Big, Bigger, Biggest

PubliC t Y P O g rAPHY

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big

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big g e r

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big g e s t

Three-dimensional signage has benefits that can increase exposure. This cuisine sign relies on the translucency backed by the dark marble that looks great in sunlight.

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P r e FA C e we pass by everyday. Typography in our environment can be easy to walk by and not even be thought of. But have you ever thought about how the location could affect the size of the type? This book calls attention to the big typography in particular places. First, “big” type can be found ultimately anywhere. From in your home to on the street, “big” is what Lets face it. We are stuck in a typographic world.

we are surrounded by the most. Then we can move on to “bigger” type.

Words here, words there, words everywhere.

This focuses typography that is larger, out of physical reach, and normally

Words are on signs, buildings, streets, cars, and

more industrial. Higher populated areas contain more of this category.

almost anything. But that’s the problem, we

And finally “biggest” typography is mostly found in downtown, industrial

think of them as words. Well, it is the letterforms

areas. The size supersedes the human body and is beautiful to look at.

of those words that create what is known as

When you are somewhere that traffics thousands and thousands of people

typography. 1Technically speaking, typography

everyday, typography of massive size is required to stand out. From these

is the art or process of setting and arranging

progressions of size, you will be able to appreciate and probably notice

types and printing from them. Hours, days, and

the typography that lives around you more than you ever have before.

months of thought go into the letterforms that

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Fire alarms are in almost every single building in our society. The condensed typography fits nicely with the vertical composition of the box.

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Typography at eye level is different that when it is fifty feet above us.

This street sign stays simple while letting the red color pop.

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Type that you can walk up to, see closely, and even touch is BIG type. This type is everywhere everyday, and a little closer view can help you appreciate it for what it is worth.

“No Smoking� signs have been around for ages and many have become old and weathered. But the simple typography lets the simple message be known.

Attached to fencing, this sign has stood the test of time.

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There are times when ta n g i b l e

the type is being used

Tangible typography can be found in almost any type of environment. It is

as information, and it

in your home, on the street, at your work, and anywhere else you go. In

just needs to be able

most cases, typography that you can touch is going to have a similar

to be read easily.”

size. This is because it can fit in your hand or you can touch it with your fingers. Because of this, the type is normally at or around eye-level. “Big” type does include signage, but there is so much more than just that. It involves informative messages as well as using interaction. No matter what the purpose is, this chapter highlights beautiful typography that is at our fingertips.

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Even though the size of the typography might not appear the most remarkable, it is the form that can be praised. First, you need to think about legibility. You have to be able to read the type for it to be successful. “Big” typography involves a lot of sans-serif typefaces. These

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are simple fonts with nothing too cutesy or decorative about them. You can find this when walking down any street. Don’t look at signs for businesses, but signs that say “No Smoking” or “Right Turn Only”. The overall design of whatever the typography is on probably isn’t the most dynamic composition, but at least the letterforms are visually nice

This type has a three-dimensional aspect that gives beauty to the type and structure.

and simple. This idea translates to other “big”

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typography. There are times when the type is being used as information, and it just needs to be able to be read easily. Many script and even serif fonts cannot be used for this because they obtain too much décor in the letterforms. Every single day more and more “big” typography is transitioning from the ever-famous Times New Roman to typefaces like Helvetica. We live in a very sans-serif age, and we don’t have to go far to find an example of “big” typography.

Something does not have to be printed still be considered nice typography. This enter sign contains strong attributes from the stems to wide stature.

There is even typography on the ground we walk on.

This sewage top contains type that is not meant to be noticed, but just to give it a name for where it is.

Typefaces have personalities — cold, 12

sophisticated, or friendly — which establish the attitude of the design. They provide an immediate first impression that is critical to the delivery of messages.”

– Layout workbook

Over time, wear and tear is bound to happen. This parking sign could be considered old and ugly.

But it could also be seen as having character and color.

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14 This sign hangs off from a building and gives someone walking or driving by and easy view. This is an example of contrast between italics, roman, and even a different font.

T Y P O GR

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A P H Y Type that has a substantial appearance, but might be out of reach is BIGGER type. This includes lots of signage and some with unique character to the typography.

This Union Station sign has different levels to you. The background surrounds the structural letters. This new sign, interestingly, is the entrance to Kansas City’s historic and old railroad station.

s i g na g e Typography that is set apart from our reach is “bigger” type. You cannot necessarily fit these letterforms in your hand, but they do not supersede your own body. To come across these, you’ll need to travel to shopping centers and more populated areas. This is the prime category for signage, and the main purpose for these is to be recognized by those walking or

driving down the street. Many examples in this category introduce threedimensional aspects. This is a great way to spice up simple typography without making it too hectic. There are new developments that are implementing this style of signage, but it is not a new thing. Take a stroll through a downtown area and look for vintage signs.

You will be able to find three-dimensional signage

Many examples in this category introduce threedimensional aspects. This is a great way to spice up simple typography without making it too hectic.�

that could probably date back to the 1940s. They might not all be working like they used to, but you can appreciate where these beautiful signs we see today came from.

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In many cases, texture creates a three-dimensional aspect to typography. Here, the fading green shows the grit and age of the building that this type lies on.

