Cake mag 1 by Calgary Journal

Information Design

2014

cakemagazine

@_cakemagazine2014

@_cakemagazine

Welcome to

Each fall semester, senior students in the Department of Information Design at Mount Royal University enroll in a capstone course called Document Production. The requirement is that the students work together to imagine, create and publish a professional magazine. You’re holding this year’s edition – Cake Magazine. The students were adamant from the beginning that this year’s magazine “celebrate information design – their passion for it, their journey with it, and the characteristics that make it a unique profession.” Indeed, information design has emerged as the world’s newest profession – this informed ability to utilize a “tight coupling” of words and images to create a clear wayfinding for readers and viewers. Teaching a non-traditional university course such as this one is a privilege beyond measure. Here’s why. In the academy, the term alternation is used to describe the rare situation where classroom learning and professional practice are combined. The principle of alternation emphasizes the notion of learning by doing – but in conjunction with and informed by theory. So students engage in foundational concepts while also engaging in real-world, real-time professional work. The curricula and the profession meld together. Academic work becomes purposeful. Confucius is credited with the following adage: “Tell me and I will forget. Show me and I will remember. Engage me and I will understand.” The creation of Cake Magazine has been nothing if not engaging.

MAGAZINE

Not surprisingly, the experience has been as rich for me as it has been for the students. This unique teaching situation inevitably creates conditions of abundance. Teaching (and learning), in the context of abundance, becomes a personal, pleasurable and powerful experience. Once within a paradigm of abundance, success is not only possible, but undeniable. Imagine being a professor in such a scenario. Doing so will help you appreciate the deep joy and satisfaction that have come my way through my involvement as the professor supervising this applied, class project. I first taught this class of students three years ago when they were just beginning their studies in the Information Design program. I have been fortunate to work with many of the students in several other courses prior to meeting them again this semester. As Peter Mansbridge says so well every night on The National: “We know one thing for certain” – these students are as remarkable as they are talented. As you read each article and engage in the accompanying information graphics and overall page design, consider that every stitch of it is original work – created by a soon-to-be graduate of MRU’s Information Design program. Look out world!

Dr. Richard Erlendson Faculty of Communication Studies

The Ingredients

Caliber Ambition

Kinship Emerge

Great instances of design often times seem to have been pulled from thin air. Work of the highest caliber seems to come from nowhere.

The desire to achieve is often elusive and hides. If you are looking for shortcuts it’s ambition you won’t find.

There are good ships and wood ships ships that sail the sea. But the best ship is kinship may it always be!

For design to transpire and come to light. It must first strike a chord and emerge into sight.

The silver lining in the digital age of information by Jay Laya

Sustain this by Rachel Huber

Shit just got real by Michelle Vaniersel

Information design teaching us how to find our way by Diana Wong

The facts on nutrition by Ezequiel Perdomo and Jessica Westlake

In the blink of an eye by Alisa Kuzmina

Translucent threads: how semiotics changed me by An Vo

Liminal creation by Alexis Handford

Mind your business by Josh Penner

Type is power by James Ridley

Working with a designer by Ronica Tang

Fear of the white page by Samantha McLaughlin

It’s about legibility by Naazneen Lalji

The art of storytelling by Vicki Lo

Too much of a good thing is not always wonderful by Emma Wilde

The web aesthetic by Chelsea Wilson

Elements 101 by Jordan Piraux

The principle of veracity by Samera Kadri

Symbols around us by Clarissa Sutanto

All aboard: information design for travellers by Ban Ihsan

It’s a jungle by Hayden Pattullo

The quest for player experience by Luke Dickson and Jillian Dipanfilo

Skill set: depending on your degree by Emma Kelly

Method by Stephanie Stobart

Caliber

The silver lining in the digital age of information Information is what keeps us moving forward in the world, but over-consumption of information at any given time could lead to “infoxication”

Although information is essential in the way we navigate and interpret our world, excess consumption of information could lead to information overload or “infoxication,” as termed by Alvin Toffler in his book Future Shock published in 1970. Information overload refers to the instance when the amount of information acquired by a person exceeds what he or she can effectively process and store. As a theory in cognitive processing known as ‘elaboration likelihood 10 |

model’ states, information overload hinders our ability to critically process information for decision making.

The silver lining

While the notion of “infoxication” may sound overwhelming and discouraging, there is a bright side. Disciplines specializing in designing and structuring information for improved user comprehension and consumption are emerging. These disciplines focus on transforming and modifying information so that users of information can acquire

and process new knowledge more ef fectively and ef ficiently. One discipline that has gained some traction and popularity in this field over the years is information design – because of the skill sets and knowledge that information designers access. From the early stages in MRU’s Information Design Program, students have been taught how to work effectively with information to benefit the audience or users.

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We learned that the first step in designing information is to understand how information circulates around our society. The second step is to gain knowledge about the human cognitive processes involved when dealing with information, through various learning theories. The third step is to know which media are effective to depict or present certain types of information for optimal comprehension and memory retention.

The information designer’s utility belt

What good is an information designer without his or her tools – the basic

First step The first thing we always do is to conduct research on the type of information that needs to be presented. We figure out the trends surrounding the particular information, and around that we develop means to make it more relevant and up-to-date. We also conduct research on the most effective medium to use to present the information. The last and most important element in the research process is researching our audiences or users of the information. We find out about their tendencies or norms as an individual and as a group, and from here we decide the most effective way to present information to our target audience. We do this by asking these questions: How can we acquire our audiences’ interest? How can we retain their interest and attention? What are trending around our particular audience? How will our audience members consume and process information.

“The future does not have to be so bleak, and we do not need to be passive consumers of information.” necessities when working with information. These tools are the design, text, and data software we utilize to complete our tasks productively. Furthermore, good information designers know that information needs special treatment and planning in order to make it user-centric. User-centrism refers to the type of design or treatment of information that focuses on the user, and how the user can effectively and efficiently absorb, retain, and utilize information. Elements of user-centric design include the use of information architecture, usability tests, and visual communication.

Designing the information: the process

What follows is a basic step-by-step process on the way we information designers design and present information for our target users.

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First step: Research process

Fourth step: Usability testing on the effectiveness of the product

Second step: Planning and iteration process

Second step Second, we pool our research together and find patterns or correlations within it. We then take these main key patterns and integrate them into our planning process. The planning process involves creating the backbone or structure of the overall design through sketching and developing iterations.

Along with our computer programs, this is where our knowledge in typography and graphic principles is employed. We employ this knowledge to find the best way to arrange text and graphic in a page for optimal presentation and comprehension, as well as to achieve harmony on the page.

The planning or sketching phase, I would argue, is the most important process for an information designer, because sketching out or creating the blueprint of the fi nal product requires critical thinking and strategic problem solving. Third step The third step in the process is the actual development of the product.

This is where our knowledge and expertise in various design, data, and writing software come into play. Note, however, that information designers are not restricted to only computer software or program tools. Some information designers can be hands-on with their work; for example, typography and signage projects. In this process, we take our plans and sketches and implement them as the blueprint in the designing process.

Third step: Development and design process

Fourth step The fourth step is usability testing. Perhaps one of the most critical steps in the overall process, usability testing has been widely implemented, especially in the realm of web and interactive design. Usability testing can save a company from losing money by reducing uncertainties if testing is carried out before the release of a product.

However, usability testing is not only used for products, but it’s also used to test informative documents. Usability tests measure how target users, or users in general, gain knowledge when navigating through information, as well as how well users understand or digest information on a page. With this knowledge, we information designers can best structure information for optimal knowledge retrieval and retention for the user.

A recap

To recap, the digital age brings forth the flow of information. With the current and emerging communication technologies, new information will be introduced in the system and we will have to deal with it all one way or another. However, the future does not have to be so bleak, and we do not need to be passive consumers of information. There are disciplines out there, including information design, that are dedicated to designing information in a user-centric way to ensure that the user has a choice and access only to the information that they need.

Article and Design by Jay Laya

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The Facts on Nutrition Amount

How information design could change the little we know about the food we buy and consume. The plan: A usability test that will reveal necessary changes to

% Daily Value

Research 8g

18%

Redesign 12g

21%

Usability Testing 10g

32%

Charts 1g

14%

Chart Iconography

Infographic 5g

Findings 8g

12%

Article 14g

26%

Layout Colours Typography

not a significant source of any other vitamins and minerals INGREDIENTS: Ground yellow corn, corn gluten meal, whole wheat flour, tocopherals (form of vitamin E), rice flour, soy flour, sugar, propylene glycol, meat and bone meal, tricalcium phosphate, phosphoric acid, salt, water, animal digest, sorbic acid, potassium chloride, dried carrots, dried peas, calcium propionate, lysine monohydrochloride, choline chloride, added colour (red 40, yellow 5,

yellow 6, blue 2) dl-methionine, vitamin E supplement, zinc sulfate, ferrous sulfate, manganese sulfate, niacin, vitamin A supplement, calcium carbonate, copper sulfate, thiamine mononitrate, calcium pantothenate, iodate, pyridoxine hydrochloride, folic acid, biotin

the nutrition facts label and the way we read, use and understand them.

In the same way a table of contents tells one what is inside a cookbook, a nutrition facts label reveals what is inside the food about to be consumed. So it is kind of a big deal. But what happens when people are no longer able to identify the contents of what they are eating? Or when the measurements are abstract and challenging to understand? Or when manufacturers use difficult language to obscure the details about the product? Before you get yourself more twisted than a pretzel, know that issues related to the nutrition facts label are currently being addressed by the government of Canada. Whether this call for change is inspired by Michelle Obamaâ&#x20AC;&#x2122;s proposed new label or a demand from the Canadian public, it is agreed that the nutrition facts label needs to be modernized. Earlier this year, both Health Canada and the Canadian Food Inspection Agency (CFIA) recognized the need for a new labeling system and united in an effort to improve nutrition labels. The coalition took a unique approach in addressing the issue, in that it included a series of open discussions with the Canadian public about desired changes. Through a series of round table discussions, a fundamental truth was revealed: we, the Canadian people, have a right, need and desire to know what is inside of our food. Through our research we discovered that one of the biggest questions the common consumer had was the following: â&#x20AC;&#x153;How do I make the

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best choice for myself and my family?â&#x20AC;? As it currently stands, consumers have a difficult time digesting the content on the labels. And, even if they believe it, it is questionable whether they understand it. Or, better yet, can an average person with limited understanding of nutrition actually use the label? Being passionate about the subject ourselves and eager to make the world a better place through good design, we decided to take on the challenge of redesigning the nutrition facts label. Motivated by these ideas, we set out to understand the issues surrounding the information, design, and usability of the current labels in hopes that the new knowledge would guide our thinking and our redesign. Call us cheesy, but it was our intention to make meaningful changes to the label that would deeply affect the lives of Canadians throughout the country. The approach Before any change could take place, we questioned everything: the label itself, the laws surrounding it, the food packaging and the manipulation of consumers through distorted and obscured information. We wanted to know as much as possible about the subject to gain an understanding of what people wanted and needed to know about their food. We figured people would still buy packaged foods, but we were positive that the clearer the nutrition facts label, the more people who could take an active

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role in deciding what they would and would not consume. Would a change in the current nutritional label affect consumers’ decisions to purchase a food product? We like to think so. Just as we had many questions we wanted answered, we also felt the need to research and read as many things on the subject as possible. We learned about Michelle Obama’s efforts to propose a new labeling system to combat obesity in the United States, and how she felt that the nutrition facts label had a direct impact on the health of the American population. We consulted the guide released by Health Canada to understand how the percentage of daily value (DV%) and physical amounts work together in a 2000-calorie diet, and how they are displayed on food labels. We learned about different systems for displaying this information: the British labeling method, which colour-coded amounts of substances as being high, moderate, or low; Kellogg’s own plans for a label makeover; and McDonald’s unique approach at visually displaying caloric information through a simple infographic found on food wrapping and packaging.

When we came upon a report published by Health Canada titled Consulting Canadians to Modernize and Improve Food Labels, we felt like we were hitting two birds with one scone. This 16-page document released by Health Canada contained findings, suggestions, and criticisms emerging from discussions with the public, proved to be invaluable in our understanding of the issue, and became the basis from where we made many of our decisions for the redesign. Characteristic of any good information designer, is the fact that the content always drives the design. The redesign After we took the time to arm ourselves with proper knowledge on the topic, we felt ready to redesign a new label. When considering the varying approaches employed by food companies to display nutritional information, we wondered if there was a way to standardize some aspects of the label. Perhaps the government of Canada should take a larger role in enforcing laws that would require food manufacturers to use a standardized system to avoid confusion and promote transparency.

