Kalmeijer_Mariska_Color+Vision+Deficiency_GRDS_Summer2013

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The Theory of Universal Design: Color Vision Deficiency

Mariska Florence Marie Kalmeijer

Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Graphic Design

at The Savannah College of Art and Design

August 2013, Mariska Florence Marie Kalmeijer

The author hereby grants SCAD permission to reproduce and to distribute publicly paper and electronic thesis copies of document in whole or in part in any medium

now known or hereafter created. Signature of Author and Date ______________________________________________ _______________________________________________________________/___/___ (Jorge Montero) (Sign here) (Date here) Committee Chair _______________________________________________________________/___/___ (Gregg Bauer) (Sign here) (Date here) Committee Member _______________________________________________________________/___/___ (Shawn McKinney) (Sign here) (Date here) Committee Member

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A Thesis Submitted to the Faculty of the Graphic Design in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Graphic Design

Savannah College of Art and Design

By Mariska Florence Marie Kalmeijer

E-Learning August 2013

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TABLE OF CONTENTS

Abstract - 1 -

Introduction

- 2 -

What is Color Vision Deficiency? - 2 -

The Visual Language

- 4 -

The Theory of Universal Design - 10 -

Conclusion

- 16 -

Bibliography - 17 -

Appendix

- 19 -

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Mariska Florence Marie Kalmeijer

August 2013

Graphic designers have, in the recent past, failed visually disabled consumers by neglecting their

visual needs. A design has to be human; it has to visually speak to us. An impairment that has

often been ignored by designers is color vision deficiency. Color dominates the world of graphic

design, yet many fail to consider members of society who are unable to appreciate the wide

spectrum of color available.

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INTRODUCTION

Color has often been considered one of the most powerful and communicative elements

in a graphic designers language.1 But should it be a primary principle that remains critical in

order to consider a design to be successful? The element of color is two dimensional in graphic

design, unlike it being three-dimensional in other design professions such as furniture design,

automobile design, fashion design, etc. For this reason, graphic designers have come to rely on it

too much as a communicative element rather than a supporting one.

Color-coding has become a gimmick; it is not a real solution to what we can consider a

successful design. Great communication should not be based on color, yet it should be based on

the fundamental principles of graphic design. A designer that relies on color to deliver the

message isnt a good designer. This shows that ultimately a color vision deficient individual

should receive the same experience as someone who has been considered to have a normal

vision.

Color vision deficiency plays an important role in the way visual communication

messages are perceived and significantly affects daily activities. Graphic designers must adhere

to the special needs of their audience by requiring a necessity for the most basic forms of

interpretation in order to create what we consider, universal design.

WHAT IS COLOR VISION DEFICIENCY

Color vision deficiency according to the American Optometric Association is the

inability to distinguish certain shades of color or in more severe cases, see colors at all.

The term "color blindness" is an alternative way to describe this visual condition, but very few

1 Richard Poulin, The Language of Graphic Design: An Illustrated Handbook for Understanding Fundamental Design Principles, (Rockport Publishers, 2011), chap. 6.

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people are completely colorblind.2 In most cases this disability is an inherited condition by what

we call a common x-linked recessive gene, which is passed from a mother to her son.3 Some

other factors that can result in color recognition loss include: medications, aging, chemical

exposure, disease, and injuries.4 This form of disability is quite common amongst males. About

8% of Caucasian males are born with some degree of color deficiency. Women are typically just

carriers of the color deficient gene, though approximately 0.5% of women have color

vision deficiency. When the deficiency is hereditary, the severity generally remains

constant throughout life. Inherited color vision deficiency does not lead to additional

vision loss or blindness.5

There are several forms of colorblindness, but the most common is the difficulty

distinguishing between particular shades of reds and greens. This form of colorblindness

is called red-green colorblindness. This does not mean that individuals with this

deficiency cannot see colors at all; they just have a harder time differentiating between

them. Other forms of colorblindness considered less common but more severe, may

include problems distinguishing blues from yellows, or even complete grayness.

Individuals who are completely colorblind, and see either black and white

or shades of gray, have a condition called achromatopsia.6

So how do we diagnose color vision deficiency; to diagnose these conditions a

comprehensive eye examination has to be performed. This exam includes a series of specially

designed illustrations composed of dots, called pseudisochromatic plates. These plates include

hidden numbers or embedded figures that can only be seen correctly by persons with normal

2 American Optometric Association, "Color Vision Deficiency." Accessed March 1, 2013. http://www.aoa.org/x4702.xml. 3 Ibid. 4 Ibid. 5 Ibid. 6 Ibid.

