Information Design - Exercise 1 : Quantifiable Information
03/02/2025 - 10/02/2025 ( Week 1 - Week 2 )
Ho Winnie / 0364866
Information Design / Bachelor's of Design Honors In Creative Media
Exercise 1 : Quantifiable Information
1. Lectures
Week 1 : Types Of Infographics
In week 1, we were introduced to different type of infographic and how to make an effective infographic. There are eight main types of infographics, each tailored for specific kinds of information.
List infographics are designed to present information in a list format, using a combination of written text and visual elements to make the content more attractive and easier to follow. They are particularly useful for highlighting multiple points or providing tips.
Statistical infographics focus on representing data visually through charts, graphs, and percentages. They are effective for conveying research findings, survey results, and other data-heavy information by making complex statistics simpler to understand.
How-to infographics are intended to guide viewers through tasks or processes step-by-step, making them a valuable alternative to lengthy text descriptions. By breaking down instructions into visual steps, they enhance clarity and prevent viewers from feeling overwhelmed.
Timeline infographics organize information chronologically, making them ideal for showcasing historical events, project timelines, or processes that evolve over time.
Comparison infographics allow readers to quickly grasp the differences between multiple options by presenting them side-by-side. This type is particularly useful for decision-making contexts, such as product comparisons or analyzing pros and cons.
Map or location infographics leverage maps to present geographical data, demographic information, or any content that benefits from a spatial representation. This approach helps readers understand regional distributions and patterns effectively.
Flowchart infographics guide viewers through decision-making processes or sequences of actions using a combination of interconnected boxes and arrows. This type of infographic feels more personal and engaging, as it leads the reader step-by-step through the information
Process description infographics break down complex processes into simple, digestible parts, making them ideal for technical instructions or content that requires a clear understanding of multiple steps. By using icons and categorized information, they help simplify even the most intricate topics.
Creating effective infographics involves a few best practices. It is essential to maintain a balance between text and visuals to prevent overwhelming the audience. Consistency in color schemes, typography, and layout ensures that the infographic is both aesthetically pleasing and easy to follow. Additionally, simplicity is key—focusing only on essential information helps maintain clarity. Establishing a strong visual hierarchy through the use of size, color, or contrast can further emphasize key points and guide the reader's attention effectively
Week 1 Lecture Slides :
Below, I compiled a list of infographics introduced to us today and split them accordingly.
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| Fig 1.1 Types Of Infographics |
Week 2 : LATCH Theory
The L.A.T.C.H theory, introduced by Richard Saul Wurman, presents a structured approach to organizing information in a way that is both meaningful and accessible. According to Wurman, while information itself may be infinite, the ways to organize it are finite, constrained to five principles: Location, Alphabet, Time, Category, and Hierarchy. These principles offer a foundation for UX designers and information architects to present content intuitively, enhancing the user experience by reducing cognitive load and making information easier to navigate and understand.
The first principle, Location, involves organizing information based on spatial order. This method is particularly effective for maps, real estate listings, or any context where geographic context is essential. For instance, websites that offer location-based services often employ this principle to help users quickly find relevant information in their vicinity.
he second principle, Alphabet, is one of the simplest yet effective methods for organizing information. It leverages the universal familiarity of alphabetical order, making it ideal for lists like directories, glossaries, or indexes. However, it is crucial to ensure that labels used in alphabetical lists resonate with users’ mental models to avoid confusion.
The third principle, Time, organizes information chronologically, making it a preferred method for timelines, news feeds, and event histories. Social media platforms often employ this principle to present the most recent updates, ensuring users can effortlessly follow real-time developments.
The fourth principle, Category, groups information based on shared characteristics or themes. This is perhaps the most commonly used method on websites, particularly e-commerce platforms, where products are categorized by type, function, or audience.
Lastly, Hierarchy organizes information based on an order of importance, size, or value. This method is prevalent in pricing pages, ranking lists, and any context where prioritization aids decision-making. For example, e-commerce websites frequently sort products by price, popularity, or ratings to help users make informed choices quickly.
From my takeaway I feel that L.A.T.C.H theory applies to us in our daily design. In everyday design, the L.A.T.C.H theory is invaluable for creating intuitive interfaces and improving user experiences. For instance, a mobile app that categorizes content by topic (Category), sorts articles by date (Time), and presents featured content prominently (Hierarchy) effectively utilizes multiple L.A.T.C.H principles. Similarly, a museum exhibit may organize artifacts by location to offer a geographical narrative or chronologically to tell a historical story. The versatility of L.A.T.C.H allows designers to choose or combine these principles based on the context and user needs, ensuring that information is not just accessible but also contextually meaningful.
