Week 4: designing formative assessment

This week I helped Alice Neve to master Indesign as she felt that she needed a few tips and tricks to help her. It was incredibly satisfying to be able to help someone take the next step and ease their burden. Yes, there are tutorials over the internet, but I gave her a quick look over the features that she would be able to use rather than her grabbing various bitsI think she will use this as a springboard to further her skills.

Rethinking for MA Level

I’ve already established that I need to scale down this project, and make it a testing phase for a project that is run as a full-scale project. I made a table that breaks down the elements of the project and how I can achieve them.

STOWE FRAMEWORK
“AT LARGE”
MA LEVEL
What do I want to do?How can I test this?
Photo walks with adultsSmall walks with a few people doing it independently with survey at end
Adults asked to look for typography they likeSmall select group of adults
Target wide demographics to reflect WalthamstowMake sure people are varied, but a smaller number
Adult asked to design glyph for themselvesThis could be possible, but it will have to be independent rather than in a workshop and I would have to get more feedback about what went well and what needs improving
Area Survey photo walksGo around myself to take photos like in GDE720
Photo competitionCould this launch the beginning of the full project and be formed from feedback?
Talks online with local typography experts such as archives, Bracey, Angry DanInterview them myself and publish. Ask them to design type/glyph/describe their favourite piece of type

Change the outcomes

My outcomes will therefore differ and be like so:

  • Map of interesting typography
  • Interviews with people from community about typography and social history
    • Chris Bracey and family
    • Angry Dan
    • Archivist
    • Show Owner – St James Street and other end of High Street
    • Graphic design student
    • Someone not artsy minded at all
  • Ask them to contribute by designing glyphs
  • Cyanotypes of found typography?

Formative Assessment

So, presentation week this week! I feel like I have overall graphic style nailed down, and a lot of the words written out that describe the project. I start from an old document:

… and then develop it. I add in a more structured design.

The time has also developed from my first submission …

… to a timeline taking into account the new process and resources needed.

I found the Ethical Review PDF difficult to handle, with not enough spaces for my answers, so I recreated it in Indesign (and passed a blank around the group. From this …

… to this

… to this:

Rather spiffy, eh?

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Week 4: Project overview and feedback

What I did

  • Submitted an ethical review and recieved feedback (see below)
  • Looked at a well-implemented shop design project in Hoe Street

What i plan to do

Implement the feedback given below into my project

For submission on Friday, here are my PDFs:




I think that I could narrow down my timeline a little better, but it feels like such early days that I don’t want to commit to something that I can’t meet. On the other hand, I could commit to a schedule and then explain why I do or don’t make it.


Official Feedback

We’ve been told to critically view our feedback, and I have some thoughts on this. My comments in italics below:

Your research question is clear and you have a strong direction in mind. We’re particularly interested in the multiculturalism aspect and how typography can aid community and inclusivity. This will involve a lot of research into the contemporary history of migration on your area, which will be fascinating.
With regards to ethnicity in relation to your project and the participants I feel you need to be very sensitive in your use of language- in your consent forms for example and with the project in all forms of communication and interaction. Please look at this article and rethink your categories – this is important to address. It’s got useful tips on appropriate language to use.
https://docs.google.com/document/d/e/2PACX-1vQkg5IIoeAqMjMF6VWeIEtEUEgK3GLudW1meE2DILbJPZYPiP0dO3Qwx6YVxBFxOhI1KEp5swpok80/pub

I’d like to raise something that I feel will be pertinent to the whole group. In my Participant Information form, I asked people to identify their heritage using the government census style guide categories (see link) as I thought that this would be the most appropriate. Granted, these were used in 2011 and I can’t get access for the ones to be used in 2021 yet. I was therefore surprised that  I was told “Please look at this article and rethink your categories – this is important to address.” when none of the language described as problematic in said article was used – the categories give nuance as described and none of the acronyms or “BAME” that’s been considered problematic for a while now.

There are lots and lots of typographers to potentially interview, but it would be good to focus on designers that have experience working within a similar area. Colophon spring to mind and you could revisit their interview in GFE720. Here’s an archive of global type foundries http://typefoundries-archive.com/. Contact Alistair Hall from We Made this about his street signage book in London which looks at history and place. Listen to others about what local typographic vernacular means to people in the community – whether enforced or co created, Where does it sit, what is its function etc etc Kellenbeger-White have done some lovely participatory
workshops in relation to co building an identity for a space. http://www.kellenberger-white.com.

Great links, I’ll take a look at this! I want to think big about people to contact, but I have found that people are very slow to respond in this climate and are overrun.

There is lots out there to get informed about. What research methodologies exist that link to your work?

Good point, I have found an MA project that describes well what kind of research methodologies she used, so I am getting a feel of how to describe this.

I’d also love to hear people talk about their memories of typography in Walthamstow, from a young age growing up in a multicultural area to first becoming aware of different ethnicities and language through shop fronts, signage, posters, music, branding etc. This could form another part of a project, which could be print or moving image. A series of video interviews would be amazing, but might be difficult to conduct in the current climate.

I agree: video interviews are difficult to conduct and potentially losing sight of the design, as below? I wonder if there is a different way to go about this.

When speaking to the 20 community members, try and gain a balance between background, race, gender, age and position. An insight into how Walthamstow has changed over the recent generation, through the lens of vernacular typography is fascinating. Take a look at the Outsider Art series of documentaries, presented by Jarvis Cocker. It’s always amazing to see original and unexpected examples of creativity by people without any formal art training.

Cool, I’ll check these out.

You mention creating a business plan / academic study as a final outcome but please don’t lose sight of the potential to be very creative and expressive in the project. There’s a lot of exciting scope here that could also be included in a presentation.

What do the tutors mean by “presentation” here? My outcome is not going to be a pat-on-the-back slideshow in front of a design festival. There are two ways of thinking about this project: a testing phase to which I practise and draw conclusions on which to form a bigger project. For a bigger project, I need funding and therefore, I need a business plan or funding application that uses numbers and measurable outcomes. Or, it can be of itself and limited because I don’t have the time (yet I checked on deadlines) to make it bigger. I think I can present an outcome as a midway point that shows my research in a creative way that can form part of a prospective funding application.

