A Tech Guide

for Signage
LETTERS AND LOGOS FOR DIMENSIONAL DESIGN

A Tech Guide for Signage

LETTERS AND LOGOS FOR DIMENSIONAL DESIGN
A Tech Guide for Signage: Letters and Logos for Dimensional Design is
designed to, first and foremost, inform and clarify. There are many particularities
involved with the planning and design of dimensional letters and logos.
ISBN-13: 978-0-9843588-2-3
ISBN: 0-9843588-2-X

COVER IMAGES SOURCE: photos by SignDesignBooks.com

TRADEMARKS
Gemini, Minnesota Letters, Gem, GeMINI, GemLite, GemLeaf, Gem Trim, Pronto, MoonGlo, Snap Lok, and the Router
Arrow logo are trademarks of Gemini, Incorporated.
All product names and trademarks contained within this handbook are the property of their respective owners.
COPYRIGHT NOTICE
Copyright 2015 SignDesignBooks.com. All rights reserved by SignDesignBooks.com
No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical.
Any unauthorized use, sharing, reproduction, or distribution of parts herein is strictly prohibited and enforceable by U.S.
and International copyright law.
LEGAL NOTICE
While attempts have been made to verify the correctness and reliability of the information provided in this publication,
the author and publisher do not assume any responsibilities for errors, omissions or seemingly contradictory information
contained in this document. Yearly product innovations change so rapidly that some information in this Tech Guide may
show variations and need to be verified by your designer, project manager, and/or fabricator. The author and publisher
are not liable for any losses or damages whatsoever, including but not limited to, loss of business, services, clients,
information, or any other pecuniary loss associated with material contained in this book. The information contained
in this document is not intended as advice, legal, medical, financial or otherwise, and is provided for educational,
instructional, guidance, and reference purposes only.
NOTICE AND DISCLAIMED
Any results depicted or implied in this document are atypical of most results. No guarantees, promises, or suggestions
of any results are made, whether implied or stated. Individual results from knowledge in this book vary from person to
person and company to company. Information contained herein is data in nature. SignDesignBooks.com is an authority
in the sign business and is based on real world experience and a working knowledge within the industry. This publication
is merely an aid to assist designers, planners, project managers, and decision-makers to streamline the design and
drawing communication process within their organization. This tech guide was also created to provide clarity on many
areas regarding dimensional letters and logos.

P R E FA C E / I nt roduct i on

About SignDesignBooks.com
SignDesignBooks is the creator of the acclaimed, Inside Sign Design,
published circa 2009. Inside Sign Design is the first book of its kind
clarifying and detailing the craft and art of professional sign design, the
process and procedure. Inside Sign Design reveals that sign design is
more than design, it is a technical drawing plan which is created solely as
a business communication document.
A Tech Guide for Signage: Letters and Logos for Dimensional Design is
a natural succession to Inside Sign Design, and focuses entirely on the
subject of dimensional letters and logos.
SignDesignBooks.com creates books and other instructional reference
material on various topics related to signage.

SPECIAL THANKS, GEMINI INCORPORATED

Gemini, a family owned company, is a sign product leader with over 50

years of experience manufacturing dimensional letters, logos and plaques.
With multiple manufacturing sites across the USA, Canada and Mexico,
Geminis letter, logo and plaque products are sold exclusively through
authorized resellers serving the signage and award and recognition
industries, and are backed by a lifetime guarantee. For more information,
visit GeminiSignProducts.com
SignDesignBooks.com would like to thank Gemini Incorporated for
the subject matter of this tech guide. Their commitment to clarify this
subject for creative-based companies will facilitate and streamline drawing
communication with business for years to come.
Contact Gemini Incorporated at 1-800-538-8377, or visit them on the Web.
GeminiSignProducts.com
SignDesignBooks.com would like to thank the following companies for
contributing photos for this book:
Robert Sanders & Co. Signage & Design, Sonoma, CA
robertsanders.com
Signs of the Times, Inc., Phoenix, AZ signsofthetimesaz.com
Signdealz.com, Denver, CO signdealz.com
Vision Design Studio, Long Beach, CA doyouhavevision.com
John Peachey Innovative Signage, North Vancouver, BC
innovativesignage.com
Signature Sign and Image, Canada signaturesigns.ca
And special thanks to NEXT Precision Marketing for their design and
publishing expertise nextprecisionmarketing.com
SignDesignBooks.com