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color vision. It is often advised that this eye examination be taken prior to a child beginning

school, as the detection of color is vital in the learning materials used in education systems.7

THE VISUAL LANGUAGE

Communicating with color and understanding color psychology is an essential part of the

graphic design profession. Though color has critical communicative functions, we have to

remember that it needs to be the secondary element in terms of its necessity, not the primary one.

Colors have connections and associations based on personal observations, cultural influences and

popular theories, but ultimately color is a unique experience for us all.8 This establishes that

color is emotional, and should be eliminated in the primary processes of developing design. For

example, red is associated with fire, blood, and sex; blue is associated with ice, sea, and sky.9

Design should first be successful in black and white, before we ever add color. Because color is

an emotional value within a design, one may interpret a design one way depending on their

mood, and a different way on another day due to life happenings. For example, what currently

comes to mind when you think of the color red? If you are experiencing a time in your life of

happiness and joy, you may say love, while others that are experiencing a tougher time may

think of hatred, fire, or blood. Colors are interpreted differently depending on your emotions.

That is why the principles of graphic design have the need to be understood, to later be the

primary function for communicating the same message for those that see color as for those that

do not. We experience color subjectively, which makes us react individually. According to

Gerhard Meerwein in his writing, Experiencing Color, the effect of color on people can be

7 American Optometric Association, "Color Vision Deficiency." Accessed March 1, 2013. http://www.aoa.org/x4702.xml. 8 Darius Monsef, Color Inspirations, (Cincinnati: How Books, 2011). 9 Richard Poulin, The Language of Graphic Design: An Illustrated Handbook for Understanding Fundamental Design Principles, (Rockport Publishers, 2011), chap. 6.

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explained by the interplay of physiological and psychological events, by the physical process of

seeing color, and the data processing in our brain. These lead to what can be describe as

emotional and aesthetic associations.10 Under his writing Perception of Color we understand

that Color perception is even accompanied by cultural and social factors such as education and

the environment. A certain color impression not only evokes a momentary visual sensation, but

also involves our entire experience, memory, and thought process.11

The principles of graphic design have often been called the framework for using

elements in the most appropriate and effective manner to create meaningful and understandable

visual communications. Elements are the what of a graphic designers visual language, and

principles are the how. When carefully considered and utilized together, they allow graphic

designers to speak in an accessible, universal, visual language.12 The voice to any visual

communication will include those elements, such as point, line, shape, light, color, balance,

contrast, and proportion. Without these, the design will not speak to us, nor will it convey that

universal language.13

Shape is the first element the eye recognizes, even before color.14 This is also known as

the sequence of cognition according to Alina Wheeler the author of The Language of Graphic

Design. The brain acknowledges distinctive shapes that make a faster imprint on memory.15

Shapes help you to organizeand your audience to intuitively recognizethe specifics of the

10 Gerhard Meerwein, Color - Communication in Architectural Space, (Boston: Ruckstuhl, 2007). 11 Ibid. 12 Richard Poulin, The Language of Graphic Design: An Illustrated Handbook for Understanding Fundamental Design Principles, (Rockport Publishers, 2011), chap. 6. 13 Ibid. 14 Alina Wheeler, Designing Brand Identity, (Hoboken, New Jersey: John Wiley & Sons, 2010). 15 Ibid.

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message communicated in your design.16 A shape is defined by boundary and mass; it refers to

a contour or an outline of a form.17 Some examples of shapes may include a circle, a triangle, a

rectangle, a pentagon, or an oval. These shapes can then later be categorized as geometric,

organic, or random. Just as with other principles of graphic design, different shapes convey

different meanings or can completely change the mood of a design. A soft, round, curvilinear

shape may appear warm and welcoming, while a crisp rectangle may appear assertive. Though

the terms shape and form are often interchanged, they have two separate and distinct meanings.18

A shape has a two-dimensional character, whereas a form is perceived to have a three-

dimensional character.19

When designing, the shape will be the most important element. As a designer there are

several steps one can follow to guarantee a designs success, starting with a basic structural

support. Meaning, if your design works in black and white, more than likely it will work in any

color, any medium, and almost with any technique.20 A successful example of this would be

symbol signs. These signs are designed to address people of different ages and cultures while

maintaining clear legibility and communicating a desired message. We see them in airports,

hospitals and government buildings, in waiting rooms and bathrooms, on exits and entrances:

schematic silhouettes of men, women and children. The graphic icons are characterized by a no-

frills, geometric style that is immediately recognizable and decipherable wherever theyre

found.21 A second essential for design success is the balance of negative and positive space. An

16 Maggie Macnab, Design By Nature: Using Universal Forms and Principles in Design, (Berkeley, CA: New Riders, 2011). 17 Ibid. 18 Ibid. 19 Ibid. 20 Ibid. 21 Heller, Steven. "Vital Signs." New York Times, Sunday Book Review edition, sec. BR8, October 23, 2011.