Your critical path is clear, but spend more time making the right connections and start this process now. This information and insight will underpin your project and it’s important to gather the right people to help.

Don’t lose sight of developing your design practice at every stage of this project, starting now. A pitfall could be getting lost in funding applications, project management and leaving the design aspect as a secondary consideration.

See, I do have an issue with this, because we’ve been told not to focus to much on the outcome yet so that we can allow our findings to not have too much definition yet. Oh, my designs have an established style guide already, and will be stunning. But … you’ve asked not to see them yet. I cut out all funding application ambitions before submitting this, as you can see in the development of my blog, restricted the number of people and workshops, so I think that the tutors are working with an outdated idea of my project rather than my submission.

A DBS check would be necessary in relation to your project.

I will get on that!

Your final project is all about bringing context and broader discussion to an idea in the field, This project certainly has the potential to do this.

Yes, it does.

Week 4: Literature Review

Resources

Again, this week I found it incredibly hard to engage. although I did reach out to Fraser Muggeridge of Typography Summer School. So far, I have heard nothing back.

Hoe Street

After last week’s look at a project at the St James Street end of the High Street, I’m going to take a look at a different one. The project is juxtaposed in outcome to another project on Hoe Street that adjoins the High Street’s eastern end, also commissioned by Waltham Forest Council. The agency Fieldwork Facility undertook work to collaborate with ten locally-orientated businesses to “understand their needs and see how shopfront improvements can increase opportunities for business” (Fieldworkfacility.com, n.d.). The Hoe Street project had similar aims to the St James Street project, in that they both “decluttered years of redundant signage giving the streetscape room to breathe and making Hoe Street a more inviting place” (ibid.). The agency advertises that more detailed case studies are available upon request, but the report has proceeded without the extra content after multiple attempts to contact them.

Fieldwork Facility describes their process as one to “smarten appearances and celebrate independent businesses for their idiosyncrasies” and as can be seen above, the results are joyfully independent and preserve the businesses’ identities (ibid.) For the Moonlight supermarket, they “celebrated the family ownership with Turkish patterns incorporating ‘moon phases’ and moonlight colours” with the typeface using circular ‘o’s also evoking the moon image (ibid.). The result is eye-catching, sensitive to the owners’ heritages and fits in with the other shops around it.

The new frontage for Ashlins Natural Health is particularly impressive, because it is backlit with LEDs that change in relation to the outside temperature and ensures that it fits in with the new slick estate agents on its stretch of the street.

For The Office of Bodyart Tattooing, Fieldwork Facility honed in on the business owner, Terry, who is one of the first ever foreigners to be granted membership to the Tattoo Club of Japan. To honour his achievement, his logo was redesigned to be a rising sun made of needles and ink drops. The street signage is in English and Japanese to celebrate Terry’s no-nonsense attitude and tone of speech in all communications.

The two projects, located at either end of the High Street, had similar aims of improving the areas’ images and helping businesses and differed in their approach. The St James Street project focussed on resurrecting a rosy view of the past compared to Hoe Street, which achieved its goals by concentrating on the individual businesses and their value to the community.

Personal Branding

In my Businss Plan, my imagined business name is Studio Anna. I like the name because of its palindromic nature and that it can be stacked into a square and be read any which way.

I did come up with this logo, but think that it is too static even with some distortion:

I’ve been sketching and playing around with upper and lower case letter forms:

The others work and I can imagine animating them into transforming them from one to another to give a dynamic feel to the studio.

Work to progress…

GDE730: Redux

I’ve struggled with this module and to pin down the essentials of who I am and what I want to do. I went back to Week 1 to better articulate that because it’s up to me to show the world how to define me.

Using my wardrobes as a backdrop, I’m going to plan out projects so that I can see things ahead of me before I write them down. Three doors = three briefs. Expect those post-its to be a-fluttering in the breeze!

I’m going to go re-do a lot of work, because I’m not happy with where I started from and what I turned out.

Week 4: Critical Research Journal

Weekly Learning Objectives

By the end of this week you should be able to:

  • Research and analyse client / practitioner relationships and the service they provide;
  • Research and analyse the format and structure of a business plan;
  • Write, communicate and deliver a 3,000 word business plan (speculative and personal);

RESOURCEs

What a scary week. No, seriously. The resource that had the most effect on me was Chris Do’s “The Client is not Your Enemy” video because it broke down how to be a good designer in business.

The reminder that the client is not their to build my own portfolio is definitely a useful tip, as although I don’t think I’ve been guilty in the past, I have felt dismayed when a client has moved away from an idea that I think would showcase my skills to fill a portfolio hole.

Coming in as a designer can give the client a fresh perspective, but to educate their customers on what they will want is insulting, as the client, funnily enough, knows their audience. It’s important to understand the clients’ objective and from their draw a clearly defined goal to work towards.

One pitfall is that of hearing what you want from the client, and that can be avoided by starting as broad as possible and asking questions to filter out possibilities down to the best path, ensuring the face the same direction as the client.

A tool to help narrowing down the possibilities is to ask why three times. I’m definitely going to do that, as I hit a tough point in the business plan.

In a Linkedin Learning course, I found some more useful tips.

What problem am I looking to solve?
Typography is a specialist skill that needs care to ensure that the design of the type does not adversely affect how people absorb the content.

What is my product?
Typesetting books and printed products

SWOT Analysis

Messy!

How will I reach my market?
Direct with business card and website, and social media posts on Instagram, Twitter and The Dots

Business Plan

There are many different ways to structure a business plan, but they all need to communicate the business idea to a client, investor or an outside party. The common parts seem to be:

  • Executive Summary: an overview, succinct description of the business that shows what the document contains
  • Details of people involved
  • Services provided
  • Market Segmentation
  • Clients, and examples
  • Marketing strategy
  • Start-up Costs
  • Financials

I did have an original business plan, which you can see here, but I am going to work it into a community based project.

