Kamis, 03 Desember 2015

Latest modern science | Lessons from sex toys: you have to let other people try things out - Si Bejo Science

And I thought I was pushing the envelope when I talked about how lingerie design could inform poster design. Well, here we go for the edge of the envelope again...

This post was inspired by the article on the design of sex toys. Once you get past the giggles inherent in talking about sex toys, it�s a very thoughtful article on design more generally, and there are lessons that can be applied to conference posters.

As I�ve mentioned before, anyone designing anything must always have empathy for the end user. That article talks about how you have to know those users in detail, not just in a vague, �they�re kind of like this� way.

For instance, if a designer is making something to be held by a hand, there are measurements for every dimension of the hand. And not just for one hand, the average hand, either � measurements exist for every dimension of the 5th and 95th percentiles of hand size as well. �But that�s just not available for designing sex toys,� (engineer Janet) Lieberman says. There is no corresponding data for vulvas. There is no official classification for the many different types of vulvas, and no sense of how common each type might be.

For conference posters, this might mean considering the average height of people, which would affect where the eye level of a reader is. You should also think about the readers who might have problems like colour blindness or presbyopia.

The part of the article that made me think the most about my own design practices, though, was the discussion of user testing. Sure, it might sound like fun at first... but think about being the first to try an untested prototype with your most sensitive bits.

(N)ot surprisingly, getting data on the efficacy of a sex toy isn�t always easy. �If you�re designing a (children�s) toy, you can put 10 kids in a room together and have them all play with that toy and get a bunch of data really quickly,� says Lieberman. But with adult products, designers and engineers are rarely present for the actual product testing, and getting feedback can be challenging. With Eva (a hands-free vibrator for use during intercourse), Lieberman found that women who tested it out struggled to describe why something did, or didn�t, work well for them. And the trials are time-consuming: a week�s worth of testing time for each pair of participants. ...

Dame Products has also employed the services of a team of gynecological teaching associates � women trained to provide medical students with hands on guidance through the particulars of performing a GYN exam � for one-on-one product testing sessions. Though the GTAs don�t provide insight on how Eva works during intercourse, they do help the Dame Products team examine how well the vibrator is secured by a wide array of labia; and, with their training in anatomy, they�re able to offer the nuanced, thoughtful feedback that many earlier testers could not.

I realized that it had been a long time since I had showed drafts of my posters to anyone else before printing them. This is dumb of me. I rehearse my presentations I give with slides. Why don�t I do something similar for posters?

Now, having written this blog for over six years, maybe I do have a little more knowledge that allows me to create something passable without having other people look at it. But that doesn�t let me off the hook for user testing.

Back in February, when I did a poster workshop, I did a little user testing, and noticed:

(T)he difference between the intended order of information, and how people actually looked at the poster. Even... posters, with a clear three column order, were not often read in that order.

How I think people will read through my posters is no guarantee that this is how they will actually read through them. There is no substitute for criticism and feedback. I badly need to get into the habit of showing my posters to others before taking them to the conference again.

As I was writing this post, I saw this on Facebook, from my buddy game designer John Wick:


FIRST RULE OF GAME DESIGN: External contact always causes dramatic change to your design.The moment you hand any game�...
Posted by John Wick on Tuesday, November 24, 2015

One problem, though, in getting proper feedback is that printing full-sized can be expensive. It would be helpful if you could print a greyscale draft version on cheap newsprint paper before going to the full-coloured glossy paper.

Finally, the article talks about another barrier to getting the feedback you need for great design: social pressures.

�The only difference I noticed [between designing mainstream and adult products] was the stigma� that was attached to designing a vibrator compared to another consumer electronic product,� says B�har.

People don�t want to talk about their experience with sex toys. (See this probably NSFW this Sex in the City clip about the reluctance to talk about them and the difficulty in getting user feedback.) I�m willing to bet that when most people get a badly made sex toy, about all that happens is silent grumbling to themselves. There are strong conventions about keeping sexual experiences private, so it takes a certain amount of courage even to leave a one star review on an online shopping site.

There�s a similar social stigma about calling out bad posters or presentations at conferences. We might say, �Did you see that?� sotto voce at the conference lunch table. We might write a tweet. But to say to a speaker at the time, �The design of your poster needs work� doesn�t happen all that often, because we�re worried about being rude. And that�s impeding our ability to get better posters and presentations.

Related posts

Lessons from lingerie
More lessons from lingerie: details versus decoration

External links

Why aren�t vibrators as good as other gadgets?
Let�s stop enabling bad speakers

Hat tip to Gerty Z. Picture from here.