After much questioning and research, we came to the conclusion that there were some things that were beyond the scope of our research, while others were beyond our ability to improve. Some of the major issues we identified, but were unable to address in this study include: •

•

Regardless of these restricting factors, we were motivated by our own education, conscience, and experience as both information designers and consumers. We decided that if there were things we could change, then we had the moral obligation to do so. The positive changes we were able to address in our redesign include:

the daily values and caloric intake do no reflect a wide range of groups, such as children, seniors, etc., who have unique caloric intakes Health Canada does not currently have a suggested daily value (DV%) on amounts of sugars and protein to be consumed in a 2000-calorie diet ambiguous claims and terms in food products made with domestic, imported, organic, whole food, genetically modified (GMO), and fair trade ingredients were difficult to categorize in a streamlined list because they tend to mix with ingredients that are not colour use is limited due to colour blindness.

•

visually depicting the relationship between caloric daily value (DV%) percentages and amounts of a 2000 calorie diet in an impactful visual way

•

making changes to portion sizes to reflect real amounts of food typically consumed in one serving

•

reorganizing the ingredient lists, bringing into focus additives such as sugars, salts, and preservatives

•

standardizing icons to alert consumers of harmful allergens

•

displaying both the packaged and best before dates in a clear and legible way.

The Production Cycle

planning

Chart depicting the relationship between project length and effort in the production cycle of the label redesign

article research

project planning objective/scope

user testing

research of topic, project question objectives and theme

article draft (1)

user testing plan

label redesign

user testing

findings, interpreting data & infographic article draft (3)

iconography

layout edits layout design

article draft (2)

EFFORT

layout plan

layout final edits

PROJECT START

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PROJECT FINISH

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Iconography

Usability Facts

Based on findings gathered from our user testing

What is a Usability test?

88%

of participants frequently use nutrition labels

Ratio of male to female participants

Participant’s Main Priorities in Food Labeling Origin of Product

Organic

Usability, or user testing, is frequently used in user-centred design in order to evaluate the effectiveness or usefulness of a product. When properly executed, usability testing has the potential of revealing a large amount of both quantitative and qualitative data on the product. As advances in information design continue to be made, a larger focus will be placed in user testing wherever a user has to interact with information. Below are the main steps we took in our testing:

Nutrients & Vitamins

Allergens

Expiration Date

Introductions made between moderator and test participants. An overview and rules and conditions are explained to the participant. A waiver form is signed

Calories

Ingredients Serving Size

Participant is invited to fill in a prequestionnaire, useful in determining the participant's habits

44%

100%

answered the new could identify grams/DV% serving size was AND more realistic to them located the added sugar/ salt/preservatives section

said the label was easy to use

88%

said the label was easy to understand of the participants claimed that the new label would

positively affect

their decision to buy a food product

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55%

made the connection between the red line and one meal

said the label was easy to read participants 2/3 ofnoted that the text size might cause problems in readability

Testing is done with a variety of situational tasks that walks the user through the program/product/design, etc. Performance metrics (time to complete task, confidence level, task completion, etc.) and all relevant data is recorded

Upon completion of all tasks, the user is asked to fill in a SUS, or system usability scale that is used to quickly asses usability through simple questions. This acts as a post-test questionnaire

5 Compensation or a token of appreciation. We found out TimBits™ worked really well

Part of our user testing focused on the recognition of iconography. We wondered if iconography could be used to standardize and alert consumers of potential dangers. We chose to use icons to display allergens because they have already been used in a variety of ways in existing food packaging, but vary greatly from package to package. We thought a logical step was to standardize them for consistency and quick recognition without taking up much space in the label. As part of our testing, we role-played with the participant that he or she had an allergy to peanuts. If that was the case, was the food, whose label had been redesigned, safe for the participant to eat? We asked this question to see if the icons’ significance was identifiable and intuitive. After the participant’s answer, we would show them a separate sheet containing all our icons (right) and ask them to identify to us as many of our allergen icon as possible. rates of recognition tested generally positive.

With these changes in place, we questioned whether our newly designed label was a step forward toward clarity and efficiency. As information designers, we take pride in knowing that it is the content and the usability of a product or design that makes it effective and relevant. So, how could we be sure that our redesign was in fact an improvement? We tested it out, of course! Usability testing Many methods can be used to gauge the usability of a design. In our case, we chose to gather a combination of both qualitative and quantitative data for our analysis. The tactic we employed was a series of situational tasks, where test participants were asked to think out loud while performing each tasks on a paper prototype of our label. This exercise revealed how people interacted with the label and how potential consumers might also use it. We developed our usability test so that it would focus on the specific changes we made. For the test, we asked participants to identify different parts of the label, evaluate the effectiveness of our icons, and to use the nutrient chart in conjunction to the red line that marks one meal, or 1/3 of daily value of nutrient. Above all, we really wanted to gather data on how to make the label better –

after all, when contemplating information design the end-user is always the focus. We were able to test our label with participants who had a variety of habits – some very interested in the project and had many opinions to share on the subject. Others admitted to never really using nutrition fact labels. Some even had special dietary restrictions that made them dependent on the information provided in the label. All in all, our pool of participants were varied in age, gender, and dietary choices/restrictions, and as such, it led to a wealth of data on the topic. The feedback we gained through testing was extremely useful. Certain elements, such as the visual graph used to represent the daily value of nutrients, and the identification of different types of added sugar/salt section received highly positive reviews. The participants responded positively to how percentages and amounts were visually represented, most found it convenient to have one spot that was easy to locate and indicate preservatives. Other additions, such as the red line indicator and the allergen icons, received mixed reviews. Participants noted that the red line indicator needed a clearer explanation on what it was and how it worked. Though it is interesting to note

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that once the participants understood what the line was, they were easily able to make sense of the graph. As for the icons, most participants noted that a standardized series of icons for allergens would be a good idea. And although participants could usually identify the majority of the icons, most participants struggled with identifying gluten, soy, and sometimes, tree nuts. It is evident from our testing that the participants who were familiar with allergies were more likely to recognize the icons due to personal allergies or having close ones with allergies.

to the misleading politics behind food labeling in North America that has made skeptics and critics of all of us; and a lack of public trust on food manufacturers makes this the ideal time for a new labeling system. In that sense, this project has been infinitely valuable in assessing a piece of information that we come across on a daily basis, and often take for granted because of the challenges that make it hard to understand. How much healthier, energetic, and immune to diseases would we be if this piece of information would function in the way it was intended to?

In addition to these problem areas, we had a few participants, one being an expert typographer, who questioned whether the size of the type utilized could have been made smaller but clearer. We believe that in introducing a new label, it would take a period of time for people to become familiar with the label and use it properly. Nonetheless, the more testing we are able to do the more refined our product will become. As such, we believe the feedback we have received, and the data we have collected, has brought us to a new level of understanding the strengths and limitations of our own design.

We considered making many changes to enforce the transparency and clarity of labels, and enhancements to the overall experience of grocery shopping that go beyond the scope of this project. During the time of our research, we hoped we would come across the name of the designer who created the nutrition facts label, so that we could understand the rationale behind his or her decisions. But the truth is that there is nothing wrong with the aesthetic of the label in and of itself. As information designers we see that the real problem lies in a small, but infinitely important, piece of information that is hard to decipher and use. And it is only by bridging the gap between user and information that we believe these problems will ultimately be overcome and improved.

We recognize that our study is not conclusive, but rather, it marks the beginning of a dialogue that needs to take place in all of our communities, schools, and grocery stores. As it stands, the current label no longer cuts the mustard, due

The new label

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The new label, explained 1. Based on a 2000 calorie diet.

5. The only depicted vitamins, are the ones of a relevant quantity. If a vitamin is not present, it is a zero per cent.

2. Realistic serving portions. 3. The DV% can be calculated with the help of the red line. The dotted red line represents exactly one third of DV%, which would translate to one of three daily meals. The red line is meant to aid the user in planning balanced meals that meets his or her dietary needs. 4. Nutritional content displayed visually through bar graph. A full bar would represent 100% of daily value percentage. On the far right, the measured amount of each nutrient.

6. Ingredients are organized in descending order, from highest quantity of ingredient to lowest. 7. List containing any and all additives, whether they be sugar, salts, or preservatives. 8. Standardized allergen icons. If an icon is not present, the food item is free from the corresponding allergen.

9. v

Article and Design by Ezequiel Perdomo and Jessica Westlake

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Tools for Info Design Rhetoric Typography Information Architecture Programming Intercultural Communication Usability Research in Info Design

MIND YOUR

BUSINESS

Visual Communication Document Production Project Management Instructional Design Technical Writing

Sample information design classes and their real-world applications

Trade Public Proposal Technical/User Operating Web Business Business/ Shows/ Speaking Writing Documents Manuals Content/ Plans Product Design Development Sales

Why an information designer is a great ﬁt for any business organization Soon after a new company forms, its documentation and information design challenges start to snowball. There is a noble and valid reason that this happens – ownership has to focus on much bigger issues like securing contracts, sales, customer service, and other revenue-generating projects. In starting up a new business, or running a small business, a lot of focus is given to reducing or eliminating overhead (things that don’t make money). While it is a good business practice to keep costs down, ignoring the need for strong information design and documentation can create a bottleneck situation down the road. When this occurs, owners are placed in a situation where they need a lot of production very quickly, and managing it can be very challenging. Add to this a seeming lack of profitability, and consumption of time resources, and this makes for a very difficult pill to swallow. Most business owners or managers will simply send the work to a design firm and pay upwards of $100 22 |

per hour to have these things taken care of. There are other options out there, and one of those options is to hire an information designer. I served my internship with a SCADA (Supervisory Control and Data Acquisition) software company that built industrial automation systems for a variety of applications – but mostly oil and gas. The flexibility required to work within the company was quite extensive. At the outset, I knew nothing about the industry, and I knew even less about the colloquial terminology used to describe system components, and what they actually do. This was a great challenge for me because part of our job as information designers is to investigate our surroundings and be able to recall what we learned in a language understandable to the local audience. Within weeks I had re-written the company’s operating procedures manual while putting together a PowerPoint presentation that talked about well site

data management – as well as a sales package for our SCADA software. I also fetched about 20 large double-doubles that week and washed the boss’ Harley. That was a fair price to pay for such an enormous learning experience. So what makes an information designer good in any business environment? Flexibility Information designers are conditioned to learn concepts very quickly. In a sales and marketing capacity, this is a highly valuable skill because it allows them to be able to represent the product or brand accurately, in detail, and in the best possible light for the desired audience. An information designer is also able to describe the primary, secondary, and tertiary audience’s personas. But, you note that you’re not using them in a sales or marketing capacity? That’s okay, because we information designers can do technical writing too. One of the departments I interned in was backlogged with technical docu-

mentation needs. I was pulled off of a wire-framing project for a proposed website for our Mexican offices to help get that ball rolling.

Creativity Part of the cultivation process in educating information designers is the part that calls upon their creative problem solving. By nature, information designers think out of the box. If there is a solution for a challenging problem, and the solution pool has become stagnant or blocked, information designers call on all possible resources to produce a successful outcome. Given some of the tight deadlines in their degree program and profession, they can usually handle such situations brilliantly. This isn’t limited to media-related situations – is true for finances, human resources, and other facets of any industry.

“You’re getting the critical thinking and evaluation skills involved in systems analysis, problem solving, and big-picture thinking.” Let’s not forget that you’re dealing with a degree-holder. So aside from the technical skills held by the information design professional, you’re getting the critical thinking and evaluation skills involved in systems analysis, problem solving, and big-picture thinking. This is a great fit for most businesses because there is a dual-function built in to your new human asset. Information designers can perform regular work duties, and break off to perform information design duties when needed.

Solution-ﬁnding If you need a new look on some product information, that’s the bread and butter we love. Information designers consider every possible element of every task, from usability, to ethics, to

sentiment analysis. I’ve been involved in several other projects including insurance restoration, establishing a forensic consulting business plan, sales and business development, as well as web development and branding. I’ve never felt out of my element in any of these respects because I was given the tools to quickly adapt and thrive in my environment — with a confident but humble attitude. You cannot lose with an information designer. Enhancing your corporate portfolio From an investment perspective, your return-on-investment is freed time resources, effective print- and webbased materials, consolidation of tasks, an enhanced portfolio of company problem solvers, and efficient completion of assigned tasks.

