An introduction to information design

208 Pages·2014·20.866 MB·English

by  Coates, Kathryn;Ellison, Andy

An introduction to

INFORMATION
DESIGN

An introduction to

INFORMATION
DESIGN
Kathryn Coates & Andy Ellison
Laurence King Publishing
Published in 2014 by
Laurence King Publishing Ltd
361–373 City Road
London EC1V 1LR
Tel [phone]
Fax [phone]
Email: [email protected]
www.laurenceking.com
© Text 2014 Kathryn Coates and Andy Ellison
This book was produced by Laurence King Publishing Ltd,
London
Kathryn Coates and Andy Ellison have asserted their
right under the Copyright, Designs, and Patent Act 1988,
to be identifi ed as the Authors of this Work. All rights
reserved. No part of this publication may be reproduced
or transmitted in any form or by any means, electronic
or mechanical, including photocopy, recording, or any
information storage and retrieval system, without prior
permission in writing from the publisher.
A catalogue record for this book is available from the
British Library
ISBN: 978-1-78067-325-7
Design by Lizzie Ballantyne
Printed in China
Frontispiece: Signage at the Design Museum Holon,
Tel Aviv, designed by Adi Stern Design (see pp. 181–183).
.
Contents
6 Introduction 106 5 Realizing the design through appropriate media
109 Explanation of media
8 1 What is information design? 110 Choosing appropriate media
10 Defi nitions of information design 112 The diff erence between print and digital
11 A brief history of information design 113 Designing for diff erent digital platforms
19 Why is information design necessary? 118 Computer data visualization
21 What are the diff erent types of information design? 122 Exhibition design and design for the environment
125 Hints and Tips: Knowing the possibilities of media
26 2 Information design for specifi c audiences 128 Case study: Maintaining a brand’s visual identity across
28 Identifying the audience and their needs diff erent media
29 Defi ning the audience
36 Activity: How to identify your audience 134 6 Experimentation and inspiration for the design process
41 Internationalism 136 Why is experimentation and inspiration important?
43 Inclusivity 138 Lateral thinking
43 Visual impairment 140 Inspiration for design
46 Hints and Tips: Designing for visual impairment 146 Editing data for inspiration
48 Case study: Designing for a target audience – children 149 The importance of trying out ideas
152 Hints and Tips: Taking inspiration from the world around you
54 3 Structuring information 156 Case study: Inspiration for the design process
56 Grids 160 Case study: Visual mapping
58 Hierarchy of information
60 Dynamic composition and gesture 164 7 Information design in practice: print, interactive
64 Sequence of information and environmental
66 Hints and Tips: Organizing information 166 Design outcomes
68 Hints and Tips: Using a grid 166 Routes for print-based information design
70 Hints and Tips: Setting up the grid 168 Case studies: Print-based information design
72 Case study: Grid structure and hierarchy 174 Routes for interactive information design
176 Case study: Interactive information design
76 4 Legibility and readability 179 Routes for environmental information design
78 Understanding legibility and readability 181 Case studies: Environmental information design
80 Readability: colour, tint and tone
84 Legibility, readability and contrast 188 8 Information design in practice: multi-platform delivery
86 Weight, size and scale 190 Using multiple platforms
88 Typographic elements 191 Case study: Interactive exhibition design
90 Glossary of typographical terms 196 Case study: Environmental and interactive wayfi nding
92 Graphic elements
94 Imagery 202 Conclusion
98 Hints and Tips: Visibility and contrast 203 Glossary
98 Hints and Tips: Colour-coding 205 Further reading / Websites
100 Hints and Tips: Choice of typeface, weight and scale 206 Index
102 Case study: Illustration in information design 207 Acknowledgements
104 Case study: Graphics in information design 208 Picture credits
6
Introduction
Why read this book?
Information is everywhere. We are surrounded by it and it is delivered to us in
many diff erent ways. From the moment we get up in the morning, we engage
with information that has been designed for specifi c purposes: the nutritional
information on the packets of the cereals we eat; the daily news via a
newspaper or a screen; a timetable to see when the next bus is due. We are
constantly engaging with the communication of information.
If you are reading this book then the chances are that you are interested in
design and are curious to know more about information design. This subject
is large and complex and takes in many forms and platforms. The aim of this
book is to demystify the process of producing clear information design and to
provide some fundamental guidelines to the considerations and processes
you may need when communicating to specifi c users or audiences. This
knowledge will better equip you to produce eff ective solutions to the design
challenges you may encounter within your own study and practice.
To demonstrate the breadth and diversity of the subject, we feature the work
of an international selection of designers. The purpose is to give a behind-the-
scenes look at the journey to a fi nal outcome. These case studies are not just
about who information design is for and who created it; their purpose is to
show the creative processes behind a successful information design project.
These case studies allow us to see the fundamentals of information design
being put into action on real projects by practising designers.
Our aim in writing this book was to provide an inspirational guide to the
discipline of visualizing information, a discipline that falls within the larger
subject of graphic design. Our intention is to explain the subject practically:
this is not just an introduction to the theories of information design, but a
how-to book that includes hints and tips on the actual design process.
Introduction 7
The structure of the book
The basic premise of this publication is: What is information design? How do
you do it? How have others done it? The book is structured so you can read
the chapters sequentially or dip into the specifi c areas covered as and when
required. Hints and tips are off ered throughout to give practical support and
guidance to would-be designers.
You will be presented with the fundamentals of information design and
guided through the core skills, taking into account the values of the audience,
hierarchy, structure, legibility and media. You will be provided with inspirational
visual examples and shown why information design is so important in
modern life. We cover all aspects of information design, including print
media, screen-based solutions and 3D physical environments. The case
studies off er vivid insights into the working practices of contemporary
practitioners, inviting comparisons and contrasting views on the subject.
Our goal is to make readers aware that there is always a variety of methods
available to them to answer design problems.