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Jon

k lag

As someone who lives and breathes the

all over downtown Kansas City. It is his home,

downtown life, Jon Klag cares a lot about the

and he considers all the signage as a piece of

signage. “All the new signs are great and all, but

Kansas City. Once things start changing, the

it’s the ones that have been here for years that

entire environment can potentially change.

I love the most. I hope they don’t take those

Public typography is a part of everyone’s lives.

away.” Klag respects vintage typography that is

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This liquor store signage has lots of character mostly due to its age. The lights give it an interesting three-dimensional aspect during the day. Even though the store is in a rundown area of downtown, it is still in business.

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Good type is good because it has natural strength and beauty. The best results come, as a rule, from finding the best type for the work and then guiding it with the gentlest possible hand.� — R obert Bring hurst

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22 This typographic pole is as beautiful during the day as the night with the lights on. It is also a perfect example of getting a different perspective up close than from far away.

The simple type creates geometric shadows in unison with the geometric patterned wall that it lies on.

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The classic “Boulevard� logo has quite a bit of color, but the type is calms things down so nothing is overdone.

When you come across typography that is huge, extremely gigantic, you know it. The letterforms overpower your physical body and you can see every dimension of the typography. It is not just bigger, it is the

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B I G GEST typography.

T Y P O GR A P H Y

The President Hotel in downtown Kansas City homes one of the more recognizable signs in the historic area. You can find this hotel from almost anywhere because of the substantial size of the typography.

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ho l y

Typography of this size at eye level can almost overwhelm you. Especially with the slight angle, there seems to be more type than there actually is.

h ug e

Have you ever stood by a statue and had your picture taken? What if that statue turned into an exclamation mark? Even though you can’t find it everywhere, typography of that proportion

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is out there. Take a trip to a downtown and

made abnormally huge, there is probably an underlying message waiting

urban area, and you will be amazed by all the

to be heard. Dimensions this big don’t normally allow much script or serifs

“biggest”

you.

to the typeface. It has to be bold, dynamic, and structurally easy on the

Unlike the previous chapters, this typography is

eye. People are already going to be amazed by the size, so why would you

meant to be noticed and leave a lasting effect.

add any extra jazz that could possibly confuse them? You wouldn’t. You’d

typography

that

Just like anything else that is

surrounds

“It has to be bold,

let the typography speak for itself. The only exception that seems to be successful is if it is

dynamic, and

a logo of an extremely recognizable brand.

Besides that, keep to the basics.

structurally easy on the eye.

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This example of nontraditional ways of creating letterforms is made of metal.

Letterforms do not have to be from a typeface; there are endless ways to come to a solution.

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Logos can be made in great scale that shows typography and also creates brand awareness.

The majority of the reason why “biggest” typography is found in downtown areas is because the scale of the buildings. As buildings get larger, the type has to increase because of legibility. In many cases, the person is going to be looking straight up to see the type, so just think about how big the letterforms have to be to be read. The scale for “biggest” typography towers over the human body. This creates an option for the viewer. If you’re up close, then you can appreciate the technical aspects of the letterforms. But if you’re far back, then you can admire the scale compared to size of the building it is on.

Either way, “biggest” typography should always be admired wherever you find it.

The scale of the building and typography compared to the cars and people is unbelievable.

This almost seems like a sea of typography.

There are so many great examples of unique and successful letterforms.

This particular wall is a tribute to Kansas City and what it’s known for.

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The Kansas City Star building is massive itself. But then their logo and identity are a sight to see. It is only fitting that the scale of this typography matches the scale of the building.

...leGIBIlITy relaTes To The ease or complexITy reQuIred To decIpher, dIsTInGuIsh, and undersTand a vIsual lanGuaGe...”

– GraphIc desIGn referenced

C O n C lu s i O n “Big, Bigger, & Biggest” exposed successful typography in three different types of locations. Starting very broad, “big” type is everywhere and in all environments. Its tangibility is an aspect that the other categories don’t have. “Bigger” is distinguished by not being tangible. Instead, there is a level of separation.

This category is dominated mostly by signage living in more

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populated areas. The letterforms are bigger than what can fit in your hands, but don’t overwhelm you. That category is “biggest”. This typography does supersede your stature and allows you examine the technical parts of the letterforms at a different level. You need to go to downtown and urban areas to come across this typography. The next time you come across any sort of typography, take a second to think about what type of environment you are in. Whether it’s new or old, that typography is there for a reason.

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This zoomed in shot of a Power and Light sign shows all the aspects that go into threedimensional signage.

From the frame to the light fixture, all play an important role.

Typography can literally go onto anything. This trash dumpster shows the technique of stenciling and spray-painting. It’s simple, fast, and an easy solution.

Cre Di ts Cullen, Kristin. layout workbook: a real-world Guide to Building pages in Graphic design.

Gloucester, MA: Rockport, 2005.

Gomez-Palacio, Bryony, and Armin Vit. Graphic design, referenced: a visual Guide to the language, applications, and history of Graphic design. Beverly, MA: Rockport, 2009.

DESIGNER / PHOTOGRAPHER » Bradley Brooks TYPEFACES » Gotham & deming CAMERA » nikon d3000 CLASS » vIsc 402 – designer as author INSTRUCTOR » patrick dooley SEMESTER » fall 2011 SCHOOL » The university of kansas CONTRIBUTOR » jon klag