Resources

Made with Padlet

Week 4: Business Plan (original)

Executive Summary

Working as at a publishing house and having strong ties to others, I am able to 

Low start-up costs of working at home

For six months to a year, it will be up to 20 hours a week. Beyond ths 40 hours

With extensive experience in publishing, Anna Robinette budgets and schedule projects like a queen with many contacts with suppliers to negotiate on prices and 

After a thorough grounding in typesetting and artworking, Anna Robinette embarked on an MA Graphic Design at Falmouth University that allows her to study and further her skills at the same time. She will finish her 

She has taken on paid and pro bono personal projects as her schedule allowed, including packaging for a local drinks business that was featured in the Guardian, a sustainable living zine and . Setting 

Objectives

The objectives for the first six months are:

  • To establish myself and build clients through networking in my industry and local area
  • To continue serving current clients beyond their expectations.

The objectives for the first year are:

  • To further my skills in animation and kinetic typography
  • To work on larger-scale projects for companies and institutions
  • To create stunning graphics and typography that will surpass the clients’ briefs and expectations.

The objectives for the first three years are:

  • To develop a start-up graphic design business that is profitable within the first three years
  • To move from a home setting to a shared studio setting
  • To provide an invaluable service to clients, whether in-house or remotely, and to give the studio work that is creative, fun and flexible
  • To grow sustainably within the community to provide a service that is local as well as able to act further afield.

Mission

Sew My Type is a graphic design firm that specialises in typography and craft-based design across media, from print to mixed reality. From the inception of a project, SMT will provide services for typesetting books and printed matter, art direction, to project management of scheduling and budgeting and final delivery. Clients will come from small- and medium-sized companies, primarily from the publishing and theatre and arts industries. With extensive skills and wicked organisational skills, SMT will distinguish itself with its wide range of innovative projects, delivered within budget, on spec and on time.

Keys to Success

My keys to success are:

  1. Creative solutions
  2. Well-crafted execution
  3. Professional insight
  4. Playful attitude.

Background information

Owner details

Anna Robinette of Walthamstow, London, born in 1991

anna@SewMyType.co.uk

Education

  • BA English at Queen’s University Belfast
  • MA Graphic Design at Falmouth University.

Technical and Vocational Skills

  • Mac and Windows operating systems
  • Adobe Creative Cloud, including InDesign, Illustrator, Photoshop, After Effects, Dreamweaver, Lightroom
  • Glyph and Processing
  • Digital photography and photo editing
  • Riso and screen printing
  • Letterpress and bookbiniding
  • Print production, budgeting and scheduling experience.

Professional Experience

  • 5 years’ experience in project management in publishing for academic and children’s publishing houses
  • 3 years as artworker/typesetter at Walker Books, a children’s publishing house
  • Freelance design work including packaging, website, zine, photography and branding
  • Screenprinting prints and cards for personal Etsy shop.

Services

Overview

Sew My Type provides graphic design and visual communication services to publishing and arts-based companies. Some of the services offered are typesetting, branding, and packaging. 

The pricing of the projects are typically estimated as a project-based cost. The project cost will be estimated by the approximate number of hours needed to complete the project. SMT will charge an average of £50 per hour across the projects.

The majority of services will be provided remotely by SMT working in a home office or in-house at the clients’ place of work. This set-up will reduce the amount of overheads while the business is setting itself up and allow Anna Robinette to work flexibly where she chooses and where is convenient for a client. By year two, SMT aims to be working in a co-working space to network with other creatives and allow for more space.

Detailed services

The studio provides the following services:

  • Typesetting books and printed matter
  • Kinetic type and animation
  • Art direction 
  • Logo and branding design
  • Layout and book design
  • Artworking and image processing
  • Packaging and point of sale merchandise
  • Pre-press and print production.

Clients

My client will initially be overall

Client One

Client one is starting a small business and needs 

Client Two

Is from a cultural institution who wants branding for their exhibition and a record and interesting snazzy

Company Summary

Sew My Type is a start-up graphic design studio that serves the publishing and arts industries. The firm will be based in Walthamstow, London and will operate across the London area.

Start-up Summary

Sew My Type is a sole proprietorship owned and operated by Anna Robinette.

Start-up Costs

Sew My Type will be located within the rented residential property to incur fewer start-up costs. Most start-up costs have already been covered through Anna Robinette’s personal practice, and the reminder will be covered by personal savings for the first year. Requirements for Sew My Type are:

  • Licenses for the following software: Adobe Creative Cloud, Glyph, Font Explorer and Quick Books (a scheduling and billing software)
  • Cloud based storage and offline backup hardware
  • Portion of internet connection 
  • Subscriptions of requisite magazines and journals: Creative Review
  • Website maintenance, domain renewal and Wix subscription
  • Assorted office supplies
  • Promotional materials: business cards
  • Legal fees regarding business formation, creation of standard client contracts, and other general advice.
DescriptionQuantityUnit PriceCost
Adobe Creative Cloud (yearly subscription)1£596.33£596.33
Glyph app (one-off)1£230.00£230.00
Font Explorer1£99.00£99.00
QuickBooks Simple Start plan1£108.00£108.00
GoogleOne 2TB (yearly subscription)1£79.99£79.99
2TB hard drive1£100.00£100.00
Internet connection (share of)12£10.00£120.00
Creative Review (yearly subscription)1£175.00£175.00
Web domain1£12.00£12.00
Wix subscription1£102.00£102.00
Office supplies1£100.00£100.00
Promotional materials1£80.00£80.00
Start-up legal and accounting fees1£500.00£500.00
Business insurance1£350.00£350.00
Emergency I-didn’t-budget-for-this Fund
1
£2,000.00
£2,000.00
Total

£4,652.32
Table showing start-up costs

Market Analysis Summary

Sew My Type will target a range of business sizes so that 

Target Market Segment Strategy

Publishers

Small business

Institutions

Networking.

Pricing Structure

Pricing will be priced by hour for some projects, whilst hours worked will be a tool used to estimate a total for a project where appropriate.

Typesetting

For typesetting, the rate will be £22/hour. This is 10% less than comparable freelancers in London (LM) and typesetting companies outside London (UD) so that I can win work and establish myself across companies.

  • Kinetic type and animation
  • Art direction 
  • Logo and branding design
  • Layout and book design
  • Artworking and image processing
  • Packaging and point of sale merchandise
  • Pre-press and print production.

