Actant — Identity Guidelines

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Identity Guidelines Version 2.0

14th February 2013

IDENTITY GUIDELINES Version 2.0


INDEX  Introduction:

Page

About Actant’s identity The big idea — —

02 — 03 04 — 05

A .  Core elements:

Tone of voice Standard Actant logo Logo DNA Logo exclusion zone Logo do’s & don’ts Interactive Actant logo Logo DNA Interactive examples Logo exclusion zone Logo do’s & don’ts Logo lock-up Colour palette Typography Rules Grids — —

08 — 09 10 — 11 12 — 13 14 15 16 — 17 18 — 19 20 — 27 28 29 30 — 31 32 — 35 36 — 40 41 42 — 47

B .  Core elements:

Best practise — —

50 — 55

C: Constellation mapping

Introduction Constructing constellations — —

58 — 59 60 — 69

D: Constellation mapping

Best practise — —

72 — 77

E: Info Design

Interpretating data Infographics

2

80 — 81 82 — 85


ACTANT’S IDENTITY  The Actant identity isn’t just a logo; it’s the visual manifestation of Actant’s outlook on design. The identity is a design scheme for how Actant communicates and presents itself to the world. Actant’s identity is made up of several core elements that come together to create a distinguished look and feel that makes Actant instantly recognisable. This document is a toolkit, it’s designed to enable you to use the new Actant identity and create effective communications.

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THE BIG IDEA 

Actant is an innovation co that is particularily interes tangled relationships betw skills, stories and things. This modern and progress is matched with an identit actively seeks out these co Our interactive logo expre relationships and our Cons Maps explore them literall

4 


onsultancy sted in the ween people,

sive outlook ty that onnections. esses these stellation ly.

5 



CORE  ELEMENTS


TONE OF VOICE

Actant is driven by an academic sense of inquiry and an interest in how ‘things’ relate to the wider world. Whilst Actant speaks intelligently it involves everyone in the conversaion.

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INVESTIGATIVE  FORWARD   THINKING  TACTILE CONNECTED &  CONVERSATIONAL

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STANDARD LOGO  The logo is Actant’s signature, it acts as primary touchpoint in Actant’s communications. Actant’s logo belongs to the world of ‘things’; it’s bespoke letterforms are inspired by machine-made writing processes like typewriters, pantographs and industrial engraving techniques. This is Actant’s everyday ‘workhorse’ logo. It’s partnered with a interactive version that animates across moving image and interactive platforms (pages 16—31).

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11


LOGO DNA


Bespoke Components Like any signature your logo shouldn’t be easy to copy. The letterforms used in Actant’s logo are bespokely drawn, no one else owns or uses them.


EXCLUSION ZONE

The Actant logo should be placed where it can be read legibly; always protect the logo with clear space around it and free from other graphic elements. X

2X

2X x

X

Playing well with others We also use the Exclusion Zone to make sure our presence is heard amongst our partners, the cap height of the logo should match our partners logo’s cap height.

x

2X


DO NOT

Do not: Stretch or squash the logo

Do not: Rotate the logo

Do not: Seperate the logo into parts

Do not: Use any incomplete logo

Do not: Use multicoloured logo’s

Do not: Change the typeface

Do not: Add drop shadows

Do not: Add 3D effects

Do not: Add effects to the logo

Do not: Add to the logo, shapes etc

Do not: Outline the logo

Do not: Create emphasis in the logo

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INTERACTIVE LOGO  Actant’s interactive logo is designed to work across both interactive and moving image platforms. The interactive logo expresses the connections between people, stories skills and things. The following pages show in depth variations of Actant’s interactive / moving logo, and how to use it.

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Interactive Logo Example

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INTERACTIVE DNA


Composing the logo The letterforms and entire logo have been composed from a grid that is used across all of Actant’s communications (See page 42–47). The interactive logo can be reconfigured for different contexts; new versions of the logo can be made by using this grid. The following pages show several favoured versions.


INTERACTIVE EXAMPLES

The interactive logo playfully changes composition in film and on interactive platforms. The (   ) can move about freely whilst the (   ) ought to be in an anchored position. The (   ) is tethered by a gradient path and it’s postion responds according to the visual context it’s used in.