Kamis, 26 November 2015

Latest modern science | Link roundup for November 2015 - Si Bejo Science

Posters are a visual medium. But not everyone sees equally well, and I�ve written about taking factors like colour blindness or presbyopia into account in design. But I had not considered the challenges faced by a blind presenter, which makes this article absolutely fascinating.


Ashleigh Gonzales (pink blouse on left) is blind, and her poster is on converting flat images to three-dimensional ones that could be felt by blind students. I�m fascinated that Ashleigh�s poster (abstract here), has Braille in the title and headings. I can�t make out whether this is actually readable Braille (i.e., raised paper) or not, but would love to find out more.

The Society for Neuroscience introduced �dynamic posters� a few years ago, and the response has been... well, flat. As it happens, I have not made it to this conference since these have been introduced, so I haven�t had a chance to see, or create, one myself. I�m tickled that the Neuwrite blog has a long post detailing the creation of a dynamic poster. To be honest, dipping into the process of creating something that truly exploits the dynamic format is intimidating:

My goal this year was to make my �dynamic� poster interactive. ... I didn�t know how to do any of this, but I new it is possible and that, with a bit of effort, I could figure it out. A �bit of effort� turned out to be 6 weeks of sleepless nights(.)

But the results are pretty amazing. Go to the post to see these in models that you can rotate and zoom.



The PLOS Paleo blog has started a series about academic conferences. Their first entry tries to characterize the type of people who attend conferences.

With this potential range of attendees in mind, there is no single uniform audience at a scientific conference.

Looking forward to more!

Apple has long been recognized as a company that spends a lot of time thinking about design. But former employees takes the company to task for forgetting the user (not to mention a few swipes at other products, like Google Maps):

Gone are the fundamental principles of good design: discoverability, feedback, recovery, and so on. Instead, Apple has, in striving for beauty, created fonts that are so small or thin, coupled with low contrast, that they are difficult or impossible for many people with normal vision to read. We have obscure gestures that are beyond even the developer�s ability to remember. We have great features that most people don�t realize exist.

Probably the deepest article in this month�s round-up. Hat tip to Clause Wilke and Leonard Kruglyak.

Vox magazine makes the argument that Y axes shouldn�t always start at zero.


I try not to be a zealot about things, but in general, starting axes at zero is a better practice than not. Will there be exceptions? Sure. As the Vox video points out, if you have negative numbers, you have to extend past zero.

One thing that Vox overlooks is that there is a standard way to extend a section of a graph: it�s to insert a break in the axis. It alerts a viewer to the non-standard start.

KatieSci on Twitter:

Presentation Preference choices for #EB16 abstract submission: Oral, Poster, Indifferent. The �Indifferent� is kind of cracking me up.

The �indifferent� abstracts are like this:


PeachPit Press asked Jim Krause for typography tips. I like these:

Explore your font choices THOROUGHLY before picking a winner.

Combine fonts that are either clearly alike or clearly different. Middle-ground=bad

Hat tip to Garr Reynolds.

Kamis, 19 November 2015

Latest modern science | Critique: SAS depot - Si Bejo Science

Today�s poster come from Maxine Davis, which she did for a small conference. Click to enlarge!

There are a couple of things that are very successful on this poster. The colour scheme is very cohesive, helped by the poster being a pastiche of Home Depot branding. As I�ve said before, basing a poster on an existing colour or branding scheme is a handy shortcut, because they�re tried and tested designs that you know will work.


The yellow highlighting breaks the colour scheme slightly, but it is so effective at drawing attention to key elements of the text that it is okay.

The poster clearly shows that it is meant to be read in rows, so there is no problem in determining reading order. The big orange �How to� balloons on the left are very good guides.

Still, there is probably too much going on in this poster. I suspect that the individual sections might looking fine when you�re looking at part of the poster, but when you step back, there is a lot of stuff competing for attention.

The typesetting is a little frantic. I count at least six different typefaces, which I�ve highlighted below:


Even when the typeface is the same, there�s a lot of other variations that contribute to the feeling of mild disorganization (bullets, bolding, boxes, italics, highlighting, rotation...). Wider margins might also bring a needed sense of calm to the poster.

I like the idea of having the top left image acting as an entry point (and making the homage to Home Depot obvious), but the execution is compromised because the picture is distorted. The store logo should be square, like so:


I would have kept the image in its original, slightly narrower form, and made more room for the subtitle over at the right.