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example of this success comes from the world famous brand, Coca-Cola. It is known to bring joy

and happiness in a bottle. It is the worlds largest beverage company, offering more than 2,800

products in over 200 countries. It is the best-known product and brand in the history of the

world.22 In 1887, the famous Spencerian Script was first used by Frank Robinson to create the

logo. Not only were the shapes that created the letters recognizable without the influence of the

coke red color, so was the bottle. The famous contoured bottle was first created by the Glassroot

company in Indiana in 1915. The bottle was designed to make Coca-Cola stand out from its

competitors.23 The shape of the contoured bottle, the dynamic ribbon, and the Spencerian script,

create Cokes iconic elements.24 Though color plays an important role for the Coca-Cola brand,

we can recognize great design that speaks to us without its secondary element.

A second design that one experiences daily is a no entry sign. If seen in black and white, one

would still not think about entering or passing through. Color in this instance, and should be all

the time, a secondary element.

To continue this idea of color as a lesser element, lets identify another profession of

design that eliminates the process of color to focus on the elements that have the need to

communicate, photography. The basic rules of photography arent primarily linked to color; yet

they are linked to composition. Composition is the process of identifying and arranging visual

elements to produce a coherent image. Everything in an image forms its composition. Learning

composition is like learning a language. Once youve learned a language, it is not something you

consciously think about as you talk. Photographers should aim to become fluent in the language

22 Alina Wheeler, Designing Brand Identity, (Hoboken, New Jersey: John Wiley & Sons, 2010). 23 The Coca Cola Company, "125 Years of Sharing Happiness." Last modified 2011. Accessed March 10, 2013. http://assets.coca-colacompany.com/7b/46/e5be4e7d43488c2ef43ca1120a15/TCCC_125Years_Booklet_Spreads_Hi.pdf. 24 Alina Wheeler, Designing Brand Identity, (Hoboken, New Jersey: John Wiley & Sons, 2010).

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of composition.25 The principles of composition are broken down into the same elements as

graphic design: line, shape, tone and form, texture, and space. To consider a photograph

successful we must look at the composition. Dorothea Langes Migrant Mother is a black and

white photograph that was taken in February of 1936 in a pea pickers camp in Nipomo,

California.26 This iconic photograph draws strength not only from the story being told of the hurt

and suffering experienced by many American families during the Great Depression, but also

form the composition that it communicates. The black and white composition allows viewers to

focus on the images textural strengths and the photographs design elements; capturing an iconic

image.

Focusing back on the idea of shapes before color allows us to specifically design for

those that have color vision deficiency. It has been proven common enough to be considered

when designing, no matter whom we consider our audience. Considering people who are

colorblind doesnt mean that you should altogether avoid using these strongly culturally

ingrained color meanings, but its a good idea to use more than one type of graphic

differentiation to communicate meaning. For example, many people who are colorblind are able

to read traffic lights based upon the consistent positioning of the lights, but such lights are more

effective when theyre presented in different shapes as well.27 The UNISignal concept,

proposed by Yanko Design, has been introduced in several countries as an environmental signal

design solution for those that are colorblind. This Universal Signal Light is based on a simple

idea: every single color will come with a unique standardized shape and thus allow color-blind

25 David Prkel, Basics Photography 01: Composition, (La Vergne, TN: AVA Publishing, 2012). 26 Tobar, Hector. "Marisa Silver's 'Mary Coin' imagines 'Migrant Mother's' life The Writer's Life ." Los Angeles Times, , sec. Entertainment, March 7, 2013. 27 David Kadavy, Design for Hackers; Color Science, (Hoboken, New Jersey: John Wiley & Sons, 2011), chap. 8.

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people understanding the significance of the light at any given moment.28 The three signals that

have been designed, just like in a regular traffic light: triangle-red-stop, rectangle-amber-stay,

round-green-go. This way, a color-blind driver can spot the shape of the signal even from a

bigger distance and thus act accordingly.29 As we know due to the sequence of cognition, the

eye recognizes shape before color.

Primary research was conducted in order to further investigate the power of the shape.

Adults and children of both sexes and all ages experienced the test, helping identify the sequence

of cognition. All individuals remained placed in their natural environments when they were

asked to identify three different shapes. The results undoubtedly shared that the eye first

recognizes shape.

