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Signsand
Symbols
TheirDesignandMeaning
11iiKHin
•"•°WLIBRARYSignsandSymbols
AdrianFrutiger
SignsandSymbols
TheirDesignandMeaning
TranslatedbyAndrewBluhm
SHEVANNOSTRANDREINHOLD
NewYork
REF. P99 F73 198989045143
EBISBN0-442-23918-1
permissionofthepublisher.PrintedinWestGermany
PublishedintheU.S.A.by
VanNostrandReinhold
115FifthAvenue
NewYork,NewYork10003
NelsonCanada
1120BirchmountRoad
Scarborough,OntarioM1K5G4,Canada
1615141312111097654321
Frutiger,Adrian,1928-
translatedbyAndrewBluhm p.cm.Bibliography:p.
ISBN0-442-23918-1
1.Signsandsymbols.I.Title.
P99.F781989
302.23-dc2089-5714
CIPContents
Part1:SignRecognition,SignFormation
Introduction:ThreeThemes17
II. III.1.Disorder-order17
2.Rememberingafigure18
3.Lightandshadow-blackandwhite21
TheElementsofaSign23
1.Thedot23
2.Theline23
aTheimaginaryline23 bThelineinitself24 cHorizontalandvertical25 dTheobliqueline26 eThecurve273.Relationsbetweenlines
aThemanualmovementsof 28drawinglines28 bAlignmentandrhythm30 cProximity30
4.Themorphologyofsigns31
aThe"geography"ofperception31 bSymmetryandasymmetry31 cMorphologicalTable133 dMorphologicalTable2385.Signtopology40
TheBasicSigns43
1.Thesquare43
2.Thetriangle44
3.Thecircle45
4.Thearrow48
5.Thecross
JoiningSignsTogether53
1.Relationsbetweensignsof
thesameform532.Relationsbetweensignsof
differentforms573.Theexpressionoftheinnerarea59
4.Relationsbetweenclosedand
5. opensignsExperimentwithtwoforksigns
6061
6.The"complete"sign
aMorphologicalTable3: 62abstractsigns62 bMorphologicalTable4: objectsigns64
7.Betweendiagramandfigure66
8.Puzzlesigns67
IV.TheSigninOrnaments69
V.SignsofDualism73
VI.TheSolid-77
1.Fromlinetosolidarea77
aThicknessofthelines78 bTheswellingandshrinkingoflines79 cThetapeshape812.Thewhitesignonablack
background82 aFromoutlinetonegative82 bVaryingbrightnessofan interiorshape84 cIndicationsofform843.Thechessboardpattern85
VII.TheSimulationofVolume87
8789
90
91
92
92
93
94
95
VIII.TheDiversityofAppearance97
1.Drawingandmaterial97
aThetools97 bThestrokeending98 cTherighttoolfortherightmaterial1002.Thevalueofinteriorandintermediary
space1003.Theimage102
aBlack-white102 bColors102 cHalftones103 dStructures1031.Superimposedlayers
2.Plaiting
3."Suggestive"white
4.Perspective
5.Theshadow
aTheilluminatedobject bThrownshadows6.Unusualvolume
7.Opticalillusions
Picturequality103
aSchematicor"dimensional" illustration104 bNaturalisticillustration104 cArtisticor"contemplative" illustration105 itavisualsynthesis106Part2:Speech-FixingSigns
I.FromThoughttoPicture111
1.Prototypes111
2.Speechandgesture111
II.SpeechFixing113
1.Twowaysofscriptdevelopment113
aScripts"remaining"pictorial114 b"Alphabetical"scripts1142.Acommonorigin?115
3.Inheritedarchetypes?115
4.Frompictogramtoideogram115
5.Determinatives117
6.Fromideogramtophonogram118
III.TheGraphicWealthofPictograms119
1.FromSumerianpictogramsto
cuneiform1192.Egyptianhieroglyphics123
3.Cretanscripts125
4.HethiticpictographicscriptfromSyria127
5.Pictographicscriptfromthe
IndusValley129
6.PictographicscriptofEasterIsland130
7.Runicscript131
8.Chinesescripts133
aWisdomoftheI-ching133 bChinesepictographicscript136 cChinesewritingandarchitecture1399.Pre-Columbian.Americanscripts139
aAztecpictographicscript140 bMayapictographicscript141IV.TheWorld's.Alphabets143
1.Inventionandspreadofletters143
2.Asummaryoftheworld'sscript
groups146V.TheABCoftheWesternWorld151
1.Earlydevelopment151
2.Capitalsandsmallletters153
aThetransitionfromcapitalsto smallletters153 bTowardatheoryofreducedhand movements155VI.DevelopmentofFormthrough
WritingandPrintingTechniques159
1.Blackstrokeformation159
aCalligraphy_159Horizontalpenpositions
Obliquepenpositions
Steeppenpositions
bPenpositioninginother linguisticsectors163 cEngravingandprinting1642.Interiorwhitespace166
aArchitectureandscript166 bSpace1683.Onthefamilylikenessesofletters170
VII.ManipulatedLetterforms175
1.Purelyproportionalvariations175
aWidth175 bWeight177 cSlope178 dTheextendedpaletteoftypefaces1792.Deviationsfromthebasicforms182
aOrnamentalletters182 b"Antiques"183 c"Figurative"alphabets183 dLetterformsofthefuture183Experimentsinextremesimplification.