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Example 1 For use in a top-right lock-up

Example 2 For use in a centred lock-up

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INTERACTIVE EXAMPLES

Example 3 For use in a bottom-right lock-up

Example 4 For use in a centred or bottom lock-up

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Example 5 For use in a top-right lock-up

Example 6 For use in a centred or top lock-up

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INTERACTIVE EXAMPLES

Example 7 For use in a top lock-up

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Example 8 For use in a bottom-left lock-up

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INTERACTIVE EXAMPLES

Example 9 For use in a top-left lock-up

Example 10 For use in a bottom-left lock-up

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Example 11 For use in a top-right or centred lock-up

Example 12 For use in a top-edge or centred lock-up Small space version For use on small surfaces, Can also be used in print e.g book spines, dvd spines etc.

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EXCLUSION ZONE

The logo should be placed where it can be read legibly; always protect the body of the logo (   ) with clear space around it and free from other graphic elements. X

2X

2X x

X

Playing well with others We also use the Exclusion Zone to make sure our presence is heard amongst our partners, the cap height of (   ) should match our partners logo’s cap height.

x

2X


DO NOT

Do not: Stretch or squash the logo

Do not: Rotate the logo

Do not: Miss out the (   )

Do not: Use any incomplete logo

Do not: Use multicoloured logo’s

Do not: Change the typeface

Do not: Add drop shadows

Do not: Add 3D effects

Do not: Add effects to the logo

Do not: Add to the logo, shapes etc

Do not: Outline the logo

Do not: Create emphasis in the logo

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LOCK–UP

In moving image or interactive platforms the logo will need to lock-up to an edge or the centre of the frame. When the logo animates the position of the logo’s body (   ) should stay static whilst the position of the (   ) moves.

Lock-up Orientation

The (   ) hangs bottom right so (   ) balances with a top right lock-up

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The (   ) sits top right so (   ) balances by sitting with a bottom right lock-up

The (   ) sits just below centre of (   ) so the lock-up is centred

The (   ) flys off to top right so (   ) balances by sitting with a bottom left lock-up

The (   ) plunges below so (   ) balances locking-up to the top edge


½ of X

x

½ of X

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COLOUR SYSTEM

Actant’s interests in the tangled relationships between skills, stories and things requires a design vocabulary to distinguish each party from one another. Actants colour system is made up of three small mini palette’s dedicated to distinguishing Stories, Skills & Things. The three palettes make a versatile system for Actant to communicate in colour.

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THINGS  PALETTE

Pantone:  Cyan cmyk: 100/0/0/0 rgb: 0/174/239

Pantone:  277 cmyk: 27/7/0/0 rgb: 181/213/240

Pantone:  Blue  0821 cmyk: 46/0/6/0 rgb: 123/210/234

Pantone:  7479 cmyk: 55/0/50/0 rgb: 115/198/156

Pantone:  359 cmyk: 36/0/49/0 rgb: 168/213/157

Pantone:  353 cmyk: 38/0/36/0 rgb: 160/213/181

SKILLS  PALETTE

Pantone:  224 cmyk: 1/63/0/0 rgb: 238/128/179

Pantone:  237 cmyk: 3/49/0/0 rgb: 235/154/194

Pantone:  1895 cmyk: 0/28/7/0 rgb: 249/196/194

Pantone:  242 cmyk: 10/100/0/49 rgb: 130/0/83

Pantone:  2603 cmyk: 69/100/0/2 rgb: 110/41/141

Pantone:  Violet cmyk: 98/100/0/0 rgb: 51/48/146


COLOUR SYSTEM Mapping with colour The colour system particularly comes to life when used in Constellation Maps (see pages 58–77 .

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STORIES PALETTE

Pantone: 012 cmyk: 0/4/100/0 rgb: 255/232/0

Pantone:  Yellow cmyk: 0/0/100/0 rgb: 255/242/0

Pantone:  393 cmyk: 3/0/55/0 rgb: 251/243/144

Pantone:  Warm Red cmyk: 0/75/90/0 rgb: 242/101/49

Pantone:  Orange 021 cmyk: 0/53/100/0 rgb: 247/142/30

Pantone:  137 cmyk: 0/35/90/0 rgb: 251/176/52

NEUTRAL  PALETTE

Black cmyk: 0/0/0/100 rgb: 0/0/0

White cmyk: 0/0/0/0 rgb: 255/255/255

75% Black cmyk: 0/0/0/75 rgb: 99/100/102

50% Black cmyk: 0/0/0/50 rgb: 147/149/152

25% Black cmyk: 0/0/0/25 rgb: 199/200/202

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TYPOGRAPHY

Actant is defined by a strong typographic voice that is distinctive across all of it’s communications.

