Why Aren't Magazines Accessible?
Here’s What I Learned from Speaking to 3 Experts on Disability!
Unify Magazine: Research - 3/3
Research is a seemingly simple word, yet it holds far greater value. Without the curiosity to explore, understand, and learn, 'Unify' might have remained a mere idea. It was through research that I uncovered the profound importance of conversations surrounding the topic of accessibility.
This phase of my project was truly intriguing. Honestly, I wasn't sure if 'Unify' would ever evolve into what it has become. Doubts about having the right resources, equipment, and knowledge to ensure its success lingered. However, this was the point where my excitement truly ignited. Initially, my research consisted of general exploration through books, articles, podcasts, and engaging with influencers. It was interesting and provided valuable insights however at a certain point, I realised that to truly grasp what's needed for accessibility, I needed a more direct source of information.
So, what was my course of action?
I decided to reach out to anyone and everyone. Some didn't respond, others simply ignored me, and a few outright declined. However, amidst these mixed responses, some actively engaged, shared their stories and taught me things I would never have learned otherwise. Amongst all the people who put their dedicated time and effort into helping me evolve Unity’s idea, there were a few who stood out.
Here are my top 3 research findings!
One of the most memorable forms of research was when I had the privilege of talking to Rob Hillier, a lecturer across four undergraduate graphics courses and subject leader for MA Communication Design at Norwich University Of The Arts. Hilier has been featured by MadeAtUni as part of their “helping people enjoy life” campaign for his typeface “Sylexiad” which he designed to be dyslexia friendly. When I heard of everything Rob has achieved, I knew I had to meet him, hear his story and get his professional opinion.
Let's start with the creative process. Rob wears many hats, considering himself more of an artist-designer than a typographer. He shared that his journey into creating dyslexic fonts was marked by years of relentless dedication as well as lots of trial and error. The constant reflection process and ongoing engagement with focus groups paved the direction for him in the hopes of creating a seemingly successful outcome. But here's the kicker: his dyslexic font, Sylexiad, didn't start with a bang. In fact, It began with what most people would consider the "worst typeface." Made from a mixture of upper and lower case letters, the font had a range of shapes and sizes and although it wasn’t a great start to the process it allowed Rob to understand what parts were most effective.
As a dyslexic individual, Rob is particularly attuned to the shape, form, meaning, sound, and representation of words. This unique perspective has left an indelible mark on his work and, by extension, on my understanding of the importance of accessible design. All this amazing information generated the idea to make my own typeface however Rob soon brought me back down to earth, making it clear that this took him a year to curate and suggested I simply use a dyslexic font that already existed to allow time for other amazing aspect of the magazine. Looking back at the project after completing it, there were aspects of the magazine that I had to hold back on, sometimes when we gather great ideas, we can run away with them and struggle to rein the meaning and purpose back to the centre. There was one piece of specific advice Rob gave me that I constantly referenced back to throughout my project, which I will take forward post-university, he said “Cultivate a simple approach to developing your practice. Don’t overcomplicate things”.
Our journey into the heart of accessibility continues with a visit to Vision Norfolk, where we had the privilege of chatting with Anne a braille teacher. Anne has never had the gift of sight, but some of the people she interacts with at Vision Norfolk have experienced vision and are now grappling with its loss. She shared a thought-provoking insight, "You don't miss what you've never had," underlining the challenges faced by those adjusting to a new way of life after losing their vision. This is where accessible technology and products come into play, ensuring a smoother transition.
Anne's advice, though simple at its core, has had a profound impact on Unify's design philosophy. Anne is all about keeping it straightforward and transformational. She highlighted how miner tricks like avoiding overlapping images and text and sticking to bold clear text may seem small to most however they can provide a monumental change for readers with vision loss. Anne also urged me to bring braille and audio elements into our content, giving everyone the power to engage independently. But what really struck a chord with me was when Anne introduced me to the concept of a “nevilesne” a brilliant and more accessible alternative to traditional QR codes. It's designed to be scanned from a distance. Although this was never able to make it into Unity’s magazine due to cost and recourses, it is something that I would ideally love to change and develop.
Beyond all of Anne's amazing advice, she reminded me that fashion isn't all about what we see; it's a multi-sensory experience. For Anne, fashion isn't all about colour; it's about the feel. She mentioned, "When I go shopping for clothes, I think about what design and textures I want, and colour comes last. However, this is different for everyone." This has prompted me to focus more on the tactile aspects of Unify, to ensure that those who may not be able to see, can touch, feel and connect in a completely different and unique way.
lastly, let's introduce you to Jo, a disability support administrator at Norwich University of the Arts. Jo's insights into dyslexia are nothing short of eye-opening. Dyslexia is a bit of a chameleon. Not too long ago, it was often referred to as "visual dyslexia," but the terminology has evolved to Irlen Syndrome or visual stress. Some individuals with dyslexia find that reading through coloured lenses or overlays can make a world of difference. You might have seen people sporting differently shaded glasses – it's their way of ensuring that the letters don't dance, shimmer, or vanish when they read.
In the colourful tapestry of dyslexia, Jo shed light on the fact that it's not all about what meets the eye. Some folks grapple with phonics and phonological skills, turning simple words into intricate puzzles. Take "toothbrush," for example. While it might seem like one seamless word, those with dyslexia might see it as two different words, struggling to piece together its two halves. This isn't an isolated issue; in fact, around 10% of students in most academic institutions have specific learning disabilities like dyslexia. But the real hurdle comes when these individuals dive into reading. Jo described the mental challenges they perform, decoding each word as if untangling a knotty string. By the time they reach the end of a sentence, they might've forgotten where it all began. Imagine doing this two or three times within a single word – it's a test of patience and persistence. This struggle can lead to weaker reading skills, phonological skills, and challenges in their working memory. These are the very challenges that motivate Unify's quest for accessibility, ensuring that readers with diverse dyslexic experiences can fully enjoy the magazine without so much of a struggle. When it comes to Unify Magazine, Jo provided me with a list of golden rules which I lived by during the making of Unify,
Here are 5 I found the most useful:
It is crucial to consider spacing between letters and rows, allowing the text to feel less clustered and more breathable.
Bold text should be used over underlining and nothing smaller than font size 12 with basic fonts like Calibri or Arial.
Make it as multi-sensory as possible with audio-visual elements
Avoid large blocks of text, use spaces and bullet points to highlight key information.
Left or centre alignment is preferred over justifying to both sides. Steer clear of angled text or special effects like shadows
In my quest to understand accessibility in design and content creation, my journey has been enriched by insightful conversations with experts on disability. Each exchange has broadened my perspective and provided invaluable guidance for Unify's approach. From Rob Hillier's insightful journey in creating dyslexia-friendly typefaces to Anne's emphasis on multi-sensory experiences and Jo's invaluable advice on catering to individuals with dyslexia, every encounter deepened my understanding of the diverse needs of readers with disabilities.
Throughout this exploration, a central theme emerged: simplicity and inclusivity. Advice I recieved to cultivate a simple approach resonated, reminding me not to overcomplicate design solutions but rather focus on meaningful accessibility features. Moving forward, Unify is committed to integrating these principles into its ongoing efforts, ensuring that its principle remains a welcoming and inclusive platform for all readers, regardless of their abilities. By embracing simplicity, innovation, and empathy, Unify aspires to create a magazine that not only informs and inspires but also fosters a sense of belonging and empowerment for every reader.
