Mariska Kalmeijer's Graduate Thesis Blog

Reflections & Suggestions

Mariska Kalmeijer — Thu, 14 Mar 2013 11:41:07 +0000

I can’t believe this quarter is already over! I definitely see why this class has become part of the curriculum, and I wish it had been added sooner. Due to being further along in the course, I decided to take “Thesis Preparation” as an elective, one of the best choices I have made along the way. I definitely feel “prepped” for next quarter in which I am taking my written and visual thesis. This class has given me the ability to grasp what writing a thesis is all about. Two parts of the course stood out to me, the primary source hunt and the interview. The main reason for this is, how it introduced me to new ways of thinking. Never had I initially thought about incorporating my personal interviews into a thesis paper, yet we have so many knowledgeable professionals around us, that are qualified to speak on our topics. As far as the primary source hunt goes, it really captured the “research” process in more depth. I loved the relationship I had built with the librarian in order to achieve this and now will always have a go-to person next quarter. As far as challenges, well writing has always been a challenge for me. I believe I was put at ease in the first few weeks when I looked at writing the same way I look at design. I definitely think this class has grown me not only as a writer, but also a designer.

As far as suggestions are concerned, here are a few:

- What was made harder than it really needed to be were the blogs. We are all working on our blogs at different times, they were hard to find, and even harder to reference back to. I love the concept and believe in its need. Creating unity as far as this goes, will go a long way.

- Collaboration amongst students happened quite a few times this quarter, I was lucky enough to be able to participate with a few of those. This is the key to growth; utilizing your peers correctly and pushing each other to the next level. Really making this part of the course curriculum.

- Discussions seemed to happen at the end of the week, creating earlier deadlines as far as these go, and making it a minimum requirement to go back and visit these discussions throughout the quarter.

Another great quarter has gone by, and I look forward to utilizing my new skill set next quarter!

Visual Presentation – Universal Design

Mariska Kalmeijer — Mon, 11 Mar 2013 11:54:16 +0000

Visual Presentation

Concept Map – Creating Universal Design

Mariska Kalmeijer — Sun, 10 Mar 2013 14:15:00 +0000

MKalmeijer_ConceptMap

Written Investigation

Mariska Kalmeijer — Thu, 07 Mar 2013 14:10:14 +0000

MKalmeijer_Part3

Attached is the first written investigation into my thesis, I look forward to further developing this next quarter!

Revised Thesis

Mariska Kalmeijer — Thu, 28 Feb 2013 15:52:22 +0000

Color deficiency not only affects an individual’s daily activity, it also plays an important role in the way visual communication messages are perceived. This thesis will demonstrate that design industries would be well advised to consider appropriate marketing communication strategies for individuals who suffer from color vision deficiency.

Thesis Outline

Mariska Kalmeijer — Thu, 28 Feb 2013 15:48:06 +0000

Color Vision Deficiency: Creating Universal Design

Thesis Statement

Introduction

Graphic designers must embrace accessibility as part of the design process in order to create what we consider, universal design. Good design isn’t selfish design and more than often, designers overlook color vision deficiency when in fact we are dismissing one in ten viewers/customers. Truly understanding the disability of color vision deficiency is impossible. The closest way to understanding this disability is through ongoing research and communicating with those individuals that have been diagnosed with color vision deficiency.

I. Communicating Color

A. Color Theory

1. Attributes to Color

2. Color Modules

3. Color Schemes

B. How Do We See Color

1. Technicalities

2. Do we all see the same color?

C. Color Psychology

1. The meaning of color

2. Visual communication

II. Color Deficiency

A. Definition

1. Causes of color vision deficiency

2. Types of color vision deficiency

3. Statistics of color deficient individuals in the United States

4. The diagnosis of color deficiency

i. Types of tests

5. Treatment for color deficiency

B. The Law of Accessibility

1. The Americans with Disabilities Act

2. The future of accessibility laws

III. Color Deficiency in Design

A. Digital VS Print

B. Key Concepts

C. Accessibility

1. Understanding accessibility.

2. Creating a Universal experience.

3. The future of accessibility.

IV. Accessible Technology for Color Deficiency

A. Colorblind Web Page Filters

1. Vischeck

B. Computer Color Filters

1. Color Oracle

2. Sim Daltonism

C. Viewing design in grayscale

1. GrayBit

Conclusion

Graphic designers have the ability to provide designs that communicate to those with color vision deficiency. Today, we have social responsibilities, our role a graphic designers have changed over the course of time. Accessibility is part of our design process, and later, will be part of our law.

