Design for Dyslexia

127
1 Patrick Guilfoyle

description

He has beans for them to eat, and he sends Lennie to get some wood for a fire. Instead of getting wood, Lennie sneaks off to find his mouse, hoping for something soft to pet.

Transcript of Design for Dyslexia

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Patrick Guilfoyle

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CONTENT

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Research QuestionDesign AreaResearch Method

ClarityNarrativeForm

Outcome and AudienceResearch and Development plan References

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RESEARCH QUESTION

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How can Graphic Design, specifically layout and typography, play a role in the development and education of secondary school year 11 dyslexic pupils?

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DESIGN AREA

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The area of design I have chosen to focus on is Book Design. Functionally the book intends to display a message. The final outcome will standalone as a designed outcome and also showcase of a framework for how design can aid dyslexic’s in education. My research aims to discover and interrogate a suitable framework.

Approaching the subject area the project felt personal to myself, as a dyslexic. I found that academically dyslexia has been vastly researched from a sociological and psychological view point. However, through my own education and initial research, there has been little academic interrogation of dyslexia in the context of design.

Dyslexic’s by nature ‘suffer from weak memory and a lack of concentration’(Ott, 1997). Problems generally arise from neurological differences and fatigue when reading. The final outcome will aim to suggest a more suitable design framework in two main ways: typography and layout. These areas will consider how design can ensure clarity through the presentation for a dyslexic reader.

Research suggests that a majority of problems associated with reading for dyslexics are also periphial(Irlen, 1991). Dyslexics often loose concentration with large pieces of text attributed to the visual problems they encounter when reading (Moody, 2006).

Interestingly the majority of dyslexic’s mainly think in images as appose to words (Frensch, 2003). This implies that an important aspect of the final outcome would be defining a relationship between word and image.

The book, as a final outcome as a whole should be a highly engaging piece, with its audience in mind. In addition, how can the current book formats used in education be re-design for an audience that suffers from a low attention span and poor short term memory.

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RESEARCH METHODS

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Research conducted is categorised into three sections Clarity, Narrative and Form. Exploring visual and academic areas of interest. This research will aid the development and direction of a final outcome in the chosen design area.

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The British Dyslexic Association (B.D.A.) offers guidelines for creating dyslexic friendly texts. These include typeface choices; evenly spaced sans serif fonts, font size, 12-14 and paper choice; soft pastel, muted tones or off white cream.

The B.D.A offers a variety of typefaces that have a clear clarity of letter forms. Natascha Frensch, researched and designed the typeface Read Regular that aims to give dyslexic ‘relief and increase motivation to continue reading’(Aryan van der Leij, University of Amsterdam).

Clarity

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Primary Research: Initial research adapting second chapter of Bram Stoker’s Dracula. The second chapter, part of the central character Jonathan Harker’s journal, describes a vivid and dream like journey.The front cover was redesigned with bold type for a modern audience.

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Primary Research: The Dracula extract followed the guidelines provided by the B.D.A. Century Gothic was chosen, a B.D.A recommended typeface. With thin defined strokes, serifed letters and wide counters, letterforms are visible and presented in there purest form. The font was set at 13pt and set larger for wider visibility in an attempt to combat visual problems encountered by dyslexic’s.This initial layout works well at showing how simple consideration to typography can aid readability. However, further interrogation of the subject area will dictact further layout and typographic considerations.

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Primary Research: Also considered in these initial layout experiments was the immediate cause of problems with dyslexic occurred in poor grapheme-phoneme (letter names and sounds) conversion skills (decoding) (Riddick, 1996). The layout takes into consideration philologically difficult words. Using syllable division (Ott, 1997) and highlighting spelling sound correspondence.

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Secondary Research: Natascha Frensch Read Regular and Font Smith FS me typeface’s. Frensch (2003) argues that a typeface suitable for dyslexia suffers should embody striking outlines of the basic letter shape with a clear character differentiation between letter forms. Crucial to the typeface is clear clarity and character distinguish between similar letter forms.This is illustrated through the subtle differences between the letters b and d often unconsidered.Font Smith’s FS Me, is designed to aid legibility for those with learning disability. FS Me was researched and developed in conjunction with, and endorsed by Mencap.

