design2ools

by Prof. Ravi Poovaiah,
Industrial Design Centre, Indian Institute of Technology, Bombay

Abstract

'Symbols' conceived in the context of environmental directional signage, and one that is specifically intended as a public service facility, is being seen here as having the potentials for constructing an effective graphical interface between the user and the intended facility; the objective is to facilitate the activities of locating, identifying, informing and directing the user through the various gamut of activities of a given service facility.
This paper has been written from the perspective of the designer, who is the producer of these representations, and who seeks to appropriately construct these representation through an amalgamation of approaches viz., the generative approach, which consists of a search for effective images; and the constructive approach, which comprises one's ability to visualize images that are required to be converted into graphical symbols.

It is being contended here that these graphical symbols have to be conceived from the point of these being easily recognizable, and hence represent themselves as a derivative of contextually familiar images. It follows, therefore, that when there is sufficient iconicity or resemblance between the visual representation and the content it refers to, these are relatively easy to visualize. But when this is not the case, the representation of the message areas could need methods that would have to attempt to understand/ visualize how these are perceived by the user, and only subsequent to which can emerge as a result of such visualization.
Assuming that the designer uses one of the above methods, or uses his own interactions within the environment as a substantive basis, or draws upon reserve of existing solutions; and then evaluates and identifies the semantic requirements of the said image; he will now be required to convert these into an appropriate symbol.

This aforesaid process is being considered as a method for constructing a level of visual order, where the paper tries to identify and isolate these very formal features that go to define the characteristics of the graphic 'symbol'. Such identification of the necessary syntax eventually helps to articulate the visual language that seems to govern the process of symbol design.

As an interesting extension of the above mentioned methodology, one could formulate a set of formal modifications of structural constructs for these representations, that might lead to having a diversity of visual styles in a manner similar to variations offered by typefaces (this portion has been excluded in this summary).

For this paper, this processual section has been followed up by a case study of symbols design which are meant to serve as part of environmental signage for public hospitals located in urban India.

Introduction

Visual representations (as graphical symbols) can be used effectively as a communicative interface where it concerns human interaction with a public facility; especially in matters of identifying and denoting the various functions (of a given public facility); and which constitute a part of environmental directional signage. It is always desirable that the communication of information issuing from these interfaces is not misleading or confusing; it should, on the other hand, be revealed as fast as possible. In other words the information must be communicated properly, efficiently and conveniently.

The use of visual representation seems appropriate for the above mentioned requirements. Apart from obviating the need for having to 'learn' any convention (except where the semiotic category of 'symbols' is being used as a representation), there is additionally the merit of accuracy of image-recognition and the speed of image processing - factors that definitively favour the case for visual representations (as against the use of texts) when used for the above purpose of communication . There are, however, limits to which visual representations can communicate a message conveniently. First of all, not all information that has to be communicated can be accurately represented by a representation. Secondly, the same representation could give rise to varying interpretations. A given representation could also change its meaning depending on the context in which it is being viewed. Further, in a pragmatic sense; the skill and accuracy required to reproduce a representation could lead to problems. However, in spite of the above handicaps posed by the use of visual representations, we still need to consider the felt-need for an alternative language that communicates adequately across language barriers and across illiteracy. We realise also that if one were to consider the advantages of visual representations, simultaneously keeping in mind their limitations, we could possibly use these attributes to critically define the characteristics of such a representation. Over and above, it is hardly necessary here to emphasize the overriding need for such a mode of communication to restrict itself in terms of a simplicity of visual statement, which allows its meaning to be conveyed in an easily identifiable way.

The Visualisation Process

A first step in the process of designing these would be to identify the various aspects of a given public facility that need to be represented for communication purposes, by graphical symbols that will serve collectively as an interface for the user. The different aspects of this environment would usually include its facilities, its functional and organizational attributes, and certain informative and warning messages. For the sake of convenience we will refer to these various aspects as the 'message areas'. While considering their potentials for visualization into visual representations, the possible representations emerging under these various areas may be classified (refer Fig.1) using the peircean Trichotomic Model of the semiotic process as:

a.Iconic
b.Indexical
c.Arbitrary (being referred here as arbitrary instead of as 'symbolic' in order to avoid a clash with the term graphic symbols).

Classification of Representations in Message Areas

	Paradigmatic(Categories of Choice)

	Iconic		Indexical		Arbitrary
Content	Message Area (object)		Message Area (object)		Message Area (object)
	o<-->r		o -->o1-->r		o-- > x -->r
Representation	by similarity		by indirect means		by convention

Visualisation	by designer		by user		by user and designer
Designer/ Producer	direct representation		relational linking		building a code
User/ Perceiver	immediate perception		needs interpretation		needs decifering of a convention

	wholistic	componential	wholistic	componential	wholistic	componential

	Injection	Dispensary	Orthopedics	Emergency	Enquiry	Ambulance

.

