Corinne Pritchard | 27 Jul 2011 15:52
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Typefaces for dyslexics?

I know you'll all enjoy this:


"Reading printed text is so fluid and transparent for most people that it's hard to imagine it feeling any other way. Maybe that's why it took a dyslexic designer to create a typeface that optimizes the reading experience for people who suffer from that condition.Christian Boer's "Dyslexie" doesn't exactly make the letterforms look conventionally beautiful, but since when is that a prerequisite for well-designed? If it works, it works. And according to an independent study by the University of Twente in Boer's native Netherlands, it does work."


Yours,

Corinne
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Karel van der Waarde | 26 Jul 2011 08:47
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Debt visualization

Dear all,

Nice visualization of US-debt: http://www.wtfnoway.com/

[ Same topic as Nigel Holmes' visualization: http://www.nigelholmes.com/motion/tedex.htm ]

Unfortunately, these visualizations don't offer a solution or suggest a way to alleviate the circumstances.

Kind regards,
Karel.
waarde <at> glo.be
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announce | 14 Jul 2011 19:54

Diagrams 2012 Call for Tutorial and Workshop Proposals

Call for Tutorial and Workshop Proposals

===============================================================

Seventh International Conference on the Theory and Application of Diagrams

http://www.diagrams-conference.org/2012/
diagrams2012 <at> diagrams-conference.org

2 – 6 July 2012
Canterbury, Kent, UK

==============================================================

We solicit proposals for tutorials and workshops to be held as part of
Diagrams 2012. 

========================    Tutorials    ============================

Tutorials allow conference attendees to expand their knowledge and could
introduce researchers to emerging topics, new technologies, or deliver an
overview of the state-of-the-art in an existing area. Prospective tutorial
instructors must submit a tutorial proposal for review, the details of which
can be found at: http://www.diagrams-conference.org/2012/content/tutorials. Of
note is that tutorials should be either 1 or 2 hours in length and they will
be incorporated in to the main conference program, which runs 3 – 5 July,
2012. 

Interested researchers should submit their proposal by the deadline:

Tutorial proposal deadline: 8 December, 2011
Notification: 6 February, 2012

Instructions for submission can be found on the conference web site:
http://www.diagrams-conference.org/2012/tutorials

For further information please contact the Tutorials Chair:
Gem Stapleton, tutorials2012 <at> diagrams-conference.org

========================    Workshops    ============================

The goal of the workshops is to facilitate discussions on more focused areas
within the wide coverage provided by the main conference. In addition, our
hope is that the informal setting allows for more discussion and provides an
outlet for research that is promising but still under development. Prospective
workshop organisers must submit a workshop proposal for review, the details of
which can be found here:
http://www.diagrams-conference.org/2012/content/workshops. Of note is that
workshops should be either 1 day or half a day in length and they will run
either side the main program, on 2 July 2012 or 6 July 2012. The authors of
the accepted proposals will become the organizers of their respective
workshops. Responsibilities of the workshop organizers include: soliciting and
reviewing submissions, notifying authors, and deciding on final content. We
encourage a format that leaves time for discussion among attendees. 

Interested researchers should submit their proposal by the deadline:

Workshop proposal deadline: 24 November, 2011
Notification: 13 December, 2011

Instructions for submission can be found on the conference web site:
http://www.diagrams-conference.org/2012/workshops

For further information please contact the Workshops Chair:
Nathaniel Miller, workshops2012 <at> diagrams-conference.org

===============================================================

There are other events at Diagrams 2012. We are also soliciting proposals for:

- the main conference
  http://www.diagrams-conference.org/2012/

- the graduate student symposium
  http://www.diagrams-conference.org/2012/content/graduate-symposium

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announce | 16 Jun 2011 16:29

Diagrams 2012 Call for Papers

Diagrams 2012

Seventh International Conference on the Theory and Application of Diagrams

www.diagrams-conference.org/2012/
diagrams2012 <at> diagrams-conference.org

2-6 July 2012
Canterbury, UK

===============================================================

CALL FOR PAPERS

===============================================================

Diagrams is an international interdisciplinary conference series, covering all aspects of research on
the theory and application of diagrams.