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Table of Contents:
PREFACE

Introduction | Dimensional Signage | 2D Design & Dimensional Design . . . . . . . . . . iv

SECTION ONE

Dimensional Design Process Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

1. From 2D to Dimensional . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

2. Dimensional Design Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

SECTION TWO

Design Guidelines Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

1. File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

2. On-Screen vs. Life-Size Image Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

3. Installation Considerations and Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

4. Visibility and Legibility Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

4a. Wide Stroke Letters with Tight Kerning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

4b. Perpendicular vs. Parallel Viewing Angle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

SECTION THREE

Main Design Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1. Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1a. Interior Area and Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1b.
Indoor Surroundings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1c. Exterior Area and Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1d.
Outdoor Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2. Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2a.
Color Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2b. Paints, Pigments, and PMS Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

i. Pigmented vs. Paint Company Color Matching . . . . . . . . . . . . . . . . . . . . . . . .

ii. Sheen Differences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2c.
Design Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3. Typeface, Copy, and Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3a. Main Copy, Subcopy, and Logo Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3b. Italics, Weights, and Caps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3c.
Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3d. Horizontal Mounting Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3e. Vertical Mounting Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

4. Lighting Aspects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4a.
Front-Lit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4b.
Halo-Lit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4c.
Down-Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4d.
Ground-Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4e.
Specialty Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4f.
Non-Illuminated . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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A Tech Guide for Signage: Letters and Logos for Dimensional Design

23
24
25
25
27
29
32
33
38
38
40
41
42
46
49
51
53
55
57
58
60
61
62
63
63

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SECTION THREE (continued)

Main Design Elements

5. Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5a.
Metals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

i. Aluminum and Sheet Metal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ii. Stainless Steel, Steel, and Cor-Ten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

iii. Red Metals: Brass, Bronze, Copper, and Muntz . . . . . . . . . . . . . . . . . . . . . . .

iv. Exotics: Gold Leaf, Chrome, et al . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5b.
Plastics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

i. Acrylic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ii. Polycarbonate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

iii. Cellulosics (CABs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

iv. Foam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5c.
Laminates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

64
64
65
66
69
71
73
73
74
75
75
76

SECTION FOUR

How to Keep a Design from Being Rejected Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Tips for Avoiding Common Mistakes and Rejection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Tips for Reducing Finished Cost of a Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

1. Common Signage Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

2. Alternative Design Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
2a.
Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
2b.
Gauge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
2c.
Manufacturing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

3. Overall Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

4. Installation Methods as Part of Cost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

4a. Eye-level, Ladder, Bucket Truck, Boom and Crane, and Helicopter . . . . . . . . . . 104

4b. Stud vs. Silicone Pad vs. Rail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

4c. Lighting and Lighting Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

SECTION FIVE

Completing the Layout Drawing Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

1. Scale of Drawing to Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

2. Dimensions of Signage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

3. Square Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

3a. Ascenders, Descenders, and Logo Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
3b.
Sign Ordinance Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

4. Front View, Side View, and Top View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

5. Recheck Background and Mounting Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

5a. Color, Contrast, and Design Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

5b. Mounting Type and Capacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

SECTION SIX

Insightful Elements Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1. Industry Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2. A Gallery of Finished Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3. What Doesnt Work with Dimensional Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

133
134
140
146

APPENDIX


SignDesignBooks.com

Industry Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Metal Finish Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
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P R E FA C E / I nt roduct i on

Source: photos by SignDesignBooks.com (pics 1, 3, 4); Robert Sanders & Co. Signage & Design, Sonoma, CA (pic 2)

OVERVIEW
This tech guide is a result of years of hands-on experience with dimensional
design, fabrication techniques, and installation of various signage. It was designed
to present what works and what does not work with dimensional design. Each area
involved with the dimensional design process is revealed. Many ideas presented
explain how to avoid potential problems with planning, design, and even sales.
Special emphasis is placed on the standard conventions and requirements for
drawing dimensional signage.
This tech guide will discuss dimensional design with a primary goal of facilitating
a design to be made as intended by a designer. Dimensional design is not the
same as graphic design. This tech guide will cover each aspect of the dimensional
design process, including the hidden variables and factors within the process.
Information in this guide is focused on the basics and standards with reasonable
clarity about custom and unique.