Automaticreading.Boundariesoflegibility.
eTypeimageandtypepicture1903.Monograms192
aAbbreviationsbecomeacronyms192 bFromligaturetoornament192VIII.TextTypeandItsLegibility197
1.Typeasaworldwidemediumof
communication1972.Typeformsandlegibility198
aThereadingprocess198 bStepsinreadingmotivation199 cFormalsynthesisofthealphabet200IX.NumericalSigns205
1.Numberingwithletters205
2.Originandevolutionofarabic
numerals206 aTheingeniousideaofthezero206 bOriginsanddevelopmentofform2073.Someanalyticalcomments209
aSpeechandnumbers209 bNumber-writingmovements209 cDivisionintobasicelements211 dThefutureofnumeralforms211X.PunctuationSigns213
1.Wordspace213
2.Thepunctuationmarks214
aSentence-structuringsigns214 bExpressionsigns216 cReferencesigns2173.Theampersand217
4.Currencyandothersigns218
Part3:Sign,Symbol,Emblem,Signal
Introduction221
Nonalphabeticalsigns221
Newsignsforscience222
Pictorialsignsforindustry223
Directionalsigns223
Asurfeitofpictures?224
Backtopictograms?225
I.FromIllustrationtoSymbol227
1.Thepicture227
2.Thediagram229
aStagesofschematization229 bComputeraidstoschematization2303.Thegroundplan231
4.Theallegory233
5.Theimagesofsuperstition233
II.TheSymbol235
1.Whatissymbolic?235
2.Fromsymbolpicturetosymbolsign236
3.Ambiguoususeoftheword"symbol"237
III.TheGraphicWealthofFigurative
Symbols239
1.Howpicturesbecomesymbolsigns240
aTheprocessofstylization240 bSimplificationthroughmaterial andtools242 cGiganticsymbolsigns2442.Faunasymbols246
aFrommultiplicitytosimplicityBirdfigures246
bOflifeanddeathTheserpentsymbol248
cOtherfaunasymbolsArchetypesofthesubconscious252
3.Plantsymbols256
4.Thehumanformassymbol257
aThecompletefigureofthe humanbody257 bPartsofthehumanbody2595.Objects,landscapes,elementsofnature263
6.Thesymbolofthecenter266
IV.AbstractSymbols269
1.Spaceanditscenter269
2.Thecrosssignanditsornamentation274
3.Signssymbolizingmovement276
4.Plaiting,interweaving,knotting277
5.Sunsigns280
6.Thestars282
7.Thesymbolinornamentation285
8.Geometryandsymbol287
V.SignsofPseudoscienceandMagic291
1.Theelements293
2.Thesignsofastrology296
3.Thesignsofalchemy298
4.Cabalisticandmagicalsigns,talismans302
VI.SignatureSigns305
1.Stonemasons'signs307
2.Monograms311
VII.SignsofCommunity315
1.Housemarks315
2.Japanesefamilyarms318
3.Onheraldry318
4.Communitysignsofthepresentday322
Mil.Trademarks325
1.Markinginthepast325
aFrommarkingtothemark: cattlebrandingasanexample325 bTraders'marks326 cArtisans'andmanufacturers' niarks327 dStructuralsignsW'atertnarks328
2.Industrialsignsofthepresentday330
IX.TechnicalandScientificSigns339
1.Technicalpictography339
2.Signsofmodernsciences341
X.SignalSigns345
1.Orientation
aMeaningandinterpretationof 345trafficsigns345 bShapeofthepanel346 cColor346 dThedriver'sreactiontothesignal347
2.Pictograms347
3.Signalsignsinprintedform349
4.Emotionalaspectsofroutefinding352
aOrientationinpublicbuildings352 bPictographicsystemsforevents3535.Operatingsignals354
TowarcaSynthesis357
Epilogue359
Bibliogiraphy360
Part1SignRecognition,
SignFormation
ALBERTEINSTEIN
Introduction:ThreeThemes
1.Disorder-order
origins,andoccasionofsucha"drawing." thisstudy.Onagivenemptyspace-inthiscaseillustrated
figurativerepresentation. conceiveandformanumberoffigures(3)or arrangements(4)withthesamesixteendots.Fromtherecognitionofthisfactwedrawthe
nonform. 17SignRecognition.SignFormation
worldofimagination. whichscientistsarenotagreed.2.Rememberingafigure
childrenordeeplyasgamblers. f•!• C.J r•• LJ them.Recognitionisspontaneousbecausethey taryfrustrationtotheviewer. 18Introduction:ThreeThemes
onehalfofthefamiliarfiguretwo. inafaceisnottoberuledout. riesforthepracticeddiceplayer. inthiscasestandingononecorner.Itshouldbe gle,comestotheaidofinstantrecognition. backandforth). sionisalwaysofacross.Inacompletelynewarrangementoffive(13)the
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