Week 2 Lecture Slides :
Week 3 : Miller's Law Of Memory
Miller's Law of Memory, introduced in Week 3 of the Information Design course, explores the limitations of human short-term memory and its implications for information design. The core of this theory is encapsulated in the idea of "The Magical Number Seven, Plus or Minus Two," which suggests that the average person can only retain about seven items in their short-term memory at any given time. Exceeding this limit leads to a rapid decline in recall, often causing individuals to forget items within 30 seconds. This phenomenon presents a significant challenge in both communication and design, where presenting too much information simultaneously can overwhelm the audience and reduce the effectiveness of the message.
Miller's Law also highlights the Paradox of Choice, where too many options can lead to decision paralysis and cognitive overload. In a world of limitless possibilities, the ability to choose effectively becomes increasingly difficult. This paradox reinforces the importance of simplicity and clarity in information design, emphasizing that reducing and refining choices can enhance understanding and recall. For designers, this means prioritizing key information and avoiding clutter to improve user experiences.
The concept of chunking information is presented as a practical response to the limitations posed by Miller’s Law. By breaking down information into smaller, manageable chunks, designers can help users process and retain information more effectively. For instance, phone numbers and credit card information are often divided into groups to facilitate easier recall. This approach not only aligns with human cognitive limitations but also enhances the overall design by making information less overwhelming and more accessible.
In everyday design, applying Miller’s Law can significantly improve usability and comprehension. For example, navigation menus on websites that limit options to around seven items or less are more user-friendly and prevent decision fatigue. Similarly, mobile app interfaces that present information in small clusters rather than extensive lists ensure a smoother user experience.
Week 3 Lecture Slides :
Week 4 : Manuel Lima's 9 Directives Manifesto
Manuel Lima’s 9 Directives Manifesto offers a comprehensive guide to effective information visualization, distinguishing it from mere information art or infographics. This manifesto emphasizes that information visualization should serve as a tool to enhance understanding and insight rather than simply providing aesthetic appeal. The core idea is that every visualization should have a clear purpose, focusing on transforming raw data into meaningful knowledge through a thoughtful balance of form, function, and relevance.
The first directive, “Form Follows Function,” asserts that the design of a visualization should be driven by its purpose, with the ultimate goal of providing insight. This principle encourages designers to start with a specific question that the visualization should answer, ensuring that every design element serves a functional role.
The second directive, “Interactivity is Key,” highlights the importance of allowing users to explore data actively. Interactive elements enable users to discover patterns and relationships themselves, making the information more engaging and memorable.
“Cite Your Source,” the third directive, stresses the necessity of transparency in information visualization. Disclosing data sources not only builds credibility but also allows users to evaluate the accuracy and reliability of the information presented.
The fourth directive, “The Power of Narrative,” taps into the human affinity for stories. By framing data within a narrative structure, designers can make complex information more relatable and easier to comprehend, transforming raw data into a compelling story.
The fifth directive, “Do Not Glorify Aesthetics,” serves as a caution against prioritizing visual appeal over clarity and insight. While aesthetics play a role in attracting viewers, they should always be a consequence of effective design rather than a goal.
The sixth principle, “Look for Relevancy,” encourages designers to consider why a particular visualization is necessary and how it serves the audience's needs. This ensures that the information presented is not just visually pleasing but also practically useful.
“Embrace Time,” the seventh directive, emphasizes the complexity of representing time in visualizations. Effective time management in design allows for clearer narratives and better decision-making by highlighting trends and changes over time.
The eighth principle, “Aspire for Knowledge,” reinforces the ultimate goal of information visualization: to transform data into knowledge that aids cognition and understanding. This directive aligns closely with the idea of form following function, as the pursuit of knowledge should drive every aspect of the visualization.
Finally, the ninth directive, “Avoid Gratuitous Visualizations,” warns against adding unnecessary complexity that can obscure the message. Visualizations should act as cognitive filters that simplify and clarify information rather than overwhelming users with excessive details or decorative elements. This principle is crucial for maintaining clarity and ensuring that the viewer’s attention remains focused on the core insights.
In everyday design, Lima's directives can significantly improve how information is presented and understood. For example, when designing dashboards for business analytics, adhering to the principles of relevance, interactivity, and avoiding gratuitous elements can help users focus on key metrics without distraction.
Week 4 Lecture Slides :
Week 5 : Constructive Workflow
This week there is no exact lecture slide that needs to be taught so Mr Fauzi shared with us tips to maintaining a constructive workflow.