ABOUT DIMENSIONAL SIGNAGE

Dimensional design must begin as a 3D concept in the mind of a designer. A
dimensional design will eventually be cut, fabricated, cast, molded, blasted, or
extruded into a 3-dimensional product. To truly master the art of dimensional design, it
is essential to possess a basic understanding of materials and fabrication processes.
This tech guide also reveals a largely unknown area within the planning process:
environmental factors. This guide will highlight things to avoid with design and also
provide valuable insight to ensure a viable, well-designed, and well-used product.
Dimensional letter and logo design is a result of the technical craft of professional
sign design.
SignDesignBooks.com

A Tech Guide for Signage: Letters and Logos for Dimensional Design

2 0 1 5 Si g n De s i g n B o o k s

P R E FA C E / I nt roduct i on

Source: photo by SignDesignBooks.com (pic 1); Signs of the Times, Inc., Phoenix, AZ (pic 2, 4);
John Peachey Innovative Signage, N. Vancouver, B.C. (pic 3)

WHAT IS THE DIFFERENCE?

2D DESIGN & DIMENSIONAL DESIGN
Dimensional signage originated in the sign industry. The sign industry makes all of
the commercial signage in a modern society. For example, most retail businesses
use channel letters, which is one type of dimensional letter.
Graphic design focuses primarily on 2D design and related media. Sign design
focuses not only on 2D design, but also on drawing 3D sign products. Letter
signage has a goal which must achieve a purpose: effective communication.
Although signage is considered permanent advertisement, it is much more.
Signage is identity and informational in nature. It is also branding for companies,
and is used as wayfinding for pedestrians and vehicles, among other things.
Graphic design, on the other hand, is primarily focused on medias which result in
2D objects, such as print media and digital media, all of which are 2D in nature.
What is sign design? Sign design is, first and foremost, design with a full understanding
that a conceptual idea, whether letters or logos, will be made into a dimensional
product. To be effective, a drawing plan must properly translate a design idea into a
workable product. A professional drawing document achieves this goal.
This tech guide will reveal a unique design craft that expands and builds upon
graphic design. Dimensional design and sign design are phrases used throughout
this guide.

SignDesignBooks.com

A Tech Guide for Signage: Letters and Logos for Dimensional Design

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S E CT ION ON E

Dimensional Design
Process Overview

Source: Signdealz, Inc. (pic 1); Robert Sanders & Co. Signage & Design, Sonoma, CA (pics 2, 4, 5, 6);
photo by SignDesignBooks.com (pic 3)

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2 0 1 5 Si g n De s i g n B o o k s

S E C T I O N O N E / Di m ensi onal Desi gn Pro cess Over view

SECTION OVERVIEW
Dimensional design requires knowledge beyond standard design,
and must include a basic understanding of materials and fabrication
processes. A dimensional design must begin as a 3D concept in the mind
of a designer. A dimensional design will eventually be cut, fabricated, cast,
molded, blasted, or extruded into a 3-dimensional product. Dimensional
letter and logo design is a result of the technical craft of professional sign
design. This tech guide will highlight the important factors of dimensional
sign design, in addition to identifying things to avoid, to ensure a viable,
well-designed, and well-used finished product.

SECTION CONTENTS:
Dimensional Design Process Overview...............................................1

SignDesignBooks.com

1. From 2D to Dimensional............................................................2

2. Dimensional Design Elements..................................................3

A Tech Guide for Signage: Letters and Logos for Dimensional Design

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S E C T I O N O N E / Di m ensi onal Desi gn Pro cess Over view

Dimensional
Design Process
Overview
TYPEFACE
Font family; raw material
for letter design.

ADVERTISEMENT DESIGN
Graphics with very little
copy and does not
emphasize bold typeface.

COPY
Communication tool
between departments; refers
to all letter art, design and
layout; general reference;
consists of main copy,
subcopy, and logo copy.

WAYFINDING
Wayfinding is informational
and instructional, in copy
or graphic form, which
assists pedestrians
and vehicles find their
destination.