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3© helen hamlyn centre 2003

Read | Natascha Frensch

Figure 3. Pages from Read Regular

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Primary Research: exploring Natascha Frensch ideas of clarity. Raising letter forms.This methods explores ideas on clarity by raising parts unique to that letter, to create clear distinctsion.I realised this method is time consuming and ineffective as it actually makes the lettershapes more challenging to read. This experiment helped me to realise the qualities I was looking for in a typeface.

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Primary Research: Helen Irlen’s (1991) work suggests dyslexic’s see an insufficient contrast between black and white, causing a variety of visual problems. Evans (1996) refine this to a precise problem, white gaps between the lines masking the print.Using white marks to understand the visual problems associated with the high contrast of black on white for dyslexic’s.Experiments considered how the size and placement of the dots could overcome or aid this problem. Such visual method could be used in further focus groups to generate quantitative research..

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Primary Research: Initial consideration of colour. How Colour could aid difficult layouts through the placements of spots.One of a series of experiments, considering how to find a suitable colour contrast suitable for reading.By using these methods I found black and green to integrating well and creating a subtle contrast. This Contrast is often used by many dyslexic to aid comfortable reading. Coloured lenses, filters and overlays have been hailed as the answer to dyslexic problems (Ott, 1997). However, Irlen (1991) suggest that overlays can often cause a glare, from the fluorescent lighting in offices and schools.

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Primary Research: Considering Irlen (1997) ideas on black and white, how could difficulties with this high contrast become an advantage.Isolating a white background using a black square to draw the focus to the centre of the page in an attempt to isolate the problem.This method may be effective at isolating the passage drawing the readers eye, but not the problem. Peripheral problems associated with reading the passage in black on white for dyslexic would still be prevalent.

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Primary research: Using the typeface gil sans (drop shadow), to isolate and emphasise the individual letterform and shape.Considering further how the contrast, usually found difficult for dyslexic readers, can be pushed to create a suitable contrast. The contrast and typeface works at creating clear distinctions between individual character shapes in display typography. However, due to its complexity it would become unrecognisable in smaller font sizes and several pages would prove visually tiring.

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Primary Research: Considering the clarity of letter forms through visual experiments and comparison of typeface, experiments included using different materials to create letter forms such a wire and thread, color contrast and seeping ink into letter shapes to create distinct characters. This high contrast of black and white is considered the best for reading for regular readers. It allows the letters to dominate but causes a variety of problems for dyslexic readers. (Irlen, 1991).

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Irlen’s work argues that paper colours: Beige, yellow, golden, pink and green have been effective in reducing visual distortions(Irlen, 1991). In addition the B.D.A suggest off white colours, such as ivory or cream to aid dyslexic readers.Following spread: Paper choices considered, based on the B.D.A guidelines and Helen Irlens research. Right: muted tones; oatmeal, ivory and beige Left: pastel colours; fern, green and storm grey

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Following Pages: Secondary Research: taken from Helen Irlen’s Reading by colour, visual examples of the problems often described by dyslexia readers when reading black on white. Such visual problems slow the pace and competence of the reader, a general problem reported by Dyslexic readers (Riddick, 2006).

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Primary Research: typography printed on acetate over green textured paper showing the difference in readability.The experiment shows the clear definition of letter forms when placed over a green surface.

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Primary Research: using a passage summary from my adaption of Dracula. Repeatedly printing green on the reserve of the page gives a green tint and grain to the reading side of the paper.

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Right Page: Primary Research using green paint and ink to further access the culpability of the colours for reading.Along with my previous paint research I was reminded of the use of florescent color splashed over images on the front cover of Steven Sagmeister book and how well it worked ‘Made you look’.

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Secondary Research: In addition I considered the photographer Trine Sondergaard, who set black portraits against bold colours. How could this approach to photography be integrated into a final book. The use of type and colour in such an approach could be effective at helping a dyslexic reader.

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This Page: Primary Research, painting an amnesty international appeal to help stop wars in the Sudan. Blood red paint used to enhancing the reading experience and relating to the subject matter.Considering how colour could play a role in the narrative, as well as aiding the reading experience. A change of colour throughout a passage based on the narrative could keep a dyslexic reader engaged whilst aiding their reading experience.

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Primary research: using letter transfer on to acid free paper. Considering the relationship between letters and how clarity is effected by layout.Additionally considering the clarity of broken number forms. How these bold shapes are still recognisable in there simplest or broken form.

