rkbook 0 CASE STUDIES InformationDesign\ GRAPHIC APPROACHES, SOLUTIONS, AND INSPIF Kim Baer with contributing writer jill vacarra: All the key principles of good design apply when it comes to information design PO nme ne en eget Sete re Rs ee ne! particularly effective in solvinig information eer Ue ee Ce sees ree a Beers en ume GE U nee oon information design solutions. DIR Exec Sey See Sor Secor Secor Surg SenColor An extremely important tool for an information designer, color is a very effective way to convey differentiation. (Remember when you first learned a red light means stop, and a green one means go?) Color can also provide a sense of wayfinding, allowing readers to scan text and quickly isolate elements such as subheads and bullets.‘ppesot content inthis“Hierarchical variables can be expressed by means of size and intensity, and distinguish- ing variables by means of color and form.” —paui miisenaar Communiqué © cosy Associ cesines © rvs werstetora ruse exhibit bal colr Centain and ih be ova andhaus Des arte Regn SanchausType Styling The styling of type is another key way to differentiate types of information and establish a sense of hierarchy. You might highlight one or two type elements in a simple invitation—or work with a carefully chosen palette of typefaces to clarify varied types of content in a complex reference book or a financial report.“The function of the designer is to increase the legibility of the world.” —wisurtin ® ally work by Seonna Hong home pgs he Prot bd Deven ‘Cancer Foundation website xaosWeight and Scale As a way to read quickly, human beings scan patterns and differences. Changes in the weight and scale of artwork and typographic elements can signal that certain pieces of information have been prioritized. This technique can be used very effectively in combination with color and type styling to clarify complex hierarchies. students and scholars Eveander Design Since 1970, feet of air pollutants ca ycormra tecrem arc! oct ea teen) Dunc Cee ar sctt) Meat aaa safeties, and don't eee os ‘WwW. LecTURES.oRG ° ieee > af % Z = © ses opnann enh =. : Design Amy eee :“Graphic design is a form of translation.” =Simon johnstonStructure Bauhaus pioneers helped codify the use of the grid as a compelling communications tool. Carefully planned grids and white space can help a reader navigate through complex information. In addition, the very structure of the project—whether it’s the physicality of a print piece, the pacing of a multimedia project, or the organization of an exhibit—can convey additional meaning. US) ties (@Jali-)¢ ee! > Hands-on Holidays! pearGrouping Clustering information can help readers quickly locate the information they are seeking, whether it be in a simple poster or a complex multi-media project. Multiple entry points allow a reader to absorb information as visual sound bites. The grouping of information can also signal hierarchies of importance, particularly when used in conjunction with changes in color, weight, and scale. “ - Wetwork access required"HAPPENINGS >Usenet non meieeaees ° weight. this packaging design em ° a flexible system of boxes that Hees “Changes in the visual organization of a document can lead to changes in how people perceive its content.” aren A SehtiverGraphic Elements The intricately adorned initial caps found in medieval manuscripts are early examples of the ways graphic artists have always employed graphic elements to help readers navigate through content. Lines, rules, bullets, and other devices are tools designers still use to purposefully attract the eye. These devices can also provide direction and punctuation. FARAH. SR ke ene is s —SEVERE ACUTE RESPIRATORY SYNDROME (SARS) “The ability to find something goes hand- in-hand with how well it’s organized.” Richard Saul Wurmanrue ART anp SCIENCE or LOVING BEERues > Information Design Susie Ae soe ERT SsIGeourte FAO Ed abe a HOS ¥ 496 ovectowar ee 3O% sy °) ‘technical information inthis Peeks) omer ty Came trance dete nections ot DesenImagery Reader studies show that the marriage of text and image is one of the most powerful ways to help a reader retain information. Publications know a “flip through” reader may not read paragraphs of text, but will very likely read a caption for an intriguing image. Designers can also help distill information by creating effective graphics.Fuel Requirements _ ytheright eof tee eater es on tpl. nn Bt nti Rk Se ge = went Gunes ace omg. 50 guide commended. tied feed ake opted ‘indy ceded nbd ding “anformation design is clear thinking made visible.”Sound and Motion Interactive media provides two additional tools—sound and motion. Research has consistently shown that many people absorb information more aurally, while others rely more on visual cues. Combining sound with graphic devices can have a powerful effect. Motion draws an audience’s attention and creates a sense of narrative that leaves a memorable impression.© Pe werste or ur cesion Jonson tanks CHAPTER 44 OFSIGN TOOLKIT 129IMace CONTEXT PROCESS © woexcoscersin te bye equity oft mens ' aries Photograpy) es @ Mss2p00