Enhanced descriptions from Syndetics:

A copiously illustrated and practical guide to informational graphics.

Pictograms and icons are a keystone of nonverbal and multicultural communication. But what precisely are pictograms, and when is it appropriate to use them? What are their advantages? What rules must be followed, and what are the pitfalls that designers of pictograms and icons must take care to avoid?

Drawing on a multitude of examples from around the world, the authors outline the history of the pictogram and show how it has been used in commercial and creative fields over the past century, as well as offering invaluable hints and advice to designers.

The book features: over 2,000 illustrations organized by theme, including pictograms from all the Olympic Games from 1964 to 2004; tips from successful pictogram designers, with real- life examples to instruct and inspire; a detailed discussion of icons, the "silent servants" of online communities; a chapter by designer Jochen Gros on his quest to create a visual language that crosses all grammatical, semantic, and semiotic boundaries--in effect, to create a "language without words," and more.

Table of contents provided by Syndetics

• Preface and Foreword (p. 6)
• 1 The Pictogram (p. 9)
• 1.1 Definitions (p. 10)
• 1.2 Semiotics: The Study of Signs (p. 12)
• 1.3 The History of Pictograms (p. 18)
• 1.4 A Summary (p. 24)
• 2 Building Pictograms (p. 29)
• 2.1 Conception (p. 30)
• 2.2 Design (p. 31)
• 2.3 Using the Pictogram (p. 40)
• 2.4 General Tips (p. 44)
• 2.5 Creating Pictogram Fonts (p. 48)
• 2.6 Legal Protection (p. 52)
• 3 Pictogram Pioneers (p. 55)
• 3.1 Traffic Signs (p. 56)
• 3.2 The Olympic Games (p. 64)
• 3.3 Association of German Airports (p. 88)
• 3.4 Professor Herbert W. Kapitzki (p. 92)
• 4 Commercial Pictograms (p. 101)
• 4.1 ERCO (p. 102)
• 4.2 Deutsche Bahn AG (p. 110)
• 4.3 Berlin Transport Services (p. 116)
• 4.4 Cologne/Bonn Airport (p. 124)
• 4.5 Dusseldorf Airport (p. 130)
• 4.6 A Design for Telecommunications (p. 136)
• 4.7 Pacific Bell-Yellow Pages 1 (p. 140)
• 4.8 Pacific Bell-Yellow Pages 2 (p. 144)
• 4.9 Bombardier 'Driver's Cab' (p. 152)
• 4.10 Berlin Swimming Baths (p. 154)
• 4.11 Zurich Airport (p. 156)
• 4.12 Swiss Post (p. 162)
• 4.13 Sto AG (p. 168)
• 5 New Uses for Pictograms (p. 175)
• 5.1 Zurich Waste Disposal (p. 176)
• 5.2 Park in Chambord (p. 180)
• 5.3 EXPO 2002 (p. 84)
• 5.4 Typebox, San Francisco (p. 192)
• 5.5 Pippo Lionni, Paris (p. 194)
• 5.6 The Natural History Museum, Berlin (p. 200)
• 6 Icon Variations (p. 205)
• 6.1 Icons (p. 206)
• 6.2 Susan Kare Design, San Francisco (p. 208)
• 6.3 Meta Design, San Francisco (p. 214)
• 6.4 eBoy, Berlin/New York (p. 218)
• 6.5 Ascom, Bern (p. 222)
• 6.6 Kame Design, San Francisco (p. 224)
• 7 A Language of Icons (p. 227)
• Development of an Icon Language (p. 228)
• Appendices (p. 239)
• 8.1 Bibliography (p. 240)
• 8.2 Acknowledgments (p. 241)
• 8.3 About the Authors (p. 242)

Reviews provided by Syndetics

CHOICE Review

Many people take traffic, directional, and informational signs for granted, but Abdullah (Academy of Visual Arts, Leipzig) and Hubner (Mediadesign Univ., Berlin) illustrate the modern-day development of and design considerations for pictograms, icons, and signs. After a brief history of iconic imagery, they show how designers analyze an environment to develop better informational icons and pictograms; this informational signage communicates how to safely and easily traverse complex environments. The authors, as would be expected, have used a wealth of illustrations to reinforce the textual content in the book. Thus it is especially useful for graphic artists and designers who must cope with the demands of modern industrial design signage. Iconic image designers for an ever-expanding line of computers and electronic technologies will also find many helpful hints for better design. This heavily illustrated book gives excellent examples of "bad signage," which confuses and frustrates the intended audience. Graphic designers will find this book a gold mine of information on what to do and what not to do when designing pictograms, icons, and signs. ^BSumming Up: Highly recommended. All levels. J. M. King emeritus, University of Georgia