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30 Consider then enhances this understanding of the target audience, by replicating common eye conditions: a design in progress is automatically converted into a high resolution PDF file and the designer can choose any condition and degree of severity from a drop-down menu and view how their visually impaired audience sees that design. At this stage, unconventional icons give recommendations on improving the design for this condition and at this level. For example, for simple short-sightedness, issues such as type size, font contrast and colour would be highlighted. At a more severe level of the condition, the opportunities would include sound and shape, texture, Braille and personal assistance. For dyslexia, designers would be able to load examples from the library of graphic tests and different layouts for newspaper, website, posters, packaging, signage and so on that are included with the software. The software does not deliver prescriptive solutions but instead helps the designer to understand the principles underlying inclusive design and shows how they might make their work more inclusive. Similarly for the client, examples of how image, structure and copy can make a dramatic difference for
the end user are highlighted and the software offers advice on these issues. Graphic design innovators of the past and present would also be included in the software package for inspiration, as well as examples of good and bad design, all of which may be previewed according to any impairment. Increasingly, assistive technologies are creating opportunities for more inclusive communication. Consider highlights some of these new technologies, such as mobile text readers that can quickly convert encoded files into speech. With a far greater incidence of dyslexia in the creative industries, prescriptive guidelines delivered in a dull, text-based format have been shown to be problematic. They also lack the crucial ingredients of empathy and inspiration that would motivate designers to explore inclusive possibilities they might otherwise have not considered. Consider was conceived with both designer and client as user in mind and taps into their common desire for good graphic design that is relevant to a wider audience. User input Clients, graphic designers, visually impaired artists and users with sight conditions. 31
Page 1 and 2: challenge 2006 >how designers respo
Page 3 and 4: Julia Cassim Editor, Challenge 2006
Page 5 and 6: contents 4 12 16 20 24 28 33 PART 1
Page 7 and 8: Right: John Corcoran of Wire Design
Page 9 and 10: Judges Tim Fendley AIG year and the
Page 11 and 12: Designers Matt Wright Matter John C
Page 13 and 14: ‘Design should be non-stigmatisin
Page 15 and 16: Background Twenty per cent of the U
Page 17 and 18: preference. These were refined and
Page 19 and 20: Background Identifying the contents
Page 21 and 22: The magnetic or adhesive backing al
Page 23 and 24: Background Equal access to employme
Page 25 and 26: would focus on disabled people’s
Page 27 and 28: Background Safety in the home is a
Page 29 and 30: talking to each other, reacting to
Page 31: Background Many graphic designers d
Page 35 and 36: project 6: Caddy Wood&Wood Design A
Page 37 and 38: Made from a durable fabric laminate
Page 39 and 40: Generational blurring or no, one th
Page 41 and 42: Workshop 1 >Innovating through Incl
Page 43 and 44: Top three rows: workshop scenes. Bo
Page 45 and 46: two products - one well designed, t
Page 47 and 48: linked, an inclusive platform can b
Page 49 and 50: Teams and projects from Kyoto Unive
Page 51 and 52: - Workshop 4 >User Science Institut
Page 53 and 54: y RCA alumnus and industrial design
Page 55 and 56: About the Helen Hamlyn Research Cen

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