Note to instructor: This document has been designed with low vision standards in mind. It has also been optimized for view on an iPad. Select pages have been rotated in order to fit this format. Thank you!
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Senior Capstone Process Book
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Table of Contents
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Process Book Table of Contents
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05 Introduction
11 Design Brief 11
Project Statement
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Project Description
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Channel & Application
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Audience and Research
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Desired Results
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Capstone Rubric
16 Report Log 17 Terminology 23
Causes of Vision Loss
31 Precedents 37
Legibility Standards
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Legibility Checklist
43 Interviews 45
Type Program
46 Next Steps 47 Calendar
49 Appendix 59 Works Cited
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Process Book Table of Contents
III
Introduction
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Process Book Introduction
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There’s a problem.
Low vision or blindness affects 1 in 28 Americans over the age of 40, and increases significantly with age – especially for people over the age of 65. Source: Grand Junction Center for Independence Katie Lee
Introduction
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It’s getting worse.
Today, 6.5 million Americans over the age of 65 have a severe visual impairment, and experts predict that by 2030 the rate of severe vision loss will double along with the country’s aging population. Source: National Federation of the Blind Katie Lee
Introduction
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I see a need.
Currently, there are few standard typefaces designed specifically for those with low vision. Most materials use existing typefaces set at large point sizes and fail to consider other visual factors.
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Introduction
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I’d like to change that...
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Introduction
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by designing a font just for them.
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Introduction
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Design Brief Working Title Transitional Type for the Visually Impaired
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Process Book Design Brief
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Project Statement
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To read efficiently, individuals with low vision require typographic solutions tailored to their visual needs. Despite a rising number of Americans with this condition, few options exist for them today. I would like to design a transitional typeface that clarifies roman letterforms and accounts for these unique visual considerations in order to make reading easier for those who have low vision.
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Design Brief Problem Statement
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Project Description The inspiration for this project came from a desire to apply my visual communication skills to a real world problem. After learning about the prevalence of vision problems in the United States, I was astonished to discover how few visual considerations have been made for those with low vision needs. With so few typeface options in existence for this audience, it is a huge opportunity to solve a growing need through design. This project poses an interesting challenge of my design skills as I will be designing for those who cannot see as I do. Increasing one’s ability to function and read, especially as one ages, can maintain and improve quality of life. It is my belief that visually impaired individuals should not be hindered in their ability to read or communicate simply because they do not have the necessary tools to do so. I hope this exploration will prove useful as the consideration of accessibility becomes increasingly relevant to the design world. Channel The media best suited for this problem is a typeface with potential applications to wayfinding, reading materials, or a standards guide.
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Design Brief Project Description
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Audience Americans aged 40 years old and older whose age-related eye conditions render them with “low vision,� and consequently functional limitations and an impairment to read average type. The individuals in this age group have enjoyed normal vision at one point but now require specialized or supplementary materials. Their low vision is legally defined as a visual acuity 20/70 to 20/200, and is often caused by macular degeneration, glaucoma, cataracts, or diabetic retinopathy.
Research Methods & Activities I plan on conducting various types of research in order to accumulate relevant information for my topic. Books, articles, and online resources will make up the majority of this research. However, I feel that interviewing several visually impaired individuals would be extremely valuable and enlightening. I will also need to revisit some basic fundamentals of graphic design in order to develop typography that will best meet the needs of my audience. If time and resources permit, I would also like to interview a professional in the field, either dealing with eyesight or as a professional in the blind community. All of this research will ultimately be published to my blog.
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Design Brief Audience
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Desired Results I want to: • Improve overall legibility • Increase speed and ease • Reduce eye strain
by: • uniquely adjusting letterforms • creating a system of standards • adjusting for other visual factors
Capstone Rubrics Critical Thinking: This criteria will be met by considering what solution most effectively meets the need of my audience, and by translating large amounts of research into a useful reading tool. Effective Communication: The communication aspect of my project will be fulfilled with one of graphic design’s most effective communication tools: typography. Knowledge Integration: My understanding thus far of graphic design and typography principles will be integrated with this typeface as I will have to clarify as best I can the existing roman letterforms to meet the specific needs of low vision individuals. Social Responsibility: My social responsibility will be met by catering to the growing elderly population whose vision is on track to become a serious health issue, and who will desperately need attention in regards to graphic and industrial design.