Article and Design by Joshua Penner

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It’s about legibility Font preference and readability on computers and mobile devices

Typography is the art of arranging type. It involves the selection of typefaces, point size, line length, line spacing and adjustment of spaces between groups of letters and in between pairs of letters. It is one of the components of information design that I am interested in investigating. Typography is essentially the shaping of written information. It plays a huge role in our everyday life – especially in a generation where technology is reaching new heights. It’s becoming more and more apparent how profound an impact typography makes on us on a day-to-day basis – whether it is on an iPhone, application form, e-mail, website, street sign or a book. It’s impossible to deny typography’s existence, but the key here is the effectiveness of its use. As an information design student, I’ve seen many beautifully designed documents as well as many poorly designed ones. A well-designed document should draw readers into the text. One of the main ways we use typography in our daily lives is education. Schools all over

the world rely heavily on the use of on-screen typefaces to educate students. Similarly, typography is also a component of mobile devices when reading emails, playing digital games, and accessing the web. For this reason, I decided to determine the readability and preference of typefaces on computers and mobile devices for young adults and students. There are two types of fonts: serif and sans serif. “Sans” is French for “without” and “serif” refers to the extra lines or strokes. Sans serif fonts are those without serifs at the end of the strokes. The fonts that fall into this category are most commonly known as sans serif, but might also be referred to as Grotesque, Doric and Gothic. The first experiments with printed sans serif typefaces were in the mid-1700s. However, their use in print really didn’t become common until the early 1800s. The characteristics which distinguish sans serif typefaces are that they are nearly always “monoweight.” This means that there no thick/thin transitions in the strokes. They are the same thickness the whole way

around. Sans serif fonts are typically used for headlines and titles. Serif fonts display thick and thin drawn characters with embellishments at the stroke ends. These “legs” or “hooks” add weight, contrast and print readability to the typefaces. There are four groups of serif typefaces: old style, transitional, modern and slab serif. Serif fonts are widely used for body text because they are considered easier to read than san serif fonts in print. To ascertain which fonts offer the highest readability, I utilized the professional practice of usability testing – and adhered to the best practices for participation and consent. Information designers “field-test” their products by engaging people in text and design to establish the best possible readability practices by audience members. It is essentially a process to develop the product of information designers. I decided to focus the usability test on both computers and mobile phones to determine the font that young adults preferred reading.

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Aa Aa

For the computer readability, there were two 12 pt and 14 pt size serif fonts and three 12 pt and 14 pt sans serif fonts, resulting in a total of ten size/type font combinations. These fonts included Times Roman, Georgia, Arial, Verdana and Comic sans. Participants were positioned 60 cm from the computer, reading a passage (130 words) in all fonts and sizes as accurately as possible. The results were recorded based on the preferred font for each participant. Next, they were asked to read each of the passages aloud. The results were recorded based on the speed of the reading to determine comprehension. Lastly, the correlation of fonts between males and females was also observed. In the mobile readability, there were two 12 pt and 14 pt size serif fonts and one 12 pt and 14 pt sans serif font, resulting in a total of six size/type font combinations. These fonts included Times Roman, Georgia and Verdana. This process was the same as the computer. The 26 |

participants were positioned 30 cm from their iPhones. Once again they read the passage in both sizes as quickly and accurately as possible. The results were recorded based on the preferred font for each participant. Next, they were asked to read each of the passages aloud. The results were recorded based on the speed of the reading to determine their comprehension. Lastly, the correlation of fonts between males and females was also observed. According to the results, the fastest fonts to read on a computer were Times New Roman 14 point, Verdana 12 point and Comic sans 12 point. The slowest font to read was Arial 12 point. Even though each of the participants preferred 14 point size, the reading time indicated that the 12 point size was most readable. The correlation between male and female font preferences was that males preferred serif fonts and females mostly preferred sans serif fonts in 14 point sizes. The results concluded that sans serif fonts in 12 point were the

fastest to read and therefore comprehensive and readable. Overall font preference results indicated that the typeface young adults preferred to read on their computers were serif fonts specifically, 14 point Times New Roman. For mobile phones, the fastest fonts to read were Georgia 12 point and 14 point. The slowest fonts to read were Times New Roman in 12 point and14 point. Even though the majority of the participants preferred 14 point for size, the reading time indicated that both 12 point and 14 point sizes were equally readable and comprehendable. The correlation between male and female font preferences was that males preferred serif fonts and females mostly preferred sans serif fonts in 14 point sizes. The results concluded that Georgia in both 12 point and 14 point sizes are the fastest to read and therefore comprehensive. Overall, the font preference results indicated that the typeface students preferred

to read on their iPhones were san serif fonts, specifically 14 point Verdana. This usability exercise may help typographers develop fonts for web readability as we are in the information age and the dominant medium of textual information is currently in a transition. from print to computer display. Likewise, determining the best font for mobile phones is important to help bring emotion and drama to theme based applications, games, and emails as well to ease readability. Type can harmonize multimedia effects, as it would take the mobile phone experience to the next level.

The Times, a famous London newspaper in 1931, hired a man named Stanley Morison, who worked with Starling Burgess and Victor Lardent to develop the Times New Roman font. Although it was initially created for newsprint, it quickly became the leading type for books on Monotype, Linotype and Intertype typesetting machines.

Comic Sans is a sans-serif typeface. It was designed by Vincent Connare and released in 1994 by Microsoft Corporation. It is classified as a casual, script font designed to imitate the historical look of comic book lettering for use in informal documents.

Georgia is a transitional serif typeface designed by Matthew Carter in 1993. It is designed for clarity on a computer monitor even at smaller sizes â&#x20AC;&#x201C; partially due to a large x-height. This font comes installed on both Mac and Windows computers and is also found as an alternative serif typeface to Times New Roman.

Verdana is a modern typeface, designed by Matthew Carter and released in 1996. This font was primarily designed for onscreen readability. Since 1996, it has been included as part of Windows and Mac font suites.

Aa Aa Aa

Arial is a sans serif typeface that was created by Robin Nicholas and Patricia Saunders designed for Monotype in 1982. If you are familiar with a computer, you must know that Arial is one the most used typefaces.

Article and Design by Naazneen Lalji Sans serif and serif fonts that were used in the usability test.

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Elements 101:

How design inﬂuences photography As a designer first and a photographer second, I have learned that foundational matters for design also apply to photography – and the other way around. And my photography has significantly improved. Whether you are a photographer or a designer, these elements can help create attractive, eye-appealing work.

Patterns

High contrast

As a photographer and designer, I see patterns everywhere I go. The most common patterns that people can see is bricks in a road or on a building – or a series of windows on the side of a building. When driving to Vancouver, I see pattern in the trees and the changing of colours. In the example to the left, I was walking in Pike’s Place while in Seattle recently – the road caught my eye. I absolutely loved the pattern beneath me.

I tend to use high contrast when I want an image to really stand out or pop. I always interpret this as high contrast in color because I feel like you can have a beautiful image if the colors are brighter and stronger – creating higher contrast. In the example below, I heightened the colour and contrast with the peppers to make the photograph more visually appealing. In design, high contrast is very beautiful.

Perspective Proportion Using proportion was the first element I learned in completing a certificate in photography. I can remember it, I was sitting in class and Kevin Yee stated “proportion is a photographer’s strongest asset, and using the rule of thirds is the most important tool.” He pushed us to use the rule of thirds whenever applicable. I find that now I use proportion when I go to the zoo to photograph animals. The example above is one of my favourite tiger shots. I think it makes the photograph more visually appealing having the tiger off-centre and to the left.

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When I am planning a photograph, my very first thought is perspective. How I am going to get viewers to clearly identify the main idea in my photograph? The most common perspective rule that I use is a vanishing point. In the example to the right, I was driving to Vancouver and the road was winding and I thought the fog added something. It uses the vanishing point because it leaves room for the unknown for where the road takes you and how you are going to get there. In architecture design, this is used more often because you want to show people an ending point.

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Balance

Limited palette

I use balance when I am composing all my images, but it especially comes to play in photographing landscapes. I want to show the different levels of the photograph. Landscape photography uses balance to show how far or how close you are to what you are photographing. In the example to the left, I used balance to show how far the mountains are from where I was standing. Balance is used to show the object in the background, and an object in the foreground that is similarly sized. In design, balance is used to show aspects in the foreground and in the background to make the design more equal.

I have recently been intrigued by black and white photography â&#x20AC;&#x201C; and, similarly, the use of a limited colour palette. I believe that a photographer can use limited colour when taking pictures of food or landscapes. I find that a black and white photograph with a spot of colour can be very visually appealing if done correctly. In the example to the right, I took a picture of a strange type of broccoli, and using the limited palette; I increased the contrast and make the photograph more visually appealing. In design, it is very beautiful to see a complete poster using only one color palette. Using limited color makes a design very appealing.

Leading lines I find leading lines very strong when taking pictures of ocean views and train tracks. But leading lines can be effectively used any time an object or path leads the eye into an image. The example to the left is a photograph I took when I was in Vancouver down by the ocean and I noticed the amazing beachscape leading toward the city. In design, leading lines are used to show the reader where the main idea of the design is.

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Article and Design by Jordan Piraux

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The modern world is a jungle. Every day, average people are confronted with thousands of competing messages around them.

It’s a

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Advertisements. Signage. Interfaces. Other people. Colours. Lights. Everything. The average person can only devote a small amount of time to analyzing each message. Even taking a second too long to read and understand a sign can have great consequences in this jungle. It’s modern natural selection, where only the shortest attention spans survive.

But with this new world comes an exciting new competition — a no-holds-barred challenge to capture an audience’s attention for long enough to get your message across. Standing tall at the forefront of this jungle is the profession of information design. Behind every sign, every interface, and every staff training material are the theories and processes of information design. For people fighting to get their message across in this jungle, information design is the undisputed champion. To see some of the many roles of information design around you, just step into the jungle...

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1 To stand out visually in the jungle of messages, advertisers use information designers to optimize the graphic design of their materials. Graphic design fuses artistic processes with theories of design such as colour theory, hierarchy, reading patterns and more to convey messages quickly and clearly. For example, use of some attention-grabbing colours such as red can catch attention, create brand association, and also encourage certain desired feelings within your target audience. Signs and navigation are some of the most critical interactions for survival in any environment. In cities with a complex transit network, it can be daunting for new citizens to read and understand transit maps quickly and effectively enough to take the right train or bus. That’s where information design principles of wayfinding are used to optimize these maps’ ease of use.

Advertising uses graphic design to create stronger visual impact and therefore makes material more memorable for target audiences.

User interface design utilizes aspects of psychology to predict how users will react within an interface to allow information designers to create the interface accordingly. For example, eye-tracking research has shown that users view pages in a Z pattern starting from the top left to right, down to the bottom left and finally across to the bottom right. Therefore, information designers can use this knowledge to create hierarchy and focus within the tablet and mobile environments.

“For anybody and everybody ﬁghting to get a message across inside this jungle, the practice of information design is the undisputed champion.”

In public transit lines, specific colours are assigned to specific lines on maps for trains and stations that fall on those lines. Therefore, there is consistency between the colour use of maps, stations, and trains which helps transit users quickly identify where they are and how to get where they need to go. In this environment, the digital world and the physical world are at an all-time high level of integration. Almost every human-created part of the environment has an app or a website that can be accessed through a phone or tablet in real time. The opportunities and necessity for web integration create a need for information design experts in user interface design.

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For every modern business, most or all of their profit is made or broken through staff-to-customer interaction. Business owners recognize the need for standardized staff training in order to create consistency and satisfaction in all staff-to-customer interactions. However, to know if these training policies will be received well by customers, businesses utilize the information design practice of usability.

Usability involves creating an unbiased test environment and scenario where potential customers from your target market are brought in to test the effectiveness and reception of various materials against a baseline. This helps businesses decide on the best customer-based approach for how to train their staff.

Article and Design by Hayden Pattullo

Wayfi nding design is used in public transit to develop usable and effective transit maps to help people get around the city.

User-interface design is employed to create effective mobile and web interfaces that users can use for navigation and interaction.

Usability design helps build and test employee training so that all customers receive evidencebased standardized service.

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1. Research

Considerations:

[Focus, intent, audience] An information designer begins every process examining the intended message along with the goal of the communication. A large portion of research is focused on understanding the audience members and their needs as users. Information designers are highly focused on how users will interact with the information they receive and how it will affect their understanding. Because of this, information designers are highly cognizant of how the information they provide will be used.

AUDIENCE

IMPACT

PURPOSE

APPLICATION

1. Who is the audience and what is their goal with the intended communication? 2. What information is being communicated? 3. What is the user supposed to gain from the experience? 4. What method of distributing information is the most appropriate?

2. Content development [Organized, concise, explicit] While designers are often expected to enter a design process after the content has been created, information designers also have the unique ability to create effective content. Designing with purpose means that content should always drive the method behind the design. The importance of what is being communicated is what resonates with the audience and is often the driving factor behind most design commissions in the first place.

