A Tech Guide for Signage

A Tech Guide for Signage

LETTERS AND LOGOS FOR DIMENSIONAL DESIGN

A Tech Guide for Signage: Letters and Logos for Dimensional Design is designed to, first and foremost, inform and clarify. There are many particularities involved with the planning and design of dimensional letters and logos.

ISBN-13: 978-0-9843588-2-3ISBN: 0-9843588-2-X

COVER IMAGES SOURCE: photos by SignDesignBooks.com

TRADEMARKSGemini, Minnesota Letters, Gem, GeMINI, GemLite, GemLeaf, Gem Trim, Pronto, MoonGlo, Snap Lok, and the Router Arrow logo are trademarks of Gemini, Incorporated.All product names and trademarks contained within this handbook are the property of their respective owners.

COPYRIGHT NOTICECopyright 2015 SignDesignBooks.com. All rights reserved by SignDesignBooks.com

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical. Any unauthorized use, sharing, reproduction, or distribution of parts herein is strictly prohibited and enforceable by U.S. and International copyright law.

LEGAL NOTICEWhile attempts have been made to verify the correctness and reliability of the information provided in this publication, the author and publisher do not assume any responsibilities for errors, omissions or seemingly contradictory information contained in this document. Yearly product innovations change so rapidly that some information in this Tech Guide may show variations and need to be verified by your designer, project manager, and/or fabricator. The author and publisher are not liable for any losses or damages whatsoever, including but not limited to, loss of business, services, clients, information, or any other pecuniary loss associated with material contained in this book. The information contained in this document is not intended as advice, legal, medical, financial or otherwise, and is provided for educational, instructional, guidance, and reference purposes only.

NOTICE AND DISCLAIMEDAny results depicted or implied in this document are atypical of most results. No guarantees, promises, or suggestions of any results are made, whether implied or stated. Individual results from knowledge in this book vary from person to person and company to company. Information contained herein is data in nature. SignDesignBooks.com is an authority in the sign business and is based on real world experience and a working knowledge within the industry. This publication is merely an aid to assist designers, planners, project managers, and decision-makers to streamline the design and drawing communication process within their organization. This tech guide was also created to provide clarity on many areas regarding dimensional letters and logos.

A Tech Guide for Signage LETTERS AND LOGOS FOR DIMENSIONAL DESIGN

PREFACE / I n t roduc t ion

SignDesignBooks.com A Tech Guide for Signage: Letters and Logos for Dimensional Design 2015 SignDesignBooks

i

About SignDesignBooks.comSignDesignBooks is the creator of the acclaimed, Inside Sign Design, published circa 2009. Inside Sign Design is the first book of its kind clarifying and detailing the craft and art of professional sign design, the process and procedure. Inside Sign Design reveals that sign design is more than design, it is a technical drawing plan which is created solely as a business communication document.

A Tech Guide for Signage: Letters and Logos for Dimensional Design is a natural succession to Inside Sign Design, and focuses entirely on the subject of dimensional letters and logos.

SignDesignBooks.com creates books and other instructional reference material on various topics related to signage.

SPECIAL THANKS, GEMINI INCORPORATEDGemini, a family owned company, is a sign product leader with over 50 years of experience manufacturing dimensional letters, logos and plaques. With multiple manufacturing sites across the USA, Canada and Mexico, Geminis letter, logo and plaque products are sold exclusively through authorized resellers serving the signage and award and recognition industries, and are backed by a lifetime guarantee. For more information, visit GeminiSignProducts.com

SignDesignBooks.com would like to thank Gemini Incorporated for the subject matter of this tech guide. Their commitment to clarify this subject for creative-based companies will facilitate and streamline drawing communication with business for years to come.