1. FROM 2D TO DIMENSIONAL
To successfully design dimensional signage, a designer will need to look
beyond the fundamentals of graphic design. Design results from graphic
design and dimensional design are entirely different.
A good example is viewing distance. Imagine a person in a shopping
mall viewing 12 point TYPEFACE in a book or with a mobile device. The
viewing distance for such small typeface is approximately 12 to 18 inches.
Now, imagine a large color advertisement in a window. ADVERTISEMENT
DESIGN is mostly graphics with very little COPY and does not emphasize
bold typeface (an important consideration for dimensional design). The
required viewing distance for an ad design in a mall is probably no more
than 10 feet away. An ad design is created to catch a persons attention
with a graphic image, not letter type. There is no dimensional design
requirement for ad design. The viewing distances presented here are only
arbitrary. This example is used to make a point.
Now, contrast this ad design with a person viewing a company brand
sign from approximately 20 feet away, and more than likely, from greater
distances. Even still, imagine a company brand installed as a dimensional
sign with one thousand store locations; include a 20 foot tall pole sign
for street traffic, and perhaps a larger pylon sign aside a freeway. The
requirements for visual communication are different than graphic design.
Why? Viewing distance, glance-time readability, and instant brand
recognition. These elements are critical factors with dimensional design.
Unlike other 3-dimensional products such as smart devices and credit
cards which are viewed up close and personal, signage is used from a
pure visual point of view. Signage is used by a viewer to obtain instant
information. Signage is designed for identity, information, WAYFINDING,
and in most cases like ad design, to create an emotional response from
a viewer. To be effective, a dimensional design must be functional, viable,
and attractive. It must work. It must achieve a goal.
The unique nature of dimensional letter design requires a different set
of design parameters. With the proper knowledge and understanding of
dimensional design, many potential problems will be avoided. Hence, a
designers original design intent gets made.

Source: photos by SignDesignBooks.com

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A Tech Guide for Signage: Letters and Logos for Dimensional Design

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S E C T I O N O N E / Di m ensi onal Desi gn Pro cess Over view

2. DIMENSIONAL DESIGN ELEMENTS

Here are five important factors with the planning stages of a dimensional
letter sign project.

DESIGN AREA
Space allowance for
dimensional signage, given
in height and length.

ELEMENT 1: DESIGN AREA

From a beginning, a designer creates a dimensional design primarily
by choosing an appropriate letter style with or without a logo or graphic
feature. In most cases, a design will be limited to only copy, an industry
term used to refer to lettering.
10-6

12

Design area allowance

SPACE
Area given to an amount of
signage permitted.

LOCATION
Overall area where a
dimensional design will be
placed; requires the overall
area measurement with a
height and length dimension
for the placement area.

SignDesignBooks.com

First and foremost, a designer must know a given area for a design, usually
given in height and length. It is important to know a SPACE allocated for
a dimensional design. This information will minimize confusion with a
project and reduce wasted time down the road. Next, a drawing should
have a scale with dimensions to identify height and length. There are
specific dimensions used in the process of dimensional design that must
be included. A novice designer is quickly known by a lack of the proper
dimensions which are required to communicate a design intent. There are
certain dimensions which are not necessary. To add them is meaningless.
But to omit specific dimensions will also stop a project in its tracks. Standard
industry dimensions will streamline drawing communication.

ELEMENT 2: LOCATION & SPACE

Along with an initial concept, and letter size allowance and dimensions,
knowing where a letter sign will be placed is very important. A designer
must know where a design will be located, either interior or exterior. There
is more to know at this phase of the process, but location is key. At this
stage of pre-design, a surface type and installation method will also need
to be considered.

A Tech Guide for Signage: Letters and Logos for Dimensional Design

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LIGHTING
Letters are either internally
illuminated or externally
illuminated.

EXTERNALLY ILLUMINATED
Signage that is lit by an
external light source,
and is usually uneven in
appearance.

NON-ILLUMINATED
Dimensional letter sign
project which has no
lighting applied.