Work breakdown

On any given week for the first six months, I will be doing the following work:

ScopeHourly PriceHoursTotal
Typesetting£22.0010£200.00
Business insurance£40.00£350.00£350.00
Emergency I-didn’t-budget-for-this Fund
1
£2,000.00
£2,000.00
Total

£4,652.32
Table showing work breakdown for the first six months to a year

Strategy and Implementation Summary

Sew My Type’s marketing and sales strategy will utilize networking and referrals to develop visibility for the company. Prospective customers will be turned into qualified sales through a professional showing that displays Robinette’s portfolio of past work.

Marketing Strategy

As noted in the target market segment strategy, Sew My Type will rely on three activities in their marketing efforts. These include:

  • Networking: leveraging relationships to build more relationships within London’s design and publishing community.
  • Client referral: by providing outstanding customer attention, current customers are more likely to become a long-term customer and are more likely to refer their friends.
  • Targeted customer acquisition: the first step of this process is to target who the ideal customer is, determine how Sew My Type can offer them value, and then network to come into contact with the decision maker at that company.

Sales Strategy

The sales strategy will be to utilise Anna Robinette’s portfolio of past work to qualify a sales lead. Using a portfolio is very common within the industry to show past examples of work. 

Sales Forecast

The first months of operation will be used establish clients, negotiate projects with existing clients and maintain current projects. The business will be part-time for six-months to a year to establish clients that allow for a full work week of billable hours. By month twelve Sew My Type will have developed larger projects and will continue to grow steadily.

Milestones

Sew My Type will have several milestones early on:

  • Business plan completion
  • Establishment of the first major account
  • Profitability

Competitive Edge

Web Summary

The website will be used as a way to show past examples of work, and provide potential clients with several ways of contacting Sew My Type. In today’s day and age, a website is a given, a standard source of information regarding the company. as are social media channels. Weekly posts on social media will showcase the studio’s work to encourage interaction and boost engagement with potential clients.

Website Marketing Strategy

The marketing strategy for the website will be based on inclusion of the Internet address in all materials that Sew My Type releases. Wix provides SEO services with its website plans to increase traffic from web searches.

Development Requirements

Anna Robinette already has a CMS-based website onto which she uploads her projects. This will be rebranded as Sew My Type for continued use and regularly updated.

Social Media

Channels on Instagram, Twitter, LinkedIn and The Dots will be set-up under the company name with weekly posts on projects so that profiles are driven to the top of the algorithms. Engagement with other creatives and industry professional will increase name recognition and interested clients.

Week 4: Critical Research Journal

The message from the lecture this week was that as dry as data can seem, we should always approach it as if it is serving an agenda. Data can be added to, subtracted from and cast through a prism, whether social, political or economical. As cynical as this outlook can seem, I think it is smart to approach data with scepticism until its biases can be understood.

An example stands out to me from BA English: the commonly called “Peasant’s Revolt” of 1381 was nothing of the sort. It was orchestrated by small landowners of the countryside to destroy tax records stored within London, helping their subjects who had unfair taxes raised against them in by church and state. The group that came to London to rectify this burned the records of church and state (and maybe the buildings they were contained in) so the records were destroyed and the institutions could not tell who had paid and who had not. The taxes could not be demanded again without further protests and uprisings. Londoners saw the opportunity of disorder to destroy the city indiscriminately, and so the authorities cast the uprisings as the work of poor people from outside London who came to cause trouble, thus vilifying them for centuries to come. Six hundred and thirty years later, when I was learning about the revolts of 1381, people of North London rose up to make a stand about the killing of Mark Duggan by police. UK-wide, the cause was co-opted to cause mayhem and looting.

It is from the biases in data, the gaps, that we can draw our conclusions and use them for storytelling.

The lecture made reference to the Domesday Book, the first record of a country-wide census to ascertain where resources lay and taxes could be levied. Now, the modern census is used to collect data from citizens so that the governments, local and state, can understand its populations. While theoretically a great idea, sometimes the data is not treated as neutrally as it should. For the US Census, there is concern about how the information is going to be used from minority groups, given Trump’s bigoted policies. Advocacy groups don’t want people to become invisible as it could skew the help they receive.

The Washington Post fact-checked Trump’s State of Union address – as he has been known to massage or outright fabricate superlative facts during his presidency. The position of POTUS conveys a certain level of authority and therefore people believe him: because he is in that position, why should they not?

Who’s truth and how is that truth judged?

 

 

https://richardwolfstrome.com/walthamstow

https://www.visualisingdata.com/resources/

https://d3js.org/

https://www.tableau.com/en-gb/trial/tableau-software?utm_campaign_id=2017049&utm_campaign=Prospecting-CORE-ALL-ALL-ALL-ALL&utm_medium=Paid+Search&utm_source=Google+Search&utm_language=EN&utm_country=UKI&kw=tableau%20software&adgroup=CTX-Brand-Tableau+Software-EN-E&adused=324776970627&matchtype=e&placement=&gclid=Cj0KCQiAv8PyBRDMARIsAFo4wK1-2c7RdqdOlE7Wuf-OsSp4t-QViibjLvRxA1NeTTmObs7SplCnzgMaAqWgEALw_wcB&gclsrc=aw.ds#reveal-hero

Week 4: Projecting a New Perspective

Tasks

  • Reflect on the lecture and reference material provided to identify a scientific, cultural or environmental story, that matters to you. Outline the research and initial visual development on your research journal.
  • Develop and design a piece of information graphics that successfully communicates a scientific, cultural or environmental story.

Reflect on the lecture and reference material provided to identify a scientific, cultural or environmental story, that matters to you. Outline the research and initial visual development on your research journal.

Nothing immediately came to mind for what matters to me that might have some interesting data on it. I thought about basing it around Walthamstow and went onto the Waltham Forest website, but nothing caught my eye. Well, I did find out my bin collection days are changing from Wednesday to Thursday in a couple of weeks, but nothing specific for this course.

1

This morning I was reading an article on Refinery29 about the rise of pronatalism and how the current Hungarian government are promoting birthrates among its citizens to buoy up its population rather than accept immigrants. The initiatives to increase nursery places and subsidies for single mothers at first seem progressive, however coupled with the restricted access to abortion and the government’s prejudice against immigration, the policies take a sinister turn. By coincidence, I heard that in 1960s Hungary (it was a storyline in Call the Midwife), it was much easier to obtain an abortion under socialist rule. The changes to women’s rights struck me at the same time and I wondered how to convey this information plotted against other rights and women’s rights around the world, or against standards of life at that time in Hungary.

