Categories: Best PracticesDesign

Whole Lotto Love

Some signs get no respect. No matter how useful, lucrative or technologically advanced they are, certain signs are always perceived as visual clutter. At worst, these signs are considered actual blights. At best, a necessary evil. Fuel pricers, hotel room-rate displays and fast food signs come to mind.

Lottery signs also fit into this category, but should they? Unlike the other maligned signs I mentioned, lottery signs are often more peripheral, relegated to the margins of conscious observation. 

Much of this likely has to do with the lottery’s ignoble status, considered by many as a form of “self-imposed taxes.” But to those who play, these signs generate an outsized awareness. Updated regularly with new prize totals, they seduce even ambivalent players to buy more tickets.

Despite their lowly station in the sign pecking order, lottery signs use design and technology based on bright color combinations (and brighter LED boards) to catch the eye of their intended target, while remaining almost invisible to everyone else. 

These underappreciated signs are primarily located behind the streaky windows of gas stations and convenience stores. They are called upon to rise above the clutter of their surroundings to inspire daydreams and increase sales. No easy task.

Name Drop

Mastercard is joining an elite group of brands that has removed all lettering from their logos. Bypassing language barriers, wordless logos work well for companies that project a global presence. In addition, the reductive nature of wordless logo forms solves many issues driven by the need for quick recognition in the digital age.
 

Jeff Russ

Jeff Russ is a content studio manager for SmartWork Media and was the senior art director of Signs of the Times from 1996-2021. A graphic designer and illustrator with an interest in sign design and sign history, Jeff documents important, interesting and notable design trends in the sign industry as a contributor to Signs of the Times. He has written dozens of features for Signs, and his column, Design Matters, was published for more than a decade.

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