Diagrams is the only conference series that provides a united forum for all areas that are concerned with
the study of diagrams, including architecture, artificial intelligence, cartography, cognitive
science, computer science, education, graphic design, history of science, human-computer
interaction, linguistics, logic, mathematics, philosophy, psychology, and software modelling. The
conference attracts a large number of researchers from virtually all these related fields, positioning
Diagrams as a major international event in the area.

Diagrams 2012 will include presentations of refereed papers, posters, tutorials, workshop sessions,
and a graduate symposium. We invite submissions that focus on any aspect of diagrams research, as follows.

- long research papers (15 pages)
- short research papers (7 pages)
- posters (3 pages)
- tutorial proposals (2 pages; see the conference web page for full details)
- workshop proposals (2 pages; see the conference web page for full details)
- graduate symposium submissions (3 pages; see the conference web page for full details)

All submissions will be fully peer reviewed. The proceedings, which will include accepted long and short
papers and posters, will be published by Springer in their Lecture Notes in Computer Science series, http://www.springer.com/lncs.

Full details on the preparation of submissions can be found on the conference web site http://www.diagrams-conference.org/2012/content/submission

Topics of interest include, but are not limited to:

- applications of diagrams
- computational models of reasoning with, and interpretation of, diagrams
- design of diagrammatic notations
- diagram understanding by humans or machines
- diagram aesthetics and layout
- educational uses of diagrams
- evaluation of diagrammatic notations
- graphical communication
- heterogeneous notations involving diagrams
- history of diagrammatic notations
- information visualization using diagrams
- psychological issues pertaining to perception, comprehension or production of diagrams
- software to support the use of diagrams
- theoretical aspects of diagrams including, for example, classification and formalization
- usability and human-computer interaction issues concerning diagrams

Submission dates
================

Abstract submissions: 1 December 2011
Paper submissions: 8 December 2011

Workshop proposal submissions: 24 November 2011
Tutorial proposal submissions: 8 December 2011
Poster submission: 15 December 2011
Graduate symposium submissions: 29 March 2012

Organizers
==========

General Chair:
Peter Rodgers (University of Kent, UK)

Program Chairs:
Philip Cox (Dalhousie University, Canada)
Beryl Plimmer (University of Auckland, NZ)

Workshop Chair:
Nathaniel Miller (University of Northern Colorado, USA)

Tutorial Chair:
Gem Stapleton (University of Brighton, UK)

Graduate Symposium Chair:
Lisa Best (The University of New Brunswick, Canada)

Publicity Chair:
Aidan Delaney (University of Brighton, UK)

Program Committee (pending)
=================

- Gerard Allwein (Naval Research Laboratory, USA)
- Dave Barker-Plummer (Stanford University, USA)
- Alan Blackwell (Cambridge University, UK)
- Dorothea Blostein (Queen's University, Canada)
- Paolo Bottoni (University of Rome, Italy)
- B. Chandrasekaran (Ohio State University, USA)
- Richard Cox (University of Sussex, UK)
- Frithjof Dau (University of Wollongong, Australia)
- Richard Davis (Singapore Management University, Singapore)
- Jim Davies (Carleton University, Canada)
- Max J. Egenhofer (University of Maine, USA)
- Stephanie Elzer (Millersville University, USA)
- Jacques Fleuriot (University of Edinburgh, UK)
- Jean Flower (Autodesk, UK)
- John Gero (George Mason University, USA)
- Ashok Goel (Georgia Institute of Technology, USA)
- Kirstie Hawkey (Dalhousie University, Canada)
- Mary Hegarty (University of California, Santa Barbara, USA)
- John Howse (University of Brighton, UK)
- Mateja Jamnik (Cambridge University, UK)
- Unmesh Kurup (Rensselaer Polytechnic Institute, USA)
- John Lee (University of Edinburgh, UK)
- Richard Lowe (Curtin University of Technology, Australia)
- Kim Marriott (Monash University, Australia)
- Mark Minas (Universitaet der Bundeswehr, Germany)
- N. Hari Narayanan (Auburn University, USA)
- Luis Pineda (Universidad Nacional Autunoma de Mexico, Mexico City)
- Helen Purchase (Glasgow University, UK)
- Frank Ruskey (University of Victoria, Canada)
- Metin Sezgin (Koç University, Turkey)
- Atsushi Shimojima (Doshisha University, Japan)
- Nik Swoboda (Universidad Politecnica de Madrid, Spain)

