Essentials for Text and Graphic Layout

Transcription

1 5. Essentials for Text and Graphic Layout This section provides specific text and graphic guidelines that will help create a unified series of interpretive signs around Humboldt Bay. Text refers to the headings, paragraphs and captions, and graphics refer to images (illustrations or photographs). Both are considered graphic design elements in layout as they equally contribute to a sign s overall appearance. TYPE STYLES SUGGESTED FOR THE SIGNING PROGRAM SERIF AND SANS-SERIF FONTS For simplicity purposes, type styles, or fonts, are generally regarded as serif or san-serif. Serif fonts, like Garamond, Dauphin, and Viner Hand have tags at the ends of the letters that guide the eye between letters and words, increasing reading ease. Sans-serif fonts, such as Comic Sans do not have tags at the end of each letter. SUGGESTED FONTS FOR THE HUMBOLDT BAY SIGNING PROGRAM Following is a list of serif fonts to use when laying out the text elements on your sign. These fonts have been selected for their ADA compatibility, readability, and overall graphic qualities. See Section 6 for font installation. Titles and Subtitles: Dauphin (for all natural history templates) Viner Hand ITC (for cultural history templates: Ship & Rail and Wiyot) Body Text: Garamond (or another basic serif font like Times) Captions: Garamond (italics) Garamond is a serif font Dauphin is a serif font Viner Hand is a serif font Fonts selected for template development are all serif fonts, they have tags at the end of each letter which increases overall readability. 21

2 TEXT IS A GRAPHIC ELEMENT Text should be treated as a graphic element just like any graphic image you place on your sign panel. Carefully selected font sizes and typefaces can greatly increase the readability of your sign. Interpretive signs are generally read non-linearly. Readers tend to pick and choose what they read based on interest, so all paragraphs should stand alone and convey complete messages. This section provides suggestions for laying out text and graphic elements in a way that will attract and engage readership. HOW MUCH TEXT SHOULD GO ON AN INTERPRETIVE SIGN? Research suggests keeping body text down to about words. This does not include titles, subheadings, or captions. Keep paragraphs to words. Sentence structure and paragraph layout can greatly affect overall readability of the sign. Keep sentences to about words and paragraphs to about 3-5 sentences. Ideal line length is 7-8 words. Research shows that readers comprehend best when making no more than 2 eye movements per line. TEXT SIZE AND FORMAT CONSIDERATIONS AMERICANS WITH DISABILITIES ACT (ADA) REQUIREMENTS FOR INTERPRETIVE SIGNAGE Before getting started on text and graphic layout, it is important to consider what is needed to make interpretive exhibits fully accessible to all visitors to your site. Information in this section is consistent with the Americans with Disabilities Act (ADA) requirements (for interpretive signage) used by the Bureau of Land Management and the National Park Service. Signs developed with the following guidelines in mind will promote full access to interpretive exhibits for all visitors to Humboldt Bay. Access ADA homepage for links to the Act and other information, adahom1.htm. 22

3 FONT SIZE Research in the field of interpretation suggests creating sign layout for readership between 1-4 from the sign. As a general rule, at this viewing distance, minimum point size for the various levels (below) should be: Titles...72 point minimum Subtitles...48 point minimum Body Text...24 point minimum Captions...18 point minimum Point or font size will depend on the type of font used and the available text layout space. Dauphin font, for example, is narrow and a range of points may be used for a theme title. LEADING Leading (pronouned like pencil lead) refers to spacing between lines of text. Adjusting the leading can bring lines of text closer together to save space or vice versa. Depending on the typeface and font size, leading can greatly influence text layout. Bear in mind that too much space between lines can make it harder to track between lines whereas too little space can create a very text-heavy appearance. If unsure about leading, select Auto and it will automatically adjust to the default. FLUSH LEFT, RAGGED RIGHT For greater reading ease, do not justify text. Justifying creates awkward spacing between words (as seen in this paragraph of text), whereas ragged right creates a more natural layout. HYPHENS AND SOLITARY WORDS If a word gets hyphenated at the end of a line, it is best to shift that word to the next line and avoid awkward reading. For lines that have only one, solitary word (or hanger ), it is better to shift text around until each line has a balanced amount of text. This sentence was typed with a 12-point font and a 8-point leading. This sentence was typed with a 12-point font and a 14.4-point (auto) leading. This sentence was typed with a 12-point font and a 24-point leading. These three sentences show the difference in leading, or space between lines of text. Text lines placed too close together or too far apart may become difficult to read. CAPITAL LETTERS ARE BEST USED FOR SHORT TITLES AND WORDS YOU CAN READ QUICKLY. THEIR UNIFORMITY IN SHAPE TIRES THE EYE. Words in all capital letters are best used for short titles and words that can be read quickly. CAPITAL LETTERS? WORDS IN ALL CAPITALS share a uniform rectangular shape that makes it harder for the reader to distinguish between them. Using all capital letters is best for titles and headings but use a mix of upper and lower case letters for body text. 23