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Design Brief Desired Results
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Report Log
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Process Book Report Log
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Report Log
Terminology
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Research Log Terminology
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Vision
Visual Acuity A measurement of clearness of vision, which is dependent on the sharpness of the retinal focus within the eye and the interpretative faculty of the brain.
Low Vision A range of vision (beyond correction of eyeglasses, medicine or surgery) that makes everyday tasks difficult. In addition to reading, a person with low vision may find it difficult or impossible to accomplish activities such as writing, shopping, watching television, driving a car or recognizing faces. Individuals with low vision need help to learn how to make the most of their remaining sight and keep their independence. Losing vision does not mean giving up activities, it means finding new ways of doing them. Low vision is defined as a visual acuity between 20/70 and 20/200. A visual acuity below 20/200 is considered to be blind.
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Terminology Vision
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Visual Acuity
Distance from Object
20/20 20/30 20/40 20/50
30 ft 20 ft 15 ft 12 ft
20/60 20/70
10 ft 8.75 ft
20/80 20/100
7.5 ft 6 ft
20/200 20/400
3 ft 1.5 ft
Low Vision Blind
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Terminology Vision
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“
Due to an increase in the number of aging baby boomers and the growing prevalence of such diseases as diabetes and age-related macular degeneration (AMD), some 61 million Americans are at high risk of serious vision loss. Lighthouse International
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Terminology Vision
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Typography
Illustration from FontShop
ascender – The portion of lowercase letters which ascends above the x-height, as found in the letters b, d, f, h, k, l.
counter – The negative space within a letter, surrounded by positive elements such as stems, bowls and serifs.
baseline – The vertical origin upon which capital and non-descending lowercase letters sit.
descender – The portion of lowercase letters which descends below the baseline, as found in the g, j, p, q, y.
bowl – The round or elliptical portion of letters such as C, D, O, a, b, e, o and p.
glyph – The graphical representation of one or more characters.
cap height – The height of capital letters such as H, O and X.
kern – The adjustment of horizontal space between two glyphs. In metal type, the portion of a letter which hangs over the edge of the type body.
character – The smallest component of written language with semantic value. character set – A list of characters, which defines the required character support for a font in a particular environment.
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leading – The vertical distance between lines of text. Expressed as points of lead (white space) inserted bewteen lines of text, such as 12 point type with 2 points leading, or “12 on 14”.
Terminology Typography
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ligature – Two or more characters represented on a single glyph. Common ligatures include “fi” and “fl”.
point size – The size of a font in points. sans serif – A classification of typefaces which have no serifs.
lining figures – Numerals which have a common height, and thus align vertically with one another.
serif – A flare or spur at the end of a stroke. A category of typefaces which exhibit serifs.
metrics – The generic term for any font or glyph measurements used in the setting of text. Horizontal metrics include advance widths, side bearings and kerning. Vertical metrics include ascent, descent and line gap dimensions.
terminal – The name given to the end of strokes which have no serifs. Terminals generally fall into one of the following categories: ball, beak and teardrop.
oldstyle figures – Numerals which vary in height such that 6, 8 and 9 ascend above the x-height and 3, 4, 5, 7 descend below the baseline.
typeface – A collection of typographic characters (letters, numerals, punctuation, symbols) designed to be used together, and produced as one or more fonts.
point – A typographic unit of measure. 72 points = 1 inch.
x-height – The height of lowercase letters which do not ascend, such as x.