Relevant theories:

Information anxiety

METHOD The process behind the practice of information design

Although the Internet has brought on the globalization of information, the human cost of too much information has resulted in what Saul Wurman describes as “information anxiety”, where too much information clouds the users’ ability to transfer data into meaningful knowledge. Info design insight Information designers have the ability to synthesize and organize large amounts of information into accessible modules that decrease anxiety – increasing the users ability to find out what they want and need to know.

The medium is the message

Marshal McLuhan's theory states that the format, or medium in which a message is distributed, becomes embedded in the content ultimately affecting the way the message is perceived by the audience. Info design insight Information designers are highly cognizant of the medium that they are using to communicate and they utilize the most effective method of distributing a message – dependent on the type of content and its intended effect.

Information designers are acutely aware of the importance of communication, putting intent focus on the transfer of the most effective message to the targeted audience in the most appropriate manner. This article will use principles of information design to walk through the processes of an information designer, exploring why they are more than simply just a sum of their parts.

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3. Design [Clear, direct, deliberate] The design should never distract from the message that is being sent. Ideally, it should clarify the content and distribute it to the user in an easy-to-follow, digestible format. The use of graphic design principles and communication theory aid information designers in including only what is relevant, while avoiding unnecessary and distracting elements. However, information designers are also aware of the importance of visual appeal and are capable of creating stimulating graphics that entice the user to engage with the material meanwhile retaining clarity of the message.

4. User testing

KEY DESIGN PRINCIPLES

Chunking Parsed accessible chunks of content encourage easy retrieval and navigation.

[Usability, understanding, application] Information design is primarily based on who will be using the final product. Therefore, the importance of testing the design once it is complete becomes an integral part of the process. Feedback is essential to the creation of effective designs and information designers are acutely aware of the importance of involving the user in their conceptualization. Once the design is complete, the goals of the design are tested to ensure that the user has been empowered to achieve his/her intended goal, whether that is easy access to information or the completion of a task.

Contrast Contrast and color attract immediate notice.

Similarity SIMILARITY Objects which share similar attributes are perceptually and cognitively grouped together.

Human centered design: A process in which the needs, wants, and limitations of end users of a product, service or process are given extensive attention at each stage of the design process.

RESEARCH & ANALYSIS

SYNTHESIS & CREATION

REVISION

ANALYSIS

Specify the Context of Use +

Produce Design

Specify the User

Solutions

Evaluate Designs Against Project Requirements

and Organizational Requirements

Differences FEEDBACK

Associations through the use of familiar subjects helps the user store the information.

User centered design: Places the end user at the center of the design process Weber’s law just noticeable differences REVISION

Defines the minimum amount of change required in any type of sensory stimulus for an individual to take notice. Need

Prototype

User Test

MILLERS MAGIC NUMBER

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Resolution

Article and Design by Stephanie Stobart

Miller’s magic number The human brain can remember seven chunks of information, plus or minus two, in their short term memory.

The ability to synthesize, organize and articulate overwhelming amounts of information has become an essential component to communication – particularly as the amount of information continues to grow. The process outlined above provides information designers with a powerful tool that is highly relevant to many industries and types of information – which in turn benefits anyone who values clear, concise accessible information.

FEEDBACK

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Ambition

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3 INCHES

SUSTAIN THIS

1.5 BILLION INK CARTRIDGES ARE USED GLOBALLY EVERY YEAR.

IF RYMAN ECO BECAME THE DEFAULT FONT, CO2 EMISSIONS WOULD BE LOWERED BY 6.5 MILLION TONS EVERY YEAR.

THAT’S ENOUGH TO CIRCLE THE EARTH NEARLY THREE TIMES.

RYMAN ECO USES 1/3 LESS INK AND TONER THAN OTHER DEFAULT FONTS.

It isn’t just what you write that can make a difference, it’s how you write it

When we hear the term sustainability, it is almost always associated with images of a clean environment: green landscapes, blue water and clean energy sources. Sustainability, after all, is defined as the quality of not being harmful to the environment or depleting natural resources, and thereby supporting long-term ecological balance. Information design is a profession that easily discounts the efforts of sustainability on a global scale. We are taught to sketch our ideas, create mood boards, print iterations whenever possible and do whatever is necessary to engage in the creative process; essentially, we are developing the opposite of sustainable practices. Is it possible, then, for us to contribute to sustainability efforts in ways that 42 |

have less impact on the environment? The answer is yes. If other industries can contribute to sustainability efforts, why can’t we? Simply put, we can, and there is one company that’s leading the charge. Founded in 1893, Ryman Ltd. is a stationery company that supplies ink and stationery supplies to over 230 outlets in the UK alone, and has been a leader in product innovation throughout its history. So, when Nils Leonard, executive creative director for Grey London, approached Ryman with an idea that would change the face of printing as we know it, they couldn’t refuse. Enter, Ryman Eco: The world’s most sustainable font. This font is at the forefront of design in our world today. Not only is it the world’s most sustainable font, it’s also free, incredibly

diverse in its formation, and exceptionally versatile. We now have the ability to provide clients with beautiful, effective deliverables, all the while saving the environment, one font at a time. Ryman Eco’s commitment to sustainability is exemplified by its ability to change the world of design as we know it. With current trends in society today, moving towards more sustainable option is the most logical next step for the design industry. It’s pretty awesome that we can do it in a beautiful way, too.

Article and Design by Rachel Huber

THAT’S THE EQUIVALENT OF SAVING 15 MILLION GALLONS OF OIL EVERY YEAR.

RYMAN ECO:

ABCDEFGHIJK L M N O P Q R ST U VW XY Z

abcdefghijkl mnopqrstuvw xyz

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In the blink of an eye Visual communication is the process of communicating to an audience through visual aid by conveying ideas and information through meaningful images Although people are not aware of it, visual communication shapes our contemporary world. We use it to understand our world through everything we see, view, and read.

the final presentation is not measured strictly on aesthetics but primarily on how the audience comprehends the information. In other words, usability is a central concern.

ing, to illuminate, to simplify, to clarify, to modify, to dignify, to dramatize, to persuade, and perhaps even to amuse. To design is to transform prose into poetry.

The fundamental principles of visual communication used in print and digital design include packaging, way finding, instructions, advertisements, print design, apps, and websites. Perhaps the two most commonly used designs that utilize visual communication and plays at are the clock and the weather forecast. What started as complex ideas have been designed and molded in the most simplistic way. They have become virtually un-noticed but very functional – this is the primary goal of all visual communication!

Some people may think that the most important trait to have when practicing visual communication is creativity. However, it only portrays a small fraction of what an information designer does when creating a visual aid. To create meaningful visual content the designer must work methodically and systematically following fundamental principles of design to capture the audience. Additionally, the designer must complete in-depth research about the intended audience to ensure the content is communicated clearly and concisely.

“Design not only broadens perception, it magnifies experience, and enhances vision. Design is the product of feeling and awareness, of ideas that originate in the mind of the designer and culminate, one hopes, in the mind of the spectator,”Rand says.

The image can be created by using two-dimensional images which could include typography, illustration, colour, shapes, photographs or sketches. Information designers utilize visual communication, and are taught that 44 |

Paul Rand created IBM’s logo, and says in his book Design Form and Chaos that “to design is much more than simply to assemble, to order, or even to edit. It is to add value and mean-

Information designers utilize a variety of different strategies to create harmony in visual design. Although we are always encouraged to push boundaries and challenge ourselves, we must remember that, “before you can break the rules, you have to know the rules.”

Article and Design by Alisa Kuzmina

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TYP EIS POW ER

The power to visually express words and ideals is timeless but always changing From the birth of printing with Gutenberg’s bible in 1455, typography has played a vital role in the distribution of knowledge and power in society. However, before the printing of books, someone needed to scribe by hand – a very time consuming task. Black Letter was the first typeface modelled after the writing of the scribes, but it looked dense and squished when printed; thus, Roman type was created. Nicklaus Jenson invented the Roman type – incorporating straight lines and regular curves, which made them particularly legible. This new typeface, famous for its legibility, spread through Europe as the standard for typography. Jumping forward in time to the early 1800s at the birth of war, an iconic symbol was created: Uncle Sam. The effectiveness behind the recruitment posters

of the US Military was a combination of Uncle Sam’s pointed finger – where no matter the angle, he was always looking at you – as well as the typographic choice of those posters. This was the birth of an era of sans serif fonts. Although these simplified fonts had already been invented, they hadn’t gained any traction. The strong, thick weight behind the font symbolized strength, while also being extremely readable from a distance. This poster is one of the most famous and effective recruitment posters to date. As the western world adopted the sans serif movement in posters and advertisements, our counterparts on the other side of the world were catching up fast and adopting this style of recruitment.

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2014

1984

1952

There are more than 20 available free software programs that develop typefaces

Apple released the Macintosh, the ﬁrst personal computer with software allowing users to create fonts

over 90,000

Script

62,000

2010

Other

1.5 billion ink cartridges used each year

Hand-drawn

Symbol

First typeface designed using software

Slab Serif = 10,000

2005 49% of fonts are designed for web

Gutenberg creates movable type

28,000

Evolution of type

there is over

2014 Font breakdown

30,000

1455

Display

Sans Serif

2003

Typefaces available per year

Print vs. Web

Ryman Eco

is the most eco-friendly font by using less ink per letter than the average typeface

Environmental impact

The evolution of type is displayed on the left side, and highlights when typography made progress throughout history. The right graphic shows the direct impact the changes in typography had in the number of available fonts.

Russia, during the First World War, used propaganda posters that focusing heavily on thick strong typefaces subtly giving the impression that the Russian army was a strong and powerful force. Although Russian propaganda posters were known for having large images surrounded by heavy amounts of red, they had almost always previously used a sans serif font. 48 |

After the World Wars, the typography scene made a noticeable shift. The era of technology and advertisements replaced the need for propaganda posters, and we shift our focus to a new age. At a time where people are concerned more with what type of car their neighbours are driving, the newest fashion craze, or who is selling the sexiest type of technology, enter the age of geometric sans typefaces.

It started with the creation of Futura, a geometric sans, focused on having more natural and gentle curves. The biggest breakthrough in typefaces, however, began in Switzerland with the creation of Helvetica. Because it is available in an array of different weights, it became what some people would call the “world’s favourite typeface.” Helvetica seemed to take off with the advertising boom, as seen with

companies such as: Crate & Barrel, American Airlines, Staples, American Apparel, and Microsoft. All of these companies created their logos using the Helvetica font family. As the world has shifted to a technology race, the leader in typography has been Apple. With each new phone and major update, the company seems to be moving away from the thickness of Helvetica and into a thinner font choice.

Currently, Apple is using the thin Myriad font, which seems to work well with their overall goal of creating a smaller, more sleek-looking piece of technology. After the release of the MacBook Air, the company had moved to a thin Myriad as their central font saying that their products have a “weightlessness” to them.

typefaces seems dependent on who holds power in society and what they would like the general population to focus their attention towards.

Article and Design by James Ridley

What can we expect to see in the future? It seems this will depend on the state that the world is in. The shift in

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The art of

storytelling The visual journey through information design and image concepts in comics Information design is a broad field that touches various industries in compelling ways. Whether in the service or entertainment industry – in print or in web – images are an important aspect of the overall design. As information designers, we need to be aware of the purpose behind the images we chose and the role of the audience. By providing the audience with the right clues regarding image size, angle of involvement, axis of power and social distance, information designers can assist in minimizing miscommunication while promoting accurate representation. Comics have been with us since the early days of Egyptian hieroglyphs and medieval tapestries. Sadly, I was not born to witness the birth of comics from the early narrative artworks, into the printing press, and through to the 20th century. Rather, I grew up reading comics such as Charlie Brown and Archie, but it wasn’t until later in the 21st century when comic books took a popular turn with the reinvention of comic-genre movies, that my interest returned. Whether your interest in comics is in the form of comic strips from newspapers, weekly comic book issues, or collections of graphic novels, comics have become a noteworthy medium of entertainment in our society. Yet, how often do we stop to consider what’s being presented on the page?

How often do we look into the illustrations, their presentation and consider the role of the audience? Comics are no longer simply a stylistic choice or a visual medium – they are a form of presentation where the pictorial language and the role of the audience are intertwined. As a fourth-year information designer with a renewed interest in comics, I began noticing a relationship between comics, their audience, and their overall portrayal on the page. Whether it is a full-bleed image or one within a panel, every choice the illustrator makes is deliberate and meant to express or invoke ideas or emotions within the reader. Edward Tufte – an information design writer and data visualizer – noted that “[in cartoons] the words are right there with the illustration, complete text-image integration produced by the same hand behind both text and image. And the mind behind that hand has to have a good understanding of the content – usually – in order to produce the narrative illustrations.” If the illustrator is aware of the content and is in complete control of what a reader sees on the page, what motivates them into making certain choices? With this in mind, I began analyzing various comic pages.

