Text & Graphics
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.
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.
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)
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Humboldt Bay Interpretive Signing Program, Fall 2003
Natural Resources Services, RCAA
Text & Graphics
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
250-300 words. This does not include titles, subheadings,
or captions. Keep paragraphs to 45-60 words.
• Sentence structure and paragraph layout can greatly affect
overall readability of the sign. Keep sentences to about
10-15 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, http://www.usdoj.gov/crt/ada/
adahom1.htm.
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Natural Resources Services, RCAA
Humboldt Bay Interpretive Signing Program, Fall 2003
Text & Graphics
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 95-105 points may be used for a theme title.
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.
LEADING
This sentence was typed with a
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.
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.
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.
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.
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Humboldt Bay Interpretive Signing Program, Fall 2003
Natural Resources Services, RCAA
Text & Graphics
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.
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: Consistency in a design
Emphasis: Tells the eye where to go
Balance: Gives a design stability
Color: Makes a sign attractive and draws attention
UNITY
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:
This sign demonstrates EMPHASIS through the use
of text size and colors that ‘guide the eye’ through the
levels of information.
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Natural Resources Services, RCAA
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.
Humboldt Bay Interpretive Signing Program, Fall 2003
Text & Graphics
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.
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Humboldt Bay Interpretive Signing Program, Fall 2003
Natural Resources Services, RCAA