Thirty adults of all ages and ten children under the age of eight were asked to identify

three different shapes that were delivered in several different colors. A filled in green circle, an

empty pink triangle, and a filled in light blue square were drawn on sheets of paper, which were

later distributed to each individual. Each individual was asked to describe what he or she saw

with a single word on the back of each card.

When it came to the green circle, it brought the most contradiction to the results due to its

resemblance of a traffic light, which has day-to-day international meaning. When thinking of a

traffic light, we think green means go, we dont ever think circle means go because the

action is identified by color, not shape. It is assumed that for that reason one third of the adults,

or sixty percent wrote, green on the back of the card. However, when the same exact card was

presented to the ten children under the age of eight, eighty percent said, circle. 28 Popa, Bogdan. Autoevolution, "Uni-signal Traffic Lights for Color-Blind People." Last modified June 19, 2010. Accessed March 12, 2013. http://www.autoevolution.com/news/uni-signal-traffic-lights-for-color-blind-people-21556.html. 29 Ibid

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When the empty pink triangle was shown, forty, or a hundred percent of the adults and

children wrote and said triangle. It is again, assumed, that the most dominant aspect of the

presented card due to its emptiness, was the shape rather than the color. Lastly, the individuals

were given the filled in blue square. Though the color was dominant and the rectangular shape is

easily recognizable, it was the shape that was most often chosen. Ten children, or a hundred

percent, said square when viewing the card, while twenty-six, or eighty six percent, of the

adults wrote square, while the rest wrote blue. Again, the results undoubtedly identify that

shape is recognized before color.

Through the primary research conducted we found that adults led themselves to a mixture

of answers, while the children that were asked, clearly identified shapes faster and easier than

color. According to Ellen Booth, children use shape as a way of identifying visual information.

When your child explores different shapes, she is using one of the most basic educational

processes: the observation of same and different. This concept provides her with a basic process

that she will be able to use in observing, comparing and discussing all she sees and

encounters.30 Everything around us is made up of shapes; making color the secondary element

in our observations.

THE THEORY OF UNIVERSAL DESIGN

According to Joshue Connor, universal design can be defined as the design of products

and environments to be usable by all people, to the greatest extent possible, without the need for

adaptation or specialized design.31 Universal design is a concept that began in the field of

30 Church, Ellen. Scholastic, "Why Colors and Shapes Matter." Accessed March 12, 2013. http://www.scholastic.com/browse/article.jsp?id=3746476. 31 Connor Joshue, Pro HTML5 Accessibility: Building an Inclusive Web, (New York: Apress, 2012), chap. 9.

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architecture, but has been quickly expanding into environmental initiatives, recreation, the arts,

health care, and now, education. Despite a slow but steady start in its application to instruction,

the potential for dramatically affecting the design of large scale assessments is great.32 Color

vision deficiency is such a common condition, that it should be required amongst designers to

embrace universal design theory as part of its design process. Designers need to develop an

awareness of needs in which they address the entire population by maximizing inclusivity and

minimizing design exclusion.33 User capabilities are often grouped in three categories: sensory

which includes vision and hearing, cognitive which includes thinking and communication, and

motor which includes locomotion, reach and stretch, and dexterity.34 To ensure a truly universal

design we need to design with rather than for its users, and realize that the designers are

often not representative users.35

Seven principles have been identified by the Center for Universal Design at the NCSU

College of Design that helps us approve or disapprove a design as to whether it should be

considered Universal. Principle one encourages equitable use; meaning a design that allows for

the same means of use for all users, preferably at all times. Also requiring it to be marketable to

people with diverse disabilities. The second principle describes flexibility in use, providing a

choice in method of use. Accommodating a wide range of individual preferences and abilities.

Simple and intuitive use is the third principle, eliminating unnecessary complexity such as users

experience, knowledge, language skills, or current concentration level. The fourth principle is

32 Sandra Thompson, Christopher Johnstone, and Martha Thurlow, "Universal design applied to large scale assessments," NCEO Synthesis Report 44 (2002), http://www.cehd.umn.edu/nceo/onlinepubs/Synthesis44.html (accessed March 14, 2013). 33 Alex Milton, and Paul Rodgers, Product Design, (London: Laurence King Publishing Ltd, 2011). 34 Alex Milton, and Paul Rodgers, Product Design, (London: Laurence King Publishing Ltd, 2011). 35 Ibid.

