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Contents How do I research? Infographic Researching others Edward R. Tufte Harry Beck Marie Neurath David McCandles Margaret Calvert Broadsheet Research Aspects of a Broadsheet Page Layout Folds and Format Typography Broadsheet Development Evaluation Bibliography
2 18 48 52 56 60 64 68 72 74 82 96 102 104 132 138
1
How Do I Research? When first posed with the question of ‘What is research?’ my first action was to write down the methods and ways in which I research. To do this I brainstormed the different aspects of how I research from how I use the library
3
What Is Research?
Research In Application
4
How Do I Research?
5
What Is Research?
Research Quotes
In this quote, it refers to how all discoveries have a context backing them which can not be ignored while researching the subject within the set context
“There is no success without clues. There is no real theory without research” Alan Maiccon
Here the question of ‘what is research?’ is answered by the expected outcome from the researchers stance on what they are researching
“What is research? Do it with passion and you will find something new one day Do it with dedication certain to reap the fruits of joy one day Do it with love to help many you’re certain to be remembered Do it with hope you will never get exhausted Do it without bias your results are adored Do it with paranoia and you will feel confusion Do it under compulsion and you will feel hate Do it without sincerity and truth you are just ignored” Dr.T.V. Rao MD
6
How Do I Research?
This quote deeply relates to me as to achieve your best outcome you have to explore, research and experiment leading to many dead ends but these dead ends feed back into your research allowing you to develop and improve your work to a more successful outcome
“I can guarantee you that my mistake far outweigh my achievements because a single achievement is the fruition of many mistakes”
With this quote Vera’s cynical view of research leading to further arguments and debates over the truth is very relatable as when I research I often find opposing viewpoints and discussions on a particular topic
“I look wildly for facts and I can only find arguments”
Steven Magee
Vera Brittain
7
“We carve out a territory from the much larger map of the field and keep magnifying it until something becomes visible that no one has seen before�
Michael Ann Holly
What Is Research?
Inspirational Designer: Marian Bantjes One designer Who’s inspires me is Marian Bantjes as she was originally a typographer turned “graphic artist”. Her designs feature beautiful ornate patterns throughout capturing the historical context and style of the time that inspired her within Bantjes’ work with her own twist. I especially love her book titled ‘I Wonder’ which is a fascinating demonstration of graphic illustration and text becoming ‘a fully integrated document where the words and images are interdependant’ (Bantjes, 2018:7).
10
Bantjes uses this to communicate her observations on visual culture. In her Ted Talk, Bantjes discusses one of her inspirations for design being a sense of wonder about the world we live in asking questions and admiring things with a sense of awe. She states how her design “follows her art and interests with the guidance of my eyes”.
How Do I Research?
Bantjes, M. (2018) I wonder. London: Thames And Hudson pp. xiv-xv, 4-5, 12-13, 110-111, 130-131, 174-175
11
What Is Research?
12
How Do I Research?
I particularly find the stylised forms of Marian’s typography very interesting how she can manipulate any mundane item to give it a sense of wonder and awe while still being a successful communication. Her use of ornate boarders is intriguing as her unique designs draw heavy resemblance from work of the period she is mirroring giving a coherent and truthful quality to her designs and work.
13
What Is Research?
16
How Do I Research?
My Workspace
I carry out research and produce work in a variety of different places such as my bedroom desk and the graphics studio however, one of the most prevalent places is the university library as there is easy access to a wide range of books and resources to feed into my subjects research.
I also enjoy using a wide range of traditional art media to compliment my work such as:
- alcohol markers - oil pastels - watercolours - inks - craft knife When working digitally on Photoshop - acrylic paint Illustrator and InDesign I have my - oil paint Wacom tablet in front of my MacBook - charcoal Pro to more easily and naturally produce - pencil digital art and manipulations. As well - biro as working on my Mac I also have my - printmaking sketchbook in my workspace to record any findings, sketch down ideas and document development.
17
Infographic In this chapter I will explore ways to visually display what goes into my research in the form of an infographic. By exploring existing information design and creating multiple iterations I have recorded my development of my infographic from it’s initial sketches to the final design.
To begin brainstorming my infographic I created a mindmap of the different ways in which I research while organising the various components into categories such as practical physical
and digital to sort the data. From mind mapping, the ways I research fell into two main categories: - Contextual (theoretical, observation) - Making (design)
19
What Is Research?
My Workspace
In my initial sketches of my infographic I came up with multiple concepts including using branching text in a circular patter as well as pictograms of tools I use when researching representing what I use to research. I looked into colour coding and how to use a key to represent areas of research making the design of the infographic more understandable.
20
Infographic
21
What Is Research?
22
Infographic
Infographic - First Draft
Idea Behind Design
To Improve...
Here is my first initial draft of my infographic design on how I research based on my first concept of having points on what I research steaming out from a circle displaying how they connect to one another through joining lines between them.
- I will add more points about what goes into my research fleshing out the text surrounding the circle to give a more in depth analysis of how I research - Add in more connection lines to clearly visually demonstrate the most significant aspect of how I research
The use of the negative space generated by the lines causes the viewer to see - Rotate the text on the left of the the circle forming the appearance of diagram to face upwards making the an elastic band ball which I like as its a infographic more legible good representation of my mind while researching gathering a load of smaller - Experiment with various colour bands and pieces of information but combinations for the infographic then tying them all back together to to communicate the meaning of the form one object. infographic better as well as making the infographic more visually appealing
23
What Is Research?
Why Infographics Work
Information In Context Good infographics would display stats and the information they are presenting with a clearly visible context. This concept is displayed within the examples bellow where the single statistic of global internet users is no more than a large number but by simply adding circular size comparisons with the U.S. population, a context is created.
If a piece of information design displays data and information without a context, the communicated information becomes misleading, unreliable and confusing for the viewer as they have no point of reference to compare the information to or understand what a certain value really means.
Single data statistic without any context or point of reference
Same statistic with a second supporting value creating a context
24
Infographic
Picture Superiority Effect The picture superiority effect is the phenomenon that ‘people remember pictures better than words, especially over longer periods of time’ (Krum, 2014:20-22). Meaning that visual systems benefit memory retention especially if images are combined with a small amount of text giving a higher retention of information.