“The words are right there with the illustration, complete text-image integration produced by the same hand behind both text and image.” – Edward Tufte

Full bleed images I stumbled upon a few basic ideas that corresponded with my learnings from information design. This included concepts such as full bleed images acting as emotion intensifiers; assisting in drawing in the audience due to the lack of a framework, or in a comic’s case, a panel. This tactic assists in bringing life to the comic world by deepening the emotional bond one has with the story. Due to the regular use of comic panels, the audience comes to expect pages filled with panels. When the usage of the panel is unexpectedly broken and a full-bleed image is presented, the stylistic change surprises the audience and assists in showcasing the importance of the scene. Full bleed images have the ability to bleed into our reality; and in comics, it can assist at pulling or drawing out certain human emotions. While not all full-bleed comic images may have this effect, it is interesting to note how the sudden contrast between paneled and non-paneled comic images can affect the audience’s emotions. Image and Photo By: Vicki Lo

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“I stumbled upon a few basic ideas that corresponded with my learnings from information design.”

Top: Fables panel 3. Characters from left to right: Colin, Snow White, Dun, Red Rose, Posey Left: Fables: The Deluxe Edition Book One, page 145

Image size The placement, size, and angle of characters and illustrations in comics can impact the effect on the audience; as information designers, we have the responsibility to be aware of the impacts of the images we choose. The bigger the panel or size of image, the more significance it has on the page, thus invoking a sense of importance. This is illustrated in comics with the different sizing of comic panels. While at first sight it may not appear significant, the sizing of panels is a clear indication of what the author and illustrator believe is important. Taking a look at a page from the Fables comic series created by Bill Willingham and published by Vertigo, we can see that the third panel is significantly bigger compared to all the others. But what does this mean? Let’s examine Panel 3 in greater detail. Angle of involvement The angle of the characters indicate their engagement with the viewer and may signify the character’s significance. A full-frontal view of the character indicates their full engagement with the audience, whilst showcasing the character’s back indicates that they’re not engaged with the audience at all. In comics when a gathering of people are presented, the less important characters are typically the ones with their backs shown to the audience, while the lead characters are shown in full frontal positions — engaging with their peers. 52 |

In Fables Panel 3, Snow White and Rose Red are engaged in a discussion with the Three Little Pigs; Dun, Posey and Colin. It is interesting to note the characters and their angle of involvement. Out of the three pigs, Colin is situated on the floor and is disengaged with his back turned towards the audience. From his angle of involvement and lack of speech bubble; we can assume that he plays a lesser role in this portion of the story. Dun, however, is completely engaged in the scene. He has a full frontal angle of involvement and is situated near the middle of the panel. Snow White – the main character of the tale – is illustrated in a side profile indicating her mild engagement, while Rose Red is situated in a full front view. Her stance is one of full engagement and despite her carefree head-on-arm appearance; her posture is erect and ready for action, indicating that she may know more than she lets on. Axis of power & social distance The axis of power in an image, is the idea that the higher the character is situated, the higher their power. In Fables Panel 4, we can see Snow White in an authoritative role as she towers over Dun. Dun is illustrated in a role of lower power; however, his up-close framework allows us to clearly see him gazing at the audience. Dun’s social distance from the viewer is minimal; through his gaze and expression, he is piercing through the page as if challenging the audience to go against his words.

Fables panel 4 and 5

From: Fables: The Deluxe Edition Book One © Bill Willingham & DC Comics and ™ Bill Willingham

The authority level is flipped in Fables Panel 5 when Dun is portrayed as the power player, showing no shame towards Snow White’s comment. In comparison to Panel 4 where we obtained a view of Dun staring at the audience, Panel 5 has Snow simply staring at Dun. While Dun had acknowledged the viewer, Snow does not and thus is unaware of the ‘bigger picture’. An image’s axis of power can not only be seen via a person’s height, but also in their body build, as stronger male characters typically appear overly buff, whilst female leads gain bust and curvature.

Readers know from experience that something must have occurred in the space between the panels and they look for illustration clues to connect them. Filling in the gaps by using their imagination, the reader puts forth their own spin on the comic by using the clues provided by the illustrator.

“Every act committed to paper by the comic’s artist is aided and abetted by a silent accomplice... known as the reader.”

The role of the audience In documents – as well as comics – the audience is presented with a role to play. As noted in Scott McCloud’s Understanding Comics, “Every act committed to paper by the comic’s artist is aided and abetted by a silent accomplice... known as the reader.” In comics, readers are guided by their eyes (in Western culture) to a Z-pattern layout. This layout has readers starting in the top-left of the page and move through the page in a Z-pattern fashion. In comics, readers naturally connect comic panels in a Z-pattern to create a story. But what happens in the space between the panels? This is where the role of the reader comes in.

– Scott McCloud How many images do we receive daily that contain deeper meanings that we’ve never considered before, but simply digested without question? The duty of an information designer is to understand and guide the audience. This is no easy task, and it is intriguing to see its application in a global entertainment industry that reaches people from different backgrounds, cultures and languages. If we stopped and looked at the world around us, how many industries can we find that use information design concepts?

Article and Design by Vicki Lo

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Information design is the process of removing the unnecessary “ﬂuff” to effectively communicate the message.

Unethical communication has been one of society’s most lethal weapons. Voiced ideas have the power to wound deeply, but also to mend. They can be used to deceive and to assist – to oppress and to comfort. The power behind words and the way in which they are presented can deeply affect a one’s reputation; therefore, a balance must be struck between truth and emotion. Throughout history, the delicate art of communication has been important in the pursuit of justice and peace, and therefore, will remain a large part of the future to come. And importantly so. Great power comes with great responsibility.

The principle of

veracity

Technical writers use a concept referred to as Occam’s razor in their work. Occam’s razor is a figurative tool used to “slice away the excess” in regards to written text or information design in general. Unnecessary fragments are removed if they are in any way untrue or misleading – as the goal is to find the quickest route to honest content. With the end user in mind, the strategy is simple. What would they want to know? The empathetic nature of information designers allows them to approach subjects objectively and ensure that they are considering the big picture – the input as well as the output. Information design involves taking raw data and transforming it into digestible parts for the audience. This strategy can be used to shed light on complex topics that most people do not understand.

Take climate change for example. If we heard data directly from scientific discourse, the majority of us would not comprehend the complexity of climate change. It takes another party to convert the figures into layperson’s terms – everyday people language. That’s the work of information designers. Among one of the most noteworthy informers of our time is Rachel Carson: a biologist, environmentalist, and writer born in 1907. She wrote a book titled Silent Spring, which illuminates issues surrounding the use of synthetic pesticides. Carson was able to translate scientific data into information easily understood by the public. With a thorough understanding of the content, audience and consequences of her message, Carson informed people of pesticide’s dangerous effects in a comprehensive way. Silent Spring stands as a significant contribution to the scientific community, and ultimately the public. It is accredited for starting the modern environmental movement. Although Carson was met with much opposition from chemical companies, her informative efforts led to the nationwide ban on DDT and other harmful substances. Awarded with the Presidential Medal of Freedom, Ms. Carson unmistakably used her power for good. With an ethical compass pointing due north in one hand and Occam’s razor in the other, information designers are the consumer’s advocate, truth-seeker and whistle-blower.

Article and Design by Samera Kadri

The ethical importance of slicing away the excess 54 |

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The quest for the

playe� experience

The process of linking a virtual world with a memorable experience

When you think of video games, there are lots of aspects that contribute to creating a successful game—but what’s the most important thing to consider? It’s easy to argue specifics like graphics, or game mechanics, but it’s important to look at the big picture to see how all those specifics work together to create the ultimate player experience. In an industry that is technologically evolving at such an intense pace, it’s fascinating to watch how game designers create and manage such complex and in-depth worlds. Complexity wasn’t always a necessity for games. But as they increased in depth and difficulty, the need for information management increased as well. There are many points in the history of video game design that show such jumps in complexity, but in order to reach the rich and open worlds we love, we’re going to start with the conception of the open world/ sandbox style games.

PRESS START 56 |

The idea is that developers create a world that allows players the freedom to go where they want and do what they wish, but within the confines of the world. Think of a sandbox. All you need inside the four walls of that box is an imagination to build the world experience around you. In traditional examples of open world/ sandbox games like Nintendo’s 1986 title The Legend of Zelda, developers relied on a player’s ability to puzzle solve and explore to reach the end of the game. When it comes to level design, there is a methodology – called Cognitive Navigation, a concept also seen in instructional design – that game designers use is similar to some of the principles of wayfinding. The most top three principles are: • Landmarks: create recognition in the immediate area • Orientation: derived from the recognition of landmarks, the player can visualize their orientation because they know surrounding landmarks • Navigate: by visualizing their placement within an environment, players can then navigate from one area to another.

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This basic methodology worked for a period of time because the navigation and objectives were quite simple and straightforward. They promoted sectional learning by introducing content to players in small chunks, delivering them in rapid succession, which continually added on to the player’s comprehension of the game world. However, this all changed with the coming of the 21st century and the emergence of a three-dimensional rendered world. When Nintendo released The Legend of Zelda: The Ocarina of Time in 1998, the first 3D installment of the series, they tried to implement the concept of cognitive navigation as in previous game releases. However, changes to the method had to be made because, as game developers of the time found out, the jump from 2D to 3D brought a big jump in player expectations.

Destiny, Bungie. Each icon represents a mission for players. By having the player focus on small chunks over time, they gain a better understanding of the overall area

The process of cognitive navigation is still a basic element for open world games, and as the worlds we create become more complex, the need to simplify detailed information has become necessary. Circumstantially, the idea of wayfinding in games has evolved into the concept of designing a user experience. It is not enough to just get from point A to point B; we now have to consider the motivation, the backstory and the player’s internal need to get from point A to point B. In order to address these new factors, designers began to use different methods to help with player immersion – new approaches like the process of framing; as well as established ones that exist within reality and wayfinding like signage, iconography and structural design.

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Framing is a tool that helps players focus on the right elements and prevents misinterpretation or actually missing important factors of the game. In Bungie’s title, Halo 4, the use of framing was masterfully executed, as it was used to focus the player’s attention on visual cues. This allowed for players to feel as if they were discovering environmental elements that pertained to the story on their own.

Take, for instance, traveling from point A to point B. Common questions that arise are: “where are we going?” and the classic, “are we there yet?” which in real life can be answered by using road signs to determine the direction and distance to the destination.

“It is not enough to just get from point A to point B; we now have to consider the motivation, the backstory, and the player’s internal need.”

At the 2013 Game Developer’s Conference, Steve Gaynor, former designer at Irrational Games, expressed the same views of Halo 4, citing their use of doorframes and windows as a tool to focus players and help with overall orientation within the game.

Destiny, Bungie. The same company that designed the initial Halo series uses the environment and architectural structures to frame a player’s attention.

In addition to framing, game designers capitalize on existing knowledge of systems by incorporating real-life aspects like road signs and urban usability to connect the player’s real-life experience and knowledge to his/her virtual experience in the game.

Games answer these questions alternatively by using functions like waypoints, which display icons on the map indicating the direction of travel and often the remaining distance to goals. Much like a common GPS, waypoints will recalculate the route when a player deviates from it to explore on his/her own initiative.

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Left: Destiny, Bungie Real world elements like wall signs are still included in the game even if they are not a primary tool for players. Bottom: Destiny, Bungie (Left) The extreme render distance and weather systems add to the realism of the world. (Right) The waypoint system is similar to a GPS.

The familiarity of the environment grants players the ability to apply their previously formed opinions to the new world before they even enter it, allowing them to feel more connected with the new environment. We’ve come a long way from needing old men to give us a sword and say, “It’s dangerous to go alone. Take this!” But, there is so much further to go. It’s the need for management of complex information and ideas that drives the innovation of the industry. With the continuing involvement of practices like wayfinding and usability, the traditional graphic designer has begun to take a multidisciplinary view on the modern world of design. These new age designers and their practices can only increase the player’s immersion and experience in vast new worlds.

Article and Design by Luke Dickson and Jillian Dipanﬁlo While waypoints are the most active forms of navigational aids in video games, developers include signs and icons used in ways we see in our day to day lives in order to help players feel comfortable with the aesthetics and the feel of the environment – even though they come secondary to navigational functions like the waypoints. Even the absence of something as seemingly small as this, can shift the game world further from our own, distancing the player from the experience.

