Information Design Journal - Volume 21, Issue 1, 2014

Graphic symbol recognition is influenced by proximate context. Hence, this study used card sorting to classify the proximate context and conducted a cluster analysis to compare the differences in clustering processes between participants divided into “design group” and “general group.” Results showed that a high commonality in classifying proximate context existed between the design group and general group. Proximate contexts were classified into seven categories: “icon,” “sign,” “direction,” “direction + icon,” “human + icon,” “sign + icon,” and “icon + icon.” Additionally, three types of clustering differences were found: agreement difference, assignment difference, and sub-cluster difference.

In the Middle East, the Arabic script is omnipresent and has an ample impact on the built environment. The calligraphic Arabic script is extremely flexible, making its text representation economic. However, in physical signs, calligraphy is replaced by Arabic typography, whose type choices may not capture the full flexibility of the Arabic script. Additionally, the graphic logic of dual language sign systems is not as straightforward when applied in Arabic, since the Arabic reads in two directions: right to left for the script and left to right for the numerals. Multi-script signage involving Arabic requires a heightened sensitivity regarding the information sequence.

This paper identifies easily misrecognised letters and symbols in highly legible typefaces for general, children, dyslexic, visually impaired and ageing users. It can also be considered as a review of related research in this area.

The son et lumière uses dramatic audio and visual projections to interpret and awaken a sensory engagement with heritage sites. I suggest that such cinematic interventions may be seen as a crucial way of conceptualising information design in the media landscape of the 21st century. This article draws on the son et lumière at Blois Château as precursor and provocateur to contemporary approaches in information design which unite projected image and tangible form. In this example, an understanding of the relationship between architecture and light image suggests the visual and interpretative possibilities that the “cineplasticity” of the projected image can offer for helping viewers absorb information by “seeing differently.” The article demonstrates that the son et lumière, as a form of information design, may have broad based cultural applications.