1
Chapter 1: What is information design?
This chapter aims to provide an insight into the subject of information design,
to explain its purpose and the various forms it takes. We outline a brief history
of information design to put the discipline in context, then discuss why it is
necessary and how we use it in our daily lives. Finally, we look at the various
ways in which it is presented and how the approach has to be modifi ed
depending on the format.
10 Chapter 1
Defi nitions of
information design
In an age where we are bombarded with information, Many people defi ne it diff erently. Some feel that it is
the boundaries between what is and what is not simply the visualization of data; others see it as the
considered information design have become blurred. communication of any message in any form. This could
We consume thousands of pieces of information every take the form of an advertisement or of a safety sign:
day, often without even noticing, so what exactly is both communicate a message or meaning to the viewer,
information design? and both deal with information, whether it is about
selling a product or about preventing risks to health.
‘Information design is the defi ning, planning, and shaping of the contents of a message and the
environments in which it is presented, with the intention to satisfy the information needs of the
intended recipients.’
International Institute for Information Design (IIID)
‘In its broadest sense, all graphic design is “information design”. The distinction for me is that
graphic design is the organization of elements that are typically capable of communicating
independently, like words, photography and illustration. Information design, as I see it,
incorporates the more elemental particles of data, and as a result requires more interpretation
or authorship on the designer’s part for it to speak fl uently.’
Nicholas Felton, Feltron (USA)
‘It is the organization and display of information, messaging or storytelling in an ordered hierarchy.
A journey of information. To present content in a clear and unique and engaging way by engaging
and targeting the human senses through the use of graphic devices such as type, colour, imagery,
Previous page: The Rosetta stone, an
time, light, textures and materials etc. to either warn, teach, explain, entertain or direct.’
irregularly shaped block of black basalt, found
Vince Frost, Frost Design (Australia) in 1799 near the town of Rosetta (Rashid)
near Alexandria by Napoleon’s armies.
The stone is inscribed with a priestly decree
‘Is there too much design now? Look on the web – is there a diff erent sort of design emerging? issued at Memphis in 196 BCE on behalf of
A creative world where designers seem to own what they are doing, a showing off if you like. King Ptolemy V. The inscription appears in
three scripts – ancient Egyptian hieroglyphs,
A comfortable designers’ world where there is more of the same, time and again. To be a designer
Demotic script and ancient Greek – and
you surely need opinions – you must ask why. Why can’t you hear the train times? Why can’t provided the key to the decipherment of
elderly people understand Bluetooth? Why can’t I fi nd the lavatories at Terminal Five? We know hieroglyphs in the modern age.
and read the words about information design … Enabling, understanding, making information more Opposite: Cave painting showing horses,
useable, clarifying the complex and more … But think of yourself sitting in a room. No computer, bulls and stags, in the Lascaux caves in
southwestern France. The paintings are
no blogging, no music, with a Pentel sign pen in red and black and just a plan, some words and a around 17,000 years old.
problem. And you stay there until you have the answer. That’s information design.’
John Bateson, Bateson Studio (UK)
‘A certain type of information design sometimes seems to be about displaying a graphic designer’s
prowess for creating aesthetically pleasing and colourful graphic representations of statistics or
facts. Whilst this may look good, it often leads to a piece of work that inspires one to look, rather
than read. For me, good information design should engage the reader both visually and cerebrally,
off ering something beyond a surface impression.’
Dr Alison Barnes (Australia)