Contact Gemini Incorporated at 1-800-538-8377, or visit them on the Web. GeminiSignProducts.com

SignDesignBooks.com would like to thank the following companies for contributing photos for this book:

Robert Sanders & Co. Signage & Design, Sonoma, CA robertsanders.com

Signs of the Times, Inc., Phoenix, AZ signsofthetimesaz.com

Signdealz.com, Denver, CO signdealz.com

Vision Design Studio, Long Beach, CA doyouhavevision.com

John Peachey Innovative Signage, North Vancouver, BC innovativesignage.com

Signature Sign and Image, Canada signaturesigns.ca

And special thanks to NEXT Precision Marketing for their design and publishing expertise nextprecisionmarketing.com


ii PREFACE

Table of Contents:PREFACE Introduction | Dimensional Signage | 2D Design & Dimensional Design . . . . . . . . . . iv

SECTION ONEDimensional Design Process Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1. From 2D to Dimensional . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 2. Dimensional Design Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

SECTION TWODesign Guidelines Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 1. File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 2. On-Screen vs. Life-Size Image Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 3. Installation Considerations and Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 4. Visibility and Legibility Issues. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 4a. Wide Stroke Letters with Tight Kerning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 4b. Perpendicular vs. Parallel Viewing Angle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

SECTION THREEMain Design Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 1. Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 1a. Interior Area and Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 1b. Indoor Surroundings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 1c. Exterior Area and Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 1d. Outdoor Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 2. Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 2a. Color Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 2b. Paints, Pigments, and PMS Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 i. Pigmented vs. Paint Company Color Matching . . . . . . . . . . . . . . . . . . . . . . . . 38 ii. Sheen Differences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 2c. Design Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 3. Typeface, Copy, and Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 3a. Main Copy, Subcopy, and Logo Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 3b. Italics, Weights, and Caps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 3c. Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 3d. Horizontal Mounting Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 3e. Vertical Mounting Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 4. Lighting Aspects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 4a. Front-Lit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 4b. Halo-Lit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 4c. Down-Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 4d. Ground-Light. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 4e. Specialty Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 4f. Non-Illuminated. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63


iiiPREFACE

SECTION THREE (continued)Main Design Elements 5. Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 5a. Metals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 i. Aluminum and Sheet Metal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 ii. Stainless Steel, Steel, and Cor-Ten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 iii. Red Metals: Brass, Bronze, Copper, and Muntz . . . . . . . . . . . . . . . . . . . . . . 69 iv. Exotics: Gold Leaf, Chrome, et al . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 5b. Plastics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 i. Acrylic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 ii. Polycarbonate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 iii. Cellulosics (CABs). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 iv. Foam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 5c. Laminates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

SECTION FOURHow to Keep a Design from Being Rejected Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Tips for Avoiding Common Mistakes and Rejection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Tips for Reducing Finished Cost of a Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 1. Common Signage Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 2. Alternative Design Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 2a. Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 2b. Gauge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 2c. Manufacturing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 3. Overall Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 4. Installation Methods as Part of Cost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 4a. Eye-level, Ladder, Bucket Truck, Boom and Crane, and Helicopter . . . . . . . . . 104 4b. Stud vs. Silicone Pad vs. Rail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 4c. Lighting and Lighting Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

SECTION FIVECompleting the Layout Drawing Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111 1. Scale of Drawing to Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 2. Dimensions of Signage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 3. Square Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 3a. Ascenders, Descenders, and Logo Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 3b. Sign Ordinance Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 4. Front View, Side View, and Top View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 5. Recheck Background and Mounting Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 5a. Color, Contrast, and Design Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 5b. Mounting Type and Capacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

SECTION SIXInsightful Elements Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 1. Industry Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 2. A Gallery of Finished Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 3. What Doesnt Work with Dimensional Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

APPENDIX Industry Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Metal Finish Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160



iv

OVERVIEWThis tech guide is a result of years of hands-on experience with dimensional design, fabrication techniques, and installation of various signage. It was designed to present what works and what does not work with dimensional design. Each area involved with the dimensional design process is revealed. Many ideas presented explain how to avoid potential problems with planning, design, and even sales. Special emphasis is placed on the standard conventions and requirements for drawing dimensional signage.

