INCLUSIVITY IN DESIGN
process book
contents
research
To start out this project, two ideas were pitched. Besides my final concept of “design for all” that morphed into “all: inclusivity in design,” I proposed “design for education” in which designers and educators could come together and learn from each other. Shown here and on the next page are the original ideas and details proposed for this project.
Idea One
Design for All Main Themes & Goals: • Increase inclusivity in design • Make the design world more accessible and diverse • Consider all kinds of consumers/users
A RTC 4305 : T YP OG R A P HY I I I
HANNAH GASKAMP
Idea One
Design for All Ideas • How to use inclusive language in design • Designing for people with speical needs/learning disabilities • The importance of diverse designers • Making design firms more accomodating and accessible
A RTC 4305 : T YP OG R A P HY I I I
HANNAH GASKAMP
Idea One
Design for All Potential Speakers • Liz Jackson, a dsiability design advocate • Lauren Johnson & Ryan Day, creators of QPSPACE, an organization that advocates for LGBTQ design • Maurice Cherry, creator of award-winning podcast Revision Path, which showcases Black designers, developers, and creators from all over the world
A RTC 4305 : T YP OG R A P HY I I I
HANNAH GASKAMP
typography iii 2019
research .Every conference
Idea Two
needs a mission statement. Here’s a first and a final draft of the mission statement for this conference.
Designer as Educator Main Themes & Goals: • Discuss best practices for design of educational materials • Impart the basics of these best practices to non-designer educators • Discuss problems of design educators and propose solutions
A RTC 4305 : T YP OG R A P HY I I I
hannah gaskamp
HANNAH GASKAMP
Idea Two
Designer as Educator
Design for All
Ideas • The art of inforgraphics • Best practices and overcoming challenges for textbook design, nonfiction book design, and instruction manual design • Basics of effective educational materials for non-designers • Art and design educator pow-wow and discussion
A RTC 4305 : T YP OG R A P HY I I I
HANNAH GASKAMP
Idea Two
Our mission is to increase inclusivity and diversity in design by emphasizing a consideration for all kinds of users including people of differing abilities, ethnicities, sexualities, and gender identities.
Designer as Educator Speakers • Joanna Lu, Design Manager at Venngage, a website about infographics and how to make them • Elizabeth Rendfleisch, designer of Michelle Obamas book • Daan Assen, Chief Instructional Design and founder of SwipeGuide, a platform that assits in the creation of instruction manuals
A RTC 4305 : T YP OG R A P HY I I I
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all: inclusivity in design
The goals of this conference include increasing inclusivity in design by making the design world more accessible and diverse and emphasizing a consideration for all kinds of users/consumers including people of differing abilities, ethnicities, and sexualities/gender identities.
HANNAH GASKAMP
process book 7
typography iii 2019 After a topic was chosen, the real research could begin. This is just three pages of what became a thirty page document where I gathered and processed all the information related to accessible and diverse design.
research ACCESSIBLE DESIGN Dyslexics and visually impaired https://venngage.com/blog/color-blind-friendly-palette/ http://mkweb.bcgsc.ca/colorblind/ https://asada.website/webCVS/?_fsi=JNGTcncL • • • • • • • • • • •
Use sans serif where possible to increase readability by people with dyslexia Avoid italics when possible, try bold instead All caps is harder to read Keep contrast, but consider an off white or soft gray background to help with eye strain on screens Typeset 9 points or above Keep line length to approximately 80 characters Pick font with distinguished numerals (L, I, and 1, should be distinguishable) Align left instead of justify to keep even word spacing Leave space between paragraphs, don’t indent Give webpages features that allow for changing type size, line spacing, etc. Give webpages text-to-audio features
Colorblindness • Use both colors and symbols or patterns to differentiate or draw attention to things • Keep it simple, a smaller color palette can be less confusing • Avoid color combinations that could be harder for people with color blindness to see
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Green & Red Green & Brown Blue & Purple Green & Blue Light Green & Yellow Blue & Grey Green & Grey Green & Black
Make sure your colors have enough contrast when seen as black and white (other resources to check for contrast: Contrast app and the WebAIM contrast checker
Screen Reader Users • Use labels instead of placeholder text for forms • Design webpages with usable focus states, so a page could be navigated with a keyboard alone • Don’t hide things under a hover
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Create descriptive alternate text for pictures Use header tags correctly Make touch areas big Get an accessibility audit
typeface The choice of typeface is less important than contrast, type size, weight and the spacing of characters. Quirky, unusual, script and titling faces are obviously highly inappropriate for legible continuous text. For the partially sighted 9–12 pt type (or an average x-height of 2.5mm) is suggested as a minimum by RNIB. Sometimes 16pt may be needed by some visually impaired readers. type weight The tendency has been for setting text in bold because of its contrast on a white page. However, more recent findings suggest that a medium weight or semi-bold may be more legible italic Traditional italic type should clearly not be used for continuous text for any group of readers. As a means of emphasising important words or phrases it may be appropriate. This is particularly important if body text is in a semibold; the use of bold for emphasis will not be enough. Titles of books etc. should be italicised as in text for general readers. Remember that the italic versions of most seriffed fonts are very different from their roman equivalents; some would be tough going for visually impaired readers. ‘Italic’ versions of sansserif fonts are normally just sloped versions of the roman and should not have the same potential problems. Text in capitals is much harder to read than normal-case continuous text. However, one or two words set in capitals do not create reading problems. numerals It is important that numbers are as distinct as possible. This is particularly vital for documents such as bills, bank statements, and accounts Also the figure one ‘1’ can be confused with I, and l and even ! A ‘hooked’ number one is much more distinctive than a straight vertical stroke ‘1’. Choose a typeface with distinctive numbers. interlinear space Leave reasonable space between lines of type. RNIB suggests interlinear space should be at least +2pt for type sizes between 14pt and 20pt (eg. 14pt type with 16pt leading). line length and line endings This should ideally be in the range of 50–65 characters. Some visually impaired people may prefer even shorter lines than this. Avoid splitting words at the ends of lines. Switch hyphenation off. setting mode Use unjustified, ragged right, text setting with even word spacing. Do not justify text: this creates uneven word spaces and makes the text harder to read. This appears to reflect research among regular readers which suggests that unjustified text is easier to read at the margins of reading ability: with beginning readers and those reading in poor light. word spacing Always use even word spacing. paragraphs Leave space between paragraphs. There should be more space between paragraphs than between lines. Other ways of setting paragraphs such as only indenting the first line or outdenting the first line may make text less easy to read for visually-impaired readers.