HxbyEpet X-height
Cap Height
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Ascender
Stroke
Descender
Terminology Typography
Counter
Bowl
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Report Log
Causes of Vision Loss
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Report Log Causes of Vision Loss
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Causes of Low Vision There are four main causes of low vision among individuals aged 40 and over, all of which can lead to blindness. They are:
Cataracts Macular Degeneration Glaucoma Diabetic Retinopathy
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Report Log Causes of Vision Loss
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Cataracts Causes: Affects:
Clouding of the lens; yellow tinting; blur Ages 40+
Part of eye: Risk factors:
Lens Age, diabetes, smoking, drinking, environmental factors such as prolonged exposure to sunlight Cloudy or blurred vision, faded colors, glare, poor night vision, double vision, prescription changes
Symptoms:
Projected Increase in U.S. 35
Millions of Americans 40+
30
Cataracts make up
50%
25 20 15 10
of all low vision cases
5 0 2008
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2020
Causes of Vision Loss Cataracts
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Macular Degeneration Causes: Affects:
Loss of vision in central field; blur Ages 50+
Part of eye: Forms: Risk factors:
Macula of the retina Wet (Advanced) and Dry Age, smoking, obesity, Caucasian ethnicity, family history of AMD, women Wet: Straight lines appear wavy; Dry: slightly blurred vision, difficulty recognizing faces, dimness, drusen (yellow deposits in retina)
Symptoms:
Risk of AMD:
30% 2% In Middle Age
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Ages 75+
Causes of Vision Los Macular Degeneration
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Glaucoma Causes: Affects:
Depends on type, Loss of peripheral vision; blur Ages 40+
Part of eye: Risk factors:
Optic nerve Age, family history, African descent, corticosteroids, systemic diseases, trauma Sometimes no symptoms; vision loss, tunnel vision, sudden or severe pain, cloudy vision, halos, nausea, red eye, swollen eye
Symptoms:
2.2 2.0 Katie Lee
million Americans diagnosed million Americans unaware
Causes of Vision Loss Glaucoma
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Diabetic Retinopathy Causes: Affects:
Blurred and obscured vision Ages 18+
Part of eye: Risk factors: Symptoms:
Retina All people with diabetes, type 1 or 2 No symptoms in early stages; floating spots, blocked vision by bleeding vessels, blurred vision
Vision-threatening diabetic retinopathy affects one in every 12 people who are 40 and older with diabetes.
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Causes of Vision Los Diabetic Retinopathy
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The effects of: Normal
Affected
Macular Degeneration
Diabetic Retinopathy
Glaucoma
Cataracts
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Causes of Vision Loss Simulation
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Visual Impairment in the United States by Age
( MILLIONS OF AMERICANS) 25 20
Cataracts; 20.5M
15 10 5
Diabetic retinopathy; 5.3M
Glaucoma; 4.2M
Low vision; 490,400
Macular Degeneration; 1.2M
0 0 5 (AGE)
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25
40
60
65
70
75
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Causes of Vision Loss Infographic
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Report Log
Precedents
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Report Log Legibility Standards
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APHont
Cleverly named by the American Printing House for the Blind, APHont is the only typeface available to the general public today that is designed specifically for a low vision audience. Although major improvements have been made to increase legibility and distinction between similar letterforms, the font lacks sophistication and polish, appearing almost childlike and overly simplistic. I can spot many opportunities for clarification in the finials, terminals, counters, ascenders, descenders, and axis.
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Legibility Standards Precedents
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Clearview
Clearview is a prime example of a typeface designed for a specific legibility condition; in this case, not in a book, but from a distance while the audience is simultaneously moving closer. It was approved for use by the Federal Highway Administration in 2004 with the growing population of aging Americans in mind. When the project began in 2000, only 12.4% of the U.S. population was over 65. But that number will increase to 20% by 2030, and older drivers have disadvantages on the road: their reaction time is not as quick, their visual acuity is diminished and their sensitivity to contrast is reduced. The answer came in a typeface with a heavier stroke, enlarged interior shapes, enlarged lowercase letters, and use in mixed cases, which also reduced overglow from its reflective background. The results? A stationary viewer gained an additional 200 feet of added reading distance using a 10-inch-high letter on the demonstration pane.