Within information design, graphs and charts are used as imagery to clearly communicate the data presented with the mentioned small bodies of text so the viewer can link certain colours, images and shapes to the information the infographic is communicating.
Graph displaying memory retention after three days
Krum, R. (2014) Cool infographics : effective communication with data visualization and design. Indiana: John Wiley & Sons, Inc. pp. 17-18, 20-22
25
Infographic
When developing my infographic I first expanded the list of items that either feed into how I research or things I do while researching to a total of forty headings to give a more in depth analysis of the ways I research. I particularly like the effect of an explosion of information stemming from the circle outward with the circle itself forming a web if connections between the topics. In this iteration I inverted the colours from the draft to have the information and diagram in white on a black background to preserve the same negative space around the circle while making the page feel more full and complete. In this variation I also added in a key colour coding the connecting lines to demonstrate the way in which two aspects of research are linked together.
I sorted the connection lines into six categories as follows: - Recording (purple) of information and documenting research and work - Observation (blue) of visual sources and looking at existing design/media - Theoretical (green) research primarily involving books and reading up on topics - Design (yellow) practice and practical experimentation for first hand research and development of work - Relaxing (orange) to de-stress while researching yet still being productive in my research - Procrastinate (red) as a result of distractions or to properly de-stress before continuing research
27
What Is Research?
Infographic - Final Design
In my final iteration I altered the multi coloured key to be various shade of blue giving a more coherent and elegant appearance to the infographic. Furthermore, I improved upon the previous design by rotating the orientation of the left hand text to face upwards making the text significantly more legible as the entire infographic can be viewed upright from one perspective. Infographic feedback: Works well indeed although it is probably easier to read in full colour than in shades of blue, It’s also an attractive graphic Could be informative with the text coloured to match the key The circular shape and connection lines demonstrate the interconnectivity of the research elements.
28
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What Is Research?
Pre Covid-19
38
Over the next five double spread I have listed out the forty elements of my research presented in my infographic on the left side representing how I research normally with the right side illustrating how my research process has changed due to Covid-19.
Drawing and sketching out ideas and potential designs
Sharing ideas and having conversations with my peers
Reading through books from the library
Sending off test prints to check colour, sizing and composition at the print bureau
Listening to DnD ‘Highrollers’ podcast
Watching YouTube videos on people breaking down topics
Photoshop, Illustrator and InDesign
Catching up on Netflix and Amazon Prime
Infographic
During Covid-19 Crisis
White
Elements still possible in crisis Light grey Possible but no longer necessary Mid grey Significantly more difficult to achieve Dark grey Impossible in the current climate
Drawing and sketching out ideas and potential designs
Sharing ideas and having conversations with my peers
Reading through books from the library
Sending off test prints to check colour, sizing and composition at the print bureau
Listening to DnD ‘Highrollers’ podcast
Watching YouTube videos on people breaking down topics
Photoshop, Illustrator and InDesign
Catching up on Netflix and Amazon Prime
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What Is Research?
Pre Covid-19
40
Curiosity and questions
Inside the graphic design studio at uni
Exploring images on Pinterest
Viewing documentaries
Internet ‘Google’ search
Working in the university library
Tea and coffee break
Researching the subject in relation to the context using design methods
Infographic
During Covid-19 Crisis
White
Elements still possible in crisis Light grey Possible but no longer necessary Mid grey Significantly more difficult to achieve Dark grey Impossible in the current climate
Curiosity and questions
Inside the graphic design studio at uni
Exploring images on Pinterest
Viewing documentaries
Internet ‘Google’ search
Working in the university library
Tea and coffee break
Researching the subject in relation to the context using design methods
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What Is Research?
Pre Covid-19
42
Highlighting, underlining and summarising key information
Electronics: MacBook Pro, iPhone, lightbox, TV
Recording research and experimentation through sketchbooking
Reviewing notes and presentation from lectures
Cutting out elements with my craft knife
Applying my research and discoveries to my work
Scanning useful pages with Adobe Scan
Researching technical aspects of design and how to use certain tools
Infographic
During Covid-19 Crisis
White
Elements still possible in crisis Light grey Possible but no longer necessary Mid grey Significantly more difficult to achieve Dark grey Impossible in the current climate
Highlighting, underlining and summarising key information
Electronics: MacBook Pro, iPhone, lightbox, TV
Recording research and experimentation through sketchbooking
Reviewing notes and presentation from lectures
Cutting out elements with my craft knife
Applying my research and discoveries to my work
Scanning useful pages with Adobe Scan
Researching technical aspects of design and how to use certain tools
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What Is Research?
Pre Covid-19
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Using traditional art media including inks, paint, pastels and pencils
Utilising secondary research found from various sources
Browsing digital books
Playing video games on PS4
Listening to music playlists
On my desk and bed in my bedroom
Practical experimentation
Enjoying good food and snacks
Infographic
During Covid-19 Crisis
White
Elements still possible in crisis Light grey Possible but no longer necessary Mid grey Significantly more difficult to achieve Dark grey Impossible in the current climate
Using traditional art media including inks, paint, pastels and pencils
Utilising secondary research found from various sources
Browsing digital books
Playing video games on PS4
Listening to music playlists
On my desk and bed in my bedroom
Practical experimentation
Enjoying good food and snacks
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What Is Research?
Pre Covid-19
De-stressing and procrastination
Referring and linking back to the brief
Referencing sources and information used
Carrying out my own primary research and enquiries
Receiving and reflecting on feedback from peers to feed into my research and work
Brainstorm ideas and take notes of what I am thinking
Watching Ted Talks Visit an exhibition on designers and or gallery of the interesting topics designer/artists work
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Infographic
During Covid-19 Crisis
White
Elements still possible in crisis Light grey Possible but no longer necessary Mid grey Significantly more difficult to achieve Dark grey Impossible in the current climate
De-stressing and procrastination
Referring and linking back to the brief
Referencing sources and information used
Carrying out my own primary research and enquiries
Receiving and reflecting on feedback from peers to feed into my research and work
Brainstorm ideas and take notes of what I am thinking
Watching Ted Talks Visit an exhibition on designers and or gallery of the interesting topics designer/artists work
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Researching Others One significant aspect of my research process is observing the work of other designers to gain further knowledge of work produced in a set period of design history. In this chapter I will explore designers linked to the design field information design in relation to the post-modern design era.
