Selecting Colors

When designing an architectural sign program how does the designer select colors? This is a fundamental question, but it is not often asked. The following is an attempt to discuss 8 factors which may influence the designer’s choice:

Cultural Basis of Color

All cultures seem to use certain colors in particular ways. Many of these colors come from a country’s history and traditions. For those firms and individuals designing sign programs for facilities in foreign countries, some knowledge of the prevalent colors in a culture may be useful in relating the sign program to a place. Even in the United States projects involving the cultural influence of color can be encountered. An example is the design of a sign program for an elderly housing complex which caters to those of Scandinavian descent.

Symbolic Meaning of Color

Colors are associated with certain objects and feelings. Intense, basic red, for example, is associated with blood, tomatoes, danger, fire, excitement, and action. It commands attention. Primary yellow is associated with the sun, lemons, caution, and gold. It tends to be both an uplifting and commanding color. The same color may have different associations in different countries. Again, those designers working on projects outside the United States should try to be aware of the differences.

Color Trends

Throughout history certain colors have been used in a given period. In the 1950’s pink and black was a trend. In the 1960’s natural colors became popular. Currently a deep green color is used by many companies in their advertising to associate themselves with the "green movement". When creating an architectural sign program the designer tries to select colors based upon more significant parameters than what is currently popular.

Personal Taste

Often colors are selected by the designer because "he likes them". While this is sometimes successful, it is not a significant enough reason to choose colors for an architectural sign program.

Existing Environment

The existing interior and exterior project environment includes colors that can affect the design of an architectural sign program. The colors selected can either compliment or contrast with the existing colors. This can be difficult if many materials and colors are used for walls. Usually a neutral color scheme can be found.


Corporate and Institutional Identity

Many corporations and institutions establish specific colors to be used for various items, such as their logo, building exterior, packaging, and vehicles. In some cases the colors are designated for signs and must be used.

Visibility

The ability to see the sign message clearly depends upon many factors, such as character height, character spacing, and illumination. Contrasting colors for the sign message and background can aid in visibility. While not mandated the message is usually black or white with a more expressive color chosen for the background.

Color Combinations

Perhaps the most subjective area of color selection involves the topic of color combinations. Why do some colors "look good" with certain other colors? While theories exist, it is usually a trial and error process, involving drawings and/or mock-ups.




All photographs by Peter A.Calvin, petercalvin.com

© 2009 Peter A. Calvin

IKEA's Typeface Dilemma

Recently, I saw some online articles and blog-posts on IKEA's typeface change. I think this is an important issue. The use of typeface affects company branding, and thus how the audience perceives the company and its products. Details, such as choice of typeface, don't seem to matter that much, but they do have a subliminal effect to the viewer.

Futura and Verdana were created at different times for different purposes. Futura is one of the best typefaces that has been used over the years, and its geometrical characters have a beauty that you don't see in many other typefaces. It was created in the 1920's and intended for printing, and it doesn't read well on the screen unless used in a larger size. Verdana was created during the 1990's, and it shows its best value when viewed on screen. The serif is exaggerated, and the lowercase letters have tall x-height for easy reading of small type. However, when it is printed, especially in a large size, the letterform looks too exaggerated. They both have great value, but don't work too well when used in the medium for which they weren't created.

I just saw the IKEA online catalog, which has the same layouts as the printed catalog. I clicked some of the online pages while I was flipping through the printed catalog, and I can see why Verdana was used for screen viewing, but still miss Futura in the print catalog very much. I don't know what is the best answer to this dilemma, knowing that designing the two versions with different typefaces would result in almost double the production time.

I believe the IKEA's typeface change ended up showing the company's vision on their products and sensitivity on their design. This is the issue which affects many companies who have similar branding issues.

Roadway sign type study by Ralf Herrmann

This is a useful research and type study for roadway signs. Through the author's step-by-step studies, we can see the difference between the existing typefaces and his new creation.

He emphasizes the importance of legibility and creates a new typeface by exaggerating details of letters in order to stress the individual letterform. It is good to see his sensitivity on typography and letterforms, and on stroke width differentiation used on light/dark background colors.

His study prompts us to reexamine our own roadway signs in the US.

Click here to read Ralf’s article.

Who is Dieter Rams?

Dieter Rams, born in 1932 in Germany, is one of the most influential industrial designers in the 20th and 21st centuries. He served in many capacities at Braun for 40 years, until 1995. Braun is a well-known German manufacturer of electronic consumer products. Braun products are characterized by simple, refined design with an emphasis on function and reasonable cost. He has influenced many younger designers, including Jonathan Ive, the head of design for Apple. Of particular interest to all designers is Dieter Rams' personal definition of "good design". A profile of the man, some of his work, and his definition can be see online at www.designmuseum.org.

How does the Dieter Rams' definition of "good design" apply to the design of architectural sign programs? Many sign installations are over-designed. They are aggressive and demand too much attention. They exhibit personal expression rather than problem solving. Architectural signs should take their place as part of the building, like a door hinge or window. It is the designer's job to find the solution which integrates the architectural sign program into the environment in which it is placed. The solution need not be bland, just not overdone.

Article on Type Designer

Interesting article in yesterday's "Washington Post" about type designer Matthew Carter. Carter is responsible for creating Verdana (used in this blog!), Georgia, Tahoma, and other fonts that we see and use every day.

Here's a highlight from the article:

" . . . when Carter designs a typeface, he typically starts with a lowercase h. It has an ascender (the stroke going up on the left), but it also reveals a lot about the character of the typeface. From a lowercase h, he explains, you can tell what a lowercase l, m and n will look like. Graphic designers, however, usually identify typefaces by more flamboyant letters of the alphabet, such as a capital "Q" or a lowercase "g." The fact that Carter is more of a lowercase h guy says much about his design style.

He creates "the fonts that do the heavy lifting as opposed to being flashy," says New York-based type designer Jonathan Hoefler. . . ."

We like to think that Carter's approach to design is similar to ours, and that the Jonathan Hoefler's quote could apply to the Identia Sign System as well.

Link to the article