While it�s not visible in thumbnail, there are some overlap and ragged edge problems between the image anf the author credits:

I�m not sure about the winking face next to the name. Some will find it friendly; some will find it frivolous. Home Depot employees do have buttons and badges on their store aprons, and this might potentially be continuing the imitation of the flair of Home Depot staff. But it�s not quite a match, and I feel that if you�re going to follow the design of something, you need to go all the way.

This poster is off to a good start, but would benefit from a very thorough polish of the text, with attention to making the text more consistent across the poster.

Kamis, 12 November 2015

Latest modern science | Critique: 3D sound - Si Bejo Science

Today�s poster comes from Erlend Magnus Viggen. Click to enlarge!


Erlend had a few notes on this creation.

Since the article is about a computational method that we developed, the poster is a flowchart of the method.

The flowchart works reasonably well, although the reading order of the �Propogation� box in the upper right is a little tricky. If there was a little more room, I might try placing �Sound processing� slightly lower than the text block flanking it. That way, the �Source sound� and �Propogation� would sort of funnel down into �Sound processing.� But this poster has a nice balance of text and margins, and you couldn�t move �sound processing� down without messing with that.

There�s no introduction. I�m not sure to which degree an introduction beyond the title is useful on a poster in any case, but in this case our method is far more relevant for our conference audience than our motivation is. Our use-case is basically outside the scope of the conference.

Smart move, and an excellent example of how designs are often improved by taking things away.

I like how subtle colour gradients are used to distinguish blocks of text instead of heavy-handed outlines.

I�m particularly interested by Erlend�s comments about using institutional styles. I�ve been wary of institutional style guides, because they often prioritize advertising the institution over the content that a poster viewer cares about. Erlend, I think, takes a sensible approach:

I tried to follow the guidelines of my research institute: use a grid, use the official typeface (though I only used it for headers as it�s more of a display typeface), and use colours from the official scheme. While there are more colours in the official scheme, the dark blue one is our main colour and the light gray-brown is the only bright-ish colour among our �main� colours.

Erlend isn�t slavishly following a template, but looking for ways to use elements of the institution�s style. Institutional colour schemes are usually closely examined by professional designers, so you end up with palettes that are harmonious, and maybe a little conservative. The colours should work in lots of different conditions. And you don�t have to use every official colour.

I did something similar recently, when I made a new logo for my homepage. I deliberately wanted to harmonize it with my institution�s logo:


Like Erlend�s case, my university has navy blue and green as secondary colours, but I didn�t use those. I used the same primary colours and font (Caecilia), and customized a swishy capital:




By using the institutional typeface for headings, you evoke the institution in a subtle way. It�s got more finesse than just shoving a logo somewhere on the page. And if you do put in a logo, you avoid having a lot of different fonts fighting each other.

I'm not too happy with not having more pictures, but unfortunately we just don't have any more that would fit well.

Alas! I agree that more graphics and a little less text would be more appealing. Nevertheless, this poster has enough space on it that it doesn�t become an indistinguishable block of grey from a distance.

Related posts

Misplaced priorities on institutional templates

Kamis, 05 November 2015

Latest modern science | Casing a poster - Si Bejo Science

I�m fascinated by the ways people recycle posters. Traditionally, posters are one-shot ephemera, which usually gotten reuse only by decorating department hallways. While fabric posters has some shortcomings for display compared to high quality paper posters, I have to admit: the reuse possibilities are much greater.

Christie Rowe has been steadily converting her posters into these awesome pencil cases! She shared this with me back in September:


And here�s some more finished ones.


The earth tones come naturally for Christie, who is in an Earth & Planetary Sciences department.


Data flash!





Kamis, 29 Oktober 2015

Latest modern science | Link roundup for October 2015 - Si Bejo Science

A feature in The Atlantic asks a big question: Can posters still change the world? I�m unsure posters have ever changed the world, but no matter. Still a great article on the power of the poster format. Hat tip to Siobhan O�Dwyer.

The latest demonstration of how fonts affect interpretation...


Hat tip to Jim Ducharme and Danielle Lee.

I am an advocate of one space after a period. However, I appreciate this spirited defense of wider spacing after a period. In particular, the historical aspect of this blog post is well worth reading.