Research presentation slides on Herbert Bayer from research task
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What Is Research?
Post-modernism
Postmodern design carries an aura of ironic pastiche surrounding it with the aim to counteract the values of modernist design with a new found freedom and constructed truth making all forms of art and design acceptable. With the term post-modernism, ‘the arrival of the ‘post’ signalled not only the end of grand narratives’ of modernism but also ‘the removal of certainty itself as a base of operations’ (Adamson, 2011:13). A few of the main ideas of postmodernism is how art can be made out of anything with all type of art being equally valid having instant meaning being bold, bright and recognisable. It explores mini-narratives in its design rather than that of modernists grand narrative aiding well to the concise communication of information required for a successful piece of information design.
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Information design and in turn infographics are themselves postmodern as they have to capture the information, meaning, context and style of what they are displaying often on a single page forming a mini-narrative of the displayed context. Furthermore, the transparent and truthful display of data in information design relates back to the values of authenticity within postmodern design. The presence of post modernism within modern culture has been solidified through its continuation into digital media, design and art where the spread of information and ideas has increased drastically. This can be seen in Mark Morera’s Star Wars infographic where he has designed a postmodern pastiche summary of the episode ‘A New Hope’ using only illustrations of characters, small text, circles and connection lines to depict the entire storyline.
Researching others
Morera, M. (2014) Star Wars Infographics: A New Hope. In: Krum, R. Cool infographics : effective communication with data visualization and design. Indiana: John Wiley & Sons, Inc.
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What Is Research?
Edward R. Tufte
Edward Tufte is a pinnacle figure within the information design field of graphic design with his books ‘Envisioning Information’ highlighting ‘design strategies for enhancing the dimensionality and density of portrayals of information’ (Tufte, 2011:9) as well as ‘The Visual display of Quantitative Information’ which discusses how ‘graphics are instruments for reasoning about quantitative information’ (Tufte, 2011:9) and essential to display numbers in an honest and understandable way.
including using layering and separation to distinguish between different information on the page and creating a hierarchy of information. The use of colour in the information graphics design in addition to the rule of small multiples to depict multiple small parts which can be easily compared to one another at a glance. Interestingly, Tufte also discusses that of the map and how to display information which escapes the flatland of the page.
On the right there are two variations of marshal signal illustration guides. Tufte discusses how the most effective Design A has thick lined box borders and black silhouette of men with way to display and summarise numbers is through the use of pictures simple shapes. This causes the type to compete with the other elements representing the numbers. Imagery as the design is too loud with no depicting quantitative data is a key hierarchy of information. Design B is aspect used within information design significantly more successful due to through the use of shapes, colour, sizing, graphs and charts. He discusses its use of separating out information several elements that go into designing into layers using a softer light grey for a successful piece of information design the silhouette pushing them into the
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Researching others
background emphasising the signals and the motion arrows which are coloured to separate them from the rest of the image with the less intrusive boarders making the type more legible. In the design ‘note the effectiveness and elegance of small spots of intense, saturated colour for carrying information’ (Tufte: 2011:63). This advice is echoed in the book Cartographic Relief Presentation where
it is discussed that ‘if one limits strong, heavy rich and solid colours to the small areas of extremes, then expressive and beautiful coloured area patterns occur’. This effect can then be enhanced if the ‘large area background or base colours do their work most quietly, allowing the smaller, bright areas to stand out most vividly, if the former are muted, greyish or neutral’ (Imhof, 1982:72).
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What Is Research?
In his book Tufte discusses how colour is not just for bringing information code names but colour is also a ‘natural quantifier’ as a single colour has multiple different tones and tints creating distinct visual differentiation. The use of colour tints is seen heavily used within maps such as this example displaying tint rings for land height and ocean depth with darker shades meaning a greater height and depth.
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Researching others
One of Tufte’s key points is the critical importance for the use of layering and separation when communicating information as well as escaping the flatland of the page. The success of layering is displayed with the difference of the two maps on the right page, the first is all one colour and one weight becoming illegible and jumbled while the second uses texture, tone and negative space to create distinguishing features of rivers, roads and buildings. Tufte, E.R. (1991) Envisioning information. Cheshire: Graphics Press LLC.
In addition, the use of layering makes the type of the names more legible forming another way of escaping the flatland of the page.
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What Is Research?
Harry Beck
Harry Beck is a pivotal designer within the field of information design due to his innovative development to wayfinding within the London underground through the London Underground Tube Map aiding commuters navigate the intricate maze of tube lines incredibly simply. Beck’s design was so successful that a modern iteration and updates of his design is still in use today. Harry Becks geometric design featuring coloured lines to visually distinguish between tube lines set only travelling in 45 degree increments using the symbols of a dash for a station and a diamond for ‘interchange stations’. Although the success in his design can be attributed to ‘abandoning rules defined by scale and geographical accuracy’ as the rules following geometry has ‘transformed the map into a diagram’ (Dobbin, 2012:61) seen by the fact all the locations are evenly spaced with
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the only visible point of reference to the over world being the blue outline of the River Thames. The inclusion of the River Thames in London’s first diagrammatic tube map issued in 1933 (seen on the next page) allows the viewer to have a point of reference to the diagram based on what side of the river the station is on. It is this use of spacing between type and using only the landmark of the River Thames which gives Becks map legibility and great ergonomics to use as a guide around London. Becks design was revolutionary in the field of wayfinding and information design as he removed all possible distractions and unnecessary information seen in prior maps to give a conclusive guide only demonstrating the stations and connections on London Tube lines. This approach to information design is in line with Isotype and the transformers spoken about on page 60.
