Pictograms are graphic symbols that convey meaning through simplified images.
They have been used for thousands of years as a means of communication, and over the last century, with the explosion in international travel, they have become an essential tool for word-free global navigation.
The creation of these tiny signposts however, is far more complex than their simple form would suggest.
With the help of Daikoku Daigo, Board Member at Nippon Design Center and project lead for ‘Experience Japan Pictograms’, a programme aimed at enhancing the tourism experience of visitors to Japan, we look at the key things to bear in mind when creating visual language.
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Getting started: defining the design ‘problem’
Pictograms exist to do a job. They are created to guide, inform and reassure. As Daikoku explains, pictograms in Japan, can be seen as the design form of omotenashi – a particularly Japanese approach to hospitality.
‘For me, pictograms are a form of considerate design, supporting the quality of an experience. In particular, I feel that pictograms are a form of hospitality as they can convey meaning in an easy-to-understand way to people of different ages, cultures, and languages, and support intuitive communication.
‘When you see pictograms, you naturally understand where to go or how to use something, creating a sense of both security and freedom of movement. They are a “friendly point of contact” between space and society.’
A well-documented example of pictograms being employed to do the job of supporting hospitality was at the first ever Olympic Games to be held in Asia – Tokyo 1964. With so many visitors expected from all over the world, there was concern over how athletes and spectators might navigate a country whose language they did not speak. Several sets of pictograms were designed, one of which helped visitors to find their way around Tokyo, while another enabled them to easily identify the 19 different sports on the programme.
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Daikoku believes that understanding the intention of a symbol is key to a successful design.
‘I always try to ensure that a pictogram has the power to convince, and this is based on a thorough understanding of their background and purpose.
‘Pictograms have similar characteristics to fonts: they convey not just information but also character – this could be gentleness or strength. Consideration of the purpose and location of use of the pictogram ensures consistent design expression.
‘If a new pictogram is to be used in small scale, then in the design process we eliminate unnecessary details and keep it simple. If it’s to be used in a public building we aim for universality, and if it is to coexist with something that already has a distinctive character, we incorporate that same character to achieve harmony.’
Defining what matters
Once the purpose, context and audience are understood, the next step is to define the core essence of the object or idea. This is often achieved by gathering references and creating a mind map, helping the designer to determine what essential information the simple image must communicate.
‘My creative process for anything, not just pictograms, begins with understanding the subject from multiple perspectives. With one eye on detail and the other eye on the big picture, I can strip away unnecessary elements from complex information one by one, leaving only the essence. To either make something abstract or simplify it, it is first necessary to understand it deeply.’
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An iterative approach
Having researched, refined and defined the core essence, the designer can begin to sketch out a rough outline. If the pictogram is to represent a person, this will often involve the use of a simple stick figure. The process is then one of iterative refinement, focussing on simplicity, balance and clarity to ensure that the key information is conveyed easily through the design.
As Daikoku explains, capturing movement in a pictogram involves further work:
‘When representing actions such as walking, the movement is broken down into a series of frames, much like in motion picture films. Each frame is scrutinized to understand how the body moves, and to identify the most appropriate moment that most effectively captures the essence of the action.’
Grid Systems
Grid systems are widely used in graphic design and related fields to create balanced compositions and to achieve consistency across a series of images, such as a set of pictograms. Made up of intersecting straight or curved lines, a grid helps with the placement of design elements, supporting alignment, visual consistency and hierarchy.
Using a grid system was fundamental to the creation of the Tokyo 1964 Olympic pictogram set, and is also employed by Nippon Design Center for any pictogram series they create. Daikoku explains:
‘A grid system is essential for creating pictogram sets. For the Experience Japan Pictograms project for example, we designed a 40 x 40 grid system. Working in a limited space means that we must carefully consider things like line weight and white space to ensure clarity and impact of the finished design.’
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Compositions, Angles, and using basic shapes
The composition of the design is key in directing the viewer’s attention to the most pertinent information. This is also true of the viewing angle or perspective used. An action or object may be more easily identified from a side view, for example, rather than face on. Repetition or variation of certain shapes within a composition can also add visual interest or enhance unity, with repeated forms creating a sense of cohesion and order.
Designers often test multiple versions, seeking feedback from collaborators and users. A pictogram might be adjusted many times – refining angles, spacing, or posture – to ensure its meaning holds up across distances, materials, and viewing conditions.
Basic shapes and Cohesive Design
Often a set of basic shapes forms the design basis of a visual language system as the shapes can be arranged in an almost infinite number of ways to realise simplified and at times abstract representations of a thing or an action. The use of the shapes also brings a sense of cohesion:
‘It is important that you do not give individual pictograms their own personalities, but rather create consistency when used as a group. To achieve this, common design principles such as line thickness, angles, rounded corners, and spacing are necessary. These rules create order among pictograms in a set and enable them to function as a single visual language.’
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Visual language and cultural cues
Whether consciously or not, most of us will be informed or guided at some point during our day by a pictogram. Whether that be on a weather map, at a train station or in a lift; in our own country or on a trip overseas. But are pictograms truly universal or do they carry some trace of where they are from?
‘The best pictograms do not assert themselves. In theatre, they are like supporting actors who add depth to the story; in music, they are like the rhythm section that creates the groove. Well-designed pictograms transcend cultural boundaries and become universally understood. However, at the same time, their design reflects the values, worldview, and even the humour of the culture from which they originate. This is why pictograms are so profound.’
To explore more about the impact of Japanese design on visual communication around the world, visit Pictograms: Iconic Japanese Designs (30 July – 9 November 2025) at Japan House London.
Browse and download all pictograms from the Experience Japan Pictograms project on the Experience Japan Pictograms website.