Updated Bibliography

Mariska Kalmeijer — Thu, 28 Feb 2013 14:41:42 +0000

Bibliography

Cunningham, Katie. Accessibility Handbook. Sebastopol: O’Reilly Media, 2012. Print.

Dolson, Joseph. “Web Accessibility and the Law.” Practical E-Commerce. N.p., 30 06 2009. Web. 25 Feb 2013. .

Garth, Thomas. “Visual Sensitivity to Color: A Comparative Study of Four Tests.” American Journal of Psychology. 56.04 (1943): 583-591. Web. 1 Feb. 2013. .

Gorn, Gerald, Amitava Chattopadhyay, Tracey Yi, and Darren Dahl. “Effects of Color As an Executional Cue in Advertising: They.” Management Science. 43.10 (1997): 1387-1400. Print.

Halliday, Tim. The Senses and Communication. New York: Springer, 1998.

Hodgon, Linda A. Visual Strategies for Improving Communication. Troy, MI: QuirkRoberts Publishers, 1995.

Meyers-Levy, Joan, and Laura Peracchio. “Understanding the Effects of Color: How the Correspondence between Available and Required Resources Affects Attitudes.” Journal of Consumer Research. 22.02 (1995): 121-138. Web. 1 Feb. 2013. .

Newman, Chuck. Considering the Color-Blind. Web Techniques. 2000.

Philip, B. “A Comparison of Color-Blind Tests.” American Journal of Psychology. 51.03 (1938): 482-488. Web. 1 Feb. 2013. .

Rosenblum, Lawrence D. See what I’m saying: the extraordinary powers of our five senses. New York: W.W. Norton, 2010.

Sherin, Aaris. Design Elements, Color Fundamentals: A Graphic Style Manual for Understanding How Color Affects Design. Beverly: Rockport Publishing, 2012. Print.

Thatcher, Jim. Accessibility, Law and Target.com. http://jimthatcher.com/law‐target.htm (accessed April 27, 2010).

Welch, Polly. Strategies for Teaching Universal Design. Boston, Mass: Adaptive Environments, 1995.

“What sort of problems does colorblindness cause artists and art students?.” The Colorblind Artist. Blogger.com, 28 07 2008. Web. Web. 30 Jan. 2013. .

Wrenn, Eddie. “The incredible images that show how a colour-blind person sees the world (and why it might explain Van Gogh’s genius).” Mail Online. (2012): n. page. Web. 2 Feb. 2013.

Interview – Rebecca Hemstad – Professor of Web Design at the Savannah College of Art and Design

Mariska Kalmeijer — Sat, 23 Feb 2013 04:18:28 +0000

1. What do you know about colorblindness in the design industry?

I know that as a critical area of consideration it is largely overlooked. The numbers of colorblindness are staggering with respect to men. Reports vary with the dominant acceptance being that it is 1 in 10 (or 1 in 12 depending on the study) for men. Colorblindness is rare in women with reports of it only impacting .5% of the population.

What I find especially interesting is the fact that we are an ocular centric species. Our everyday life, our culture, our design work – even our simple awareness of “reality” and “existence” is driven by our eyesight. Meaning is all generated from this – but what I “see” and what “you” see – could be very different. Designers are quick to get “hung up” on pantone colors, precise color specifications for the web etc, but relatively few actually think about whether the person next to them will “experience” it the same visually and more importantly if that different experience signifies different meaning.

Colorblindness is primarily congenital but it can occur as a result of disease or an accident.

2. Do you think it is important to keep those with color deficiency in mind when designing?

Absolutely because as communicators – design aesthetics are intended to enhance the message/content, not prove to be an impediment. This is particularly important in web design because key actions such as legibility, the ability to discern a link, etc all are significant to content and exploring this content (meaning). We want to create work which leaves a positive impression on the user. Again, this goes back to deeper theoretical considerations of “meaning” and how we acquire “meaning” in the world. A person who is color blind relies on visual indicators and clues that non color blind individuals may or may not even “notice” because they have full color vision. Good design isn’t “selfish” design. It doesn’t prejudice against the audience it is intended to serve. It is easy to say – “Oh I have a target audience of men between such and such an age”. And consequently choose color schemes, etc all indicative for a male oriented audience, but when you overlook color blindness in this gender – WOW that is a sweeping dismissal of 1 in 10 potential viewers/customers etc.

3. Do you feel that in design today, colorblind individuals are considered through universal accessibility features? Why or why not?