Researching others
Above are two of the previous London underground Tube map designs which pre-date Becks designs. The first on the left was the first free pocket tube maps for London underground presenting it as one coherent network of tracks. As discussed previously, pre Beck designers attempted to be geographically accurate with where the stations were located and the shape of the tube tunnels through the city. However, despite overlaying the coloured lines over a map of London being functional in communicating the tube network, towards the centre you can see the type crammed into place where the stations have formed a cluster making the information unclear and muddled at times.
A second Tube map design by Max Gill was his series of decorative maps titled ‘The Wonderground Map of London’ which featured decorative illustrations of London’s landmarks in a coherent limited colour pallet. The Underground Electric Railways of London (UERL) ‘was quick to recognise the importance of mapmaking beyond its basic role of navigation’ (Dobbin, 2012:19) so they hired Gill to produce decorative maps to display as posters in stations. The first being ‘By Paying Us Your Pennies’ (MacDonald Gill, 1914) seen above becoming the influence for a new style of advertising utilising the map worldwide.
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What Is Research?
Marie Neurath
Marie Neurath studied under Otto Neurath in an apprenticeship in pictorial statistics with both of them being key figures in the use of the isotype style in there design work. Isotype is a drawing, image or symbol which represents a statistic or piece of data which is usually quantitative in nature.
already given in other charts. In this sense, the transformer is the trustee of the public’ (Neurath, 2009:77).
It is the specific focus of isotype in displaying data in pictorial form which makes it unique and a intriguing part of information design. I particularly like the image form Neurath’s children’s She refers to herself as a ‘transformer’ book Railways Under London where in which she explains what the job she has visually displayed the process of a transformer in her book ‘The of changing trains at Piccadilly Circus Transformer’ described bellow. Station in London in perspective from a side view. This side views displays the ‘From the data given in words and otherwise unseen information of how figures, a way has to be found to extract the two lines overlap at different levels. the essential facts and put them into picture form. It is the responsibility Furthermore, She has used colour of the transformer to understand the coding of the figures to demonstrate the data, to get all necessary information movement of passengers through the from the expert, to decide what is worth station. transmitting to the public, how to make it understandable, how to link it with People entering the station general knowledge or with information People leaving the station
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Researching others
61
What Is Research?
62
Researching others
These two isotype charts both use the ‘surplus and deficit’ axial arrangement of imagery to display the data of emigration and immigration from notable countries 1920-27 on the left with the number of births and deaths in German 1911-1926 above. These isotype charts work by having the increasing data value such as immigration and birthrate steaming from the central axis moving right
with the decreasing data point such as emigration and death rate starting from the furthest right positive value moving left. This allows the viewer to see at a glance whether the rate is a net increase if there is a gap of the decreasing data value doesn’t meet the central axis, even if both sets of images meet in the centre or decreasing if the decreasing data values images pass to the left over the central axis. Furthermore, the images can represent any number value.
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What Is Research?
David McCandless
In McCandless book ‘Information Is Beautiful’ he describes it as “miscellaneous facts and ideas, interconnected visually. A visual miscellaneum. A series of experiments in making information approachable and beautiful” (McCandless, 2012:7). McCandless achieves this goal by producing a large series of infographics covering a wide range of subject matters from a unique perspective. On the right is an infographic on how information and data can be visualised through patterns of shapes, sizing, positioning and organisation of elements. Throughout the book and his digital infographic website (https:// informationisbeautiful.net/) McCandless utilises these design sketches to layout and communicate information in a digestible way which is understandable with little to no written explanation.
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David’s approach to information design involves the heavy use of graphs, charts and diagram drawings which differs greatly Marie Neurath’s use of pictorial statistics in isotype designs due to the aid of digital software in the making of his design yet he still fulfils Neurath’s definition of a transformer as being able ‘to understand the data, to get all necessary information from the expert, to decide what is worth transmitting to the public, how to make it understandable, how to link it with general knowledge or with information already given in other charts’ (Neurath, 2009:77). In McCandless work, he is able to dissect a complex and intricate topics such as whether the rate of new Covid-19 case is rising or falling in each country and present the statistical data beautiful in a concise manner.
Researching others
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What Is Research?
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Researching others
In the infographic to the left, he has dissected the US governments spending into coloured boxes conforming to a key categorising the spending. Furthermore, the boxes are sized proportionately to the quantity of money in relation to the total money spent bringing to light the extent of some of the countries spending. One figure which stands out above all is 11,900 billion dollars lost to the worldwide cost of the financial crisis for the US which its box is equal in size to all the other spending and earning figures displayed in the infographic. Having the reference point of other statistics from all aspects of the countries economy generates a context
which as discussed on page 24, it is essential within the field of information design to display a clearly visible context for the data and information that the user is presenting. This is because without a given context the information can be misleading and in some cases dangerous depending on the subject. In the infographic above David has released a digital infographic displaying the rate at which the cases and death rate of Covid-19 are rising and falling for each country (up to date as of 15th May) giving a global perspective of how other countries are fairing through this unprecedented virus.
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What Is Research?
Margaret Calvert
Margaret Calvert worked alongside Jock Kinneir to design and create the current road signage system used in the UK to date standardising the signs from the pictogram symbols to the font of place names displayed on roads between 1957 and 1967.
The black silhouette pictograms primarily drawn by Calvert are designed to be identifiable and easily recognisable with the driver subconsciously linking the meaning of the symbol to that of the pictogram. In Marie Neurath’s book the transformer, she discusses the connection drawn Calvert and Kinneir utilised the between isotype and the symbols used European system of having circular within UK signage as Calvert and Kinneir shaped signs to give instructions to the have laid out a system to organise the driver such as “no entry” with triangular spacing of lettering and positioning signage for warnings including “slippery surrounding the arrows as seen in the roads” and “dears” both shapes having image on the bottom right. This spacing thick red outlines so the signs are of type has been standardised across clearly visible and eye catching even at the entire country. night drawing the attention of the driver so they are informed of what’s ahead on the road allowing ample time for them to react accordingly.
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Researching others
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What Is Research?