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Tools
Offer your dyslexic users an element of control by providing them with readability tools. There are a variety of simple tools available that let users adjust font size, line height, and even mask certain areas of the screen. For users who really struggle with reading, a text-to-audio option could also be beneficial. This can be done with an automated tool, or by providing an audio clip of someone reading the text areas in full. https://medium.theuxblog.com/how-to-design-for-dyslexia-7a7f82ea50ca
DIVERSITY IN DESIGN (WORK AND FIELD) WHY • More diverse voices means more diverse consumers • Minorities have spending power • Designers affect perception • Accepting the minorities in your office with make everyone happier and more productive • Oppressed groups deserve some time in the spotlight • Diverse perspectives help you solve more problems HOW • Have diverse representation, but don’t force it • Avoid outdated and offensive terminology, do your research • Hire and consult minorities on any and all projects • Use inclusive language FIRM • Ask for pronouns • Consider accessibility of the office space • Don’t ask anyone LGBTQ things you wouldn’t ask others • Don’t out LGBTQ people • Do your research before you make comments • Have diversity training • Be open about acceptance of LGBT people • Start or encourage an LGBT network
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thumbs
Every conference also needs a logo. Four different typefaces were explored in these logo thumbs, including one designed for dyslexia, one for a pride event, and two for low vision. Tiresias Infofont was the chosen typeface, which was designed by the Royal National Institute for the Blind with John Gill. It’s designed for low vision and the blind.
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After Tiresias Infofont was chosen, more work was given to the layout of a logo. Lots of experimentation was done with the idea of the it begin rectangular and resembling a flag, but that seemed to feel too boxed in. Some experimentation was given to color also.
roughs
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thumbs
At this point in the process it was time to begin thinking about what other assets would be a part of this conference. I decided on buttons, conference badges, and zines. The buttons were chosen so that things like pronouns could be visibly displayed if an attendee so chose. The zines were chosen so that concrete resources could be available to everyone. Badges are a conference staple, and would potentially be a way to hold everything together. The zines could fit in the pocket, and the pins could go on the lanyard. Here’s where I first jotted down some basic ideas for these assets.
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comps
Displayed here is my first attempt at the zine, this one with a focus on accessible design. I was afraid of using color for fear of leaning too much towards one group that was supposed to be equally represented here. So stuck with just one and no accompanying imagery, it ended up pretty bland. Shown here also is the final version of the logo.
typography iii 2019
comps
Pride flags, pronoun pins and conference badges were created at this stage, but again, with no solid color or imagery choice in place, they are not very cohesive and are far too simplistic.
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hannah gaskamp
During a second round of comps, I focused on this line in the logo. This was chosen because of the accompanying slogan “we’re drawing the line,� emphasizing the idea of underrepresented groups being fed up with the lack of accessibility and diversity in the design world, and taking a stand here at the conference to get the representation they deserve. The line was used to create pride flags along with the newly chosen color palette. This palette was chosen because of the high contrast of hues between the colors, making it differentiable even to those who are colorblind. A dot pattern was also created to represent all
the different kinds of people in design and at the conference. Setting it in a single color, however, somewhat ruined the idea.
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typography iii 2019
comps
hannah gaskamp
Here in a second version of the zines is the color palette and dot pattern in action. All the information was finally gathered and organized, and it was time to finalize the design of it. While there was the idea to create posters of the diversity and accessibility zines, at this point only the map for the info zine was put in.
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comps
In the end, the dot pattern was thrown out and a focus was renewed on the line and this emphasis on drawing the line. The badges were made slightly more uniform but with more pops of color.
final products
typography iii 2019
final products
hannah gaskamp
The buttons mostly strayed the same from the comps, with the exception of the pronoun pins being made more uniform like the rest of the pins.
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typography iii 2019
final products
hannah gaskamp
The aesthetic of the zines changed somewhat drastically, as the covers and titles were all redone. A focus was found on lowercase letters and as with the badges, the line. Posters were created for the diversity and accessibility zines, accessible by unfolding them. The map was color coded to match the color palette as well.
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final products
hannah gaskamp
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all: inclusivity in design
final products
INCLUSIVITY IN DESIGN