In the 1960s, the New York subways were a mess, sign-wise. Station names and metro lines were spelled out in a hodgepodge of sizes, shapes, and styles. The original mosaic tiles had been joined by cut stone and terracotta—all of which clashed with newer enamel signs. They were not only inconsistent in terms of style but also in where they were placed, so straphangers didn’t know where to look for directions on how to get from point A to point B.