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Dyslexic readers are said to have low concentration levels attributed to the fact many find the immediate task of reading the words requires a disproportionate amount of concentration, prevalent with large passages of texts’(Ott, 1997).

As many dyslexics are visual thinkers (Nasthca Frencsh) with many understanding information more readily if it is presented visually (Moody, 2006) it may be useful to form connection between imagery and its associated sound or semantic meaning (Lloyd and Wernham, 1994). Interestingly Ott, argues that although struggling with normal text many (Dyslexic Children) had ‘become keen and enthusiastic readers when allowed to read comics or magazine’(Ott, 1997).

This led to the research that considered Japanese artist: Katushiro Otomo and Osamu Tezuka whose work incorporates artistic vision with narratives in there popular Manga comics of which have now become a genre in itself (Krazy).

Narrative

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Manga also produced an educational series of Shakespeare books, including Henry VIII and King Leah. The series works well at engaging the reader through illustrations. Typography is true to manga’s comic book origins, using calligraphy.A dyslexic reader benefit from clear characters and wide counters (Frensch, 2003). A mix of formal typography and calligraphy could be a way of integrating the style for a dyslexic audience.

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This Page: Clipping from Katsuhiro Otomo’s Akira. A clean illustrative style with attention detail and use of negative space.

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Primary research: I was placing Manga images with large print books, usually used for the partially blind, that share some characteristic’s of the guidelines the B.D.A suggested in terms of type and layout. Additionally I took clippings of artwork from Akira and worked them initial research.

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Primary Research: Typographically large print books share similarities with my initial dracula adaption based on the B.D.A guidelines.

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Primary Research: Manga illustrations placed into earlier Dracula adaption to evaluate how visually these ideas integrate. Using a gatefold to create a more exciting and engaging spread.

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Dracula adaption Typeface and Paper choice top to bottom: Base Nine (light), on Oatmeal recycled paperCentury Gothic (regular) on Ivory textured paper Buruea Eagle (bold) on toffee paper.Base Nine (light) on Fern paper.

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Primary Research: The Manga Shakespeare series reminded me that many pupils fall more and more behind their peers (Ott, 1997). Especially prevalent with GCSE students who are allocated a literature text for English. Examining body AQA, offered the recommended texts and past exams paper for English. These exam papers where adapted in light of research considering typography, layout, imagery and use of colour.Primary Research: AQA exam paper adaption considers clearer typography, simplified layout and colour make the exam paper dyslexic friendly.The exam paper includes an extract, from Michael Anthony’s: Green Days, highlighted by printing green repeatedly on the opposite side of the page. This create a subtle tint to the paper on the reader side.I used the exam paper to experiment with a GCSE educational piece. I found that layout an typography made the radiability of the piece alot easier. Use of imagery and illustration also helped at creating engagement. However, attention to type and words per line need to be considered further to aid readability.

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Although read by all ages, and arguably a medium any story can be told through, a comic is considered to be mainly read by preadolescents for entertainment. This inspired me to take a more mature approach to visual storytelling of ‘Graphic Storytelling’ or ‘Graphic Novels’. This medium is as an ‘expressive approach to narrative that can either be more visual than text orientated or a combination of both, creating many expressions by the skilled artist’ (Krazy! ,2008).

An early pioneer Art Spielgleman whose book Maus Graphic Narrative, deals with the harsh realism of Holocaust survivor stories.. One artist’s book I found particularly engaging is Will Einser,: A Contract with God and New York dealt with his own upbringing and everyday adult life in New York City’s poorer areas. Each page’s narrative is carefully thought through and his hand drawn illustrations, relying upon single black strokes to create elaborate scenes of depth and character are outstanding.

Einser describes ‘Graphic Storytelling as a basic understanding of narrative with graphics’ (Einser, Graphic Storytelling and Visual Narrative, 2006). Arguing that the graphic Novel is becoming increasingly more important with an audience accustomed to the fast pace of film, as they have become used to acquiring ideas and information quickly and with little effort (Einser, 2006). Such an audience becomes restless with long passages, through graphic storytelling complex concepts they become more digestible when reduced to imagery. This is prevalent certainly with a dyslexic audience characterised with a short attention span and as visual thinking.

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Snippets of Will Einser’s clear and engaging A Contract With God.