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Capitalizing on the already known abilities of existing technology greatly increases immersion in video games. Designers have been known to throw in visual and architectural elements that draw on inspirations found in the real world. In Grand Theft Auto 5, produced by Rockstar Games, designers took recognizable Los Angeles sights of the buildings and community spaces to be that little voice inside your head to say, “Hey! Listen! You know this place.”

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Kinship

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Shit juﬆ got real Inclusive design and the multi-gender washroom

Coffee shops give me life. The atmosphere has just the right amount of buzz to coax out ideas. I remember arriving early to meet a friend in Kensington last summer, so I sat in a quaint cafe chipping away at an article. Before I knew it, I had chugged three large Americanos like a coffee-guzzling freight train.

Sex, gender, and the washroom dilemma Sex and gender are not synonymous. Sex is assigned at birth (female, male, and intersex as examples) and gender identity is socially constructed (woman, man, transgender, androgynous, gender-queer, and so many more). Sex and gender live on spectrums with no

This concept is not new. You’ve probably seen single-stall multi-gender washrooms in coffee shops and clothing stores, but they’re inefficient in larger venues because they don’t do anything to minimize wait time. Lines grow quickly and accidents could happen (if you know what I mean). Multi-gender washrooms with multiple stalls are few and far between, but they allow everyone to do their business without automatically ‘abnormalizing’ any identities.

Information designers have a responsibility to keep information clear and consistent. ISO symbols have become quick fixes for labeling washroom doors. However, they’re quite limiting. When have you seen anyone who actually looked like the stick figure on the door? Probably not often.

Most current public washroom signs are some combination of these three symbols. The advantage is easy recognition, but they’re quite limiting in terms of placing barriers on identity.

absolute opposites, and can be combined in a variety of beautiful ways. Yet, we still cram people into gender boxes and hope that they’ll fit. I have the privilege of not being gawked at when I use the “W” door. I was assigned “female” at birth and I identify as a “woman.” I am grateful that I can use a public washroom and be on my merry way. But for people who fit under the trans* umbrella, en-

tering the “wrong” washroom can be a terrifying, violent experience. A 2013 survey conducted by the Williams Institute in Washington, D.C., showed about 68 per cent of trans* respondents were verbally harassed while using gendered public washrooms, and nine per cent were physically assaulted. While the survey focuses primarily on the D.C. area, we can assume that trans* people closer to

Keep in mind that changing signage could be an oversimplification of a very complex inclusivity problem. That said, information designers can use their powers for good, to push boundaries, and, maybe, smash binary oppositions. Adding inclusive design tactics to our routines could be a promising first step.

Gender identities can manifest themselves differently — it’s understandable that we don’t all identify with a stick-figurein-dress or stick-figure-in-pants. As information designers, we view the world through a human-centered lens. We can assist the people who just really have to “go.” We can start by improving the signage in our public spaces.

“...we still cram people into gender boxes and hope that they’ll ﬁt.”

Signage and stereotypes Since 1947, the International Organization for Standardization (ISO) has developed over 19,500 international standards for graphical symbols to be used in public spaces. Simply put, ISO symbols are the stick figures you see on signage out in the wild.

* When “trans” is used with an asterisk (*), it stands for transgender, along with a number of other non-binary gender identities that aren’t necessarily just “man” or “woman.” For more information, start at Calgary Outlink: www.calgaryoutlink.ca 64 |

Multi-gender washrooms Multi-gender (gender-neutral) washrooms are aptly named: anyone can use them, no matter how they look or identify.

Multi-gender washrooms are still not perfect. Improvement to any public space, no matter its size, could start with its signage.

My body started talking to me. I just really had to “go.” And by “go,” I mean go pee. So I did. The end? Not really. Using a public washroom might not seem like a luxury. Leaving for that mid-day tinkle is second-nature, and the choice between “W” and “M” doors is no question, right? Wrong, actually. Why?

home experience similar harassment. But how do we fix that?

Can you guess what will be in the room behind this sign? A toilet? Good designers know that form follows function. A literal representation of what’s inside a washroom could work better, and make more people feel included in public spaces.

The typical symbol for “woman” is a stick figure in a dress, and the symbol for “man” is simply a stick figure.

WC WC can stand for a water closet (ﬂush toilet), or a Western commode. It just denotes that there’s some sort of toilet in the room you’re about to enter.

Article and Design by Michelle Vaniersel

The half-man, half-woman symbol may have been an attempt to be more inclusive, but it makes false assumptions about the identities of the trans* community.

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“We’re all the same, in that, we live in each other’s experiences. The only difference, is the place and time of each person’s experience.”

translucent One of the concepts I have been introduced to in my academic journey into information design is semiotics – the philosophy behind signs and symbols Designing is problem solving – with intent because it should be solution-oriented. By being cognizant of myself, my audience, and the circumstance of our Weltanschauung (more than a world view; it is inclusive and considerate of all things on Earth), critically assessing media, message, and user experience enables me to thread together differences that are actually similarities. Information design has enabled me to reconstruct things.

mom and her history – to situate myself in her memories and experiences as a child of war. Her story, of course, stands in contrast to what I had learned about the Vietnam War in school and through media.

And while the connection of semiotics to information design is obvious, what has surprised me is the personal journey it simultaneously initiated.

The influences and impact of message, media, and agenda can be powerfully damaging – especially if you are unaware of its agenda. By understanding intent and influences (agenda), perhaps there can be action towards what’s actually being communicated (intent).

For one thing, semiotics provided me the essential tools I needed to begin to understand my 66 |

The article that follows is a reflection of my lived experience in relation to my comprehension of other lived experiences that continues to shape my understanding and definition of being human.

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The implications of one message Have you ever considered how a painting or image is conceptualized? How the vector of an object can make you feel uneasy? Those same questions should be asked of any media you encounter because the creator of the image created it with intent. Regardless of its symbolism (semiotics/idioms), once a message is communicated, its impact is immeasurable. Additionally, once the message leaves the designer, it is opened to countless interpretations. Rhetoric + TRACE = unique individuals I am describing communication in regards to the message, communicator, audience, medium, author, agendas, influences and impact. By applying principles from Marshal McLuhan, rhetoric, Rogerian theory and the TRACE model, I have learned that each individual is recognizable as a unique product of his/her circumstance and environment – only some of which can be controlled. This is known as cultural inheritance. My individual cultural inheritance is sprinkled with war. The macro-cultural inheritance that encompasses me and this current time I live in is cushioned by war. Regarding the

development and outcomes of the atomic bomb, just over 60 years ago, Einstein said: “We are all citizens of a world community sharing common perils. Is it inevitable that because of our passions and our inherited customs we should be condemned to destroy ourselves?” Wisdom from thinkers such as Einstein, Peter Drucker and Carl Rogers can take a long time to become conventional philosophy. After all, it took about 2,000 years for The Heliocentric Model to become general knowledge. Hopefully our shared experiences can guide a global Weltanschauung towards moral responsibility and away from meaningless consumption. Same, but different Learning principles about information- visual- instructionaland user experience, in addition to research methodologies and communication theories has enabled me to situate myself in areas of my mom’s life – to understand her past, present, and future. I am now able to reflectively understand her because I am able to dissect, analyze, and reconstruct her experiences by applying the knowledge I 've learned.

war

EVERY YEAR.

from 1900 - 2014

imagine what we can achieve, if our efforts were collectively focused

Our ability to understand our differences and similarities with one another, in addition to our ability to empathize with one another, is the bases of our humility. Let’s use our unique, individual gifts to make this world a better place.

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General Theory Invention of of Relativity Invention of Richter scale mechanical television 1939 Mapping of gene First radio Gandhi’s NonFirst to chromosome broadcast Violent Salt March computer

Wave-Particle Theory Quantum Theory 1900

Boxer Rebellion

Mexican Revolution

Russian Revolution

1919 Communists vs Turkish War Koumintang of Independence

1941 World War I

Third Chinese Warlord War

1939 World War II

Italo-Ethiopian War

I can now see the thread that weaves its way through the fabric of my mother – a refugee of the Vietnam war. I see her in movies like Hotel Rwanda and The Kite Runner. I see her in books such as A Thousand Splendid Suns and The Boy in the Striped Pajamas. I see her in a classmate – another child of war. And I see her in the current circumstance of global war. This thread brushed at me, restlessly, until I understood the nostalgic-melancholy of my frustration: we live in each other’s past. Some of my experiences have been lived by someone before me, and will be experienced by someone after me. For example, topics like racism and failing systems – education, the economy, and social-welfare – are the same issues protested 50 years ago.

The thread Messages, regardless of the sensory stimuli and medium used, are communicators of ideologies and belief systems. Messages can be dangerous because of the ideas they convey. Ideas can unravel understanding of intrinsic values, creating distrust and cognitive dissonance. Hence, finding that common thread can allow for empathy, inclusion, and community. “When men are engaged in war and conquest,” said Einstein, “the tools of science become as dangerous as a razor in the hands of a child. The fate of mankind (sic) depends entirely on our sense of morality.”

War is war: terrorism is today’s placeholder for yesterday’s communism. The same tragedies are re-lived through each new war while nothing is gained. The only difference between the wars of today and yesterday are the place and time of war.

Article and Design by An Vo

1963 Martin Luther King Jr. 2004 - 06 “I have a dream” 1978 1996 Facebook, First test 1969 First clone YouTube, tube baby 1947 1956 Apollo 11: man Dolly the sheep Reddit, Genetic You. First transistor Sputnik on the moon Twitter Fingerprinting 2011 1961 2001 Invention The First Hubble First astronaut Release of personal Stark Hand credit card Space Telescope in space of iPods computer 50

Two Atomic 1953 Bombs dropped Cuban on Japan Revolution 1949 China’s rise of Communism

Vietnam War 1961 Construction of Berlin Wall

1973 Israel & Arab War Lebanese Civil War

Bangladesh War

Uganda Civil War

2000

1992 Bosnian Government vs Serbian and Croatian Insurgents 1989 Tiananmen Square Protest

2004 2011 Iraqi Syrian Insurgency Civil War

2001 Afghanistan War

War with ISIS

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Working with a The interaction between client and designer

designe�

In a perfect world, an information designer would deliver exactly what you want – down to the details. However, things don’t always work that way. You might not receive drafts of exactly what you had imagined. However, designers have their reasons for what they create, and they are willing to compromise. To encourage a smoother process, what follows are several matters to keep in mind when discussing items with your designer. After all, we dedicate our lives to delivering the most effective designs to help achieve your goals! Brainstorming and making decisions Sometimes it seems the easiest to leave everything up to the designer, but your input is important! Every little idea helps us drive in the right direction towards your vision. So, let us know what you envision and what you like! Providing resources Designers are specialized in one field – design. Although we love to learn, we don’t necessarily have all the knowledge we wish we had to achieve your idea. When working with us, keep in mind that we will need to come to you occasionally for resources. For example, if you’re looking to create a brochure on a specific scientific topic, chances are we may need your help to further understand the concepts behind the subject. Depending on the type of business or field, we may also come to you for tangible material, such as company visuals and text. I find this point the most relevant. I am currently designing for a café with an owner who is seeking a 70 |

fresh, new look for his business. When the proposal for new menus and menu boards came around, I must admit that I bugged my client quite a bit. I constantly asked him for menu items, descriptions and photos for the menus. Just remember, we do what we do because we care. Justifying choices When something in a design doesn’t appeal to you, it is important to speak up! More importantly, speak up and tell us why. Most of the time, designers utilize two factors – the principles they have learned and the style they have envisioned. Our goal is to try to align our vision with yours while maintaining effectiveness in design. Thinking about target audience We work hard to create designs that you are passionate about! Sometimes there are parts to a design that may seem a little off to you, but keep in mind that we design with the target audience in mind. Although we try our best to create designs that you will

love, our main focus is to use elements that deliver information to the audience in the most effective way possible. Communication is the key! This may be obvious, but you can never emphasize communication enough! It is the foundation for all of the previous points, and, essentially the tool you need to make them all work. So, speak up, discuss idea, and problem solve together! In the end, the final decision is made by you; however, we do what we can to make designs that are not only appealing, but also effective. After all, we are designers and it is our job to create effective designs to make you, our clients, thrive!