2

Don’t Lose Your Way is a campaign for people to discover and submit lost rights of way before the right to add paths to a definitive map in 2026. So far, paths have been found based on historical knowledge, and my idea would be to plot these paths on a map with information about why they were lost and how they were refound.

3

I work in publishing, and it is has a stereotype of employing white middle-class women with double-barrelled surnames living and working in London. This is very, very accurate. Many initiatives have been set up to diversify the workforce and the books they publish so that the workplace, books published and their authors more accurately reflect modern UK society. The Publishers’ Association has conducted surveys for three years to ascertain the depth of lack of diversity and how, or if, the industry is changing. The data is presented in a report that uses bar charts and pie charts – but could it be differently and more engagingly? Using this data, I would create a piece of data information to visualise the diversity in publishing compared to the general population.

4

Following the publishing theme, I have access to lots of data on publishing. With the recession and various economic uncertainties, it has been said that publishers are less willing to take chances on unknown authors and more likely to offer contracts to small number of authors whom they feel will definitely have strong sales. Is this true? What has been the effect on sales?

Inspiration

http://www.peacewall-archive.net/maps


Develop and design a piece of information graphics that successfully communicates a scientific, cultural or environmental story.

It took me some time to come up with what I wanted to represent this week. My interests are wide and varied, but not things that I thought I could represent visually. My friend and I were talking about how we hate how crowded the tubes would be after half term (typical London chat) and I thought that I could use this as visualisation.

This is a London Tube map, to start:

tube1-01

There are eleven lines that carry over five million people a day to their destinations, whether for work, leisure or education. But how does this change across the lines and throughout the day?

To get the data, I searched through what Freedom of Information requests had already been made, and found this dataset. Requested in 2019, it is a record of the passengers on each line every fifteen minutes from line open to line close.

snapshotofdata

It doesn’t make much sense like this!

Data integrity

It would have been nice to have 2019 data or data from multiple years, and for this project, I would put in multiple FOI requests to obtain this information.

The information has been sourced directly from Transport for London, and as the stations have barriers at entry and exit, so numbers can be electronically tracked. I feel we can assume a fair degree of accuracy!

Using the data

The lines are different lengths from the shortest at 1.4 miles to the longest over 100 miles. Here’s a quick infographic to show this:

line_length-01

Nice, but does it really show any surprising information? Not really. By combining the data with the table, I can advance it like this to show passengers through line.

I’d like to turn it into an animation running through time on the London underground map with the lines increasing as passenger numbers increase.

 

 

Collaborate through group discussions on the Ideas Wall.

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Project 1 – Filling in the Gaps

Introduction

Roughly 700,000 adults and children in the UK with autistic spectrum condition (ASC)(Autism.org.uk, 2019), however, in 2007 only 15% of these people were in full-time paid employment and in the decade since the figure has only improved by 1%. Including part-time employment, the employment rate in 2017 was 32%, compared to 80% of the general population and 47% of people with disabilities (National Autistic Society, 2019).

People an ASC have a huge range of skills, however some in employment feel that “they are in low-skilled work and employers don’t see their abilities” (National Autistic Society, 2019) and “79% of adults with autism who receive out of work benefits say they would rather work” (Hill, 2019).In the foreword to Grandin’s Developing Talents, Tony Attwood writes that “This is a remarkable waste of potential talent. The American workforce needs the benefit of the qualities of people with Asperger Syndrome and autism” (Grandin, Duffy and Attwood, 2008)

I agree with these statements: that people with ASC can greatly enrich their workplaces and communities, learn essential skills and build confidence. This project will delve into why the employment levels are so low, and how I can, in a small way, attempt to address this imbalance.

A note on vocabulary

From now on in the project, I will refer to people with autistic spectrum condition as ‘neurodiverse’, except where quoted sources differ in vocabulary. The term autistic spectrum condition is preferred to ‘disorder’ as neurodiverse people prefer not to be considered disordered. People without an autistic spectrum condition will be referred to as ‘neurotypical’, rather than ‘normal’, because this ‘others’ neurodiverse people. It should be noted that every neurodiverse person might have a preferred way in which to refer to themselves or their condition, and I am using the terms that can be considered the most inclusive and uncontentious.

What are the factors that hinder neurodiverse people from entering the workforce?

Public views of autism have come a long way since Dustin Hoffman’s depiction of a savant in Rain Man(1988): we now understand that to be autistic is to be on a wide spectrum of skills and needs, and individual to each person. The National Autistic Society reports that “employers have told us that they are worried about getting things wrong for autistic employees and that they don’t know where to go for advice”, suggesting that given the right information and support, employers would be more willing to engage with people with autism for employment (National Autistic Society, 2019).

For my project, I will be working with a small focus group from the Knots’ Arts Youth Club that runs for two hours on Saturday afternoons in south-west London. Attracting between ten and fifteen young people with high-functioning autism each session, it is a space created to allow each person to be themselves and meet new people. My housemate, Cassie Yates (to divulge our connection), and her partners Hazel East and Bex Hand formed Knots Arts in 2013 to maintain drama and social programmes for neurodiverse children and young people.  Their mission is to “create inclusive, friendly and fun sessions were children and young people feel safe and supported to develop their communication skills and build friendships. By meeting others who understand the challenges that social communication difficulties can bring, children are able to work together to embrace their differences and overcome any obstacles that they may present” (Knotsarts.com, 2019).

Having been to some of these sessions, the people are delightful and interesting and would be an asset to a workplace. What is stopping them? Cassie offers her insight: One of the main challenges that the members of Knots Arts Youth Group face is transitioning to independence. By working, even part-time they are able to not only learn to manage their own money but also timekeeping, travel and decision making. Neurotypical people make thousands of small decisions every day without realising it. For those with a neurodiversity such as autism, those small decisions can feel overwhelming, from simple things like where to sit on their break, to asking someone if they need some help with a task. Being in the workplace allows them to experience a new environment and develop their social communication skills further with a wider variety of people. They are not always in an environment where people know they have a neurodiversity and they have to navigate complicated social and professional situations often with unsympathetic or understanding participants.”

