at the architecture.
Is there a consistent proportion in the design?
Once I find this, I use that proportion
as the basic shape on all signs.
The next step is to define a grid
within that proportion.
I don't want type moving all around
from one sign to the next.
I want it to be in the same place every time.
Think about room identifier signs.
For example, you want to know
which conference room is the right one
at a glance.
This grid is then enlarged and duplicated
to accommodate different types of signs.
The typography is scaled proportionately with the sign.
I want every sign to feel consistent
and have the same voice.
This isn't because I'm super uptight
and demand everything to be uniform.
Signs live in a chaotic visual environment,
fighting with hundreds of other messages.
If I want the viewer to find Mr. Stewart's office quickly,
the sign should be clear and visible.
Every signage program will have unique situations
that can create opportunities with your system.
The viewer may need to see the sign
from across a courtyard.
In these instances, do your best
to make it look consistent.
Stay with a grid and typographic system,
but take liberties with scale.
Signs are dimensional
and part of our environment.
The next time you're out and about,
try to notice which signs are successful
and which are a mess.
Chances are that the best signs
are well-proportioned and based on clear grid structure.