By Bob Behounek
Posted on Friday, April 5th, 2024
Way too many signs produced today fall into a category best described as monotonous. If we look up the word in the dictionary, it’s described as: “not varying; without change.”
Why are so many signs crippled by monotony? I think it is because many of us sign makers were never taught the elements of basic design. All well-built products require a proper blueprint, just as a building needs a solid foundation. I can’t imagine building a home on soft ground. It wouldn’t last very long. If you want the public to read and understand a sign’s message, you must take steps to build a layout that delivers the given information effectively and attractively.
What’s the reader looking for?
It’s easy to assume that viewers are genuinely interested in reading signs. Or that they have unlimited time to read every printed or painted ad put in front of their face. But let’s be realistic. Think of yourself for a minute. How and why do you read things that you see? Why do you choose not to look at certain things for very long?
I know my gaze goes to items that are pleasing to the eye, not to mention messages that can be understood quickly (thanks to proper design). I’m guessing most of the general public is not going to take the time to analyze the whys or hows of proper design while motoring around town. They either want to read it or they don’t—plain and simple.
So much signage out there is limping along, at best, without effective or good design or readability. I’m “old school” and I admit that. I love making signs that evoke our emotions, push people into action and make them want to read the message.
Putting principles into practice
Let’s quickly review some of the elements of sign design that I covered in the past. First, we must attract the viewer’s attention. That attention must be focused on a layout with a persuasive meaning that can quickly convey an accurate message. Next, we may want to include logos or symbols with recall value or that link to a past experience of quality. All this must be done using contrasting elements that do not compete with one another.
Here are five examples that illustrate fundamental layout principles at work. The point is to create simple signs that talk to us in a bold format with elements that do not compete with one another for our attention.
These design concepts are not highly guarded secrets. They are the foundation for successful sign design. Effective sign makers have always used the principles of good design and their own inspiration to create interesting, easy-to-read signs that spoke to the public with uncanny appeal. Whether or not this type of signage again becomes the norm rather than the exception remains in the hands of up-and-coming sign makers.
More knowledge of design, along with studying the work of effective sign designers, can lead us to well-engineered and inspired layouts. These will be signs we cannot only be proud of, but that will help the businesses of our clients succeed and thrive.
Keep in mind that these are fictitious examples inspired by real-world signs. When I travel, I make mental notes of both successful and unsuccessful attempts to master visual communication. There’s one thing I’m certain we all could do: constructively criticize our own work by trying to read and understand the signs we create.
Before
The Karen’s Deli sign was giving all it had to survive in a difficult line of sight. It was a great opportunity to utilize an instant-recall logo to help sell food products—“Jay’s” is the number one potato chip in Chicago. The two lines of similar type in similar colors needed more contrast. Sliding a warm-colored, geometric shaped panel behind the larger “Jay’s” logo gives the italic upper-and-lowercase brush style something to sit on. It helps draw your eye to the logo, too. There are many contrasts in type, color and shapes in the new layout.
Before
The Boza Hot Dog sign is out in front of the restaurant. It must tell people that the business is open now and where to enter. This sign is divided into three sections. Our attention blast is the persuasive words “Now Open” with a medium-tone, stylized underline/space filler/arrow shooting our attention down to how to get there. The name of this hot dog stand is stated in a neutral color and type to contrast these more-important messages.
Before
Evergreen Automotive used two typefaces, but they are so similar and lack contrast between them. Again, it’s boring type set to resemble newsprint. If we do not use two typestyles that are different enough from each other, those elements compete with each other. I started by breaking this layout into two contrasting areas that give the establishment’s name, how to get there and the services they offer. Attention is given to the services with bold, easy-to-read type. This allows our eyes to focus there, while the more difficult to read and less-contrasting colored script also directs us to the services. The arrow helps to direct our line of sight and fill the unused space.
Before
Five Acres uses type and placement of type that appears to almost work but lacks enough contrasts. It’s very cluttered and hard to read at any speed. Separated into three areas, with one attention blast to attract our gaze, could make the difference between a sign that’s seen and a sign that’s actually understood.
Lots for Sale resembles the front page of your daily newspaper—all the same type and weight, very little contrast, no attention blast. It’s monotonous and unexciting to look at. I used many contrasts of type size and weight, cool and warm colors, and separated the two phone numbers so one cannot transpose them. It helps to encompass the sign’s main message through a contrast in color and shapes.
Bob Behounek has spent over 40 years as a sign artist and pinstriper in the Chicago, Illinois, area.