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An example of Einser’s ability to create depth and character through single black ink strokes.

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Secondary research: Daniel Cowes ‘David Boring: deals with adult issue’s in a comic strip format. I found his narrative format unique.

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Secondary research: Chester Browns simple but distinctive illustrative style and unique approach to character narration.

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I also researched the phenomenon of ‘cosplayer’ or ‘costumer players’, described as people who dress in costume imitation of Manga, anime or video game characters they admire (Krazy, 2008) with most events happening in the most banal backdrops.

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Primary Research: Considering the role photography could play in my final outcome. The image explores narrative hints or suggestion through photography.Such images wouldn’t necessarily aid or developed a narrative but could be used to engage a dyslexic reader.

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Secondary research: Cao Fei, a documentary maker highlighted this in her 2004 work, Cosplayer. It is interesting to see the imagery from this work creating these serial narratives through costume juxtaposed with the surroundings.

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Top left: Secondary research; The surreal narrative in the images of the cosplayers reminded me of the work of photographer Gregory Crewdson, who is said to create complex and detailed pictorial worlds (Crewdson, 1999). Crewdson’s work, in my opinion, shares some comparison to the surreal images created by the cosplayer and Chris Ware’s work. Gregorgy Crewdson work taken from ‘Beneath the Rose Collection’.

Bottom Left: Considering this research I experimented with photography aiming to suggest a story through a single photograph.

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Secondary research: Chris Ware’s work is described as “every page being a complete story, but together the pages form a thoroughly realised matrix”(Seth and Art Spiegelman. Krazy!, 2008). A good example of Ware’s ability to depict complex narratives in singles pages is the Thanksgiving scene produced for the New Yorker, which deals with the historical change in lifestyle and attitudes in America.

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Insufficient memory capacity is the main cause of dyslexia, these problems manifest away from the simple decoding of information, with more of an emphasis on the understanding and recall of text (Snowling, 2006). This lack of memory can affect the readers recall; with many dyslexic readers initially just concentrating on recognising the words (Moody, 2006).

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Primary research: Using the Dracula extract, I have created a series of written and visual summaries of the main events of the Dracula extract used previously; these aim to aid the reader’s recall.These one page narrative summaries take influence from Chris Ware’s work.

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Primary Research: Written and illustrated summary changing typeface from the body of text.

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Primary Research: Final summary using photography formed together to create a visual narrative. Typography highlighting key events and central characters.

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Secondary research into comics and graphic novels had questioned the structure of literature. Matt Maden’s ‘99’ tells the same story repeatedly told in a series of one page comic strips 99 times. His work uses varying points of view and visual perspectives to tell the same story. Highlights for me are the complexities and varying ways a narrative can be told visually in a single page. This Page: Primary research; my own attempt at building a comic narrative using the Dracula Extract. Taking influence from the illustrative style of Chester Brown and Will Einser’s work.

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Considering an approach towards to a more exciting and engaging book design, research considered experimental layout and typographic arrangement. The book ‘Voodoo by Alberto Vanzago’ along with ‘A tomato process by Steve Baker’ were my main inspirations for layout.

The dark and bold art direction of the ‘Voodoo’ made me reconsider the familiar Dracula extract again. Using a larger format and different color choices I redesigned the text with this all in mind. In addition a tomato process was another book of whose layout influenced my adaptation of an extract of a GCSE text from To Kill a Mocking Bird (Harper Lee).

Form

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Primary research: considering exciting ways to mix illustration with large passages of texts. Illustration by Marshall Rivers.

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Primary research: raising letters on each line. To keep the page enganging. Set against a black or coloured background to aid readability.

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Primary research: taking an extract from Bram Stoker’s Dracula. The extract describes an exchange between the two central characters Jonathan Harker and Count Dracula. The page reads from left to right but the two characters speech are divided diagonally across the page. The passage was first laid out by hand. Which I found to be an effective way of understanding the pace of the narrative and is something I will use in further development leading to the final outcome.

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5 May. - I must have been asleep, for certainly if I had been fully awake I must have noticed the approach of such a remarkable place.

In the gloom the courtyard looked of considerable size, and as several dark ways led from it under great round arches, it perhaps seemed bigger than it really is. I have not yet been able to see it by daylight.

When the caleche stopped, the driver jumped down and held out his hand to assist me to alight.