===============================================================

Apart from submissions to the main Diagrams 2012 conference we are also soliciting proposals for:

- half-day or full-day workshops
  http://www.diagrams-conference.org/2012/content/workshops

- one or two hour tutorials
  http://www.diagrams-conference.org/2012/content/tutorials

- the graduate student symposium
  http://www.diagrams-conference.org/2012/content/graduate-symposium

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Karel van der Waarde | 9 Jun 2011 12:23
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Doctoral studentship: The Typeface Designs of Eric Gill

Dear all,

This might be of interest for a curious academic mind.

Kind regards,
Karel.
waarde <at> glo.be

>>>

AHRC Collaborative Doctoral Award Studentship

The Typeface Designs of Eric Gill

University of Reading - Department of Typography & Graphic Communication

St Bride Library, London

STARTING OCTOBER 2011

>> http://www.jobs.ac.uk/job/ACS963/ahrc-collaborative-doctoral-award-studentship/
>>

An AHRC Collaborative Doctoral Award studentship (fully funded fees and maintenance) between the
University of Reading and St Bride Library,  London is available to a suitably qualified UK or EU student.

The period in which Eric Gill's typefaces were first manufactured was the golden age of hot metal
typesetting and Gill himself is arguably the most important British typeface designer of the twentieth
century. However, as an artist he did not have the necessary technical knowledge of type production and so
craftsmen and engineers also played a role in manufacturing Gill's typefaces. This research will
document the complete body of Gill's work as a typeface designer for the first time; explain the role he
played in the conception and manufacture of each of his designs; evaluate the impact of hot-metal
typesetting technology on Gill's typefaces and investigate the extent to which this was carried forward
into subsequent versions which were produced for photocomposition and digital typesettin
 g.

In addition to extensive archival research at St Bride Library this doctoral research will draw on the
archives of the Monotype Corporation Type Drawing Office held by Monotype Imaging, and of Ditchling Museum.

Supervision will be by Dr Rob Banham and Professor Paul Luna in Reading, and Mr Nigel Roche at St Bride
Library. The successful candidate will be expected to spend extended periods of research time at St Bride
Library, for which travel expenses from Reading will be provided.

Apart from the normal criteria for the selection of research students, specific criteria for selection
for this studentship are

- suitability for archival research

- first degree/MA ideally in an aspect of design practice or design history, or a related field such as
history of art or history of technology

Informal enquiries should be addressed to Dr Rob Banham: r.e.banham <at> reading.ac.uk

Application forms can be obtained from c.davidson <at> reading.ac.uk, and should be accompanied by a CV and a
relevant example of writing.

Closing date for applications: 24 June 2011

Interviews are likely to be held at St Bride Library on 14 July 2011
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Gunnar Swanson | 4 Jun 2011 17:59
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Re: Learning more from harder-to-read fonts?

On Jun 4, 2011, at 9:23 AM, Charles Foster wrote:
> I think the problem for information designers with studies like this is that they run so directly against
our own instincts and training. For the most part, we spend our time trying to make text more easy to read and
thereby more useable by our clients. The whole notion of disfluency -- of making something less fluent,
less useable and more ugly –– is an anathema, and sounds like something cooked up by academics rather
than practitioners. I'm afraid that I simply cannot accept that the production of any sort of teaching
material in Comic Sans, Hattenschweiler or Monotype Corsiva is a good idea.