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that of perceptible information, in which a design communicates necessary information

effectively, regardless of conditions and abilities. Tolerance for error is the fifth principle,

minimizing hazards and other adverse consequences of accidental or unintended actions. The

sixth principle is low physical effort. The seventh and last principle is that of size and space for

approach and use.36

These principles are still very much in theory, as all principles being accommodated to

the fullest extent for one design has often been considered Impossible. The European Institute for

Design Disability, EIDD, is a European Network that uses design to achieve the inclusion of

disabled people in the society of European countries.37 The institute is one to incorporate the

theory of these principles in order to create Universal Design. Though creating universal design

may still be more of a theory than reality, EIDD is actively involved in the concept of good

design enables, bad design disables.38 The members of the EIDD, design and believe in the

agreement to the EIDDs constitutions objectives. The objectives of the Institute are to: (a)

promote, communicate and disseminate the theory and practice of Design for All as a tool for

social and economic inclusion; (b) undertake studies of and provide information and examples of

best practices about the relationship between design and inclusion; (c) initiate design solutions to

meet identified needs; at European level.39

Though the theory of Universal Design is a much-desired outcome, accessible design is

one much closer on the horizon. Accessible design is primarily about court-enforced

compliance with regulations. The regulations are intended to eliminate certain physical barriers 36 NC State University, "The Principles of Universal DEsign." Last modified 1997. Accessed March 14, 2013. http://www.ncsu.edu/www/ncsu/design/sod5/cud/pubs_p/docs/poster.pdf. 37 EIDD , "Design For All Europe." Last modified March 14, 2008. Accessed March 12, 2013. http://www.designforalleurope.org/. 38 EIDD , "Design For All Europe." Last modified March 14, 2008. Accessed March 12, 2013. http://www.designforalleurope.org/. 39 Ibid.

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that limit the usability of environments for people with disabilities. Historically, accessible

design has focused on compliance with state or local building codes. These typically were based

on the American National Standards Institute's requirements. With the passage of the Americans

with Disabilities Act (ADA) in 1990 and the subsequent development of the ADA Accessibility

Guidelines, accessible design has focused more recently on satisfying these minimum technical

criteria to allow most people with disabilities to use most of the designed environment.40

Accessible design is one that designers are committed to promoting every time, making

printed messages clearer, websites more navigable, and physical environments easier to

negotiate, through smarter and more effective communications.41 Again for those with color

vision deficiency, shapes become an important element in graphic design. Letterforms are

considered part of the shape element, due to the creation of positive and negative shapes. The

positive shape is referred to as the form or stroke; the negative shape is called the counterform or

counter. It is the relationship between stroke and counter that determines letter recognition.

Universal design is a concept that began in the field of architecture, but has been quickly

expanding into environmental initiatives, recreation, the arts, health care, and now, education.

Despite a slow but steady start in its application to instruction, the potential for dramatically

affecting the design of large scale assessments is great.42 So why do letterforms in this context

become significant? Just as with the previous examples of graphic design and photography,

typography falls under the same category. The eye recognizes the shapes of the letterforms due

to the negative and positive shapes created. That is what makes a typeface legible and successful

in the eye of the beholder.

40 Danise Levine, Universal Design New York, (Buffalo, NY: Idea Publications, 2003)http://www.nyc.gov/html/ddc/downloads/pdf/udny/udny2.pdf (accessed March 14, 2013). 41 ("Accessibility, A Practical Handbook on Accessible Graphic Design" 2010) 42 Ibid.

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Helvetica is one of the most popular typefaces in contemporary design; it is used by

American Airlines, American Apparel, Comme des Garons, Evian, Intel, Lufthansa, Nestl and

Toyota.43 Helvetica, also named a democratic luxury by the New York Times, is a crisp,

clean, and sharply legible, yet humanized by round, soft strokes typeface.44 It is a memorable

and well-designed typeface, which stands out because of its shapes. If you refer back to the idea

of the sequence of cognition, what comes first, shape or color? It wouldnt matter what color

Helvetica came in, it is not the color that speaks to us, it is the shapes that Helvetica creates.

Color however, still plays a factor in the overall design aesthetic; selecting color that can

be considered successful for people with variants of color vision deficiency is not a simple task.45

It isnt as easy as just avoiding all reds or all greens. The shade of red or green matters. And

other colors can be problematic in combination with certain reds and greens.46 Consider what

would happen if a color vision deficient individual visits a website in which they cannot tell the

items on the page apart through its color-coding system. It is important to never let color be the

only indicator of a feature, function, or information,47 in all mediums of graphic design.