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Researching others
Furthermore, Calvert also crated a series of typefaces over the years used throughout the UK and parts of Europe for their transport systems. This included the Transport, Motorway and Rail Alphabet seen on the left. The transport type used for place names on signage ‘influenced by the typeface Akzidenz Grotesk with regard to proportion and overall appearance’ (Roberts, 2015:117). The letterforms were designed and spaced with careful consideration in order to aid the recognition of place names at a quick glance from the driver.
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Broadsheet Research In this chapter I will record the research, discoveries and development that feed into the ideas and elements I used for my broadsheets design. I will achieve this by exploring how a broadsheet is built, various typefaces, page layout designs, folding patterns and formatting of information through this process.
Aspects of a broadsheet
There are many aspects that go into a broadsheet such as the page layout of the imagery, headings and body text and their positioning and how these elements position forms around the folds of the broadsheet. Furthermore the folds and formats of the broadsheet form multiple distinct sections in which the viewer has to interact with and unfold gradually revealing new information. On a broadsheet the design can spread to both sides of the page allowing for significantly more intricate and interesting folding designs that uses both sides of the page. Another key aspect of a broadsheet is the typeface used within the design picking the type family and choosing a set weight and size for the heading, subtitles and body copy to keep the design consistent.
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What Is Research?
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Broadsheet Research
Broadsheet Moodboard
When researching visual examples of broadsheet designs using pinterest and Behance I particularly liked the use of bitmap doted imagery in black on a coloured background as in the large size of an A2 page, the dots of the bitmap become more visible giving the image an intriguing texture quality to it not present in normal imagery, In this section I will explore and experiment with various bitmap techniques and colour combinations linked to the set colour scheme of the broadsheet to see how the imagery would look in my design. I really like the inclusion of the circular cut out in the paper of the broadsheet on the top left as it gives the front cover a great amount of depth. Another aspect of these broadsheets I like is the use of varied column heights on the page bottom left as you can see the structure of the grid yet it is more intriguing.
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What Is Research?
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Broadsheet Research
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What Is Research?
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Broadsheet Research
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Bitmap Experimentation
On this page is some of my bitmap experimentation in Photoshop where I learnt how to create monotone, duotone, 50% threshold and halftone and how you can alter the pixel and line settings to get a more fine accurate finish or have larger pixels to give a deliberate coarse appearance to the image which looks aesthetically pleasing. I plan on utilising this technique within the imagery on my broadsheet design as with my colour monotone experiments, I find the appearance of the blue dots building up the image upon a light grey background as seen on the left hand side with the archway as the colours complement one another but in a way which makes the image more gentle and subtle. Contrastingly, using black and blue generates great contrast but becomes very dominant on the page.
What Is Research?
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Broadsheet Research
Page layout Moodboard
In this moodboard I have collected page layouts of broadsheets and books in which I find fascinating and influence me. One aspect in which I particularly find intriguing is having a circle as the central focus of the design. In my infographic design, the connections form a circle in which I Plan on using within the design of the broadsheet. Furthermore, the use of triangles in the two broadsheet layouts on the far left have an elegant appearance even when not folded. In the second design on the bottom left the use of angled text boxes which the justified type and cropped imagery which conform to the fold capture the viewers attention. In these designs I love how large imagery perfectly fits within the shapes generated by the folding pattern.
The use of columns breaks down large areas of text to be more digestible as there are less characters on any given row. I particularly like the spacing of the columns in the first broadsheet on the top left created from having good sized margins surrounding the type. To get a better understanding of what elements go into a broadsheets layout on both sides of the page, over the next set of pages I have carried out tonal study sketches and layout diagrams of the elements that build up both sides of nine separate broadsheets. Doing this I will see how designers orientate and position elements on the page, how they utilise fold lines in the design and common similarities between multiple broadsheets.
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What Is Research?
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Broadsheet Research
Tonal layout sketches of various broadsheet designs
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What Is Research?
1
Layout drawing of a corrugated fold producing 12 panels, design uses text which conforms to the folds horizontally on one side and uses them as columns on the other.
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Broadsheet Research
2
Layout drawing of a broadsheet menu with 12 square panels, text restricted to one half of one side which opens to display a large image, large Justified wall of text on opposite side.
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What Is Research?
3
This layout has a good use of space cleverly using images that follow the folds to break up the body copy making the i formation more digestible. On both sides, the images stem over multiple panels of the folds.
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Broadsheet Research
4
The body copy on the front has three parts in a row with the text repeated being translated into three languages. For every new language, the three parts are offset one module to the left in the row. The back contains a large image.
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What Is Research?
5
In this layout, on the front side text is heavily dominant using a heavier weight of text for subheadings and indents to separate text from one another. On the backside, their is a big image with large sized type underneath it giving a break from the text heavy front.
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Broadsheet Research
6
Layout on front uses large areas of white space on some panels with a few images and body copy conforming to the folds while the back is completely made up of images with a small caption at the bottom left hand corner.
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What Is Research?
7
Layouts two sides are vastly contrasting, front side on the left has large quantities of text conforming to the folds while the back contains a single large image, feature of five boxes lined in a row used on both sides for a coherent appearance.
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Broadsheet Research
8
Sheet displays large bitmap imagery on both sides upon a coloured background, Small quantity of text on the page conforming to the grid structure.
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What Is Research?
9
Layout has an asymmetric fold pattern allowing for a thinner column where an image and larger sized type is displayed, the front contains a large image with small areas of text while the back contains the body copy laid out in two columns with some parts contained within boxes.
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Broadsheet Research
Conclusion to page layout experimentation
In conclusion, I have learnt that spacing of information is incredibly important as your able to use white space, fold lines, images and consistently structured subheadings to separate large areas of body copy from one another making the page layout appear more aesthetically pleasing and coherent. On the subject of coherence, having an element which transfers between both sides clearly linking them results in a more successful design such as the square boxes seen in layout seven. In some design seen, the orientation of the body copy and images are rotated to adherer to how the user would unfold and view the design. Furthermore, throughout the majority of designs, large imagery is used which seems to be very effective within a broadsheets layout.
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What Is Research?
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Broadsheet Research
Folds and formats Moodboard
When researching fold patterns I discovered how you can get extremely intricate and interesting folds just from a simple A-series page folded to generate panels to separate information.