T–STAR MONO ROUND BOLD T–STAR MONO ROUND REGULAR  T–STAR MONO ROUND LIGHT Akkurat Mono Tiempos Text Regular Tiempos Text Regular Italic

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‘ Things, non humans, nature having equal significance as us, humans. They should also be an active part of mediating meaning and connections. Therefore we need to mobilize nature from the background’ ––Bruno Latour

‘ I have sought to offer humanists a detailed analysis of a technology sufficiently magnificent and spiritual to convince them that the machines by which they are surrounded are cultural artifacts worthy of their attention and respect’ –– Bruno Latour ‘ I have sought to offer humanists a detailed analysis of a technology sufficiently magnificent and spiritual to convince them that the machines by which they are surrounded are cultural artifacts worthy of their attention and respect’ –– Bruno Latour


TYPOGRAPHY

T-STAR    MONO ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890  #@?!%& ×/+(.,˚:;)

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890  #@?!%& ×/+(.,˚:;)

T–Star Mono Round (Light)

ABCDEFGHIJKLMNOPQRSTUVWXYZ   abcdefghijklmnopqrstuvwxyz 1234567890  #@?!%& ×/+(.,˚:;)

ABCDEFGHIJKLMNOPQRSTUVWXYZ   abcdefghijklmnopqrstuvwxyz 1234567890  #@?!%& ×/+(.,˚:;)

T–Star Mono Round (Regular)

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890  #@?!%& ×/+(.,˚:;) T–Star Mono Round (Bold)

Primary use:

Headlines

Secondary use:  Page-Furniture

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ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890  #@?!%& ×/+(.,˚:;)


Tiempos Text ABCDEFGHIJKLMNOPQRST UVWXYZ abcdefghijklmnopq rstuvwxyz 1234567890   #@?!%& ×/+(.,˚:;)

ABCDEFGHIJKLMNOPQRST UVWXYZ abcdefghijklmnopq rstuvwxyz 1234567890  #@?!%& ×/+(.,˚:;)

Tiempos Text — Regular

ABCDEFGHIJKLMNOPQRST UVWXYZ abcdefghijklmnopq rstuvwxyz 1234567890   #@?!%& ×/+(.,˚:;)

ABCDEFGHIJKLMNOPQRST UVWXYZ abcdefghijklmnop qrstuvwxyz 1234567890  #@?!%& ×/+(.,˚:;)

Tiempos Text — Regular Italic

Primary use:

Body Text  /  Titles

Secondary use:  Academic Detail

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TYPOGRAPHY

Akkurat Mono ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890  #@?!%& ×/+(.,˚:;) Akkurat (Mono)

Primary use:

Sub-titles  /  Mini-headlines  /  Adding hierachy within text

Secondary use:  Synopsis  /  Captioning  /  Infographics  /  Footnotes  /  Contextual Notes   Quotes  /  Alternative P.O.V to body text

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ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890   #@?!%&  ×/+|— (.,˚:;)


RULES

To support the colour palette Stories, Skills & Things each have their own specific style of ‘Rules’; these can be used as ‘Paths’ in ‘Constellation Maps’ but can also be used in general layouts. Things

Use a dotted line to map connections between ‘Things’ or highight text talking about ‘Things’ with a dotted underline.

Skills

Use a dashed line to map connections between ‘Skills’ or highight text talking about ‘Skills’ with a dotted underline.

Stories

Use a unbroken line to map connections between ‘Stories’ or highight text talking about ‘Stories’ with a dotted underline.

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GRIDS

Actant’s grid allows for communications to be consistant and still creative. The grid and logo systems are symbiotic*, the two we’re designed to compliment each other across all mediums. *   As mentioned in ‘Logo DNA’ (page 12) Actant’s logo is composed from the same grid that is used across all of Actant’s communications.

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GRID EXAMPLES

A4 portrait

33 Column

4 Column

2 Column

33 Column

Size 297 x 210mm

Size 297 x 210mm

Size 297 x 210mm

Size 297 x 210mm

Margins Top: 9mm Bottom: 9.6mm Inside: 6mm Outside: 6mm

Margins Top: 9mm Bottom: 9.6mm Inside: 12mm Outside: 12mm

Margins Top: 9mm Bottom: 9.6mm Inside: 6mm Outside: 6mm

Margins Top: 9mm Bottom: 9.6mm Inside: 6mm Outside: 6mm

Gutters Width: 0mm*

Gutters Width: 6mm

Gutters Width: 6mm

Gutters Width: 6mm

*Gutters   effectively are the same width as the inside & outside margins. Interchangeably the grid could be a 35 Column grid with no inside or outside margins.

