Art and Design: Graphic Communication - 4GC1 PearsonEdexcel

Signage

Gbogbo ọrọ náà

A sign is read by somebody who is moving, at a distance, in bad light, while worrying about something else. They did not choose to look at it and they will not look at it twice. Everything that makes signage different from other graphic design follows from that one sentence: the type is bigger, the palette is shorter, the words are fewer, and the decision about where to put the sign matters more than how it looks.

This note covers the four kinds of sign, how a wayfinding system is built around the points where people have to decide, how letter height is worked out from viewing distance, what makes a typeface legible at speed, how contrast, materials and mounting behave outdoors, and what accessibility actually requires. You will study systems that guide millions of people daily, and learn to test your own by walking the route.

Ebumnobi

  1. Develop signage which is both specific and worldwide in its application
  2. Use digital and non-digital methods of making symbols and signs

Akwụkwọ Ọmụmụ

Signage is graphic design installed in a place. Its users are moving through that place with a destination in mind, and its success is measured in whether they arrive without stopping, backtracking or asking. The specification frames this area as developing signage that is both specific and worldwide in its application, using digital and non-digital methods of making symbols and signs, which points at the two halves of the discipline: a system tuned to one building or city, built from a symbol language that anyone can read.

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Nnyocha Ọmụmụ

Ekele diri gi maka imecha ihe karịrị na Signage. Ugbu a na ị na-enyochakwa isi echiche na echiche ndị dị mkpa, ọ bụ oge iji nwalee ihe ị ma. Ngwa a na-enye ụdị ajụjụ ọmụmụ dị iche iche emebere iji kwado nghọta gị wee nyere gị aka ịmata otú ị ghọtara ihe ndị a kụziri.

Ị ga-ahụ ngwakọta nke ụdị ajụjụ dị iche iche, gụnyere ajụjụ chọrọ ịhọrọ otu n’ime ọtụtụ azịza, ajụjụ chọrọ mkpirisi azịza, na ajụjụ ede ede. A na-arụpụta ajụjụ ọ bụla nke ọma iji nwalee akụkụ dị iche iche nke ihe ọmụma gị na nkà nke ịtụgharị uche.

Jiri akụkụ a nke nyocha ka ohere iji kụziere ihe ị matara banyere isiokwu ahụ ma chọpụta ebe ọ bụla ị nwere ike ịchọ ọmụmụ ihe ọzọ. Ekwela ka nsogbu ọ bụla ị na-eche ihu mee ka ị daa mba; kama, lee ha anya dị ka ohere maka ịzụlite onwe gị na imeziwanye.

  1. Directional signs belong: A) At the destination itself B) At decision points, before the choice has to be made C) At regular intervals along every corridor D) Only at the main entrance Answer: B
  2. Progressive disclosure in a wayfinding system means: A) Revealing the building's history across a series of panels B) Naming broad zones on early signs and individual destinations only within the relevant zone C) Increasing the type size on each successive sign D) Adding signs gradually as a building is occupied Answer: B
  3. Why are place names on directional signs usually set in mixed case rather than all capitals? A) Capitals take up more ink B) Ascenders and descenders give each word a distinctive silhouette that is recognised before the letters resolve C) Capitals cannot be made retroreflective D) Mixed case is required by law Answer: B
  4. Which mounting type is least useful for a directional sign in a long corridor? A) Projecting from the wall at right angles B) Suspended from the ceiling C) Fixed flat against the corridor wall D) A freestanding monolith at the junction Answer: C
  5. Which 1970 document specifies exactly how every sign in the New York City subway is to be constructed? A) Otl Aicher's Munich Olympics pictogram system B) The graphics standards manual by Massimo Vignelli and Bob Noorda C) The Legible London wayfinding study D) The Kinneir and Calvert road sign report Answer: B

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Ị chọrọ ime ajụjụ ule ọmarịcha gbasara Signage? Budata ngwa Green Bridge CBT iji nweta ajụjụ ule ọmarịcha na nyocha zuru ezu gbasara isiokwu a.

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