Iconic representations

The message area in this case offers enough physical clues to be converted into a visual representation through factors of similarity or resemblance. The high degree of iconicity inbuilt into such representation makes for an easier understanding that is a valid requirement for image-production. Such representation also usually bears a high degree of familiarity in the perception of the user. It follows, therefore, that for a designer to design a symbol in this

A category of iconic representations, a proper understanding of the message area would be quite sufficient to transform the same into an appropriate symbol. A method for visualizing a message area would be to systematically categorize (refer Fig.2) the given message area along the horizontal axis in terms of its iconic alternatives followed by a classification of these along the vertical axis into its subgroups, and further in terms of its identifiable visual components. In this modified model, each category within a taxonomy is entirely included within one or the other category at a higher level. This mode of categorization allows us the following advantages:

(i) a recognition of the generality inherent in a representation;
(ii)an identification of all the essential elements and their components that are required for the representation;
(iii) the highlighting of a relative importance of a representation in terms of other alternatives; and
(iv)establishing its relation to the given message area. This process offers us a basic and viable framework of alternatives from which to derive the possible representations for a symbol. Even if the message area were representable by means of resemblance, there still would exist many differing ways in which the same solution can be represented.

Given representation could vary, for instance, in terms of the choice of a certain viewpoint; or in the choice of the representational mode- for example either a perspective or isometric; or, in the choice of the medium of representation-pencil, ink, or paint; or in terms of whether the form of the representation has been filled as against a choice of outlined forms. It is best to weigh these options by comparing these representations with other potential ones and then choose the one that would best represent the required message. We find that such a representation can either be single and wholistic, or be a composite of several components. An example of the latter is that of the 'dispensary', where several individual components placed next to one another are essential towards formation of a symbol. Iconic solutions seem to be logically the most suited for representation of message areas as symbols, because of their immediacy of information recognition and retrieval. Fortunately, a majority of the message areas seem to offer solutions in this category.

Message Area

Medicine (Dispensary)

Medicine Bottle

Medicine Tablets

Medicine Capsules

Injection Capsules

Injection Needle, Saline, Glucose, etc

Glass Bottle

Plastic Bottle

Plastic Foils

Aluminium
Foils

Small Capsules

Long Capsules

Glass Capsules

Plastic Bottle

Indexical representations

Here the message area does not offer enough direct clues and hence the relationship has to be architectured indirectly using secondary devices. These message areas are usually concerned with the ones that are concept-based, or are related to ideas or expressions and are not easily translatable into a visual representation. The meanings of these message areas are to be conceived by means of other devices so that these, in turn, transpose their essence to the given representation. Also such representations can best be summed up as being the output of the user's conception of his familiarity with a given facility. The designer acts as a vehicle in interpreting the visualisation that has been perceived by the user. The design of the emerging symbol is obviously, thereby a construct of the images that the user is able to conceive about these message areas. A viable method is, therefore, required to be formulated to understand the visualisation of these message areas into appropriate images through an interaction with the user in a manner such that it offers the essential semantic clues required for the final symbol. It is known that the human mind encodes the real world using concepts related to each other in terms of linked associations. "Our perceptions are structured into units corresponding to objects and its properties. These units may be generated into images that are experienced as quasi-pictorial, spatial entities". Clues are gathered from the verbal description of the message area as has been perceived by the user's simagery (it is assumed that the general user is much more comfortable and adept at interpreting his concepts of an idea through the verbal language rather than by means of drawing or illustrations). The user is also prompted to visualise the attributes of the message area through a classification of the message areas into its components, followed by a visualisation of their associations, and then link these up with similar images. These verbal descriptions are categorised as possible alternatives, and diagrammatically linked in terms of their spatial arrangement; an exercise that is expected to help in finding alternatives for representation of these message areas. By this method it is hoped that the user is also able to provide inputs that are culturally-derived and context-oriented, and at the same time allowing for a visualisation of the message areas that remains as close as possible to his perception.

Figure. 3: an example of the indexical categorisation of the message area

Indexical representations:
Message Area
Emergency

Ambulance Speeding			Attendent Pushing Stretcher	Patient Critical				like Fire Engine in action
Ambulance Siren

Nurse Attending	Patient Lying Down	Doctor Attending	Patient lying down on Stretcher	Patient on drip	Patient on strecher	Patient on oxygen		Alarm Bells ringing	Siren on

						Oxygen Cylinder	Oxygen Mask

Arbitary representations

Sometimes we find that the message area or certain aspects of it are best depicted by using an arbitrary sign. Such a sign either makes use of an established code or convention for its representation as symbols, or these conventions are required to be worked out afresh. The repeated application of this over a period of time itself makes it recognisable enough for the user, and this process enables him to learn these conventions. The way to generate this category of representations would be to uncover an existing convention that could be used for adoption and modification; or, by converting certain existing associations into a convention. Examples of this practice are the use of red cross as a sign for medical aid; or the use of an outline form (filled in white) to denote the hospital staff and facilities; as against the use of filled forms to depict the patients and the general public. These representations have a tendency to be contextually dependent, and to that extent are restrictive in their application.