This tech guide will discuss dimensional design with a primary goal of facilitating a design to be made as intended by a designer. Dimensional design is not the same as graphic design. This tech guide will cover each aspect of the dimensional design process, including the hidden variables and factors within the process. Information in this guide is focused on the basics and standards with reasonable clarity about custom and unique.

ABOUT DIMENSIONAL SIGNAGEDimensional design must begin as a 3D concept in the mind of a designer. A dimensional design will eventually be cut, fabricated, cast, molded, blasted, or extruded into a 3-dimensional product. To truly master the art of dimensional design, it is essential to possess a basic understanding of materials and fabrication processes. This tech guide also reveals a largely unknown area within the planning process: environmental factors. This guide will highlight things to avoid with design and also provide valuable insight to ensure a viable, well-designed, and well-used product.

Dimensional letter and logo design is a result of the technical craft of professional sign design.

Source: photos by SignDesignBooks.com (pics 1, 3, 4); Robert Sanders & Co. Signage & Design, Sonoma, CA (pic 2)



v

WHAT IS THE DIFFERENCE? 2D DESIGN & DIMENSIONAL DESIGNDimensional signage originated in the sign industry. The sign industry makes all of the commercial signage in a modern society. For example, most retail businesses use channel letters, which is one type of dimensional letter.

Graphic design focuses primarily on 2D design and related media. Sign design focuses not only on 2D design, but also on drawing 3D sign products. Letter signage has a goal which must achieve a purpose: effective communication.

Although signage is considered permanent advertisement, it is much more. Signage is identity and informational in nature. It is also branding for companies, and is used as wayfinding for pedestrians and vehicles, among other things. Graphic design, on the other hand, is primarily focused on medias which result in 2D objects, such as print media and digital media, all of which are 2D in nature.

What is sign design? Sign design is, first and foremost, design with a full understanding that a conceptual idea, whether letters or logos, will be made into a dimensional product. To be effective, a drawing plan must properly translate a design idea into a workable product. A professional drawing document achieves this goal.

This tech guide will reveal a unique design craft that expands and builds upon graphic design. Dimensional design and sign design are phrases used throughout this guide.

Source: photo by SignDesignBooks.com (pic 1); Signs of the Times, Inc., Phoenix, AZ (pic 2, 4); John Peachey Innovative Signage, N. Vancouver, B.C. (pic 3)


SECTION ONE

Dimensional Design Process Overview

Source: Signdealz, Inc. (pic 1); Robert Sanders & Co. Signage & Design, Sonoma, CA (pics 2, 4, 5, 6); photo by SignDesignBooks.com (pic 3)

1SignDesignBooks.com A Tech Guide for Signage: Letters and Logos for Dimensional Design 2015 SignDesignBooks

SECTION ONE / Dimens iona l Des ign Process Over v iew

SECTION CONTENTS:Dimensional Design Process Overview ..............................................1

1. From 2D to Dimensional ...........................................................2

2. Dimensional Design Elements .................................................3

Dimensional design requires knowledge beyond standard design, and must include a basic understanding of materials and fabrication processes. A dimensional design must begin as a 3D concept in the mind of a designer. A dimensional design will eventually be cut, fabricated, cast, molded, blasted, or extruded into a 3-dimensional product. Dimensional letter and logo design is a result of the technical craft of professional sign design. This tech guide will highlight the important factors of dimensional sign design, in addition to identifying things to avoid, to ensure a viable, well-designed, and well-used finished product.

SECTION OVERVIEW



2

Dimensional Design Process Overview

TYPEFACE

Font family; raw material

for letter design.

ADVERTISEMENT DESIGN

Graphics with very little

copy and does not

emphasize bold typeface.

COPY

Communication tool

between departments; refers

to all letter art, design and

layout; general reference;

consists of main copy,

subcopy, and logo copy.

WAYFINDING

Wayfinding is informational

and instructional, in copy

or graphic form, which

assists pedestrians

and vehicles find their

destination.