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Rows* Rows: 37 Gutters: 0mm *This   is the modular grid used to create new versions of the Actant logo.


A3 landscape

GRID

68 Column

6 Column

Size 297 x 420mm

Size 297 x 420mm

Gutters Width: 0mm

Gutters Width: 6mm

Margins Top: Bottom: Inside: Outside:

Margins Top: Bottom: Inside: Outside:

9mm 9.6mm 6mm 6mm

9mm 9.6mm 6mm 6mm

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GRID EXAMPLES

A3 landscape

GRID

3 Column

68 Column

Size 297 x 420mm

Size 297 x 420mm

Gutters Width: 6mm Margins Top: Bottom: Inside: Outside:

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9mm 9.6mm 6mm 6mm

Gutters Width: 0mm Margins Top: Bottom: Inside: Outside:

9mm 9.6mm 6mm 6mm

Rows* Rows: Gutters:

37 0mm

*This   is the modular grid used to create new versions of the Actant logo.




CORE  ELEMENTS BEST PRACTISE


COVERS

Covers In Actant’s literature a good cover uses a clear typographic hierachy and the logo in a prominant position. Photography, and colour can help set right atmosphere. Constellation maps can be used to illustrate the content that follows.

50 


51


LITERATURE

General principles Headlines are set in T-Star Mono, body copy is set in Tiempos text and Akkurat Mono is used for footnotes and pull out quotes. Work within the grid and use lots of white space. Add colour when it will help shape meaning.

52 


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LITERATURE

General principles Add pace throughout literature whether through typographic section dividers, pull out statements or full bleed images and diagrams.

54 


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MAPPING


CONSTELLATION MAPPING

Constellation Maps are Actant’s bespoke analytical tool; Constellation Maps are designed for Actant to explore and communicate the relationships between Stories, Skills & Things.

Skills

Stories

58


Mapping with Colour & Paths With considered use of Colour (p32–35) and Rule Styles (p41) connections can be plotted between elements according to how Actant would classify them.

Things

59 


CONSTELLATION MAPPING

The following pages offer guiding principles of how to make Constellation Maps starting with simple relationships and then adding levels of sophistication. You can see examples of Constellation Maps in practice on pages 72–77. Basic Constellations If we are talking about just one skill, we only need to use one skill colour. ( fig 1). If we are talking about two skills and how they are related we use two skills colours and use the paths to show there relationships. ( fig 2).

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Key: Skills:

Fig 1

Skill No.1

Skill No.2

kill Path (maps the S relationships between skills)

Fig 2

61 


CONSTELLATION MAPPING

Sometimes skills will relate to a ‘Thing’, when this is the case we pick a Skill colour with a contrasting Thing colour, we use the different path styles to map the relationships. ( fig 3). If a story is intertwined with part of this relationship between skill and Thing we use a halo around the effected parts. ( fig 4).

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Key: Skills:

Skill No.1

kill Path (maps the S relationships between skills)

Fig 3

Things:

Thing No.1

Things Path (maps the relationships between things) Stories:

Story No.1

Stories Path (maps the relationships between stories)

Fig 4

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CONSTELLATION MAPPING

Here is an example of how a story might be framed. In this story you can see how a Thing relates to two different skills, however we can see from the paths that the two skills don’t relate to each other. Because all the skills and Thing relate to one story we don’t use halos’ but instead a frame around all the elements, in this way we could frame several stories in one scene ( fig 5).

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Key: Skills:

Skill No.1

Skill No.2

Skill Path (maps the relationships between skills) Things:

Thing No.1

Things Path (maps the relationships between things) Stories:

Story No.1

Stories Path (maps the relationships between stories)

Fig 5

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CONSTELLATION MAPPING

Before we look at how the constellation maps can be used with images lets look at a more sophisticated map of relationships. Lets look at how three different stories can be intertwined by one skill but five different Things ( fig 6).

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Key: Skills:

Skill No.1

Skill Path (maps the relationships between skills) Things:

Thing No.1

Thing No.2

Thing No.3

Thing No.4

Thing No.5

Things Path (maps the relationships between things) Stories:

Story No.1

Story No.2

Stories Path (maps the relationships between stories)

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CONSTELLATION MAPPING

Constellation Maps come to life when working with images. Images can be interrogated to reveal the relationships of Stories, Skills & Things . By carefully plotting paths and considered use of colour constellations can tell compelling stories.