Colorblindness is generally regarded as an accessibility issue. We easily forget that accessibility is a contributing factor to creating a universal experience. Designers are often shocked when I point out that by dismissing accessibility, they are being biased and prejudiced in the experience they create. Although not directly related to this question – the example I often bring up to those who argue that the “blind” won’t benefit from my site is simply this: If you create, say, a site dedicated to photographs of planes and you neglect to include captions/description – you are denying someone who might have once (if sighted) had a passion for planes – or someone who has an interest in still knowing and experience “planes” even if they cannot “see” those planes. All humans possess a visual mind (seeing in the minds eye). While I do not necessarily know what a blind person might see in his/her “minds eye” – I have no right to deny them the opportunity.

The same applies to color blindness – we all presume from an early age and even ingrain that “the sky is blue”, the grass is “green”, the tree is “brown”. But ultimately what is “blue” or “green” and “brown”? Ask yourself that. Is your “blue” different from my “blue” and how can we assert such presumptuous behavior regarding generalities about color? Take a child who is color blind and give them a box of crayons. We might see 100 different colors! But that child will see a box with duplicate crayon colors.

Even more fun is the studies that have been done on how women label colors and how men label colors.

http://thedoghousediaries.com/1406

Language is so awful in describing colors don’t you think? What would “blue” be to you if you could only feel it? How would you describe blue if you could not use the word “blue” or mention the sky? Is it rushing waters from a stream? Or cold ice melting in the sun? Is it hard? Is it soft? Is it furry? or sleek metal? Have you ever heard of synesthesia?

http://web.mit.edu/synesthesia/www/

One of my favorite quotes is:

Who in the rainbow can draw the line where the violet tint ends and the orange tint begins? Distinctly we see the difference of the colors, but where exactly does the one first blendingly enter into the other? So with sanity and insanity.
—Herman Melville, Billy Budd

Yes, Melville asserts “distinctly we see the difference of colors” – but your “difference” and “my difference” could be very different.

4. If there was an option for an accessibility feature in regards to colorblindness, would you use it in order to complete a design?

When I design I don’t draw divides between “us” and “them” – I don’t think, “okay here is my design for sighted folks and here is my design for blind folks and here is my design for color blindness”. I start the process thinking “Universal” design. I will ensure that contrast meets WCAG specifications and I make sure that meaning is not inhibited or impeded by color – for instance, links could have color but will always have an underline. Why? because my goal is a successful experience for anyone.

5. Where do you see colorblindness going in the world of accessibility?

If you are thinking in terms of a hierarchy of “needs” with respect to issues of accessibility – I don’t think we should again, discriminate on what we would regard an imposed “priority”. I would not say the blind person is more important to consider in my design than the color blind individual and blindness takes precedence over folks with a physical impairment such as extreme carpal tunnel syndrome. That is the equivalent of saying “my disability is more important” than “your disability”. Any disabilities is significant to the user experience the disability.

6. Accessibility on the web is one thing, do you believe it is easier to execute than accessibility in other forms of design?

Do I believe it is easier to execute accessible design for the web versus other forms of design? As a designer, I shouldn’t even be thinking in such terms. Again, design should be humane. I should never be thinking my designs in a paradigm of “us” versus “them”. I should be thinking about the universality of my design solution. It will certainly be challenging in some respects and I should step up to that challenge and not shy away from it. Historically, we, as a species have been absolutely horrible to those who possess disabilities. We never think for a moment that through something unfortunate that we could end up in this “group” we so easily shun and avoid and readily dismiss with a cavalier attitude because we haven’t “been there”. We never acknowledge that even the mere act of growing old subjects us to potential challenges in eye sight, motor ability, cognitive thinking etc. We all too often forget that we are all human beings. Thankfully times are changing. Thankfully, we are getting wiser and more judicious in this respect. Its unfortunate in some regards that we are even having this discussion because it reveals still how much we have yet to grow, learn and overcome as designers. We are a privileged profession – I do not think that anyone with color blindness would be encouraged to choose this profession. Thats sad. And what is even sadder is our tendency as designers to take that privilege for granted and be so presumptuous to assume that everyone is just like us. Our profession is driven by sight as is our culture. But we really need to “open our eyes”. Someone who is color blind who designs might bring new ideas and new considerations to our designs that we are, by the very nature of our perfect sight, would never think of ourselves.