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Legibility Standards Precedents
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AIGA:
AIGA published a comprehensive article in 2003 examining
Typography and the Aging Eye
all the visual factors that impact an aging eye's ability to read type. These factors extended beyond typeface legibility to loss of contrast, loss of focus, visual field loss, and sensitivity to color. It outlines ADA standards and simulates its approved typefaces under low visibility conditions. AIGA considers these benefits to be beneficial for legibility: • Consistent stroke widths • Open counterforms • Larger x-height • Pronounced ascenders and descenders • Wider horizontal proportions • More distinct forms for each character
(such as tails on the lowercase letters “t” and “j”)
• Extended horizontal strokes for certain forms
(such as the arm of the lowercase letter “r” or the
crossbar of the lowercase letter “t”)
The following typefaces are approved by the ADA:
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Legibility Standards AIGA
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AaBbCc123
Larger x-height More consistent stroke
Times Roman
Condensed, closed counters
AaBbCc123
Wider proportion Pronounced ascenders
Garamond Semibold
Small counterforms
AaBbCc123
Wider proportion
Century Schoolbook
Constricted counterforms
AaBbCc123
Distinct slab letterforms
Glypha Roman
Less pronounced ascenders
AaBbCc123
Long ascenders
Futura Heavy
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More consistent stroke
Wider proportion
Simple, circular form Short crossbar on 't'
Legibility Standards ADA Typefaces
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AaBbCc123 Helvetica Bold
Larger x-height Wide proportion Short ascenders
AaBbCc123
Consistent stroke
Univers 65
Closing counterforms
AaBbCc123
Designed for airport
Frutiger Bold
Longer ascenders
AaBbCc123
Long ascenders
Syntax Bold
Slightly condensed counters
AaBbCc123
Underslung 'j' & 'q'
APHont
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More legible 'r' & 't'
Open counterforms
Pronounced 't'
Larger punctuation Not aesthetically pleasing
Legibility Standards ADA Typefaces
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Report Log
Legibility Standards
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Legibility Standards Institution Standards
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American Disabilities Act (ADA) The ADA does not provide many detailed explanations of appropriate typeface usage, but it does indicate that ADA approved fonts must have letterforms whose body width is 60% of its height and that its stroke width must be between 10-20% of the cap height.
Royal Institute for the Blind The RNIB of the UK is more specific in its type guidelines: • Minimum 12pt; 14pt is preferred
• Contrast, not color, is most important
• Semi-bold or bold weights preferred
• Avoid grey typographic color
• Limited italics and capitals
• Leave space between paragraphs
• Limited underlining
• Do not interrupt text with images
• Write out numbers between 1-10
• Should never be set vertically
• Leading set at 1.5 - 2x type size
• Use a vertical rule between columns
• 60-70 characters per line in columns
• Avoid using text over images
• Limit number of hyphenated words
• Avoid glossy paper
• Left justification preferred
• Avoid see-through papers
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Legibility Standards Additional Considerations
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Additional Considerations Other factors to consider while developing deliverables or arranging a typeface are: • • • •
Consistency in grid and object placement Clear, logical order and hierarchy At least a 70% difference in overlapping color values Optimum color contrast without vibration
• Clear, logical order and hierarchy • Proper kerning, tracking, and leading • The difference between legibility and readability: Legibility Specific typographic traits affecting recognition of letters and words, including shape, scale and style. Readability The clarify and speed with which content can be digested over an expanse of text such as a paragraph or a page. Affected by legibility, but also by design and layout considerations such as dimension, space and alignment.
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Legibility Standards Additional Considerations
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“
Typographic designers must undertake a more comprehensive study of this subject and develop typefaces that work well with the common vision problems of the aging population. It seems clear that there is an opportunity for progress in this area of research. American Institute for Graphic Arts (AIGA)
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Causes of Vision Loss Typographic Research
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Report Log
Legibility Checklist
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Report Log Legibility Checklist
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Legibility Checklist Sans-serif typeface Open counterforms Consistent stroke Large x-height Wide proportion; 100% x 60% Emphasized 't' crossbar Long ascenders and descenders Underslung 'j' and 'q' Consideration of finials Attention to 'r', 'a', 'l', 'i', 't', 'j',
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Report Log Legibility Checklist
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Report Log
Interviews
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Report Log Interviews
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Lori Lindsley Low vision expert at CABVI I had the opportunity to speak with Lori about my capstone topic on February 22, just two days prior to our midterm review. I presented her with my original project statement: "As the baby boomer generation begins to age, the number of individuals suffering from visual impairments is increasing dramatically. Despite many experiencing difficulty reading, very few ever learn how to read braille. I would like to design a transitional typeface that combines clarified roman letterforms with braille dots in order to function as both a supplemental reading aid and learning tool for the braille system. This aid would be designed for those aged 40-75 with low vision who experience functional limitations and impaired ability to read average type."
