SIGNS AND SYMBOLS- OUGD405

PICTOGRAMS

Pictograms are used to warn, guide or protect and need to be immediately decipherable. They must get right to the heart of the matter by visually conveying a vital piece of information in such a way that it cannot be misunderstood, and they should therefore be internationally recognisable and independent of culture. 

SEMANTICS/SEMIOTICS:

Sign and meaning is: dependant on context/knowledge/society/culture and cultural attitudes.

SYNTACTICS: 

Formal, unambiguous, succint
form 
brightness 
colour 
movement 
material 
scale 
position 
shape 

PRAGMATICS:

Indicative
Imperative
Suggestive

The Square:

“In studying morphological... we have already recognized the primary characteristics of this sign: a symbolic object, boundaried property, also a dwelling place with the feeling of oor, ceiling, walls, protection”
“With the square standing on its corner we come into the eld of oblique lines. The view of this sign is disquieting, and its position on its point indicates a certain intention, which is why this form is used as the ideal background for trac signs, especially in the United States.”
(Fruitiger, 1989, p. 43) 

The Triangle:
“If we place the triangle vertically on its apex, it obtains a direction giving character, with movement transferred from the vertical to the horizontal. The simple triangle is therefore much used as a direction sign, which succeeds so long as the directions are horizontal, left or right.”
“Triangles with a horizontal side form ideal backgrounds for signals (road signs, etc.) because of their symmetry. The triangle with horizontal base conveys an impression of stability and permanence, like a pyramid. It is also the symbol for the expression “wait,” rather like a mountain, whose only active function is to su er erosion.”
(Fruitiger, 1989, p. 44) 

THE CIRCLE:

“Modern humans probably have a more spontaneous relationship with the straight line than with the curve. Daily encounters with level ground and with all kinds of constructions are primarily based on the two principles of horizontal and vertical. We appreciate rounded forms with the senses rather than the mind.”
(Fruitiger, 1989, p. 45)

“The feelings are addressed more strongly by the circle than by any other sign. Depending on their character the viewers will place themselves either inside or outside the circle.
Enclosure becomes disquieting and is felt as claustrophobia.”
(Fruitiger, 1989, p. 46 - 47) 

THE ARROW:

“When two oblique lines come together to form an angle, the expression of a movement or direction is produced in some form. Angles pointing to right or left have a stronger movement than those pointing up or down, for the obvious reason that human movement is normally on a level. (Only in elevators does the vertically placed arrow
obtain a clear ex- pression of movement up and down.)”
(Rand, 1989, p. 48) 








LONDON UNDERGROUND MAP:

The geographical route guide designed by F. H. Stingemore. It was in use from about 1919 until replaced by Beck’s diagram in 1933. 

There were two radical concepts present in Becks design, which have been incorporated in all subsequent versions of the diagram, right up to the present day. They were:
(a) the enlargement of the central area of the underground system in relation to the outlying areas, so that the complicated connexions at the centre could be more clearly shown.
(b) the limiting of the direction
of route lines to verticals, horizontals, and 45° diagonals. This abandonment of geographical accuracy was a revolutionary idea. 

LANCE WYMAN

The starting point was the mandatory five-ring logo that identifies the modern Olympic Games. It was the realisation that the geometry of the five rings could be expanded to generate the number ’68’, the year of the games and with the addition of the word ‘Mexico’ the logotype was created.

 

Mexico 68 clearly identifies the country, the year and the event. The distinct geometric forms suggest early Mexican cultures and Mexican folk-art, and the final design references 1960’s Op Art.