Again I could not but notice his prodigious strength. His hand actually seemed like a steel vice that could have crushed mine if he had chosen.

Then he took my traps, and placed them on the ground beside me as I stood close to a great door, old and studded with large iron nails, and set in a projecting doorway of massive stone. I could see even in the dim light that the stone was massively carved, but that the carving had been much worn by time and weather. As I stood, the driver jumped again into his seat and shook the reins.

The horses started forward, and trap and all disappeared down one of the dark openings.

I stood in silence where I was, for I did not know what to do. Of bell or knocker there was no sign. Through these frowning walls and dark window openings it was not likely that my voice could penetrate. The time I waited seemed endless, and I felt doubts and fears crowding upon me.

What sort of place had I come to, and among what kind of people?

What sort of grim adventure was it on which I had embarked?

Was this a customary incident in the life of a solicitor’s clerk sent out to explain the purchase of a London estate to a foreigner?

Within stood a tall old man, clean shaven save for a long

white moustache, and clad in black from head to foot, without

a single speck of colour about him anywhere.

He held in his hand an antique silver lamp, in which the flame burned without a chimney or globe of any kind, throwing long quivering shadows as it flickered in the draught of the open door. The old man motioned me in with his right hand with a courtly gesture, saying in excellent English, but with a strange intonation.

“Welcome to my house! Enter freely and of your own free will!”

He made no motion of stepping

to meet me, but stood like a statue, as

though his gesture of welcome had fixed him

into stone.

The instant, however, that I had stepped over the threshold, he moved impulsively forward, and holding out his hand grasped mine with a strength which made me wince, an effect which was

not lessened by the fact that it seemed cold as ice, more like the hand of a dead than a living man. Again he said:

“Welcome to my house! Enter freely. Go safely, and leave something of the happiness you bring!”

The strength of the handshake was so much akin to that which I had noticed in the driver, whose face I had not seen, that for a moment

I doubted if it were not the same person to whom I was speaking. So to make sure, I said interrogatively,.

JHCD

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Spread from magazine Fishwarp the headline is set diagonal, directs the readers eye to the passage.This could be used to introduce a reader to a chapter and suggest themes and narratives within that chapter.

Recognition catalogue made with multiple content in mind, one venue, two shows and four artists. Each show was assigned a colour with the multiple and content of this catalogue is realized through two dust jackets wrapped around the book, where the group title becomes legible.This layout could be used to section chapters into individual task, so the text as a whole doesn’t seem as daunting to a dyslexic reader and more a series of task to complete.

Secondary research: Rose design for Bodas cotton basics women’s underwear range. This catalogue offers an exciting layout with a multiple possibility of combination between the photographers pose.This technique could be use to suggest multiple images related to a passage text in a book design.

Book for the logan collection; book showcases a private collection of contemporary art. Each chapter opens with a vibrant fluorescent green page. The tabs allow the reader to see where the chapter will end and start.

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Secondary research Voodoo mounted by the gods by Alberto Ventago.Dark abstract images dominate the page alongside handwritten text or large serifed typography given room to dominate the page.Change in imagery and layout dictate a distinct rhythm throughout the book.

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Primary Research, adapting the Dracula Extract taking influence from Alberto Vengato’s Voodoo.The work considered a visual narrative that I feel worked well at following the pace of the narrative.Attention was also given to the arrangment of typography as a development from earlier dracula adaption. In particular words per line in relation to the flow of the narrative.

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Primary Research: GCSE text To Kill a Mocking Bird chapter one adapted to a more exciting and dyslexic friendly layout.

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Secondary research: Considering the work of cubist artist Kazimir Malverich and Picasso. I wanted to see how there work could influence my work. Taking pages from a novel I started to assemble ideas based on their work. Although abstract and mainly illegible as a written pieces these experimental layouts help me too see a new perspective in book design.

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Primary research: experiments considering a more subtle use of illustration that won’t effect readability.

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Primary research: experiments influenced by the work of initial collage artists. I considered how a page could be recomposed. The work considers the flow of the passage breaking out from the limitations of the single page

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Primary research: collage experiments.

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Picasso’s work, the work of other collage artist including contemporary collage artists from the W. A. F. A collective. This led to experiments with collage. These experiments will dictate further layouts ideas for the final outcome.This page:W.A.F.A collective ‘s contemporary take on the collage. The collective’s work considers how collage can influence their work. Translating ideas from their experiments to formal layouts in book design and commercial material.