Members of the youth group have got part-time and full-time employment, so how does it help them? Cassie says that “they have grown in confidence, they feel they have something to offer and some have made friends. Employment makes them feel like they are part of society, and to quote the group: ‘It’s what normal people do, so why can’t I?’.”

The HealthTalk website offers another insight into how neurodiverse people find employment and the application process. Oliver thinks “that people with [ASC] fail in normal human resource, hiring situations where it’s ‘please put your name here’ and it’s in a fairly basic form and people would, because the questions are obviously going to filter certain things out and I think this is where people on the spectrum or with [ASC] fail. Because it’s not necessarily that they can’t do the job. It’s they don’t understand what’s been asked of them, because I’ve had this with quite a few situations.” (Healthtalk.org, 2016)

At Knots’ Arts, Cassie has noticed that application forms “cause a lot of stress for the members as they do not understand how to answer them… They can be too vague, too long, they can cause sensory overload due to colour and formatting. They often bring them to the group so we can help fill them out, for example, explain what the questions mean and show them where to write things.” For me, this is a clear indication that application forms can be redesigned to take away the first hurdle that neurodiverse people face when applying for work.

What can I do to help?

It would be too wide an issue for this project to include the many issues that neurodiverse people face in the entirety of employment. There are government-run schemes that can help and coach people into work, however, I feel that the impetus should be led by companies. The National Autistic Society agrees, stating that “if companies are serious about being disability confident, they should explore alternative forms of recruitment or adjustments to the interview process” (National Autistic Society, 2019).

Employment application processes typically revolve around two parts: a job application form (or a CV and covering letter) and an interview. This project, and course, revolves around design and therefore the subject shouldn’t revolve around an oral process. Similarly, CVs and covering letters are very personal and are entirely self-constructed, making it a very large scope to cover. On the other hand, job application forms are a standard for part-time employment, which all sectors of society tend to start with alongside education as an avenue into a career.

Who is this project for?

This project is aimed at helping the design community and hiring departments to build and structure application forms in a way that would allow neurodiverse people to access the next stages of the application process.

Focus Group and Methodology

 


With the Youth Club of Knots’ Arts, I will conduct a short focus group in order to obtain research about what would help neurodiverse people fill in application forms. To do this, I will provide samples of application forms and ask the group what they like and dislike the forms, and how they feel they could be improved.

The research will be collected physically by way of notes on the application forms written by members of the group, and orally by myself and the leaders listening to their thoughts and concerns.

The forms will be paper forms sourced online. Many shops do have online forms, but for the practicality of the session and availability of technology, they will be printed forms.

Presentation of ethics and data privacy

The project’s aim is to reduce stress around application forms for neurodiverse people, so it is possible that this study will cause stress for participants

  • The research will be conducted with participants’ full awareness of the aims
  • I will take guidance from the Knots’ Arts leaders about language and how to structure the session
  • The session will be clearly signposted and of a clearly defined length
  • If any member of the youth group do not want to participate, they will be free to move away
  • Participants will be grouped together and will be able to work independently or with the group. The groups will be chosen by the Knots’ Arts leaders
  • The participants will be able to write down their thoughts or articulate them verbally to myself or a Knots’ Arts leader
  • Knots’ Arts leaders will be present and participate with the research with the youth group.
  • The participants will remain anonymous.

Hypotheses

I had expectations for the outcomes and noted them down so that I would be aware of my bias. They were:

  • The group would prefer pale colour backgrounds compared to white
  • No background graphics would  be preferred
  • Lots of white space so that the information can be easily taken in
  • Tick-boxes would not be ideal
  • Larger typeface size and larger leading
  • Typefaces with large x-heights with clear differentiation between capital ‘I’s and ‘l’s.

Initial outcomes

Data

The main concerns from the youth group came from data protection and how their information was going to be used. I assured them that applications are generally covered under privacy protection laws, however, this clearly still worried them, in particular, one participant who brought it up multiple times.

Many companies ask questions about how the applicant had heard about the job and whether the applicant had family working for the company (Argos and Dollar General). The group generally found these questions to be irrelevant and intrusive as they did not understand why the company would need to know this information.

Image

Toys’R’Us

The application forms were generally deemed too long and to ask too much information, with a particular reference to Dollar General. The Forever21 form was the most-liked form for the information asked as it was brief and the questions related to the information the group expected to be answered.

Although the forms were intended for part-time work, the group were concerned that they were asked for details of previous employment because many had never had jobs before.

Layout

The background of the Forever21 form, and that of Dollar General, were thought to be distracting and unnecessary.

As I said above, the forms requesting less information, such as Forever21, were favoured partly because of the lesser deceive of perceived intrusion and also because the pages were less cluttered. The typeface was larger and there was more white space around the text.

Application

Where the forms asked for longer answers to questions, dotted lines were preferred as a guide for how much to write. It would be made even clearer if there were boxes around each question, further separating each question visually for the applicant.Application

On the Topshop form, the boxes to the right of the answers seem to relate to an internal process, but this was unclear to the youth group. Because no instructions were given to the applicant about what to do with these boxes, they were confusing.

Some forms asked for the applicant when they would be available to work. Although I had one hypothesis that tick boxes may mean neurodiverse people might have an issue with tick boxes, it was much preferred to the Toys’R’Us version. TopShop had a similar idea with a table, however, confusingly split the day between morning, afternoon and evening. I can imagine this would be confusing as the times are not specified.

Image

Toys’R’Us

Dollar General Application For Employment

Dollar General

Application

Topshop

Typefaces

The Comic Sans used for the Toys ‘R’ Us form was reviled as childish and as if the form was “made to look easy-to-read, and the Forever21 was considered unnecessarily fussy. All other typefaces were accepted.

There was a consensus that the typeface was less important than the size and leading of the font. Larger fonts with plenty of leading to create white space around the text was most important because it seemed less intimidating than a small, closely packed font.

Colour

The forms had minimal colour: most used black ink on a white background, presumably to reduce the cost of printing out each form. Topshop used colour for headings, which graphically indicated a change of section, however had an entirely black first page, which to me is a diabolical waste of ink.