Over the next few pages, I have made mock up models of some folds from the moodboard to review how each fold works and how ergonomic the fold is to use as a double sided broadsheet.
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What Is Research?
With this folding pattern it forms four distinct sections on each side of the page in which on the front side, the edges can be embedded to prop up the panels creating a 3D display stand of information coming out of the page. However, on the back of the sheet the folded in triangles obscure the view of the back in areas causing the user to have to completely open out the sheet to read the back. The broadsheet folding down into a trapezium gives the fold pattern more depth and a revealing nature to it when the user first pulls apart the fold to reveal the 3D form.
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Broadsheet Research
This design is interesting for its simplistic yet versatile execution as the page is folded into eight sections with a slit along the central fold line. It is this slit which allows the page to form when folded in half the interesting square pattern seen above with two tails either end, this means that when viewing the outside facing page the viewer is able to see the middle four panels of the alternate side before completely unfolding leading to interesting design options. Furthermore, the outside of the fold can be folded into an eight page booklet. This folding technique is commonly used in the making of zines.
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What Is Research?
I find the triangular elements within this format very intriguing as it creates unique cuts in the otherwise traditional square layout. When you unfold the design once as seen in the image above the overlapping triangles create a third triangle in the negative space which draws the viewer deeper into the design. However, the overlapping of the panels could cause information to be obscured as well as the viewer reading the same bit of information twice at different unfolding stages potentially making the layout confusing and not ergonomic to use. I find the reverse side of this design when folded up to be messy as you can see a diagonal line going across.
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Broadsheet Research
I believe that this fold is considerably more successful than the previous triangular fold pattern opposite as when your unfolding the page, each panel is only viewed a single time making the design appear less confusing and bringing the user on a journey as they unfold revealing a new shape. I love how the fold holds itself in place creating triangular pockets for the loose triangles to slide into furthermore, the folds creating triangles generates natural looking dividers in which information can comfortably sit within. Another feature is how the back side of this fold is completely enclosed until the page is fully opened out.
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What Is Research?
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Broadsheet Research
Typography Moodboard
When looking at typefaces to use for the broadsheet and this book I particularly liked the look of the IBM Plex series of typefaces. The three IBM Plex type families I liked were: IBM Plex Sans
For the broadsheet I plan on using IBM Plex Sans for the body copy and subheadings to keep the broadsheets design coherent with this book although I will experiment with using a combination of IBM Plex Sans and IBM Plex Serif having the quotes and title in serif.
IBM Plex Mono Furthermore, I do really like the stackable nature of the IBM Plex Mono typeface as it gives a technical For the book I decided to go with the constructed appearance to a design sans typeface as it has a clean and when used in a body copy. It is this elegant look to it which makes the body constructed nature surrounding copy of the type easy to read. I decided the mono types appearance which against using the serif typeface in the is intriguing as it lends itself to my book as I personally find the tails within research topic of information design the type more difficult to read in the where technical information and data is main body copy than IBM Plex Sans displayed in a clear, visual and well laid typeface. out way. IBM Plex Serif
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Broadsheet Development In this chapter I have recorded the different stages of the development of my ‘what is research?’ broadsheet using what I have learnt about page layout and folding patterns from my research in the previous chapter.
Across the next pages, I will display various stages of my broadsheet design having the digital image of one side with photos of a paper prototype for each design iteration. The photos of the models help to demonstrate the fold structure translating the 2D design into a 3D object. Furthermore, for each iteration I will discuss any peer feedback, development and aspects to improve upon on the page. The images of the folded broadsheet aided me in seeing where text overlapped or was too close to a fold line in the design as well as being able to clearly see the orientation of the various elements in the panels.
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What Is Research?
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Broadsheet Development
For my first iteration I designed the grid and where to place text columns so the text was all facing the same direction conforming to the shape of the triangular panels creating divisible sections of information. However, when creating the model of the design I soon discovered how this format does not function as intended, the text columns overlapping fold lines and getting cut off in areas making the broadsheet incohesive when unfolding and only readable when fully unfolded. Although the use of the circle from my infographic and the blue triangular pocket corners are very successful.
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What Is Research?
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Broadsheet Development
From the previous version I Have completely reformatted the page to better adhere to the triangular fold structure by moving the research quote and ‘Influential Designer’ panels to be on the side of the front cover so that, as you can see in the model, the back of the completely folded broadsheet is significantly more successful not having the large mass of text seen previously. The place holder text used in this iteration goes over the fold line in the ‘Influential Designer’ section and is covered by the triangular corner in the ‘Research In Design’ body copy. When I will put the text in future iterations ensuring it is not obstructed in any way.
To Improve The orientation of the ‘Research Methods’ and ‘How I Research’ columns need to be the same orientation when folded to the point seen above so the viewer can read both columns of text without rotating the broadsheet making the design more ergonomic to use. The text columns hug the fold lines causing them to possibly become damaged as well as not letting the type breath.
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In this iteration, I added the margin line discussed on the previous page to separate the column of text in the top and bottom triangular panels to give the body copy of the type greater space in addition to moving the body copy away from the fold line so that the type does not become damaged on the fold.
To Improve
Furthermore, I flipped the orientation of the text column ‘Research Methods’ as the previous orientation resulted in the body copy being upside down when folded. I have also experiments with ranging the text right In this column so when the panels are folded seen above the rags are both central giving a clean straight outer edge.
I will also move Michael Ann Holly name to stop text floating in mid air under the quote, instead I will place her name to the left following the margin line of the grid.
I will change the text in the ‘Research Methods’ column to be ranged left as ranging the text right makes the body copy more difficult to read due to the inconsistent starting point of the lines in the rag.
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Feedback from Paul 1/ Black and blue work well but pale grey panels would probably be better as pale blue. Black and white images would also sit well on pale blue panels.
4/ The folds are playful but arguably are centre stage. That being the case, use graphic tint panels to exaggerate the effect: more alternations of tint triangles
2/ Type measure needs to be slightly narrower so the text under “influential designer” is less tight: margins should be the same as each other.
5/ Interlinear space in small headings is much too happy close up.