She kindly explained that this direction was not likely to work well, as most individuals who are learning braille for the first time are encouraged to use only their sense of touch. In fact, many first-time learners are blindfolded in order to dissuade them from using any of their remaining sight. Eager to help me evolve my topic, she suggested that I focus my efforts on clarifying an actual typeface, or perhaps developing a guide that would establish typographic and visual standards for low vision reading materials. The new direction was well received at the midterm review.
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Interviews Lori Lindsley, CABVI
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Report Log
Type Program
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Report Log Type Program
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Fontographer 5 Once a final design direction has been chosen, I hope to recreate my selected letterforms or alphabet into working, digital typeface. Drawn letterforms will first be scanned and retraced in vector format using Adobe Illustrator, then converted into an .otf file using Fontographer 5. Once converted, final deliverables and type specimens can be easily produced for the DAAPworks exhibition.
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Report Log Type Program
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Next Steps
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Process Book Next Steps
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Next Steps Calendar
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Appendix
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Process Book Appendix
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Appendix
Supplementary Research
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Appendix Supplementary Research
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Concept Map
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Initial Questions for Research • What portion of the population is blind? • Why don’t more people learn braille? • What % currently know how to read it? Do they use it? • When do they typically learn it? • Who teaches them? • What do visually impaired people actually see? • Are there degrees of severity? • How does being visually impaired affect brain development? • Or language, communication, relationships, etc.? • How do their daily lives differ? • What causes blindness? • Do the visually impaired find value in braille? • What are the benefits? Can the system be improved? • How is visual impairment defined? • Do they have a culture? What is their culture like? • What aspects of a typeface make it more legible? • Can road sign designs be leveraged? • Does color affect or aid in contrast? • What type size is best for their reading? • How fast can the visually impaired read roman letters? • How fast can they read braille?
And perhaps the most imperative question is: • Do they actually want to learn?
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Appendix Research Questions
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Literature Review "The Ultimate Braille Phone by designer Shikun Sun" An interesting concept design that makes mobile phones easier to use by the blind. The entire UI is in braille with a corresponding touch panel. Interesting thought in relation to accessible design. "So You Want to Create a Font" Beginners guide to drawing type and overview of different options available in font design programs. "Can Braille be faster than QWERTY? App developer thinks So" Interesting video about texting in the form of Braille codes, even for individuals who have full sight.
"Dyslexie font designed to help dyslexics read, write" A project in a similar vein; a font developed for children with dyslexia. Great example of how a typeface can work around obstacles. APHont from the APH Only precedent found for a typeface designed with low vision needs in mind. Braille Devanagari by Viraj Deo An interesting exercise in how letterforms relate to the braille system and proportion. Braille Hybrid by Sam Charman Experimental relationship between braille and typography.
"Clear Print Guidelines from the RNIB" Official PDF document that lists type considerations for low vision printing.
Braille Font by Lindsey Muir Not hugely helpful; seems to be design for design's sake.
“Creating Accessible Print Design” Useful tool from Lighthouse International that visualized color and contrast choices for typography.
Braille Font by Michael Russ, Theo Seemann and Christopher Heller Most successful experimentation merging braille with type; chaotic.
“Common Questions for the Blind” article, National Federation for the Blind
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"Low Vision and the Aging Population" Infographic from the Vision Council
Appendix Literature Review
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Heat Sensitive Inks Could be an interesting application involving the sense of touch. "Low vision or blindness affects 1 in 28 Americans" Facts from the Center for Independence "Attitudes Toward the Use of Braille" Addressing stigmas against the blind and the use of Braille; dispels commonly believed myths. "Prevalence of Blindness in America" Valuable resource for information on individuals aged 18-45. "Low Vision Simulators" Potential use to test typeface and have available at the end of quarter show to help simulate low vision for visitors. "Moon Alphabet" A less well-known substitute for braille; is more geographic and simple in form.