Wording

A detail that seemed to concern the youth group was the distinction between “present address”, “current address” and “home address”. To them, it seemed unnecessary and confusing when “address” could have been used instead.

F21_presentaddress

Questions such as “Why do you want to work for Argos/Topshop” was met with answers of “because I want to earn money”/”I want to have a job”. What would be a better way to pose this question so that the applicant would know what was asked of them? Questions such as “When have you delivered/received great service? What did you do/receive? How did you measure it?” (Topshop form) caused confusion and stress because the questions were grouped together: When, What, How. Participants would have preferred them to be separated, with a space for an answer between them.

Application

Knots’ Arts Enlighten Form

In addition to the job application forms, I also asked the focus group to consider the Knots’ Arts Enlighten form. This is filled out by the parent or guardian of the person coming to one of their programmes and allows the person’s needs, likes and dislikes to be communicated to the leaders. If a neurodiverse person becomes distressed or is non-verbal, they might not be able to communicate their needs to a leader, and the form means that the leaders are aware of triggers and stress factors.

The leaders would like the form to be redesigned so that it is more accessible for the young people to fill out themselves, rather than their parent or guardian and have asked me to help as part of the project. This form was considered after the job application forms. The outcomes were:

  • What is the form for and how will the information be used?
  • Where will do I write my answers?

One young person comes to the youth club with their mother as they are mostly non-verbal. The mother explained that as a parent, she often had to fill out forms detailing her child’s ASC, and felt that it could be very upsetting when it focussed on her child’s triggers or behaviour that indicated that they were stressed. Instead, she thought that a focus on the positive attributes of the young person could be also highlighted in the form. Also, she felt that the form asked questions in the form of words, where perhaps symbols or illustration could be alongside the words so that people who found it more difficult to read could understand what was being asked. This could turn a form-filling task into an activity young person and parent/guardian could complete together so the young person has more agency over their care.

Analysis of outcomes

The most salient point that I drew from the focus group was that clear sign-posting is needed. Why is information needed? Where do I need to answer that question? This could be tackled in a number of graphical ways, including boxes and colour-coding.

Another conclusion to draw from the focus group that less information was needed: on both sides. Some questions were seen as intrusive and unnecessary by applicants, and if there were large blocks of text, it was confusing and the information was not taken in. Recruiters need to consider what information is actually needed at application stage, such a contact details, and what is only of interest to them, for example, “Where did you find out about this role?”

Recommendations

  • A clear statement that the information will be private and not shared
  • Information about how the applicant heard about the job should not be included
  • Avoid internal reference boxes
  • The members of Knots’ Arts Youth Group are unlikely to attend sessions set up to help them with job applications
  • Type should have plenty of space between lines, and blocks of information should be shorter so that they do not seem intimidating
  • Colour can be used as a sign-posting technique

Building a new form

I am going to build the form in Indesign, as this is the project I am most familiar with! For the typeface, I looked at Google Fonts and shortlisted these three:

typefaces

before settling on IBM Plex Sans because I feel it is open and spacious, with clear tails on the ‘l’s.

I also want to make sure that the information asked was relevant so cut out much of the questions asked, whilst keeping in essential information. Here is draft one of the form:

1_markup21_markup

Analysis by Knots Arts

Ideally, I would have asked the youth group to give feedback on the form so that I could include more recommendations from them. However, the group is on the half-term break as of the time of writing. Cassie Yates has given her opinion:

“On the education section, I would divide it into qualification, subject, grade e.g. A Level, History, BTEC. this would make it easier to understand what goes where. If possible it would be good to have an example if you can fit it in.

“About your experience section, choose to either use opportunity or situation or place what was the situation? A line below, so it’s clear it is part of the answer, not the question.

“There are other things that I know would cause questions but you cannot cover it all. I will list them here but this is just for reference.

  • “At the beginning of the form, what will happen if the application is not successful?
  • “What documents prove the right to work in the UK?
  • “How will I be contacted?

“Overall it is very clear and asks for relevant information.

“Some bits are wordy but these are the legal bits so nowt you can do about that.”

Analysis from tutors

Stuartfeedback

Feedback from HR department at a publishing company:

  • “Due to GDPR/Data Protection we only ask the information that we require and must be able to prove why we require information if asked. Therefore, we wouldn’t usually ask for someone’s address at this stage. Neither would we ask for date of birth as we wouldn’t want this to have the potential to effect [sic] any shortlisting decisions, we could open ourselves up to unconscious bias.
  • “We ask for Right to Work evidence at offer stage. We would ask if they are legally entitled to work at this stage but wouldn’t ask them to provide evidence at interview stage.
  • “If [sic] there a necessity to know the address of their school/college/uni?
  • “Sometimes the individuals most relevant experience is not necessarily their most recent job. For example, If I was applying for shop/shift work I would draw on shop work I did years ago rather than my HR experience. Is there space for this and not just the latest role?
  • “The declaration at the end – is this necessary? Perhaps there could be one more question about their soft skills instead? i.e. Can you explain what excites and interests you about working for….? Why do you believe you will be an asset to….? Describe a situation when you decided to adapt your approach to provide a better outcome for others and why?  Describe an example of a mistake that you have made or an unexpected issue, how did you feel about this and what actions you took following this experience?”

Final outcome of form

After feedback from Knots’ Arts, an HR professional and Stuart Tolley, I revised the form:

2 markup-12 markup-2

GDEProj1_finalform

Conclusion

Neurodiversity should not be a barrier to work, and ideally, it should be companies and their HR departments that lead the way to ensure that the application process is welcoming and accessible as possible. In this project, I have focussed on a small group with which to make a form to ensure that I could hear their thoughts, and all of the members have skills that would be valuable to a workplace.

Before taking application forms to the youth group, I had expectations for what they might like and respond to well, and what they might not. A few were correct, for example, preferring forms with lots of white space and less text, however, I did not anticipate how they would be nervous about the amount of information I asked.

The form is not an end-all: customisations might be needed for each company and role for the form to be usable. At the moment, it serves as the base level that needs to considered, and with notes, I am able to communicate why I have made the design decisions that I have. It’s a useful tool for companies to be able to consider why they ask for the personal information that they do.