Interview Techniques

Mariska Kalmeijer — Mon, 18 Feb 2013 20:05:47 +0000

Personally I have only conducted a handful of interviews in relationship to art and design. However, as a sales manager, I interview individuals on a weekly basis in order to see if they match up with our culture here at work. Though interviews are unique to every individual, techniques should remain the same in order to guarantee success.

To me, the most important aspect of an interview is research. Research on who your interviewee is, where their experience comes from, anything that will avoid questions that can publicly be found. This will eliminate the obvious, in order to make sure the interview is unique, creative, and worthy.

In addition to the research, I also believe being structured is not the ideal way to go. Yes, we can prepare a series of questions in line with where we see the interview going, but it needs to be conversational.

Here is an article that discusses the 12 ways to conduct a great interview:

Don’t conduct an interview, have a conversation. One of the biggest mistake people make in the interview setting is to conduct it like it appears in a magazine (question and answer). Don’t make that mistake. Forget about the questions and just have a comfortable conversation. Keyword: comfortable.
Do your homework. The only way to avoid getting stuck asking questions is to do so much research that you don’t need them. Know your subject, know the issues and know what the public would want to know if they could sit down with the subject matter.
Don’t stick to your agenda. To make matters worse, most interviewers follow the questions that they have lined up in the order they wrote them, instead of letting it flow based on what the subject is saying. I’ve seen many great follow-up conversations and side-tracks lost because the interviewer was following their flow instead of the flow of the conversation.
Have notes, not questions. It’s ok to have some notes about concepts you would like to discuss, but don’t hold it in your hand and look down at it – that will break the conversation and turn it into an interview.
Ask open ended questions. Always start your questions or commentary with words like “how” and “why”. Those two words can never be responded to with the words, “yes” or “no”. If you want something more than one or two word answers, use words like “how” and “why”.
Open arms. Do your best to have nothing blocking you from your subject matter. This includes objects like recorders, pens, coffee tables, etc… In an ideal world, keep your arms open and your heart aimed at the subject matter’s heart. I do not know why this works, but it does create a much more human connection – let nothing get in the way.
If you’re going to record it… start training yourself now to not say things like, “ummm” and “ahhhh.” While it sounds natural in everyday chitter chatter, those little vocal stumbles sound extra annoying if you plan on publishing the audio file, and it’s even more frustrating if you have to transcribe the audio to text. It’s one of the hardest things to do, but be conscious of it.
Don’t say anything. This is an old journalism trick, but it works wonders. Many people have been interviewed many times and they know the questions they are most likely to be asked, so their answers are practiced and canned. If you want to get a little bit more out of them or something original, wait for five seconds after they finish their last sentence and do not say anything. More often than not, that moment of silence will get them thinking and they’ll start speaking from their heart (and with a whole other perspective than their standard canned answers).
Watch the clock. Try not to go over thirty minutes. You should be able to capture everything you need in fifteen minutes or less.
Be the ambassador for your audience. Don’t forget that your role as the interviewer is to ask the questions that your mass public would want the answer to if they could be in that room. They can’t be there. You are. Be their ambassador. Ask the questions they want answered.
Don’t just take notes. Old school journalists don’t record anything, they just take notes. Personally, I find it very distracting, and the act of taking notes separates you from the subject matter. You wind up focusing way too much on the note-taking or the typing instead of what matters most: the person in front of you. Invest in a good recorder (I use the M-Audio MicroTrack) and have a conversation. Worry about the transcription later. There’s nothing more annoying than when a journalists says, “hold on, can you please slow down so that I can get this all written down.” If that doesn’t kill the flow, I don’t know what does.
Have fun. If you’re stressed or focused on your notebook and the questions in it, your subject will “feel it” and will pick up on your nerves or apprehension. Remember that the best conversations are the fun conversations. Have fun.

Interview Questions

Mariska Kalmeijer — Mon, 18 Feb 2013 02:10:11 +0000

For the Colorblind Artist -

1. At what age did you find out you were colorblind?

2. How has colorblindness affected your life?

3. How has colorblindness affected your understanding of art and design?

4. In your opinion, do you believe there are enough accessibility features out there for others to see how you see?

5. Where do you see colorblindness going in the world of accessibility?

For the Designer -

1. What do you know about colorblindness in the design industry?

2. Do you think it is important to keep those with color deficiency in mind when designing?

3. Do you feel that in design today, colorblind individuals are considered through universal accessibility features? Why or why not?

4. If there was an option for an accessibility feature in regards to colorblindness, would you use it in order to complete a design?

5. Where do you see colorblindness going in the world of accessibility?