As part of the part-time Masters I’m doing in Information Design, we had to design an iPhone app.

I’d already done a screen­shot idea for a London Bus app after Countdown the live bus tracking system was launched, so I thought — hey, why not design a bus app? There’s loads out there just for tracking buses, so I thought, what’s the one thing we all like to do about public trans­port? Oh yes, complain!

So I made* an app that was all about complaining — but, y’know — quietly. Since the Great British Public doesn’t really like to make a fuss. Or talk. Or make eye contact.

*that is to say, designed, without actu­ally program­ming it!

The map is actu­ally a built-in, crowd-sourced warning tool — bus-stops where major prob­lems are reported are flagged in red, minor prob­lems in amber and clear in green.

People can report full buses that whizz past, loooong queues and ohgod­lateagain buses while they’re in the queue, or leave a comment about the indig­nity of it all. And once they get on the bus — reporting prior­ities change. Have they got a seat? Is the bus not going anywhere fast? Or maybe some kid in the next seat has forgotten their head­phones again.

Ultimately there are several major logist­ical prob­lems to iron out with this idea — how to tell WHICH bus just whizzed past, for instance. And for stops with multiple buses, the queue might only be a problem for one of them. But I think it would be an inter­esting idea to channel our great British reserve (aka seething inner rage) on public trans­port into some­thing like this. And maybe with 6 months of crowd-sourced data, TFL could actu­ally do some­thing about the most troubled spots!

I confess, I have a problem. I’m typo­phobic. No, I’m not scared of typos (pedantry is the lowest form of internet argu­ment). However, the idea of having to make decisions about typo­graphy in virtu­ally any situ­ation does bring me out in a cold sweat. Not to mention my not-so-secret belief that typo­graphy doesn’t really mean nearly as much as some people say for read­ab­ility, and espe­cially mood. Can a font be happy? I… certainly didn’t think so.

Now, I knew enough to avoid the major pitfalls. Comic sans brings me out in a rash. Papyrus sends me into toxic shock. But I’m doing a Masters degree in a Department of Typography and Communication, and I need to over­come my phobia and cautiously embrace this tricky subject if I’m going to pass.

So one of my fellow students recom­mended I read this book, Thinking with type, by Ellen Lupton.

And I have to say, it’s (nearly) done the trick.

I already knew that there are families of fonts that go together, but this book taught me what I need to do to match them up prop­erly and have them look good.

I already knew I was supposed to kern and lead things, and not use these straight apostrophes and speech­marks to mean anything other than feet and inches, but I didn’t know that if you indent your (proper, curly) speech­marks they look 100 per cent more awesome, or that most running text needs tracking at least a little bit to make it more read­able. I now know that italics aren’t all bad — as long as they’re not a slant, and that ALL CAPITALS is gener­ally a bad thing, but small caps are very useful.

This book has hundreds of tips like that. Things exper­i­enced designers might know instinct­ively, but I sure as hell don’t. It’s really access­ible, damn sarcastic, and not afraid to send up typo­graphy too.

And now I do believe a font can be light and airy, or dark and heavy.

But I’m defin­itely still sitting on the fence about happy. Shudder.

Infographics can be beau­tiful, inform­ative, fascin­ating, genu­inely enter­taining and educa­tional. On a personal level, I’m a big fan. My own over­whelming need to under­stand things to the best of my ability has been nicely enhanced by this recent trend.

Infographics come in a few flavours (chocolate, straw­berry and banana). There are straight-up graph types, area types, and in the grand tradi­tion of design every­where, misc. other.

My concern about infographics in general is that how under­stand­able and access­ible they are (mainly) is detri­ment­ally affected by two things:

  1. How much the viewer knows about reading graphs
  2. The brain’s capab­il­ities for comparing sizes and areas

Most infographics are graphs. Most of them are, in fact, bar graphs (see below). Sometimes they’re pretty well disguised. You might get some blocks arranged in a row or a square. You might be given ten little picto­grams of a man. Some are more blatant than others.

Definitely a bar graph.

But what if you can’t read a bar chart? As far as I can see, there haven’t been any real studies done on graph literacy — and it’s impossible to Google due to all those graphs of literacy around — but if you equate it with maths literacy, some­thing like 22% — nearly a quarter — of 16–19 year olds left school, last year, func­tion­ally innu­merate in anything but the most basic arithmetic.

You’ll have to do your own extra­pol­a­tion to apply that to the rest of the popu­la­tion, and no doubt for most people, their grasp of maths (and graphs) improves with age, but even still — if that many people simply aren’t at the math­em­at­ical stage that they can read graphs, then infographics poten­tially have only limited usefulness.

Take for example how infographics are used in news­pa­pers. Could these numeracy require­ments be one of the reasons tabloid news­pa­pers haven’t taken them up whole­sale, while broad­sheets are posit­ively dizzy with excite­ment about them?

Now there are several infographic models that are extremely popular right now — and one of them is this idea of a set of squares, or circles, or whatever, with their size repres­enting a different value, right? Us humans are masters (and mistresses) of pattern recog­ni­tion. We can group objects by shape, colour, angle, prox­imity… but can we really compare size and areas effectively?

Take circles, for example. They’re easy to group into pretty patterns, but there’s a funda­mental problem with inter­preting circular infographics (among others). Now, designers have been told that they should use the area of the circle — which is gener­ally convenient for them, as you end up with smaller circles which are easier to fit on the page, however, no-one gets to tell the viewer whether they should be looking at the diameter of the circle or the area.

Why is that important? Because as a rule, the human brain is quite bad at working out how to compare circles — if we’re comparing areas, gener­ally we see them as repres­enting a smaller value than they do, and if we’re comparing diameter, we gener­ally think they represent larger values than they actu­ally do. But hey, there’s no guar­antee which one your viewer is judging, anyway!

How about squares and rect­angles? Take a look at the Billion Euro-o-Gram:

Comparing squares is prob­ably fine, because whatever meas­ure­ment you use, what you see will be propor­tional. But what happens when you use rect­angles? Could one edge being longer than the other affect your percep­tion of it, make it seem bigger than a square with the same area? Here’s the big purple rect­angle as it’s pictured, and as a square. I’m not sure I’d know they repres­ented the same figure, if they were presented side by side, but that’s what this partic­ular infographic asks us to do.

And if two similar-sized squares are far away from each other, or surrounded by objects of different sizes, wouldn’t the brain find it harder to tell which is bigger? In the bottom-middle there’s a load of figures around the €200 billion mark, but they’re all portrayed in different ways, making them diffi­cult to compare.

€38 billion (in purple, right-middle) looks much smaller than €40 billion (light blue, bottom-middle) because of colour contrast and because it’s surrounded by values that match it’s height but not width, squeezing it.

The trouble for me is, I quite like infographics. I like designing them. I’m even guilty of perpetu­ating a fair few of the complaints I’m level­ling at these examples. But I can’t help but recog­nise that as pretty as they are, they have limited appeal.

And if we want more than the usual suspects to be able to make head or tail of them, we need to make sure the infographics we create are much more accessible.