~Amy Donahue
Signage Consultant
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Line Value Avoid monotony by changing letter weight.
In our effort to find the most effective layout for our client, we use many different pieces of the design puzzle to draw and keep the attention of the viewer. No matter how much software we use or how many bells and whistles we apply to our design, in the end our sign must be readable and pleasing to the eye. Information must be conveyed from the sign to the mind of the viewer. And it must be done in such a way that a positive image is left. In a very short time (usually three to five seconds) our layout must transmit not only a piece of information, but also an image that is favorable to our client.
GRABBING ATTENTION
In order to grab and keep attention, our designs must be pleasing to the eye. One of the things that will detract from a pleasant image for our customer is monotony. If everything in our layout looks the same we will not be very effective in getting a message across.
One of the most useful tools for avoiding monotony is the simple procedure of varying the line value of our letter styles. (This is also called weight.) Value is the relative lightness or darkness of a font. Just as we can draw attention to an object with color by placing the darkest dark against the lightest light, we can draw attention to any copy block we want by placing the heaviest weight letter next to the lightest weight letter.
Figure 1 is boring and monotonous; in Figure 2, your eye is drawn to one word.
No one likes to listen to a monotone speaker; it is dull and uninteresting. In the same way, we lose interest quickly when what we are viewing becomes monotonous.
Figure 1 has three words of all the same line value (weight). Each word must be read individually to receive the total message. Even though this example is just a series of words, the end result is still monotony. As the line values are varied (see Figure 2) we can draw attention to any part of our layout. The word Heavy is the first thing the eye sees because of the bold weight (of course, the rule lines help, too). This would be where the priority copy of our design would be placed.
BETWEEN THE LINES
As a more practical example, notice the wording in Figure 3. Again, each word has to be read in order for the message to become clear. The wording and spacing is mechanical. The negative spaces between the words are the same heights as the lettering.
Monotony reigns.
Figure 3: Nothing jumps out at you; by varying the line value, the layout becomes more readable in Figure 4.
This simple sign becomes easier to read when the copy is broken into two blocks with one having a heavier value (Leasing Office) and the suite number rendered much lighter (see Figure 4). Leasing Office draws attention, and then if the viewer is looking for that office they can read further.
Figure 5 represents a common attempt to fill up the sign space with words, but the eye is actually drawn to the negative space between the words. Since all the wording has the same weight it is very difficult to read. Actually, the eye tries to read the message as two columns. By varying the font style and line value (see Figure 6) we can get our viewer's attention drawn first to the main copy (Free Wash) and then to the remaining copy in a descending order of importance.
Figure 5: A typical effort to "fill up" the sign with words. Figure 6: The customer's message is more easily read.
MORE IS LESS
By arranging our copy properly and using varying weights of fonts, our goal is to produce a layout with a 1) Foreground, 2) Middle Ground, and 3) Background (see Figure 7).
Figure 7: Guiding the viewer's eye through the layout.
These examples have all been presented in black and white to emphasize how important this piece of the layout puzzle is to good design, but with the addition of color the layout can be even more effective. By placing the darkest color value against the lightest color value we can draw the viewer's attention to our priority copy immediately. The less important copy receives less contrast in color value. But, that is the subject of another article down the road.
Figure 8 is the typical For Sale sign that can be seen anywhere. In an effort to get our message across we often make everything as big as we can, forgetting that more is less.
Figure 8: Unfortunately, what we see everywhere.
Since most of these sign panels must be produced as economically as possible, we often throw our layout principles out the window and just slap together some words -- Letters-by-the-pound. This doesn't have to be the rule. Good design does not take any more time to produce than garbage and does not have to be elaborate to be effective.
In this example all of the lettering is Helvetica, which is not basically wrong, but becomes monotonous when used for everything. By using Helvetica in different weights and adjusting the negative space to allow the layout to breathe, this design could be very effective while being very simple.
The sign that I produced several years ago (see Figure 9) is not elaborate but does the job of getting the customer's message across neatly and attractively, I think. Notice the ample use of negative space and the range of values in the weight of the copy. Of course, there are thousands of different ways in which this 18" x 24" could have been designed, and all may have been effective.
Figure 9: Nothing elaborate, but readable and attractive.
By using the principles of good layout (the puzzle pieces) we can achieve designs that are both readable and attractive. Everything that goes out the door does not have to be an elaborate masterpiece, but it should present our customers with the best image possible.
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