1. FROM 2D TO DIMENSIONALTo successfully design dimensional signage, a designer will need to look beyond the fundamentals of graphic design. Design results from graphic design and dimensional design are entirely different.

A good example is viewing distance. Imagine a person in a shopping mall viewing 12 point TYPEFACE in a book or with a mobile device. The viewing distance for such small typeface is approximately 12 to 18 inches. Now, imagine a large color advertisement in a window. ADVERTISEMENT DESIGN is mostly graphics with very little COPY and does not emphasize bold typeface (an important consideration for dimensional design). The required viewing distance for an ad design in a mall is probably no more than 10 feet away. An ad design is created to catch a persons attention with a graphic image, not letter type. There is no dimensional design requirement for ad design. The viewing distances presented here are only arbitrary. This example is used to make a point.

Now, contrast this ad design with a person viewing a company brand sign from approximately 20 feet away, and more than likely, from greater distances. Even still, imagine a company brand installed as a dimensional sign with one thousand store locations; include a 20 foot tall pole sign for street traffic, and perhaps a larger pylon sign aside a freeway. The requirements for visual communication are different than graphic design. Why? Viewing distance, glance-time readability, and instant brand recognition. These elements are critical factors with dimensional design.

Unlike other 3-dimensional products such as smart devices and credit cards which are viewed up close and personal, signage is used from a pure visual point of view. Signage is used by a viewer to obtain instant information. Signage is designed for identity, information, WAYFINDING, and in most cases like ad design, to create an emotional response from a viewer. To be effective, a dimensional design must be functional, viable, and attractive. It must work. It must achieve a goal.

The unique nature of dimensional letter design requires a different set of design parameters. With the proper knowledge and understanding of dimensional design, many potential problems will be avoided. Hence, a designers original design intent gets made.

Source: photos by SignDesignBooks.com



3

DESIGN AREA

Space allowance for

dimensional signage, given

in height and length.

SPACE

Area given to an amount of

signage permitted.

LOCATION

Overall area where a

dimensional design will be

placed; requires the overall

area measurement with a

height and length dimension

for the placement area.

2. DIMENSIONAL DESIGN ELEMENTSHere are five important factors with the planning stages of a dimensional letter sign project.

ELEMENT 1: DESIGN AREA

From a beginning, a designer creates a dimensional design primarily by choosing an appropriate letter style with or without a logo or graphic feature. In most cases, a design will be limited to only copy, an industry term used to refer to lettering.

10-6

Design area allowance

12

First and foremost, a designer must know a given area for a design, usually given in height and length. It is important to know a SPACE allocated for a dimensional design. This information will minimize confusion with a project and reduce wasted time down the road. Next, a drawing should have a scale with dimensions to identify height and length. There are specific dimensions used in the process of dimensional design that must be included. A novice designer is quickly known by a lack of the proper dimensions which are required to communicate a design intent. There are certain dimensions which are not necessary. To add them is meaningless. But to omit specific dimensions will also stop a project in its tracks. Standard industry dimensions will streamline drawing communication.

ELEMENT 2: LOCATION & SPACE

Along with an initial concept, and letter size allowance and dimensions, knowing where a letter sign will be placed is very important. A designer must know where a design will be located, either interior or exterior. There is more to know at this phase of the process, but location is key. At this stage of pre-design, a surface type and installation method will also need to be considered.



4

LIGHTING

Letters are either internally

illuminated or externally

illuminated.

EXTERNALLY ILLUMINATED

Signage that is lit by an

external light source,

and is usually uneven in

appearance.

NON-ILLUMINATED

Dimensional letter sign

project which has no

lighting applied.

ELEMENT 3: LIGHTING

For most projects, lighting will be a part of a dimensional design, even for an interior-based project. It is very important for a designer to know the basics of lighting a dimensional letter.