Having semantically articulated the images necessary for the visual representation of a message area, we now turn to the stage where we begin to convert all these alternatives into simple drawings. Upon which, this bank of possible solutions are subject to evaluation in terms of the responses generated among the users. The results are then tabulated and out of the whole set, two or three representations, which are considered semantically more appropriate solutions than the others are further taken up for the following phase of the process. The above evaluation may lead to a selection of more than one aspect of the possible alternative representations that are eventually taken up for a synthesis into final design. The next stage would involve incorporating syntactic features that would make these drawings into a graphical representation appropriate for use as a part of signage for public facilities.

Constructing the 'Symbol'

Here is an attempt to identify visual attributes that are essentially formal in their characteristics, and are considered indispensible towards designing the character of a graphic symbol intended for use as part of signage. This part, where the designer imparts the qualities of the graphic symbol into a representation, reflects a constructive approach. His contribution towards this endeavour constitutes one of a systemic organizer who generates and modifies the visualised image into a graphic symbol using syntactic means, while simultaneously preserving its semantic content.

A relatively high degree of order seems to be the key factor underlying the characteristics inherent in the representation of a graphic symbol; and it is this factor that differentiates it from other forms of representation. Order refers to the degree and kind of lawfulness governing the relations among parts of the representation. It applies to the over-all theme or structure, to which the relationship of all parts must confirm; it also applies to the makeup of each part within itself. The visual principles (refer fig.4) that need to be exploited to achieve a relatively high level of order have been identified as comprising factors such as low visual detail, recurrence of forms, simplicity of form, alignment of grids, symmetry, and the balance of figure and background. At the next level, the order is influenced by visual features (refer fig.5), such as the use of shapes that are simple, smoothened, geometric; textures that are even; tonal variations that are minimal; orientations along the horizontal, the vertical and diagonal axis; and size variations that are modular. At the third level, elements such as lines that are used as outlines and in turn act as efficient containers of information, are treated in manner of having an orderly even thickness, a geometric linearity or circularity and are constrained in its direction to the major axis or the diagonal. In Arnheim's opinion 'Order tends to reduce complexity and requires elimination of details that do not fit the principles determining the order'(1966). The above-mentioned attributes that modify order have to be seen as influencing, at a close-up distance of a micro dimension, - the relationships within a symbol; and at a micro dimension, the relationships across the whole group of symbols. All these transformations bring about visual uniformity within and across symbols; apart from restricting the information to the necessary details alone, as well as increasing the graphic quality of the representation.

Figure. 4

Visual Order

Syntagmatic (Categories of Construction)


micro level (intra symbol)				macro level (inter symbols)


by Formation				by Organisation


Visual Attributes	Low Detail.smoothenedshape . equal thickness of lines	Recurrance of visual features. of shape . of lines . of curves . of textures	Simple formsuse of geometrical forms	Alignment to major axisuse of grids	Balance of figure and ground	Symmetry. of shape . of lines . of curves . of textures

Purpose	. retains information from long distance	. brings uniformity as . part of same family	. possible depiction of generality . easy to comprehend	. brings in modularity	. increases visibility	. factor of redundancy

Order and representation

Here are mentioned the influences that a high degree of order has on a given representation:

order denotes a relative extent of generality

Symbols usually have to denote and represent or stand for a whole class of objects/artifacts. This is a function that representations in verbal language undertake effortlessly by categorising and standing for a particular group. Further, by assigning a certain level of visual order in terms of simplified forms and details, the visual representation tries to denote objects with a certain degree of generality.

order strengthens a given representation

For a representation used in a signage to be visible from a distance. It is essential for it to have the strength to stand out from its surroundings and be recognised for its representation of the given message area. A strong figure against the background, a certain amount of thickness for the lines and the use of symmetry are factors that can lead to this visual potential.

order smoothens the definition of the representation

Representations that are viewed from a distance have the tendency to smoothen out perceptually. Sharp details, textural details, angular shapes and such details tend to become less prominent. It is always preferable to pre-smoothen such details so as to avoid distortion of information when viewed from a distance.

order brings about uniformity

By following the same rules of imparting visual order it is possible to bring about uniformity in the visual features, both within and across the symbols. Such a group of representations could logically be identified as belonging to the same family.

order leads to learning

Order tends to reduce complexity and arranges the various elements of a composition in an organised manner. This makes for easier comprehension, recognition and remembrance, leading to an overall enhancement in the quality of retrieval and processing of information.

The design process involves incorporating these attributes into the representations that have been selected after evaluation by the users. The above-mentioned factors that contribute towards (a)the formation of visual simplicity through a reduction of complexity, and (b)a rearrangement of its elements in an organised manner, must be integrated into representations. Conventions dealing with achieving the required level of order have to be followed universally so that this leads a modicum of uniformity across an entire family of symbols.