In my infographic, I decided to use multiple types of infographics in order to push the overall idea.
By using flow charts I could summarize ideas quickly and easily without the need to get bogged down in data. One of the most difficult things about relating economic ideas to people is trying to connect to their experience. While economists often use graphs and charts, this kind of presentation has a high barrier to entry for laypeople.
So, in order to avoid that sort of presentation, I went with quick flowcharts that summarize the various points economists are trying to make. While this sort of presentation wouldn’t stand up to academic scrutiny, the point of the graphic was to push a position, not to be peer reviewed.
Additionally, I used oppositional comparison lists for Democrat and Republican strategies. Meant to focus more on the disconnects between the ideas, this seemed like an ideal format. If I had been aiming for accuracy, this would not have been appropriate, since often politicians are speaking at cross purposes to justify their positions - Republicans appealing to ideological proponents of abstract concepts, while Democrats tend to invoke more pragmatic sources and indicate a sense of utilitarian thinking (i.e. what is good for many outweighs the good of the few).
Finally, the Venn diagram twists a bit on the typical form by showing that there is no are of overlap between these positions. I thought it could be an effective way of poking fun at those people who seem to always believe that some middle ground exists where everyone will be happy.
For my project, I wanted to consider the interactions between two particular fonts: Univers and Lenotype Centennial. I thought these fonts would be interesting together because Univers is a font common to engineering, while Lenotype Centennial is commonly found in news-oriented websites.
According to Type Connection, this pairing was successful because it pairs the precision of Univers with the refinement of Linotype Centennial. The example it gives is a wine list on a restaurant menu.
Looking around, I definitely think more work should go into font selection. While many printed materials are created by experts who spend a great deal of time getting things right, a significant amount of advertising and print material is created by people who have not thought about the deeper design concepts.
A great example of this is the bulletin boards that can be found around campus. They tend to be hideous, covered with a mishmash of poorly thought out ads, whose primary manner of competing for attention is in the form of larger print and liberal use of exclamation points. Little consideration is given to the use of design components that can make your advertisement stand out by being subtle, or appealing to a specific audience who might walk by.
As consumers, we are increasingly immune to many printed “types.” For instance, seeing the word “SALE!” in Times New Roman 72 point font no longer elicits a reaction. In this market, it seems as though an advertisement with lighter pastels and a more flowing font (possibly archer or garamond) would draw more attention if you were selling potted plants. Folks could use Helvetica or Courier to draw attention to computer or tech supplies.
Beyond that, studies have recently shown that fonts that are more intricate or difficult to parse often lead to greater retention of text. While advertisers shouldn’t make their work impossible to read, mixing fonts and making slightly more intricate use of text could lead to more memorable advertisements.
Of course, this might also be a good idea for textbook editors to consider as well.