3/ Type: Use styles as simply and consistently as you can. If the main heading is in IBM Plex serif, make the other headings match with the text all in sans. The most ‘technical’ style of IBM Plex is the Monospace.
6/ Thin rules above or below headings (not both) might help to show the rhythm of the text blocks 7/ What is Research? : can you do more with the title? and maybe your radial annotations could appear in mid blue, cutting off at the edges of the cover?
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Broadsheet Development
From the feedback, I made the necessary changes including adding in the dark blue text of the infographic on the front cover creating intrigue. Made the type consistent throughout changing the title and quote from IBM Plex Serif to IBM Plex Sans matching the body copy and the book giving a cohesive look. Made the spacing of subheadings consistent across the page utilising a single line. Reduced the column width for all body copy columns to be 85mm so a smaller number of characters appear on each row increasing legibility. Made the margin width from the edge of each column larger to allow the type to breath as well as moving ‘Michael Ann Holly’ to be in line with the quote.
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In the previous iteration the type felt too constricted and tight so I experimented with changing the typeface used for the broadsheet from IBM Plex Sans to IBM Plex Mono giving as suggested in previous feedback from Paul. I find the Mono type significantly easier to read and more ascetically pleasing as the previous iteration had too much white space. Although I noticed that the stacking of the subheadings should be altered for ‘Research In Design’.
to keep headings the same across both sides. The quote name is now in a better place and looks cleaner. Type in the broadsheet works in either monospaced or the sanserif. Put a few ‘mm’ space between the edges of the text boxes and where the type starts as it is very close to the fold line on a slant. Ben - be careful of the text going over the fold line on the slanted edge.
Feedback
Shangmou - The light grey panel works very well in separating the panels.
Victoria - Good clear front cover with a better dynamic image. Text spacing has not yet been fixed and make sure
Felicia - I prefer the mono version of the typeface as it is easier to read and there is more space between lines.
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Broadsheet Development
Here is my final version of the front side of the broadsheet. From the previous feedback I made the margin width consistent on both sides of the column so the body copy sat in the centre of the grid with a nice quantity of white space surrounding it. I also used the direct select tool to create a slanted edge to the text boxes seen best in the ‘Influential Designer’ column where the type follows the fold line leaving several mm of white space between the text and the fold so that the text isn’t damaged or appears squashed.
Furthermore, to fix the stacking of the subheading ‘Research In Design’ I simply moved the ‘In’ down a row making the entire page feel more balanced and supported. As an addition to the final version, I turned the blue triangular corners into squares to give the fully opened sheet a more cohesive look as well as linking to the design of the back sheet.
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One great aspect of the fold pattern I am using with my design is how the back of the sheet is not revealed until the broadsheet is fully opened. This means that the design of the back of the broadsheet doesn’t need to change orientation to adhere to the fold structure as the design would only ever be viewed as a whole.
From my research, on the back of the broadsheet I chose to talk about Postmodernism in infographics, Harry Beck and his development of the London Underground Tube map, Marie Neurath with her isotype design and working practice of ‘the transformer’ in addition to Margaret Calvert with her standardisation of the road signage system in the UK. All the designers I Because of this factor, I was able to split researched unintentionally formed a my page into three sections, two large wayfinding theme to the broadsheet in grey triangles at the top and bottom which I found fascinating that the theme with a central column for the text to be of travel emerged from research into placed inside. I really like the simplistic information design. and elegant look that comes from this layout with the same blue squares on the front to link the pages together.
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In this iteration of the backs design I have added in two images to the infographic which have both been turned into a bitmap and coloured the set blue used throughout the book, infographic and broadsheet with the RGB ratio: R - 50 G - 190 B - 236
To aid these images I moved Margaret Calvert to the bottom segment allowing me more space to talk about the work of each designer on the broadsheet in clear columns next to the image in discussion. I found that the type looked significantly better uninterrupted by subheadings between the fold lines making it so the folds form invisible separate panels of information which I like the look of. To Improve
The two images used were Harry Beck’s first published 1933 London Tube Map and Marie Neurath’s Isotype drawing of the movement of passengers entering and leaving the Piccadilly Circus Station in her book ‘Railways Under London’.
I noticed that the text of the body copy after writing up the information not IBM Plex Mono so I will change the text to the correct font and reformat the columns to cater for the larger type.
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Broadsheet Development
Here I have set all text to be IBM Plex Mono to match the other side of the broadsheet. To cater for the increased spacing of the Mono typeface which takes up a greater volume of space on the page I increased the length of Marie Neurath’s column up an Harry Beck’s to meet the gutter line surrounding the fold. This way the type will remain undamaged in the finished broadsheet.
To Improve I will slightly increase the spacing of the subheading ‘Marie Neurath’ to give more space between it and the body copy on Postmodernism as thy appear a bit too cramped. Finish adding in the final areas of text to complete the broadsheet as a whole.
Furthermore, moving the text boxes brings out the blue squares making them more intriguing on the page allowing for two distinct columns to form on the page.
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Here is the finished version of the back of the broadsheet with all of the text on postmodernism and three designers linked to information design displayed clearly laid out in two offset columns. I particularly like the spacing achieved between the type in the final piece as it gives a very coherent, elegant look as well as the two blue bitmap images on top of a light grey background giving the page a great level of balance.
Feedback The information from each person does not fall over the fold line it is spaced out into its own sections making the text clearer and easier to follow There are images for both designers Harry Beck and Marie Neurath give balance to the page with the white space in the central column.
To the page I also added at the bottom in a smaller sized type text leading people to the bibliography within this book as I couldn’t fit the bibliography into the design of the broadsheet.