Navigation and way finding have often relied on color-coding to tell their story. The map

of the London Underground or also known as the Tube, will be celebrating its 80th birthday this

year. Instantly recognizable over the world, the simple yet elegant diagram of the 249-mile

subway network is hailed as one of the great images of the 20th century, a marvel of graphic

design. Its rainbow palette, clean angles and pleasing if slightly old-fashioned font (Johnston, for 43 Rawsthorn, Alice. "Helvetica: The little typeface that leaves a big mark." New York Times, , sec. Style, April 1, 2007. 44 Ibid. 45 Janice Redish, Letting Go of the Words: Writing Web Content that Works (Interactive Technologies), (Waltham, MA: Elsevier, Inc., 2012). 46 Ibid. 47 Janice Redish, Letting Go of the Words: Writing Web Content that Works (Interactive Technologies), (Waltham, MA: Elsevier, Inc., 2012).

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typography buffs) have endured since hurried passengers first stuffed pocket versions of the map

into their raincoats in 1933.48 Though considered a design icon amongst many, can we honestly

classify it as such? The map successfully intrigues the eye through the shapes it creates and the

overall composition, it truly informs the viewer, but does is capture a colorblind audience?

Viewing this map as a color vision deficient individual, removes many of the reasons why this

map was initially voted successful.

Successful examples of color-coding with shapes and symbols, include way finding

systems found in airports, hospitals, roads, etc. These design systems can often be considered

universal due to their versatility and universal messages by not using languages. For a sign to be

considered successful, the symbol must be understood. These shapes must be simple, surrounded

by solid areas of color, they must be legible from a viewing distance, in high contrast with the

background of the sign, and of a familiar design style.49 There is not one single recommended

color combination suggested for signs, as long as they are high in contrast and predominant in

their environment.

The Universal theory of design also means being sensitive to differences in language and

culture, though some graphics and colors have become universal. When using color, even as the

secondary element in a design, we still have the need to be aware of the psychology of color and

its associations to different meanings. Color has an impact on our conscious and subconscious

mind; it affects mood and behavior. As much as 80 percent of our sensatory perception is

48 Chu, Henry. "The map London has in its head." Los Angeles Times, Online edition, sec. World, February 27, 2013. http://articles.latimes.com/2013/feb/27/world/la-fg-britain-tube-20130228 (accessed March 10, 2013). 49 Janice, Majewski. Smithsonian Accessibility Program , "mithsonian Guidelines for Accessible Exhibition Design." Accessed March 12, 2013. http://www.si.edu/Accessibility/SGAED.

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determined by sight.50

CONCLUSION

Ensuring graphic designers understand the theory of universal design, and the progress of

accessibility in todays life, is not just a matter of legal compliance. Graphic design has the

ability to improve the quality of life, specifically for those with color vision deficiency. It helps

organizations deliver superior services and be more competitive. And it helps designers pursue

the ideals that likely prompted them to choose their careers in the first place.51 Though applying

Universal Design to every design has proven to be tough, it is something designers can work

towards. Graphic designers have the ability to help color vision deficient individuals by utilizing

the sequence of cognition in the process of their design methodology. Graphic designers have the

ability to provide designs that communicate to those with color vision deficiency and promote

the theory of universal design. Today, we have social responsibilities, our roles as graphic

designers have changed over the course of time. Accessibility is part of our design process, and

later, will be part of our law.

50 Aaris Sherin, Design Elements, Color Fundamentals: A Graphic Style Manual for Understanding How Color Affects Design., (Rockport Publishing, 2012). 51 ("Accessibility, A Practical Handbook on Accessible Graphic Design" 2010)

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BIBLIOGRAPHY

American Optometric Association, "Color Vision Deficiency." Accessed March 1, 2013.

http://www.aoa.org/x4702.xml. Chu, Henry. "The map London has in its head." Los Angeles Times, Online edition, sec. World,

February 27, 2013. http://articles.latimes.com/2013/feb/27/world/la-fg-britain-tube-20130228 (accessed March 10, 2013).

Church, Ellen. Scholastic, "Why Colors and Shapes Matter." Accessed March 12, 2013.

http://www.scholastic.com/browse/article.jsp?id=3746476. Joshue, Connor. Pro HTML5 Accessibility: Building an Inclusive Web. New York: Apress, 2012. Heller, Steven. "Vital Signs." New York Times, Sunday Book Review edition, sec. BR8, October

23, 2011. Janice, Majewski. Smithsonian Accessibility Program , "mithsonian Guidelines for Accessible

Exhibition Design." Accessed March 12, 2013. http://www.si.edu/Accessibility/SGAED.\ Kadavy, David. Design for Hackers; Color Science. Hoboken, New Jersey: John Wiley & Sons,

2011. Levine, Danise. Universal Design New York. Buffalo, NY: Idea Publications, 2003.

http://www.nyc.gov/html/ddc/downloads/pdf/udny/udny2.pdf (accessed March 14, 2013). Macnab, Maggie. Design By Nature: Using Universal Forms and Principles in Design.