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MAPPING  BEST PRACTISE


Crossing the Road

72 


Stories:

Things:

Skills:

Approaching the pedestrian crossing

Button & ‘walk’ sign

Looking

Tactile Paving

Listening

Green man’ sign

Skill Path (maps relationships of skills)

Waiting at the pedestrian crossing

Thing Path (maps the relationships of Thing)

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Key: Stories:

Things:

Skills:

Clapham Train: London Bridge ≥ Clapham

Departure boards with live travel news

Listening to Tannoy and watching departure board for updates

Clapham Train: London Bridge ≥ Wimbledon (via Clapham) Clapham Train: London Bridge ≥ Vauxhall

Station tannoy iPhone / Mobile travel news and alerts

Looking Listening


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Key: Stories:

London Bridge ≼ Clapham

Journey planning

Journey planning: Watching updates via mobile and the station departure boards Things:

Departure boards

Station tannoy

iPhone / Mobile travel news and alerts Skills: Hearing tannoy over headphones Looking Listening


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INFO DESIGN


INFOGRAPHICS

We can also use the language of the Constellation Maps to highlight Stories, Skills & Things in data and information. With a considered use of colour we can tease out compelling stories from data. Form always follows function. The type of graph or diagram ought to be derived from the type of data you are working with and how it is intended to be read.

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C

C B

E

D

E

F

B

60 F

40 20

A

A 0

80 60 40 20 0

80 60 40 20 0 A

B

A

C

B

D

C

E

D

E F

F

80 60 40 20 0 20

20 40 60 80 100 120 40 60 80 100 120 140

140

Interpretating Data In the examples above colour is kept to a minimum. Black is used to represent the majority of information (using shades where necessary) a highlight colour is used as an interpretive layer, the examples above are an example of how a Story ( ) can be interpreted.

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INFOGRAPHICS

Skills

A. Subtitle Here Tio enihilla volesto vent enis sumque ligenderis aut liciisqui aut harcium illorerferit lorem B. Subtitle Here Harcium illorerferit qui dolores sum laces cia volentisse restiost, sunto sit amet dolor

D

C. Subtitle Here Harcium illorerferit qui dolores sum laces cia volentisse restiost, sunto lorem ipsum

E

D. Subtitle Here Cepuda culpa dolum ernam, nientius et, consequia quae od maio blaboria si atusape lluptasse et alique et illesequas sum idita volorporro maior E. Subtitle Here Lorem si atusape lluptasse et alique et illesequas sum idita volorporro maior

C

A B

Stories

Proximity relations We can also map things which might not neatly be categorised as Stories, Skills or Things. Using colour vignettes we can work out where elements might belong on a sliding scale.

Things

10 08 06 04 02

2007

2008

2009 Skills

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2010

2011

 Things

2012


Skill No.1 Skill No.2 Skill No.3 Skill No.4 Skills Path (maps the relationships of skills) Thing No.1 Thing No.2 Things Path (maps the relationships of Thing) Story No.1 Story No.2 Stories Path (maps the relationships of stories)

Cross-disciplinary data 10

Frequency

Colour palettes and rule styles can also be used to make distinctions between different types of data. Just like in the Constellation Maps ‘Paths’ can be added to map connections and relationships.

08 06 04 02

2007

2008

2009

2010

2011

2012

Year

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T t

V t W

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A

en

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Ag

Ag en t

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S

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Age

t Q Agen

Agent P

Agent O

Agent N

Agent M

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t K Agen

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INFOGRAPHICS

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X

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Ag e

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Ag

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1

2

Ag

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Age

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Agen

Agent

4

Agent 5 Agent 6

Agent 7 Agent Agen

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Age

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We can also map networks of how several ‘Agents’ might share connections between Stories, Skills and Things. In the example above you can see how many agents share connections through three seperate stories and one ‘thing’.

t en Ag

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Ag t en Ag

Network relations

t

14

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13

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12

11

10

8


It is essential to remember when mapping out the relationships between Stories, Skills & Things that form follows function. Whilst it’s a useful tool to be able to highlight information through an Actant lens it’s paramount to convey information clearly and accurately. Always choose an appropriate way to communicate information.

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Design: Robin Howie

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