4 PUTTING TEXT AND GRAPHICS TOGETHER Generally, it is best to have text written first before seeking supportive graphic images. When selecting images, be aware of copyrights. ADA REQUIREMENTS FOR COLOR AND IMAGES Contrast between type and background should be a minimum of 70%. Contrast between white and black is about 100%. Consult a graphic designer. Type should be placed over a plain, solid colored background. Use font color within text to distinguish between sub-themes and key words or information. Use images to illustrate dificult ideas and concepts in the text. UNITY, EMPHASIS, BALANCE, AND COLOR This sign demonstrates UNITY in the consistent use of dark borders on every graphic image. This sign demonstrates EMPHASIS through the use of text size and colors that guide the eye through the levels of information. 24 These are four basic artistic qualities that will greatly enhance the visual appeal, and readability of a sign. When used in combination, they give an interpretive sign a clean, professional look. These qualities are applicable to laying out both text and graphic design elements. See Chapter 8 of Sam Ham s book Environmental Interpretation for a more detailed explanation about the following: UNITY Unity: Consistency in a design Emphasis: Tells the eye where to go Balance: Gives a design stability Color: Makes a sign attractive and draws attention An interpretive sign will appear unifed if there are consistent design elements throughout the panel (and among additional panels). The following 6 design elements can help give a sign a unified appearance: 1. Boundaries: Borders or white spaces create boundaries. 2. Type Styles: Type styles are recommended that will not only unify each individual sign, but all signs that will be placed at public access points around Humboldt Bay (see Section 7). In general, it is best to use just one or two type styles and their variations (italic, bold) per sign then to use myriad type styles. Having all themes and sub-themes in Dauphin type, for example, will unify not only the sign, but the entire site as well.

5 3. Color Schemes: Addressing color goes beyond the scope of this Signing Manual. For color-related considerations such as topic-related color, color based on environment, use of the color wheel, and color s temperature and value, refer to Chapter 8 of Sam Ham s book. 4. Shapes: Pick one or two (ie. circles, squares, or rectangles) and be consistent in their use. 5. Lines and Angles: Whether visible or not, lines and angles create an overall flow to the sign. There should be a subtle reading flow from the top left corner to the bottom right corner. 6. Illustrations: Mix and match media, such as photos and illustrations, sparingly. EMPHASIS All emphasis is no emphasis. Generally, font size, size of graphics, and colors are used indicate a hierarchy of information for the reader. Emphasis helps organize information and visually convey themes. BALANCE An interpretive sign appears balanced when the text and graphics elements seem equally weighted. The more an element draws attention, the heavier it is said to be. Irregularly-shaped objects are heavier than basic circles, squares and rectangles. In general, color is heavier than black and white and photos are heavier than text. Furthermore, balance can be formal (symmetrical) or informal (asymmetrical). Standing back from a sign is a good way to determine balance. Does one side look heavier than the other? Does it appear top or bottomheavy? The sign above is BALANCED in a way that it appears equally weighted. There is also a subtle reading flow from the top left-hand corner to the bottom righthand corner. Research indicates that people tend to read from left to right and top to bottom. Each sign should have a basic reading flow from the top left-hand corner to the bottom right-hand corner. COLOR Again, a section about color is beyond the scope of this Manual. Refer to Chapter 8 of Sam Ham s Environmental Interpretation for tips on working with color and using the color wheel. In general, when choosing the color schemes sign(s), some options to consider are: monochromatic (varying shades of one color), analogous (adjacent on the color wheel), complementary (opposite on the color wheel), triad (three colors equidistant from one another on the color wheel), and tetrad (four colors equidistant from one another). This sign uses analogous COLORS, or colors that are adjacent to each other on the color wheel. With help of a color wheel, color schemes can be analogous, complementary, triad, tetrad, and monochromatic. 25

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