Berkeley, CA: New Riders, 2011. Meerwein, Gerhard. Color - Communication in Architectural Space. Boston: Ruckstuhl, 2007. Milton, Alex, and Paul Rodgers. Product Design. London: Laurence King Publishing

Ltd, 2011. Monsef, Darius. Color Inspirations. Cincinnati: How Books, 2011. Print. NC State University, "The Principles of Universal Design." Last modified 1997. Accessed

March 14, 2013. http://www.ncsu.edu/www/ncsu/design/sod5/cud/pubs_p/docs/poster.pdf.

Popa, Bogdan. Autoevolution, "Uni-signal Traffic Lights for Color-Blind People." Last

modified June 19, 2010. Accessed March 12, 2013. http://www.autoevolution.com/news/uni-signal-traffic-lights-for-color-blind-people-21556.html.

Poulin, Richard. The Language of Graphic Design: An Illustrated Handbook for Understanding

Fundamental Design Principles. Rockport Publishers, 2011.

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Prkel, David. Basics Photography 01: Composition. La Vergne, TN: AVA Publishing, 2012. Rawsthorn, Alice. "Helvetica: The little typeface that leaves a big mark." New York Times, , sec.

Style, April 1, 2007. Redish, Janice. Letting Go of the Words: Writing Web Content that Works (Interactive

Technologies). Waltham, MA: Elsevier, Inc., 2012. Sherin, Aaris. Design Elements, Color Fundamentals: A Graphic Style Manual for

Understanding How Color Affects Design.. Rockport Publishing, 2012. The Association of Registered Graphic Designers of Ontario, "Accessibility, A Practical

Handbook on Accessible Graphic Design." Last modified 2010. Accessed March 10, 2013. http://www.rgd-accessibledesign.com/wp-content/uploads/2010/11/RGD_AccessAbility_Handbook.pdf.

The Coca Cola Company, "125 Years of Sharing Happiness." Last modified 2011. Accessed

March 10, 2013. http://assets.coca-colacompany.com/7b/46/e5be4e7d43488c2ef43ca1120a15/TCCC_125Years_Booklet_Spreads_Hi.pdf.

Thompson, Sandra, Christopher Johnstone, and Martha Thurlow. "Universal design applied to

large scale assessments." NCEO Synthesis Report 44. (2002). http://www.cehd.umn.edu/nceo/onlinepubs/Synthesis44.html (accessed March 14, 2013).

Tobar, Hector. "Marisa Silver's 'Mary Coin' imagines 'Migrant Mother's' life The Writer's Life ."

Los Angeles Times, , sec. Entertainment, March 7, 2013. Wheeler, Alina. Designing Brand Identity. Hoboken, New Jersey: John Wiley & Sons, 2010.

Kalmeijer 19 19

APPENDIX

The visual component of the thesis was created in order to help color deficient

individuals essentially Feel Color through translating the emotional effect of color through

senses other than sight. The mobile application designed, has an attachment that translates

temperature, vibrations, and sound to emotionally connect with the participator. The goal of

Feel Color application is to essentially improve the experience of those individuals that are

colorblind through an emotional connection.

Figure 1 Mariska Kalmeijer MFA Thesis, The Theory of Universal Design: Color Vision Deficiency, (Logo) 2013

Figure 2 Mariska Kalmeijer MFA Thesis, The Theory of Universal Design: Color Vision Deficiency, (Vibration, Temperature, & Sound Map) 2013

FEELcolor!""#$%&%'

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)

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Kalmeijer 20 20

Figure 3 Mariska Kalmeijer MFA Thesis, The Theory of Universal Design: Color Vision Deficiency, (Home Screen) 2013

FEELcolor

FEELcolor!""#$%&%' !""#$%&%'

!"#$%& !"#$%&

!"#"$%&"!'$()))*&+*'#",+')))-./*.&'#",+'))),&"*'#",+'

FEEL COLOR FEEL COLOR

COLOR MATCH COLOR MATCH

HELP HELP

CONTACT US CONTACT US

!"#"$%&"!'$()))*&+*'#",+')))-./*.&'#",+'))),&"*'#",+'