Article and Design by Ronica Tang

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T� much of a g�d thing

is not always wonderful

The problem of information overload in our modern world With the ability to access the Internet in the palm of our hand, the amount of information we have access to is limitless. But with this infinite information comes a very real problem: Information Overload – a term popularized by author Alvin Toffler in 1970. Toffler believed that as technology evolved, people would become isolated and depressed as they would be surrounded by constant messages. While isolation and depression are debatable results, it is true that we are constantly bombarded with messages. Many of these messages are simply noise, and we have the ability to tune much of it out. But, what happens when there are too many messages that we cannot tune out? When we have too many messages coming at us at once and are unable to process or make sense of it all, we become overloaded. The human mind becomes a bottleneck of sorts, which makes it very difficult for us to receive all of the information we need. All of this information requires us to make more decisions. All decisions, even small ones such as what to eat for lunch or what to wear, use a small 72 |

amount of energy from our brains. If we are internalizing more information and making more decisions, we are using up more energy. All of this extra information is truly exhausting us. Overload in action I have worked my way through university as a server at a popular diner chain. Our menu is 10 pages long, full colour and filled with images and several different fonts. Countless times ever day, I have customers tell me that the menu is “too big” or that there are “too many options.” People become truly overwhelmed by the number of choices and struggle to make a decision. The goal of this large menu is to give people lots of options; however, I have observed that there is a difference between “enough options” and “too many options.” Our best-selling menu items are the ones that have photos in the menu. This leads to a chicken or the egg type question: are these items featured in the menu because they are the most popular dishes, or are they the most popular items because they are featured? Maybe a little bit of both?

When people become overwhelmed, especially on a short timeline (such as the need to order food because they and/or their dining companions are hungry), they tend to look for signals to help them make their decision, which in the case of the menu, is in the photos. Rather than having to read descriptions and try to imagine (in their already overwhelmed state of mind) what that food would be like, they quickly point to a photo and order “that.” What can we do? Information Overload is something that will likely never end. As new technologies are developed, new books are printed, and new information is being created; generating new messages that will continually be pushed out into the world. As designers, we have the ability to create new methods of delivery that rely on clear and concise information, as well as effective visual choices to minimize the effects of information overload.

Article and Design by Emma Wilde

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Symbols Around US My mother barely understands English, but she is able to navigate airports. Not until I became an information designer did I understand that she relies on symbols in her airport journeys

Symbols allow people to identify, organize, represent and make sense of the world. What are signs and symbols? Nancy Louis Taylor says signs and symbols are part of the original language we used before we had formal language. Signs and symbols increase your understanding that increases your awareness.

Think about it this way: sign language is effectively utilized to communicate between two individuals who cannot understand each other’s verbal language. In the same way, information designers often utilize symbols since they are a simple, fast way of communicating.

“Symbols allow people to identify, organize, represent, and make sense of the world.” On that note, as information designers want everyone to understand the information being presented. Unless we have a specific audience, we will use a universal language to present information. 74 |

For information designers, a symbol is usually a combination of graphic elements, which may represent something to viewers.

In other words, symbols are pictures that narrate. Kenneth Burke, a communication theorist and critic, is best known for his analysis based on the nature of

knowledge. He describes humans as “symbol-using and symbol making.” On that note, information designers are focused on how to use symbols effectively – and certainly how to avoid misrepresentation. The two most common graphic symbols implemented by information designers are pictograms and ideograms. Pictogram Gael Davidson says pictograms are a pictorial representation of an object, place or item. The concept involves conveying a message to the viewer that must be understood in a split second, for instance, road signs. This is achieved with a very simple depiction of the object. These designs

convey information through a universal visual language that is easily understood regardless of language. Ideograms Like pictograms, ideograms are used to convey a message to the viewer and must also be understood quickly. However, rather than representing an object, ideograms represent and depict a concept or idea. They are usually paired with a pictogram to convey a complete message. For example, the red line across a cigarette means that the area is a “non-smoking” area. This type of design is utilized widely in international airports. These symbols are used to create meaning.

According to scholars such as Paul Ricouer, “meaning is the impact or value the text has for the reader.” And Sebastian Guerrini says, “This is a matter of understanding the very basics of human communication, and how our minds work to create within us a sense of agreement and satisfaction.”

by creating design that communicates accurate and useful information. It is practical, engaging, and motivating.

Article and Design by Clarissa Sutanto

Even though symbols are powerful communication devices, the interpretation of signs and symbols in one culture may differ from other cultures. Information designers need to be careful to utilize symbols well – aware of the complexities of intercultural communication. In other words, visual communication is a powerful tool for producing results

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Emerge

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Information design: Teaching us how to ﬁnd our way Being an information designer means that I get the chance to showcase information in ways that are meaningful, beautiful, and educational to the general public Information design informs. It educates. It helps readers and viewers find their way through into documents, websites, and cities. It just likes being instructional. Call it a genetic predisposition. A habit. An orientation. But whatever term you settle on, the truth remains: Information design always serves an educational role. According to the Instructional Design Central website, instructional design as a process is “the systematic development of instructional specifications using learning and instructional theory to ensure the quality of instruction. It is the entire process of analysis of learning needs and goals and the development of a delivery system to meet those needs.

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It includes development of instructional materials and activities; and tryout and evaluation of all instruction and learner activities.” Instructional design naturally involves researching and learning about theories. Its core purpose is to create simple and attractive learning packages, the result of a process of researching and implementing learning theories. It is essential, for example, in instructional design to know how users retain information and how they learn – as the information designer’s goal is to produce great educational materials. By taking an instructional design class, I have grown to appreciate the complexities of working with clients

how I need to be able to understand them, their situation, and document goals. Each client will be different from the other, and through the process of imagining, creating, editing and usability testing it is possible to meet the end goal and purpose, which is to provide a quality package that meets clients’ expectations. My instructional design class has taught me about learning theories and the best ways to implement them. One area where instructional design is central, of course, is in educational settings – the teacher and the classroom. Instructional design provides many strategies that ensure the best learning happens for the most number of students. But, in every situation in life,

information design always serves an instructional role because it evaluates the user’s learning experience, turns bits of information into meaningful content, and then creates meaningful materials that are appealing in order for readers and viewers to have a better understanding of things. Information design provides a distinctive teaching role in because it transforms complex information into manageable parts.

CLIENT MEETING

RESEARCH PRESENTATION

BRAINSTORM IDEAS 3

BUILD IDEA

THE PITCH

Article and Design by Diana Wong

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Liminal creation

Transforming the old into the new

Diagram representing the stages of liminality: (A) original state, (B) separation from the original, (C) the liminal period and (D) the new state.

Nanak, a gifted Hindu man born in 1469 is believed to have disappeared into the river Bein, where he entered a transformative liminal state. Within three days, he emerged from the water as Guru Nanak – the first Guru of Sikhism. Liminal periods are times involving great change. Whether people are engaged to marry, preparing for graduation, or anticipating the celebration of a new year, they are facing liminality. These are periods of uncertainty – they are not quite who they used to be, but they are also not quite who they will become. Arnold van Gennep was the first to coin the term, and he determined that there are three stages in liminality: Separation from the original self, the liminal period and aggregation into the new self. Van Gennep used the word limen because it is the latin word for “threshold.” Industry professionals face liminality. Companies have a constant outpouring of content and resources. As time goes on, it is not uncommon for materials to lose their capturing and effective nature. Whether it is employees that strike change or there is a drop in sales that pressures change, there is no doubt that transition is a part of our working world. A company will realize, one way or another, that what it is doing isn’t working. Whether the company identity is compromised, the way it organizes its resources is failing, the way in which it converses with clients isn’t effective, or the environment that it works in is dismal, the company and its identity begin to separate. When this happens, change must occur in order to survive.

For example, a company logo may be outdated, overly subtle, or can’t compete. So, the company will need to determine a plan of action. Whether assembling a team internally, or hiring externally, investigation, idea generation and reformation will need to occur. This is known as the liminal period. During this period there is a lot of questioning – there is uncertainty, and there is the “dying” of the old self. This is a difficult period, as it holds no promise of a better future – only that there will be a new self once the liminal period ends. In the case of a logo redesign, the result is a new identity – one that reflects the old, yet embraces something new. If the change of a new identity is unsuccessful, the liminal period may need to reoccur. Information designers understand liminality. This is what sets information designers apart. Information designers understand the process that is needed for work to be effective. With the goals of the target audience in mind, information designers understand that change takes an appropriate amount of time and patience in order to succeed. Information designers understand the difficulty and uncertainty during the process of liminality. Information spans across various mediums and information designers hold the necessary tools required to battle the storm. Information designers have experience in a variety of fields that often operate separately. Yet, in our changing world, it is critical for these talents to merge. Information designers are here to guide, change and transform the way we understand.

Article and Design by Alexis Handford

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The most terrifying part of a new design project is the blank, white page. What shall I do? Have I got a million ideas, or even worse, no idea? As I near the end of my four-year information design degree and embark on my professional career, I know that what starts as a seed of an idea doesn’t magically appear on the computer screen or in print. What takes place in-between is an idea evolution.

Fear of the

white page The role of sketching in the search for a good idea

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As information designers, we know the process of designing for both style and substance. After all, what’s the point of creating something that looks beautiful, but doesn’t work? We also know that our first idea will probably not be the final product. So, how does this idea evolution occur? The answer is found in a single word: sketching. But, why do we sketch? What does it mean? How does it influence our thought, work processes, and, ultimately, the final product?

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from colour, typography, and spacing, to discussions on what is fundamentally best for our user.

Sketching in action

Class of 2015’s view on sketching

As we learned in a usability class, rapid prototype generation is a quick, efficient, and cost-effective way of testing ideas for a user interface. Quick iterations of a pencil-sketched interface can save thousands of dollars when it comes to designing the real thing.

Sketches in action: a selection of my sketches for the design of this article. When planning, I created 17 sketches.

Deﬁning sketching For me, sketching is getting my ideas down on paper — lots of them. It can be an iterative process where one idea leads to another. It can also be a time of reflection where I can get the ideas down and think about them away from my desk. But, as a friend pointed out to me, sketching means different things to different people, and sketchbooks are a highly individual possession made up of thoughts, images, outlines, and words reflecting the personal nature of the process itself. The bigger picture It appears sketching is a growing field of academic study. A literature review undertaken by Pan, Kuo, and Strobel indicates that new designers benefit from a more structured approach to design problems — one that allows us to evaluate the design problem and come up with possible solutions, before even thinking about our final design concept.

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So, back to the problem of the blank page with a personal reflection. When asked in projects to come up with multiple ideas and iterations, I believe that without the constant refinement and inspiration from earlier iterations, my final concept would never materialize. Pan, Kuo, and Strobel’s literature review reveals that as designers sketch, they explore the design problem at an early stage — what they call “a dialogue or conversation between the designer and what is designed.”

When asked why sketching was important, responses fell into key themes: • The ability to create, change, and mold a wide variety of ideas. • The opportunity to work in a less permanent way. • The speed with which concepts can be created. • A detachment from a refined idea or concept, but a focus on the audience. • The ability to create something you have not yet considered or have yet to anticipate. • Time to ruminate and see the bigger picture.

Some local context I wondered how my information design classmates used sketching. Was sketching a fundamental part of their design process? Did they use a paper sketchbook or an electronic version? Was sketching important, and was the final product enhanced by the sketching process?

Making things more usable Revisiting the importance of substance and style, with the primary focus on the user, sketching is an essential ingredient in usability testing.

As you see in the infographic, the results make interesting reading. My peers are clear that sketching is an essential part of their individual design process.

As my information design classmates described so eloquently, sketching removes designers from a focus on a refined idea. Instead, we shift our focus

For example, imagine that a usability test participant tells you that a button doesn’t work in its current position. Oh well, remove it and draw another one! Imagine that you need a way to return to the main menu, or require additional options in the interface’s navigation. Add new, remove, enhance, and modify features to the sketched prototype quickly and easily using a pencil or a sticky note. Then, watch how the test participant uses them. Sketching in usability testing gives real time results, flexibility in design, and the opportunity to immediately react to the needs of the user. The perceived informal, flexible nature of a pencil sketch may encourage users to comment more freely. They are not worried about offending you or your highly polished product. The same is true of sketching at the beginning of the design process — as mentioned by my peers, we are not tied to one concept or idea. It is not complete, nor is it the final product. Rather, as information designers, we are exploring if our ideas feel right, look right, and ultimately meet the needs of our users.

Article and Design by Samantha McLaughlin

Infographic outlining my peers’ views on the role of sketching in their creative process. Twentyone students are represented.

90% of students sketch during the design process

8 1

students use only a paper sketchbook

student uses only an electronic sketchbook

students use both a paper and electronic sketchbook

95% 0%

of students felt sketching improved their final design 100%

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The web aesthetic How information design supports the goals of both the user and creator, through understanding how people interact with information online

Almost anyone who used a computer in the ‘90s is familiar with the stereotypical HTML website – the kind with a black background, rainbow colour scheme, and animated graphics.

the look of a website is often the first thing that is considered; however, this often leads to a website that may look lovely, but is difficult to use or understand – leading to a frustrated user.