Evaluation and possibilities for the future

I think I took a while to reach the concept of the project, and once I did I felt like I knew the scope and could see the end result clearly. Looking at the project as a whole, it doesn’t strike me as graphically interesting because the requirements of the focus group dictated that it should be clear and simple. However, the project has reached into an overlooked issue that, if it were to be expanded, could have life-changing effects for neurodiverse people. So how could I take this further?

To start with, I would increase the focus group size from one youth group to groups with varying needs and different ages. The feedback I would get, I predict, would be at times contradictory but the more input into what works and doesn’t work for different people would enable me to create a stronger form.

Whilst carrying out a focus group, I would find a new way to collect feedback. For this project, the members of the group were able to talk to me, and I recorded their responses, or they wrote notes directly onto the forms. A way to record their responses that would be able to quantify their responses on a sliding scale, without being stressful, might be one way to do this.

The application forms I selected came from various shops, and I feel they are out of date. Many companies now purely recruit online, so I would widen the study to include online forms. I would aim to work directly with companies to design forms that serve neurodiverse people so that feedback between what employers and potential employees required can be considered simultaneously. If I continued with the project, I would look at paper and online forms, and that would require a standard way of recording responses.

The end-all project would be an online graphic design tool that would allow HR professionals to build print or online forms themselves, whilst following linguistic and design guidelines for neurodiverse people. This would have the effect of ensuring that companies are able to ask for the information they need and get informed responses from all applications and mean that employment of all kinds is accessible for neurodiverse people.

Bibliography

 

Week 4: Outcome and ambition

This week I solicited feedback from tutors, Knots Arts and an HR professional about the first draft of the form.

Analysis by Knots Arts

Ideally, I would have asked the youth group to give feedback on the form so that I could include more recommendations from them. However, the group is on the half-term break as of the time of writing. Cassie Yates has given her opinion:

“On the education section, I would divide it into qualification, subject, grade e.g. A Level, History, BTEC. this would make it easier to understand what goes where. If possible it would be good to have an example if you can fit it in.

“About your experience section, choose to either use opportunity or situation or place what was the situation? A line below, so it’s clear it is part of the answer, not the question.

“There are other things that I know would cause questions but you cannot cover it all. I will list them here but this is just for reference.

  • “At the beginning of the form, what will happen if the application is not successful?
  • “What documents prove the right to work in the UK?
  • “How will I be contacted?

“Overall it is very clear and asks for relevant information.

“Some bits are wordy but these are the legal bits so nowt you can do about that.”

Analysis from tutors

Stuartfeedback

Feedback from HR department at a publishing company:

  • “Due to GDPR/Data Protection we only ask the information that we require and must be able to prove why we require information if asked. Therefore, we wouldn’t usually ask for someone’s address at this stage. Neither would we ask for date of birth as we wouldn’t want this to have the potential to effect [sic] any shortlisting decisions, we could open ourselves up to unconscious bias.
  • “We ask for Right to Work evidence at offer stage. We would ask if they are legally entitled to work at this stage but wouldn’t ask them to provide evidence at interview stage.
  • “If [sic] there a necessity to know the address of their school/college/uni?
  • “Sometimes the individuals most relevant experience is not necessarily their most recent job. For example, If I was applying for shop/shift work I would draw on shop work I did years ago rather than my HR experience. Is there space for this and not just the latest role?
  • “The declaration at the end – is this necessary? Perhaps there could be one more question about their soft skills instead? i.e. Can you explain what excites and interests you about working for….? Why do you believe you will be an asset to….? Describe a situation when you decided to adapt your approach to provide a better outcome for others and why?  Describe an example of a mistake that you have made or an unexpected issue, how did you feel about this and what actions you took following this experience?”

Final outcome of form

After feedback from Knots’ Arts, an HR professional and Stuart Tolley, I revised the form:

2 markup-12 markup-2

GDEProj1_finalform

Conclusion

Neurodiversity should not be a barrier to work, and ideally, it should be companies and their HR departments that lead the way to ensure that the application process is welcoming and accessible as possible. In this project, I have focussed on a small group with which to make a form to ensure that I could hear their thoughts, and all of the members have skills that would be valuable to a workplace.

Before taking application forms to the youth group, I had expectations for what they might like and respond to well, and what they might not. A few were correct, for example, preferring forms with lots of white space and less text, however, I did not anticipate how they would be nervous about the amount of information I asked.

The form is not an end-all: customisations might be needed for each company and role for the form to be usable. At the moment, it serves as the base level that needs to considered, and with notes, I am able to communicate why I have made the design decisions that I have. It’s a useful tool for companies to be able to consider why they ask for the personal information that they do.

Evaluation and possibilities for the future

I think I took a while to reach the concept of the project, and once I did I felt like I knew the scope and could see the end result clearly. Looking at the project as a whole, it doesn’t strike me as graphically interesting because the requirements of the focus group dictated that it should be clear and simple. However, the project has reached into an overlooked issue that, if it were to be expanded, could have life-changing effects for neurodiverse people. So how could I take this further?

To start with, I would increase the focus group size from one youth group to groups with varying needs and different ages. The feedback I would get, I predict, would be at times contradictory but the more input into what works and doesn’t work for different people would enable me to create a stronger form.

Whilst carrying out a focus group, I would find a new way to collect feedback. For this project, the members of the group were able to talk to me, and I recorded their responses, or they wrote notes directly onto the forms. A way to record their responses that would be able to quantify their responses on a sliding scale, without being stressful, might be one way to do this.

The application forms I selected came from various shops, and I feel they are out of date. Many companies now purely recruit online, so I would widen the study to include online forms. I would aim to work directly with companies to design forms that serve neurodiverse people so that feedback between what employers and potential employees required can be considered simultaneously. If I continued with the project, I would look at paper and online forms, and that would require a standard way of recording responses.

The end-all project would be an online graphic design tool that would allow HR professionals to build print or online forms themselves, whilst following linguistic and design guidelines for neurodiverse people. This would have the effect of ensuring that companies are able to ask for the information they need and get informed responses from all applications and mean that employment of all kinds is accessible for neurodiverse people.

Bibliography

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