"From this perspective, the difference between blindness and low vision is not just one of degree of visual impairment; rather it is a difference in the methods and strategies used to function in everyday life." Statistics from the World Health Organization Surprising information about the prevalence of blindness and low vision across the world “Listening to Braille” - article, NYTimes We stopped teaching our nation’s blind children how to read and write. We put a tape player, then a computer, on their desks. Now their writing is phonetic and butchered. They never got to learn the beauty and shape and structure of language. - Jim Marks, AHED “When to Stop Relying on Low Vision Aids” - Norman Gardner, NFB
“How Braille Works” A beginner's guide to braille "Low Vision and Blindness: Changing Perspective and Increasing Success"
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Appendix Literature Review
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Appendix
Interviews
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Appendix Interviews
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Randi Strunk Learning Braille as an Adult I had the opportunity to correspond with Randi, a family friend, about her experiences with limited vision and learning braille as an adult. Here are some of her responses to my questions: Do you know the measurement of your visual acuity? I think it's 20/400 in my left eye and nothing in my right eye. What were your reasons for learning braille? I wanted to learn Braille because I thought it could help me both personally and professionally. I wanted to be able to speak publicly with notes I could read without straining, I wanted to be able to label things around the house like spices, CD's, etc. I really didn't see a down side to it when I decided it might be a good idea. What were your biggest obstacles in learning it? The biggest obstacles were learning all the symbols and rules, but beyond the actual "learning" the biggest issue was putting that knowledge into practice and building my reading and writing speed/proficiency. Approximately how long did it take you to learn? Become proficient? I learned the entire code pretty quickly, probably a month or two, but I still wouldn't say I'm proficient as I can not read fast enough to read something out loud at a comfortable speed. How do you refer to your vision? (Low vision, visual impairment, etc.) I refer to myself as blind. I don't like messing around with visually impaired, low vision, legally blind, etc. That tends to lead to more questions like "so how much can you see?" It's really hard to answer those questions as I have no idea what the person with "normal" vision sees. I find saying I'm blind just lets us move on to the next thing. Many people are afraid of the word blind because they think it's harsh or offensive or something, to me, it's just easier. It cuts to the chase, you know?
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Appendix Interview, Randi Strunk
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Appendix
Low Vision Resources & Institutions
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Appendix Low Vision Resources
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Resources
American Academy of Opthalmology American Council of the Blind Cincinnati Association for the Blind and Visually Impaired Lighthouse International National Eye Institute (NEI) National Federation of the Blind (NFB) Royal National Institute for the Blind (RNIB)
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Appendix Low Vision Resources
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Works Cited
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Process Book Works Cited
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“Accessible Information & Text.” Royal National Institute for the Blind, 5 Sept. 2011. <http://www.rnib.org.uk/professionals/accessibleinformation/text/Pages/text.aspx>. “Aging Eye in the U.S.” National Eye Institute and Prevent Blindness America, 2004. <http://www.agingeye.net/mainnews/usaging.php>. Carter, Rob, Ben Day, and Philip B. Meggs. Typographic Design: Form and Communication. New York: Van Nostrand Reinhold, 1985. Print. Cheng, Karen. Designing Type. New Haven, CT: Yale UP, 2005. Print. “Eye Health Statistics at a Glance.” American Academy of Opthamology, Apr. 2011. <http://www.aao.org/newsroom/upload/Eye-Health-Statistics-April-2011.pdf>. Friedman, M.D., M.P.H., David S. “Vision Problems in the U.S.” National Eye Institute and Prevent Blindness America, 2001. <http://www.preventblindness.net/site/ DocServer/VPUS_report_web.pdf?docID=1322>. Leonard, Robin. “Statistics on Vision Impairment: A Resource Manual.” Lighthouse International, Apr. 2002. <http://www.gesta.org/estudos/statistics0402.pdf>. Ruder, Emil. Typographie; Ein Gestaltungslehrbuch. Typography; a Manual of Design. Typographie; Un Manuel De Création. Teufen AR: Niggli, 1967. Print. Vanderbyl, Michael. “Graphic Design Thesis: A Survivor’s Guide.” http://web.utk.edu/~staples/Thesis/Vanderbyl_Thesis.pdf California: California College of Arts and Crafts, 15 Dec. 2006. “Vision Problems in the U.S.” National Eye Institute, Nov. 2008. <http://www.lowvision. com/information/vision-problems-in-the-united-states-s>. “What You Need to Know About Low Vision.” American Federation for the Blind, Jan. 2002. Web. <http://www.afb.org/section.aspx?SectionID=26&TopicID=144>.
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Process Book Works Cited
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