However, nowadays, computers are used by individuals of all generations in a variety of media. So what constitutes “good” website design in the 21st century?

Steve Jobs understood this well, explaining in a famous quote: “Design is not how it looks like and feels like. Design is how it works.” Cliché or not, this is a fundamental concept to any designer educated in the field of information architecture.

Proper web design is the practice of defining, planning, and shaping the contents of the message as well as the environment it is presented through. In order for a website to properly support the goals of both the user and creator, it must achieve three key factors: it should be inclusive of the target audience, it should be responsive to a variety of devices used to access it, and it should support the purpose of achieving specific objectives.

Information architecture is an emerging field focused on the structural design of digital environments to support usability and findability. A large part of this discipline is developing the wireframes, blueprints of a digital design, (see Figure 1) as well as the taxonomy of how contents and products on a site should be categorized.

At this point, one may ask where the aesthetics fit in to the process of website design. For many new designers,

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A website that has proper information architecture will be easier to navigate as users will be able to find the information they desire simply and efficiently. For example, particular aspects of the website such as the navigation and logo adhere to certain web standards, and are placed where users expect to find them. As well, pages with important information are categorized effectively under navigational links that are appropriately defined, so that it is easier for users to find the information they are looking for without having to scroll through several pages to get there. Of course, proper information architecture often goes undetected, as it should, to the untrained eye.

The goal of the discipline is to organize websites in a “common sense” way in order to create a positive web experience for the user. Information architecture is one component in an emerging field known as user experience design which recognizes that good web design isn’t just about functionality but also how the user feels about the way the website performs. One of the best ways for companies to test their website’s information architecture is to preform usability tests to evaluate how well their website functions in supporting the users’ goals. Simplicity is the “golden rule” of usability in web design. The term simplistic is not to be confused with minimalistic, but rather, it refers to one essential re-

quirement of current day web design: every website has a purpose. The easier it is to fulfill that condition (i.e. the simpler a website works) the happier the user will be. An effective website will serve a particular purpose that supports the needs of both the user and the creator. What usability testing accomplishes is evaluating how well that purpose is accomplished and communicated. While usability testing may be highly undervalued by many companies, it is an essential component in building an effective and successful website – not only from a design perspective, but from a content development and user perspective as well.

Imagine website design as a real-life store that one could walk through to purchase products. If information architecture is the layout of the store, and usability is the feedback from the customers, the aesthetics of web design would be what the store and all the products look like. The colours, typography, photography and layout incorporated into the site design will go a long way in communicating a company’s brand and are often what makes up the first impression. To create a meaningful design, it is essential for the designer to complete comprehensive research on the target audience, the company’s values, and the field or community the company falls within.

Figure 1. Website Wireframes

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For example, a website designed for a fashion photographer could be heavily image based and fairly trendy based on the photographer’s style whereas a website designed for an upscale New York law firm might be minimalistic and professional.

Neither design would be considered superior to the other – as both would be properly suited to the message the company wants to communicate. Perhaps the most important notion to consider in regards to the visual communication of a website is best articulated by renowned graphic designer Paul Rand, who accurately described design as, “the silent ambassador of your brand.” Another important aspect to consider in the design is the type of media through which your website might be accessed. An established accounting firm, targeting professionals from the baby boomer generation, might be best suited to a fixed-width layout that is easily viewable on computers or laptops. In contrast, a website such as Facebook, targeting the millennial generation, must utilize a responsive layout, so that it can be accessible through a multitude of environments and deliver

the same quality of style and content on a computer, tablet or smart phone. A skilled information designer in the field of website design considers these particular aspects when designing the visual communication to ensure that the visuals work cohesively to create an attractive medium that accurately conveys the goals and mission of the company. Through proper utilization of information architecture, user-centered design and visual communication, web design is able to act as the point of intersection between language, aesthetic, and communication disciplines.

Article and Design by Chelsea Wilson

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ALL ABOARD !

Information design for travellers I’ve spent more time on planes than I have on land. Okay, maybe that was an exaggeration, but I do travel a lot. In fact, I am writing this on a plane right now, sitting between two strangers who keep glancing at my screen. Travelling is time consuming, and travelling overseas is even more difficult when it takes 13+ hours of flight and potential layovers. Spending such long periods of time in a tiny chair, squished between other passengers, can make a person grumpy, self-loathing, and stressed. Finding critical information in highly stressful situations should be an easy and organic task. But why isn’t flight information easier to find? Why do airline tickets and boarding passes look so old fashioned and, well, just weird? Shouldn’t they have figured this out by now? Why is it so hard to ﬁnd information? The challenge in creating user-centered design is the size of audience you’re designing for, as it is very difficult to design a useful experience with such a diverse readership. So, it is understandable if the information provided doesn’t suit all those who view it. One way to solve this issue is to conduct usability tests or focus groups to get a better understanding of what the audience really needs. These studies could be conducted at airports with passengers who have a long layover period. This method would allow the test participants to be in a realistic environment while allowing test conductors to have an idea of how people garner information when traveling. And, of course, designers could also design different airline tickets and boarding passes for different demographic groups. For example, older travellers could have a boarding pass with larger font – making it easier for them to read.

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The boarding pass One of the most important documents during travel is the boarding pass – a small document that contains critical information about your flight. Why aren’t boarding passes made into an easy document where important information can be identified easily? Do they hide the gate numbers on purpose just to mess with tired passengers? The boarding pass is a piece of paper that contains information about boarding times, gate numbers, airline information, seat numbers, and more. It is often cluttered and set in a small font – making it hard to read. Don’t you think it’s about time for boarding passes to be brought into the new century? Don’t you think it’s about time a team of designers was tasked with creating a user-friendly, readable, attractive ticket? You know, easy to read. Easy to find gate numbers. Easy to see the airline name and flight number! As an information designer, I say yes. We have the technology. We have the skills. We have the will. We have a world well beyond the old-school boarding passes. We know we have travellers frustrated with the currently used boarding passes. Being up to the challenge, I have created a new boarding pass – with stressed-out travellers in mind. Have a look, and see what you think.

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The new boarding pass

The original boarding pass

A B

C C

A B

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This the flight number. It consists of letters which indicate the airlines and numbers which indicate the flight number.

The boarding time and departure time are the most important pieces of information that are on the boarding pass but they are hidden on it. These elements should be included in a very clear manner.

The QR Code is also a very critical piece of information that is a key element for the traveller to board the plane. It is scanned by the airline staff to let the passengers on the plane. While is should be apparent, it shouldnâ&#x20AC;&#x2122;t take more space than the other information.

Another piece of information that is important to the traveller is the seating number, but in this boarding pass it is barely seen.

This is the original boarding pass which is difficult to follow. All the information is placed on the paper with no hierarchy in place.

C D

This section contains information that is critical to the traveller, so it is placed at the top left corner so it is one of the first things that the traveller sees.

Since the boarding time and the departure time are the most pieces of information on the boarding pass,they are placed right under the flight destinations. They are also placed between lines to bring attention to them.

Here we can see the re-designed boarding pass. It is small so if can fit inside any passport, instead of having a big piece of paper that can be lost. With this boarding pass, travellers can easily recognize the information they need such as their seat, destination and boarding time.

The QR code here is still obvious and easy to see but it is not taking a lot of space on the paper.

The seat number is placed with the most important information and it is bolded which makes it straightforward and easy to find. There is also an airplane map to show the seating plan so the passenger has an idea where to go.

Article and Design by Ban Ihsan

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Everyone in post secondary has the same worry – will I get a job? Will I like it? Most importantly, will I actually use what I’ve spent four years learning in school? As far as landing a job goes, information design is actually quite the prospective degree. Someone graduating with an Information Design degree can be hired in any field ranging from graphic designing to technical writing. I decided to break down a typical day of working at my part-time job as a Junior Reporting Analyst to test the case.

SKiLL SET

The Position: Junior Reporting Analyst All work done for a major pipeline company. Role focuses on assisting the team in formatting, organizing and compiling various internal and external reports and scorecards.

9:00 am

DEPENDING ON YOUR DEGREE

Attend weekly meeting with coworkers. Discuss the upcoming week, divide work amongst the team. This week there are three presentations, two scorecards and the weekly report due and three of us to tackle the job. I’ve been assigned to take the lead on two of the presentations and the weekly report.

1:00 pm

Software

data visualization, use and knowledge of programs, organization

Technical

formatting, technical writing and editing

Design

hierarchy, establishing proper concepts, use of design properties

User Experience

project management, collaboration, client negotiation

Hang out in a break out room with some coworkers tossing around ideas for an upcoming deliverable. Our client is requesting that we compile some more detailed information for a presentation at the end of the week. We put our heads together and delegate several tasks amongst the group and shift our priorities to make room for the goal.

10:00 am Build a skeleton of two upcoming presentations, similar template but require slightly different designs. One is for the Engineering team so it is a bit more clean and concise, using more technical language. The next is a Communications presentation so I use more colour and casual language.

2:00 pm Meet with a coworker on the Environment and Regulatory team to discuss how they can better what they provide for the weekly report. Discuss some specific suggestions for their report such as: providing several concise bullet points relaying their weekly activities and keeping technical language use to a minimum.

11:00 am Gather the safety statistics that our team collects from various contractors. Input all of the months data into an excel spreadsheet and send to the team for review.

3:00 pm Attend an update meeting to exchange any concerns or ideas with the team. Discuss the possibility of beginning to incorporate more design elements in our weekly and monthly deliverables. Offer to provide a proposal with some concept ideas that would be useful in our report format.

12:00 pm Attend a company “Lunch and Learn." Today's topic: How our company makes money.

4:00 pm Wrap up the day on a conference call with a third-party client to organize an upcoming kick-off event. Decide on the design concept and theme for the banners and brochures.

Article and Design by Emma Kelly 94 |

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THE BAKERS The contributors of Cake Magazine

(Above left) Documentation and Social Media - Jordan Piraux, Sarah Lamoureux (Above) Text Editors - An Vo, Samantha McLaughlin, Michelle Vaniersel, Vicki Lo (Right) - Editors - Chelsea Wilson, Stephanie Stobart, Samantha McLaughlin, Hayden Patullo, An Vo, Ezequiel Perdomo (Below) Style Guide and Web - Hayden Pattullo, Jessica Westlake, Chelsea Wilson, Jillian Dipanfilo, James Ridley

(Right) Print Production - Joshua Penner, Diana Wong

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(Left) Table of Contents, Section Fronts - Naazneen Lalji, Emma Kelly, Alexis Handford, Ronica Tang, Clarissa Sutanto, Sam Kadri

(Above) Art Directors - Jay Laya, Luke Dickson, Alisa Kuzmina, Ezequiel Perdomo, Stephanie Stobart (Left) Launch - An Vo, Emma Wilde, Rachel Huber, Ban Ihsan | 97

Thank-you! The students enrolled in the information design class would like to thank the Department of Information Design for its support, resources and dedication in the creation of this year’s class magazine. In particular we would like to thank Richard Erlendson, our course professor, for his expertise and commitment to this project and Ben Kunz, Department Chair, for his leadership and reassurance. We would also like to thank Department professors Brian Traynor and Milena Radzikowska for one-on-one support during the development phase of various magazine spreads. As well, we would like to extend thanks to Kerri Martin, Faculty of Communication Studies technical specialist, for her expertise in deploying a web version of this magazine – see cakemag2014.ca. Information design work can often be unpredictable, time consuming and difficult, so we would like to thank the people who got us through the challenging times: family members, friends, classmates – and everyone who delivered coffee during the late-nighters. Lastly, we would like to extend a special thank you to the second year Graphic Communications and Print Technology students at SAIT – a students-assistingstudents initiative – who printed and bound our magazine as part of an informal partnership that began last year with the printing of Verve Magazine. We are deeply grateful for your precise and measured work in making Cake Magazine all it could be! The magazine pages were printed on a brand new Xerox iGen4 digital press and the cover was printed on a Heidelberg SM52 offset press. Sincerely, The Cake Magazine Team

Cake Magazine was conceptualized and created in its entirety as a class project by senior students enrolled in the Department of Information Design at Mount Royal University. The views contained in this magazine are those of the individual writer and do not necessarily reﬂect the views of the Department of Information Design, the Faculty of Communication Studies, or Mount Royal University. No parts of this publication may be used or reproduced in any manner without the written permission from the publisher. Every reasonable attempt has been made to credit owners of copyright. Copyright 2014.

I N F O R M AT I O N D E S I G N S T U D E N T S PRODUCED THIS MAGAZINE