KIM COOK
\nAssociated Press<\/p>\n
A hike in the woods or a stroll through a preserve or park can be enhanced by a good trail sign \u2014 one that is informative, easy to see, yet doesn\u2019t intrude on the vista.<\/p>\n
It\u2019s a lot to ask of a sign designer.<\/p>\n
\u201cA wayfinding sign should be apparent when you need it. But when you\u2019re not looking for directional information, its aesthetics should complement the environment so that it\u2019ll feel as though it belongs there,\u201d says Jeff Frank, lead designer at Corbin Design in Traverse City, Michigan.<\/p>\n
Cost-effectiveness, durability, accessibility \u2014 and attractiveness \u2014 are all considerations in sign design, he says. For interpretive signs, a great deal of information often must be conveyed in a relatively small amount of space. And there\u2019s branding; an aquarium or zoo, for instance, might want their logo incorporated into signage.<\/p>\n
National Park Service signs have their own recognizable look. From the beginning, it was influenced by the \u201cparkitecture\u201d of hewn logs and stone: Signs depicted a sequoia cone, and later an arrowhead and mountains.<\/p>\n
In the 1950s, an effort was made to create a more cohesive visual identity, says Phil Musselwhite, a North Carolina-based graphic designer and Park Service veteran. But that midcentury redesign of the logo \u2014 triangles and balls representing trees and cultural artifacts \u2014 met with a tepid response, and the arrowhead, bison and craggy vista were brought back. There\u2019s been some tweaking since then, but no drastic alterations.<\/p>\n
With the number of Park Service signs estimated near 800,000, Musselwhite says, \u201csigns are the primary way the NPS communicates with visitors.\u201d Some greet, some guide and some educate, but they\u2019re all aimed at enhancing appreciation of the parks.<\/p>\n
Individual parks can tailor signage to unique features, but a universal visual identity manual provides general guidance. For example, it suggests two typefaces \u2014 Frutiger and Rawlinson \u2014 on most outdoor signs, and horizontal panels with black borders. Visitors should be able to see at a glance a connection to the landscape. Information and imagery must be compelling, and the whole thing has to be easy to read.<\/p>\n
And signs shouldn\u2019t get in the way. They\u2019re \u201ccaptioning the landscape,\u201d according to the Park Service\u2019s Wayside Guide, the manual on exhibit standards and practices. So trailside or special feature panels stay low-profile, while wayfinding signage \u2014 trail routes, for example \u2014 are placed more prominently. \u201cWhen you build and refresh a place with an extraordinary history, the task is remarkably easy if you\u2019re willing to respond to the information that lies in front of you,\u201d says C&G\u2019s Keith Helmetag.<\/p>\n Ecocreative, a design firm in Adelaide, Australia, was tasked with creating an interpretive display for the Murray Darling River Basin. How to tell people about 40 species of fish, and the community\u2019s efforts to protect them, in a visitor\u2019s center with no available wall space?<\/p>\n The team printed fish silhouettes on a polygonal pillar made out of eco-friendly plywood. The fish \u201cswim\u201d in one direction around the pillar, guiding the visitor\u2019s eye.<\/p>\n At the Theodore M. Berry International Friendship Park on the Ohio River in Cincinnati, local firm Kolar Design brought the concept of a friendship bracelet to life by casting bronze medallions inlaid with symbols of each continent, and placed them at the garden\u2019s intersections. At the park\u2019s entrance, a pinwheel sculpture embossed with a braided motif welcomes visitors in eight languages.<\/p>\n High-pressure laminates have been a boon to the outdoor signage industry. The art is sandwiched between layers of hard material and given a weather-resistant seal that can handle the ravages of time, weather and occasional vandalism.<\/p>\n Materials like Dura-wood that look like wood have a plywood base and a resin finish that\u2019s rugged and won\u2019t rot. Steel alloys like weathering or corten steel don\u2019t need to be painted, and develop a pleasing rusty look with exposure. Digital imagery can be fused onto aluminum or porcelain. Or designers can use lasers to carve art or information into wood and steel panels.<\/p>\n Touch-and-feel signage is fun for kids. For a new rhino exhibit at the Calgary Zoo, for instance, designer Marion Spencer teamed with F&D Scene Changes to cast an enormous replica of a rhino\u2019s horn and scat, incorporated into a sign, as well as a textured panel like rhino hide. For the Butterfly Conservatory there, she created a touchable, realistic egg, chrysalis and larvae.<\/p>\n <\/p>\n ngg_shortcode_0_placeholder
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\nScenic Hudson, a non-profit preservation organization, bought the West Point Foundry in Cold Spring, New York, in 1996 and the early ironworks has been turned into a preserve. Ravine trails and a restored waterwheel are punctuated with signage created by Manhattan-based design firm C&G Partners. Interpretive panels tell the story of the foundry\u2019s role in the Civil War and Industrial Revolution. The signs carry the foundry\u2019s original stamp typography, and archival images and etchings. Some of the wayfinding and interpretive panels are mounted on steel-mesh armature filled with artifact bricks gathered from the foundry ruins.<\/p>\n