!"#$%#&%#"#'(&)*+,&'*"*,-"./0/#%%&$-*1#&%*&2#&'$/&$0$3(&(4#&%',##/&5*,&(4#&+"(.6$(#&5##"&'*"*,I#,.#/'#8&

!"#$%#&%#"#'(&)*+,&'*"*,-"./0/#%%&$-*1#&%*&2#&'$/&$0$3(&(4#&%',##/&5*,&(4#&+"(.6$(#&5##"&'*"*,I#,.#/'#8&

Kalmeijer 21 21

Figure 4 Mariska Kalmeijer MFA Thesis, The Theory of Universal Design: Color Vision Deficiency, 2013

FEELcolor

FEELcolor!""#$%&%' !""#$%&%'

!"#$%& !"#$%&

!"#"$%&"!'$()))*&+*'#",+')))-./*.&'#",+'))),&"*'#",+'


COLOR MATCH COLOR MATCH

HELP HELP

CONTACT US CONTACT US

!"#"$%&"!'$()))*&+*'#",+')))-./*.&'#",+'))),&"*'#",+'

!""#$%&'()*&+,,-&$(-(*&.%(/,&$#0,&1,23$,4&

5#6,&.3$")*,&(+&"%,&$(-(*&'()&7()-1&-36,&"(&,8.,*3,/$,4&9(-1&.%(/,&:'&"%,""#$%;,/"4

!""#$%&'()*&+,,-&$(-(*&.%(/,&$#0,&1,23$,4&

5#6,&.3$")*,&(+&"%,&$(-(*&'()&7()-1&-36,&"(&,8.,*3,/$,4&9(-1&.%(/,&:'&"%,""#$%;,/"4

Kalmeijer 22 22



FEELcolor!""#$%&%'!"#$%&

!"#"$%&"!'$()))*&+*'#",+')))-./*.&'#",+'))),&"*'#",+'

0/&.)1/&2"/+3.)4)0'#*"#.)567)

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FEELcolor!""#$%&%'!"#$%&

!"#"$%&"!'$()))*&+*'#",+')))-./*.&'#",+'))),&"*'#",+'

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0

1/2$%+')3"2.)4)5'#*"#.)67489:6)

Kalmeijer 23 23


FEELcolor!""#$%&%'!"#$%&

!"#"$%&"!'$()))*&+*'#",+')))-./*.&'#",+'))),&"*'#",+'

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COLOR MATCH

HELP

CONTACT US

0 0

1/*-""&)2&..#)3'#*"#.)4567)

8+9%*)3':3'#*"#.)

0

;(:*+$)2&3'#*"#.)

0

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Kalmeijer 24 24


!"#$%#&%#"#'(&()#&$**+,*+-$(#&.#%'+-*(-,/&,0&1,2+&0$%)-,/&-(#34&

&

!"#$%#&%#"#'(&()#&$**+,*+-$(#&.#%'+-*(-,/&,0&1,2+&0$%)-,/&-(#34&

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!"#$%& !"#$%& !"#$%&

!"#"$%&"!'$()))*&+*'#",+')))-./*.&'#",+'))),&"*'#",+' !"#"$%&"!'$()))*&+*'#",+')))-./*.&'#",+'))),&"*'#",+' !"#"$%&"!'$()))*&+*'#",+')))-./*.&'#",+'))),&"*'#",+'

COLOR MATCH COLOR MATCH COLOR MATCH


BOTTOM SHORT/LONG SLEEVE DRESS SHIRT

TOP T-SHIRT

SHOES SWEATER

ACCESSORIES JACKET

FEEL COLOR

HELP HELP HELP

CONTACT US CONTACT US CONTACT US

0+1%*)2'32'#*"#.)

0+1%*)2'32'#*"#.)

0+1%*)2'32'#*"#.)

4(3*+$)5&2'#*"#.)

4(3*+$)5&2'#*"#.)

4(3*+$)5&2'#*"#.)

4.-+/!2'#*"#.)

4.-+/!2'#*"#.)

!"#$%"%&'()*+$%,-%).$%-"/.',0%')$1%2,*%3,*45%4'#$%),%1")(.6%74$"/$%3"')%8%/$(,05/%3.'4$%3$%-$$4%).$%(,4,+6%9,4,+%,&)',0/%3'44%"&&$"+%:$4,36%

Kalmeijer 25 25


FEELcolor!""#$%&%'!"#$%&

!"#"$%&"!'$()))*&+*'#",+')))-./*.&'#",+'))),&"*'#",+'

COLOR MATCH

FEEL COLOR

HELP

CONTACT US

0

1%"&*23"#4)15..6.)7&.88)1%+&*)

9%+*.):);"**"!8

;&"

Kalmeijer_Mariska_Color+Vision+Deficiency_GRDS_Summer2013

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