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This Page: Primary research: experiments with collage. Using collage will aid in the development of layout ideas for my final outcome.This suggest setting imagery and type initially out by hand for final outcome layouts.

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Outcome and Audience

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The audience has been dictated by my secondary research. I found that throughout the secondary education process dyslexic’s are most susceptible to fall behind there peers when given a chosen literature text to study for their GCSE English exam.

Imperative in gaining marks is there capacity to digest and create their own critical understanding of the text. To precisely define my audience they would be year 11 secondary school children aged 15 to 16.

I am going to re-design a section of an GCSE (AQA) recommended text based on my primary and secondary research. John Steinbeck’s ‘Of Mice and Men’ a text I find could be visually rich and I will focus my development on this text for a final outcome.

I have arranged with a school that specialises in dyslexic teaching, a series of focus group. These focus group will aim to cement typography, colour and layout before producing my final outcome. This primary qualitative research will focus on a group of approximately 12 dyslexic male and female year 11 pupils, conducted on my direction by a teacher. Pupils will be provided with material and ask to consider paper choice, colour, typeface and layout, how they aid readability and engagement.

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ReferencesBooksBartlett. Diana,(2000) Dyslexia in the workplace / Diana Bartlett and Sylvia Moody, London : Whurr

Brommer, Gerald F,(1978) The art of collage, Worcester, Mass : Davis Publications

Courtney, Cathy, (1999) Speaking of book art : interviews with British and American book artists, Los Altos Hills, Calif. : Anderson-Lovelace London. Crewdson, Gregory (1999), Gregory Crewdson : dream of life, Spain Ediciones Universidad de Salamanca.

Eatock, Daniel (2008) Imprint, New York, N.Y. : Princeton Architectural Press

Eisner, Will. The Will Eisner sketchbook : Will Eisner, Dark Horse Books

Eisner, Will (1985). Comics & sequential art, Poorhouse Press

Eisner, Will (2008), The spirit : a pop-up graphic novel / by Will Eisner ; adapted by Bruce Foster, San Rafael, Calif Insight.

Eisner, Will (2006), The contract with God trilogy : life on Dropsie Avenue, Published:New York ; London.

Frensch, Natascha, Read regular (2003) : for more effective reading and writing, London : Natascha Frensch

Hall, Peter (2001), Sagmeister : made you look ; another self-indulgent design monograph, London : Booth-Clibborn

Harper Lee (1989),To kill a mockingbird, London : Arrow 1989.

Haslam, Andrew (2006), Book Design, London: Laurence King

KRAZY!, (2008) the delirious world of anime + comics + video games + art Bruce Grenville ; with Tim Johnson, Douglas & McIntyre

Noble, Ian(2001) Experimental Layouts Hove : RotoVision.

Madden, Matt (2206) 99 ways to tell a story : exercises in style / Matt Madden,:London : Jonathan Cape

Helmut Schmid(2007) Typography today / concept and design:Edition:New, [2nd] ed,Tokyo : Seibundo Shinkosha

John Steinbeck,(1937) Of mice and men : play in three acts. New York : Dramatists Play Service.

Riddick, Barbara (2007), Living with Dyslexia, Lonodn: Routledge

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Stoker, Bram,(2008) Dracula / by Bram Stoker ; illustrated by James Pyman.

Trine Søndergaard (2009) monochrome portraits / Trine Søndergaard Ostfildern : Hatje Cantz.

Moody, Sylvia(2006), Dyslexia : how to survive and succeed at work / Sylvia Moody.:London : Vermilion.

Thomson, Michael E, The psychology of dyslexia : a handbook for teachers

Alberto Venzago,(2003) Voodoo : mounted by the gods, London : Prestel,

AQA British Dyslexic AssociationFont Smith-FS MEW.A.F.A Collective

Websites

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Appendix

Typeface Consideration

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Email Correspondence with Woodhouse Grove School (Dyslexic specialists), regarding focus group arrangements.

Email Correspondence from the British Dyslexic Association; regarding dyslexic guidelines and contacts.

Email Correspondence from Dancing Kites Publishers (Specialist in educational books for young children with learning disabilities). Regarding current and future development of research findings.