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Broadsheet final outcome front
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Evaluation
Broadsheet final outcome back
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Evaluation
Research was an essential aspect of this project not just because it was in the title ‘What Is Research?’ but because by researching research I have got a new found perspective on the methods I use to research. Beginning the project I broke down the ways in which I research looking into the influential designer, Marian Bantjes’ work and her intriguing process of experimenting with a wide range of media to achieve a unique design which is still honest to the context she is portraying. I identify deeply with Michael Ann Holly’s view of research and how “we carve out a territory from the much larger map of the field and keep magnifying it until something becomes visible that no one has seen before” as it mirrors how I carried out research for this project with one question leading to another web of questions to be answered. This led me to laying out all the ways in
which I research as well as elements that go into my research in the form of a infographic which helped me link the various aspects together. When investigating how a infographic is built up discovering how it is essential to contextualise any information displayed, I colour coded my research connections within the infographic categorising them into specific areas of research which led to a more successful communication in my infographic as the connection lines began to have meaning. Once I had concluded inquiring how I research I then began to research into other designers with a connection to information design as I was fascinated when creating my own infographic that I wanted to discover how information has been communicated throughout history in addition to how infographics and information design links to postmodernism.
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One designer who I discovered from guest lecturer Sue Perks (an information designer and educator who is Subject Leader for MA Graphic Design at University for the Creative Arts, Epsom) talk on the archival information of Isotype and Marie Neurath’s role of the transformer. I never heard of the term Isotype previously so by taking out the book ‘The Transformer’ by Neurath which sue discussed I discovered how Isotype is a drawing, image or symbol which represents a statistic or piece of data which is usually quantitative in nature. Intriguingly to me I find Neurath’s philosophy of the transformer incredibly fascinating for the field of information design with her discussing the role of a transformer as follows; ‘From the data given in words and figures, a way has to be found to extract the essential facts and put them into picture form. It is the responsibility of the transformer to understand the
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data, to get all necessary information from the expert, to decide what is worth transmitting to the public, how to make it understandable, how to link it with general knowledge or with information already given in other charts. In this sense, the transformer is the trustee of the public’ (Neurath, 2009:77). Interestingly this mentality and approach to design can also be extended into the work of other designers I researched including Harry Beck’s London Tube map, Margaret Calvert’s UK road signage and more recently David McCandless modern infographics. Next came the collating of all my research into both how I and others work into the form of a double sided A2 broadsheet. After my initial practical research and experimentation into what goes into a broadsheet,the layout of these elements in a broadsheet, how
Evaluation
the broadsheet can fold and typography I came to a better idea of how to begin designing the broadsheet. The fold pattern which I found both intriguing and suitably challenging involved several triangular folds and uniquely shaped panels to place information in. This fold proved a significant challenge to get the orientation of text and images correct on the front side of the broadsheet so that the viewer can easily read the information on each panel as they unfolded the sheet without text going over a fold or being cut off. To get the orientation of these elements to a point I was happy with the design involved several iterations to the layout and producing mockup prototypes of each design to see how it folded and where information was positioned in relation to the folds. One of the biggest challenges to this project was the sudden hit from
Covid-19 halfway through the project with the switch to online learning with very short notice. One side effect of online learning was the limited feedback available for each stage of the project as a result of not being in a studio environment which made certain aspects more difficult and time consuming. In this project I have actually identified the methods I use to research which I never properly considered. On top of this I have learnt new techniques to improve my design skills such as how to create bitmap imagery which I did for the first time in this project as well as discovering editorial design in books which was incredibly fun to explore as this is my first digital book. I am incredibly happy with the final outcome of the broadsheet especially the back/inside of the broadsheet as I
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was able to present my research into the various designers in the field of information design from different time periods. Coincidentally, my research into information design naturally led to that of wayfinding design on the back of the broadsheet with a travel theme to each of the designers work. I also really like the balance created on the back of the broadsheet with the use of two large triangular bitmap images in blue on a light grey background containing the central column of text surrounded by white space. This layout was possible as despite the complex fold structure, none of the inside is revealed until the broadsheet is fully opened which was one of the reasons of me choosing that folding pattern. In conclusion I hope you enjoy my answer to the question...
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Bibliography
Adamson, G. and Pavitt, J. (2011) Postmodernism : Style and Subversion, 1970-1990. London: V & A Publishing. Ann Holly, M. and Smith, M. (2008) What Is Research in The Visual Arts? : Obsession, Archive, Encounter. New Haven, Conn. ; London: Yale University Press. Bantjes, M. (2010) Marian Bantjes: Intricate Beauty By Design. At: https://www.youtube.com/watch?v=MkS-u32xfGc&t=997s (Accessed on 1 March 2020) Bantjes, M. (2018) I wonder. London: Thames And Hudson. Bayer, H. (1967) Herbert Bayer : Painter, Designer, Architect. New York: Reinhold publishing corporation. Corraini, P. and Cox, P. (2016) Mind, Maps and Infographics. Milan: Moleskine. Dobbin, C. (2012) London Underground Maps : Art, Design and Cartography. Farnham: Lund Humphries. Fink, N. et al. (2012) ‘Examining The Picture Superiority Effect in Prospective Memory, Including the Factors of Age and Attention Load’ In: Proceedings of the Human Factors and Ergonomics Society Annual Meeting 56 (1) pp.2157–2161. Hatched Staff (2018) Margaret Calvert – the Mother of modern-day Information Design. At: https://hatchedlondon.com/margaret-calvert-the-mother-of-modern-day-information-design/ Hollis, R. (2001) Graphic design : A Concise History. London: Thames & Hudson. Imhof, E. (2007) Cartographic Relief Presentation. Redlands, California: Esri Press. Krum, R. (2014) Cool infographics : Effective Communication With Data Visualization and Design. Indianapolis, Indiana: John Wiley & Sons, Inc. McCandless, D. (2012) Information is Beautiful. (new edition) London: William Collins. McCandless, D. (2017) Information is Beautiful. At: https://informationisbeautiful.net/ Neurath, M. (2009) The Transformer Principles of Making Isotype Charts. London: Hyphen Press. Roberts, C. (2015) Graphic Design Visionaries. London: Laurence King Publishing Ltd. Tufte, E.R. (1991) Envisioning information. Cheshire, Connecticut: Graphics Press LLC. Tufte, E.R. (2001) The Visual Display of Quantitative Information. (2nd edition) Cheshire, Connecticut: Graphic Press LLC. Wurman, R.S. (2000) Information Anxiety. Indianapolis, Indiana: Que ; Hemel Hempstead.
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