One could dismiss it all as "cooked up by academics" but there -was- quite a bit of discussion about twenty
years ago about making reading more difficult to change reading attitudes. I have some real problems with
the dismissiveness of both the phrases "cooked up" and "by academics" but I'm willing to state that some of
Kathy McCoy's claims in -Cranbrook Design: The New Discourse- seemed to be somewhere in the
silly-to-horseshit range. The notion that making someone aware of the designer by forcing struggle in
reading might make them aware of the fallibility of the author is intriguing but requires a leap more fit
for Soren Kierkegaard or Jesse Owens than for folks like me who are more limited in our abductive abilities.

I wonder how much "our instincts" are actually instinctive. There also may have been quite a bit of training
for making things "more ugly" during the New Discourse era although the only reference that comes to
mind--the back-and-forth about Steve Heller's "The Cult of the Ugly"--didn't bring us to any neat conclusions.

I have deliberately designed work to appear difficult to read (note "appear") in order to slow people down
when I feared their assumptions would overpower information on the poster. One can also argue that
everything we do to call out particulars (whether in the form of subheads, pull quotes) to make them
significant and memorable has the effect of slowing reading thus is, by some definition, more difficult.

> There have been sporadic discussions in this Cafe down the years about what fonts are best for reading.
They have all petered out because as someone always indicates there are so many variables involved --
size, line length, leading, spacing, colour etc etc -- that it is impossible to make a set of rules.

Yup. When academic try to cook up information, they are limited by reality. The reality is that it is very
hard to change one variable then make simple universal conclusions based on the effects, especially ones
that are useful to practitioners. 

If "cooked up by academics" is shorthand for dismissing studies by people without a broad appreciation of
the complexities of typography, then I join in the dismissal. It should be noted , however, that
practitioners tend to, well, practice. Academics are the only ones we can expect to do the difficult and
non-profitable work of seeking generalizable knowledge.

On Jun 4, 2011, at 10:22 AM, Caroline Jarrett wrote:
> Charles wrote:
>> I'm disappointed that no one else has commented on your post! 
<snip>
> I even started to write a post that ranted about the paper
> somewhat. Then I thought I'd better read it :-)

I haven't had time to read it. I am suspicious of such studies but much more suspicious of the way conclusions
are reported. Thanks for taking the time and giving us a better view of it. 

People tend to talk about "reading" and "learning" as singular things in reporting about studies of
effects on reading and/or learning. You have to define both for purposes of such a study. Unfortunately,
people want to apply any findings to every sort of reading and every sort of learning.

> 1. I'm not sure I'm really understanding the statistics.
<snip interesting comments about statistical significance and distribution including the following>

> I'd say: it's better to avoid some really bad performances, at the expense
> of a slightly lower overall performance. 

Then Caroline summed up my reaction perfectly:

> What I do know, is that this rather thoughtful and somewhat limited
> experiment has, as usual, become a blanket assertion in the media that
> badly-formatted things are easier to learn from. Which is manifest nonsense.

Gunnar
----------
Gunnar Swanson Design Office
1901 East 6th Street
Greenville NC 27858
USA

gunnar <at> gunnarswanson.com
+1 252 258 7006

http://www.gunnarswanson.com

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Frank Marchak | 3 Jun 2011 05:15

Food Pyramid versus MyPlate

Greetings.

The United States Department of Agriculture has replaced the Food Pyramid used to guide healthy food choices with MyPlate (www.choosemyplate.gov).

While some criticisms of the original pyramid still remain with the new design (e.g., presented only in English, takes no account of level of exercise), this is the first change since the pyramid replaced an equal quadrant square graphic developed in the 1980s.

I have my own opinions of the new approach, but wanted to query the café to get the views of other members. Does this design present a less complicated approach that can be understood by a wider audience? Can people more readily comprehend a pie chart approach versus a pyramidal representation? Does the plate better reflect new findings in nutrition (e.g., perhaps carbohydrates should not form the base of a balanced diet)? Are circles better received than triangles?