If the (early editions) Chicago Manual thought it was okay to use large spaces after periods, and it had been common practice among the typographers who invented these typefaces, can we seriously claim that the only right method to set them is with a single space after a period? I CANNOT BELIEVE THE GALL OF MODERN TYPOGRAPHERS, ARGUING THAT THE PRACTICE OF THOSE WHO CREATED THEIR FONTS IS ABSOLUTELY, UNEQUIVOCALLY �WRONG.�

Make it all the way to the post-script if you can. I still say the single space is the modern standard (this post has the single space winning out around the 1940s), and you shouldn�t put put spaces after a period. Hat tip to Robert J. Sawyer, from his Facebook page.


Above you see a nice critique and makeover of a poster. Not a scientific poster, but still. Take a few minutes to let John McWade walk you through the process in a nice video.

The British Library adds over a million public domain images to Flickr.

The title of this article � Should you ever use a pie chart? � is a bit misleading. It includes a lot of history as well as best practices.


Hat tip to Justin Kiggins, if I remember right.

This month is the huge Neuroscience conference, possibly home to more academic posters than anything else on the planet. Don�t believe me? Check this panorama from Dwayne Godwin:



Before the meeting, people sent tips! From Lauren Drogos:

Let people pause and read before trying to engage at your poster, some of us are shy and need a moment to muster.

Andrew Pruszynski wrote:

Meeting new people is the only reason to go to SFN. The posters/talks are just pretext.

I appreciate the sentiment, but I would replace �only� with �main.� I find seeing talks and posters useful. I find catching up with people I know useful.

And from Drugmonkey:

Think of your poster design as a massive troll. The point is to engender conversation!!!

Though I don�t necessarily think you should put this on your poster...



From the meeting:

Peer review: shit just got real. (From Dr. Jenn)


And there is the inevitable aftermath of deciding how to use posters after the session is done. Tal Yarkoni has decided they are a fine place to rest one�s weary bones.



A critique of common scientific presentations: �Your protein acronyms and figures look nothing more than ambiguous letters and Pac-Man shapes to us.�

Sabtu, 24 Oktober 2015

Latest modern science | Is your font in the right decade? - Si Bejo Science


I recently watched a double feature of Village of the Damned (1960) and Children of the Damned (1964). I was completely fascinated by the contrast between the two films. Even though the latter is ostensibly a sequel, instead of continuity, the two movies feel like mirror images on every level, thematically and stylistically.

Although released in 1960, Village of the Damned is at heart a 1950s film. It�s just at the tail end of that era of science fiction filmmaking. This carried over into the movie�s title in the credits: a serif typeface, in quote marks. Playing against an ivy covered wall just accentuates the pastoral feel.


Now look at the contrast in the title of Children of the Damned. I don�t think it�s Helvetica, but it�s something in that family: a �scrape away the crap� grotesque sans serif. The title appears over an urban setting. You just couldn�t imagine that title card on a film from the 1950s. Children of the Damned is absolutely a film of the 1960s.


In just a few short years, everything had changed graphically.

I could go on about the differences between the films, but this is a design blog, not the movie review blog. But it got me wondering: does your poster look like it�s in the right decade?

As it happens, this is the twentieth anniversary of Windows 95. Windows 95 wasn�t the first PC operating system to have TrueType fonts, but it broke a lot of ground for digital typography for the average user. The font list for Windows 95 included Arial, Times New Roman, Courier, and (shudder) Comic Sans.

Many posters have not moved past those font choices from twenty years ago. Lots of posters are set in Arial, Times New Roman, and sometimes even (shudder) Comic Sans.

Admittedly, some typefaces have staying power. Decades-old Futura appeared on a list of most popular web fonts last year. Nevertheless, typography has moved on. Styles have changed.

If I were to try to pinpoint some of the trends I see in type:

Thin is in. Designers are using a lot of lighter lines for fonts. I think this is related to the development of very high resolution screens (300 dots per inch, in some cases). Fine lines can hold up very well on high resolution screens. I don�t think it�s an accident that Calibri Light got added to the roster of default Windows fonts a while back.

Flat design. Again related to the propensity to design things that look good on small but very high resolution screens, simple, geometric typefaces are seeing a lot of use now. Nine of the ten fonts on this list of popular web fonts fit that description. Here�s a list of examples. It�s instructive to look at what Google images throws up, too. It�s a very distinct aesthetic.

Angular momentum. This one is hard for me to describe, because I�m not a trained type expert. But I�ve noted that when you look down at the detailing, many modern serifs have some angled lines, rather than smooth curves. Here�s a new font, PF Occula, that shows some of this:



Does your poster look like a product of the twentieth-first century... or the twentieth?