ELEMENT 3: LIGHTING
For most projects, lighting will be a part of a dimensional design, even for
an interior-based project. It is very important for a designer to know the
basics of lighting a dimensional letter.
For a dimensional design, letters will either be internally illuminated or
EXTERNALLY ILLUMINATED. Dimensional letters may also be NONILLUMINATED. For non-illuminated signage, this information must be noted
on a drawing to properly convey a project intent. A designer must convey all
aspects of a project with a set of design plans in written and visual drawing form.
An interior dimensional letter design will have a certain type of lighting,
common to most interior letter designs. An exterior dimensional letter
design will have one of several common lighting types. While creating plans
for illuminated signage, it is not required for a designer to be an electrician.
However, it is important for a designer to know the basic concept of an
electrical circuit. But more than that, it is helpful to know how lighting will
interact with and affect a final design.

Source: photos by Signature Sign & Image, Canada

ELEMENT 4: BACKGROUND COLOR

To avoid confusion, and identify important but separate aspects of the predesign process, background color and surface type is treated separate
from a design area. For clarity, background color and surface type must
also be known for pre-design purposes. A good copy designer understands
strong contrast is one essential element for eye-catching design.
It is an all-too-common instance for a designer to design and add color(s)
to their copy without knowing the color(s) of the surface in which the design
will be installed. It is critical to know a background color and surface type
as key components to effective dimensional design.

Source: photo by SignDesignBooks.com (pic 1); Robert Sanders & Co. Signage & Design, Sonoma, CA (pic 2)

SignDesignBooks.com

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ELEMENT 5: MATERIAL COMPONENTS
At this point, four preliminary elements have been presented as equally
important for a dimensional letter design: area (or space allowance),
location, lighting, and background color. Finally, the most important aspect
of the process must be carefully examined: the actual design. And even
more important, how this design will be transformed into a manufactured
dimensional product.
SWIRLING
Fabrication process to
produce a visual effect
on a face of a dimensional
letter / logo.

METAL
Durable, long-lasting
letter material.

Interestingly, the most important aspect of the dimensional design process

is a combination of several elements: letter style, choice of material, letter
depth, choice of color, and material finish which may or may not include an
applied process, such as SWIRLING on a METAL surface.
Each aspect of the design and planning process hinge a great deal on
a designers knowledge of dimensional design including how to properly
create a drawing plan. A project manager should also understand basic
aspects related to dimensional design and how a final product will appear
when complete.
Choosing the right installation type and understanding how a design will
work in an environment is knowledge both a designer and project manager
should possess.
Although there are many factors to consider with dimensional design, the
ability of a designer to make the most fitting design choices for the entire
scope of a project will determine the effectiveness of the project goal:
effective visual communication.

Metals

Plastics

Laminates

Aluminum

Acrylic

HDU Foam

Stainless Steel
and Cor-Ten

Cellulosics (CABs)

Foam (exterior grade)

Red Metals: Brass,

Bronze, Copper, Muntz

Polycarbonate
(for back of halo-lit
letters only)

Exotics: Gold Leaf,

Chrome

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S E CT ION T WO

Design Guidelines

Source: photos by SignDesignBooks.com (pics 1, 2, 3, 5, 6); Signdealz, Inc. (pic 4)

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Main Design Elements

Source: John Peachey Innovative Signage, N. Vancouver, BC (pics 1, 6); Signs of the Times, Inc., Phoenix, AZ (pics 2, 5);
photo by SignDesignBooks.com (pic 3); Signature Sign & Image, Canada (pic 4)

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S E CT ION F OU R

How to Keep a Design

from Being Rejected

Source: photos by SignDesignBooks.com

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S E CT ION F IVE

Completing the
Layout Drawing

Source: Signature Sign & Image, Canada. (pic 1); photos by SignDesignBooks.com. (pics 2, 4);
John Peachey Innovative Signage, N. Vancouver, BC (pic 3); Robert Sanders & Co. Signage & Design, Sonoma, CA (pics 5, 6)

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A Tech Guide for Signage: Letters and Logos for Dimensional Design

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S E CT ION SIX

Insightful Elements

Source: photos by SignDesignBooks.com (pics 1, 3, 5, 6); Robert Sanders & Co. Signage & Design, Sonoma, CA (pic 2, 4)

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A Tech Guide for Signage: Letters and Logos for Dimensional Design

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