Thoughts?

Regards,

Frank

--------------------------------------

Frank M. Marchak, Ph.D.

Veridical Research and Design Corporation

211 West Main Street - Lower Level

PO Box 6503

Bozeman, MT 59771-6503 USA

406.522.9045 : tel

406.522.9048 : fax

406.581.0870 : cel

www.vradc.com

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Rose Zgodzinski | 2 Jun 2011 23:31
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Information Graphics Courses

Does anyone know of any 
Information Graphics or 
Data Visulization courses 
being taught in the Toronto area?

or perhaps any Graphic Design curriculum 
(also in the Toronto area)
that  includes an Information Graphics course?

Thanks
Rose Zgodzinski

www.chartsmapsdiagrams.com
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Smith, Susan N - (snsmith | 2 Jun 2011 22:40
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Learning more from harder-to-read fonts?

Hi,

I’m a teacher and have a few weeks to read what I want for a change.  I came across this study (link to story about it, and the actual study, below).

 

1.      In the first study, the test group read items in Bodoni MT italic 60% gray scale or Comic Sans 12 point 60% gray scale. The control group read Arial 16-point.

 

2.      In the second study, high school teachers sent their learning materials to the study, and ½ were made the test groups read things in Haettenschweiler, Monotype Corsiva, or Comic Sans italicized in 12-point. Alternatively, some materials were copied by moving the paper up and down while copying when electronic docs were unavailable. The control group was left in the fonts the teachers themselves chose; those fonts are unnamed.

 

This is one of the study’s conclusions:

This study demonstrated that student retention of material across a wide range of subjects (science and

humanities classes) and difficulty levels (regular, Honors and Advanced Placement) can be significantly improved

in naturalistic settings by presenting reading material in a format that is slightly harder to read. While disfluency

appears to operate as a desirable difficulty, presumably engendering deeper processing strategies (c.f. Alter et al.,

2007), the effect is driven by a surface feature that prima facie has nothing to do with semantic processing.

 

The authors point out that the retention was only for 15 minutes, so there may be less pronounced difference in longer terms.

 

Anyway, it seems odd to me on many, many levels—I wouldn’t consider reading Arial 16 on a paper as a “fluent” choice.  Someone found that a good font has about 70 or fewer characters in a line (Schriver’s Dynamics in Document Design, p. 263).  They also don’t mention leading.  They don’t cite reasons that Arial 16 point was used, either. 

 

I’d be interested in what Info-D folk think of this kind of study.  I am sometimes amazed at how blithely unaware some fields are about design.

 

Thanks,

 

Sue Smith

 

Economist Article about the Study:

http://web.princeton.edu/sites/opplab/papers/Diemand-Yauman_Oppenheimer_2010.pdf

 

Actual Study

http://web.princeton.edu/sites/opplab/papers/Diemand-Yauman_Oppenheimer_2010.pdf

 

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More on Paul Stiff




"An obituary of Paul Stiff was published in The Guardian on 7 April – see here.
What follows below is an extended and re-edited version of that text."
from: http://www.hyphenpress.co.uk/journal/2011/04/11/paul_stiff_1949_2011


--

José Marconi Bezerra de Souza (PhD, 2008)
Consultor em design da informação e professor do Mestrado e Graduação de Design da UFPR
Information design consultant  and university lecturer (Brazil)
PhD - Department of Typography & Graphic Communication, The University of Reading (UK, 2008)
Master of Arts - Department of Three-Dimensional Design, The Birmingham City University (UK, 1992)
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andrew boag | 17 Apr 2011 22:06
Picon

PDF smart forms


I am on the look out for experts with PDF smartforms skills, LiveCycle software, or Adobe forms licensing knowledge? Are there any experienced members of the Café? If so please email me direct – thanks,



Andrew Boag
-------------------------
Boag Associates
T +44 (0)20 3008 6491

The contents of this e-mail are confidential and intended for the addressee only
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Gmane