For a dimensional design, letters will either be internally illuminated or EXTERNALLY ILLUMINATED. Dimensional letters may also be NON-ILLUMINATED. For non-illuminated signage, this information must be noted on a drawing to properly convey a project intent. A designer must convey all aspects of a project with a set of design plans in written and visual drawing form.

An interior dimensional letter design will have a certain type of lighting, common to most interior letter designs. An exterior dimensional letter design will have one of several common lighting types. While creating plans for illuminated signage, it is not required for a designer to be an electrician. However, it is important for a designer to know the basic concept of an electrical circuit. But more than that, it is helpful to know how lighting will interact with and affect a final design.

Source: photos by Signature Sign & Image, Canada

ELEMENT 4: BACKGROUND COLOR

To avoid confusion, and identify important but separate aspects of the pre-design process, background color and surface type is treated separate from a design area. For clarity, background color and surface type must also be known for pre-design purposes. A good copy designer understands strong contrast is one essential element for eye-catching design.

It is an all-too-common instance for a designer to design and add color(s) to their copy without knowing the color(s) of the surface in which the design will be installed. It is critical to know a background color and surface type as key components to effective dimensional design.

Source: photo by SignDesignBooks.com (pic 1); Robert Sanders & Co. Signage & Design, Sonoma, CA (pic 2)



5

SWIRLING

Fabrication process to

produce a visual effect

on a face of a dimensional

letter / logo.

METAL

Durable, long-lasting

letter material.

ELEMENT 5: MATERIAL COMPONENTS

At this point, four preliminary elements have been presented as equally important for a dimensional letter design: area (or space allowance), location, lighting, and background color. Finally, the most important aspect of the process must be carefully examined: the actual design. And even more important, how this design will be transformed into a manufactured dimensional product.

Interestingly, the most important aspect of the dimensional design process is a combination of several elements: letter style, choice of material, letter depth, choice of color, and material finish which may or may not include an applied process, such as SWIRLING on a METAL surface.

Each aspect of the design and planning process hinge a great deal on a designers knowledge of dimensional design including how to properly create a drawing plan. A project manager should also understand basic aspects related to dimensional design and how a final product will appear when complete.

Choosing the right installation type and understanding how a design will work in an environment is knowledge both a designer and project manager should possess.

Although there are many factors to consider with dimensional design, the ability of a designer to make the most fitting design choices for the entire scope of a project will determine the effectiveness of the project goal: effective visual communication.

Metals Aluminum

Stainless Steel and Cor-Ten

Red Metals: Brass, Bronze, Copper, Muntz

Exotics: Gold Leaf, Chrome

Plastics Acrylic

Cellulosics (CABs)

Polycarbonate (for back of halo-lit letters only)

Laminates HDU Foam

Foam (exterior grade)


SECTION TWO

Design Guidelines

Source: photos by SignDesignBooks.com (pics 1, 2, 3, 5, 6); Signdealz, Inc. (pic 4)


SECTION THREE

Main Design Elements

Source: John Peachey Innovative Signage, N. Vancouver, BC (pics 1, 6); Signs of the Times, Inc., Phoenix, AZ (pics 2, 5); photo by SignDesignBooks.com (pic 3); Signature Sign & Image, Canada (pic 4)


SECTION FOUR

How to Keep a Design from Being Rejected

Source: photos by SignDesignBooks.com


SECTION FIVE

Completing the Layout Drawing

Source: Signature Sign & Image, Canada. (pic 1); photos by SignDesignBooks.com. (pics 2, 4); John Peachey Innovative Signage, N. Vancouver, BC (pic 3); Robert Sanders & Co. Signage & Design, Sonoma, CA (pics 5, 6)


SECTION SIX

Insightful Elements

Source: photos by SignDesignBooks.com (pics 1, 3, 5, 6); Robert Sanders & Co. Signage & Design, Sonoma, CA (pic 2, 4)

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A Tech Guide for Signage

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Transcript of A Tech Guide for Signage