When I think about making my work more productive, I realize it all starts with how I think. The Constructive Workflow by Mr Fauzi Yusoff really resonated with me because it emphasizes the importance of synchronizing my workflow with how my brain functions. The idea that understanding how computer language works can make my ideas more digitally generative made me rethink how I approach my projects.
The first step is to understand the question clearly. I’ve noticed that when I rush through this part, I often miss the core problem, making my solutions less effective. Taking the time to really grasp what’s being asked helps me focus my efforts. After that, constructing a strategic plan is essential. Breaking down tasks into manageable steps allows me to see the path forward more clearly and reduces the overwhelm that comes with complex projects.
One of the most practical tips is to fill in the blanks—identifying and addressing gaps in my knowledge or resources before they become roadblocks. It’s something I tend to overlook, but being intentional about this step has made my workflow smoother. Also, seeking inspiration is a game-changer. I’ve found that exploring different design styles, looking at case studies, or even just stepping outside for a bit helps me return with fresh ideas.
Setting a perimeter, or defining clear boundaries for a project, is another tip that struck me. Without limits, I tend to add too much, which dilutes the focus of my work. By setting clear boundaries, I can channel my efforts more effectively and ensure that every element of the project serves a purpose.
The part that truly stands out to me is the emphasis on balancing my left and right brain. It’s easy to lean too much into the analytical side when planning or get carried away with creativity without direction. Recognizing the need for balance has helped me become more productive and focused.
In essence, the Constructive Workflow isn’t just about managing tasks—it's about managing how I think. By aligning my mental processes with my workflow, I feel more empowered to create effectively and even expand my business potential. It’s a reminder that productivity isn’t just about doing more but about thinking better. The link to the article is here.
2. Exercise 1 - Quantifiable Information
Requirements
- Quantify raw data and visualize information as a photograph
- Visual representation of numerical data that allows for easy interpretation and analysis.
Instruction:
Gather a set of objects and separate it into category such as color, shape, pattern, and other quantifiable factor.
Example:
1. Box of Lego
2. Jar of button
3. Jar of marble ball
4. Set of colourful rubber strap & more.
In this exercise you're required to quantify our chosen objects and arrange them into a presentable layout or chart.
The information must be presented as is, and you need to arrange the objects with relevant indicators written out with pens to help you to visualize the quantity and data. The examples of objects that can be use are buttons, coins, lego pieces, M&Ms, and more.
Submission:
E-Portfolio report consists of
1. Photo of the random objects before sorting out
2. Objects sorted out by categories (2 - 5 category)
3. Write and design the information on a piece of papers (A3 drawing paper)
- Visual representation of numerical data that allows for easy interpretation and analysis.
Instruction:
Gather a set of objects and separate it into category such as color, shape, pattern, and other quantifiable factor.
Example:
1. Box of Lego
2. Jar of button
3. Jar of marble ball
4. Set of colourful rubber strap & more.
In this exercise you're required to quantify our chosen objects and arrange them into a presentable layout or chart.
The information must be presented as is, and you need to arrange the objects with relevant indicators written out with pens to help you to visualize the quantity and data. The examples of objects that can be use are buttons, coins, lego pieces, M&Ms, and more.
Submission:
E-Portfolio report consists of
1. Photo of the random objects before sorting out
2. Objects sorted out by categories (2 - 5 category)
3. Write and design the information on a piece of papers (A3 drawing paper)
Progress
Choosing Materials :
For this exercise, I chose to quantify a box of random country-themed erasers that I often played with during my childhood. The box contains a mix of erasers representing different countries, with varying quantities for each. Given this diversity, I found it to be a suitable and engaging dataset for analysis.
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| Fig 2.1 Material Chosen |
Arrangement :
I began by sorting the erasers based on their respective countries, grouping those from the same country together. Once all the erasers were categorized, I arranged them in descending order, placing the country with the highest number of erasers at the front, followed by those with fewer. This systematic approach allowed me to visualize the distribution of erasers more clearly and made it easier to compare the representation of each country in my collection.
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| Fig 2.2 Initial Arrangement |
After organizing the erasers by country, I started brainstorming ways to arrange them into a meaningful story. This process reminded me of the world map and how it is divided into different continents. Inspired by this, I considered grouping the erasers based on their geographical locations, creating a visual representation of the world through my collection. This approach not only added a creative element to the arrangement but also sparked memories of how I used to imagine different countries interacting when I played with these erasers as a child.
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| Fig 2.3 Reference Of Continent Distribution |
I attempted to categorize the erasers according to their respective continents, hoping to create a clearer and more structured arrangement. However, despite my efforts, the setup still felt slightly messy. Some countries had significantly more erasers than others, creating an imbalance, while others didn’t fit neatly into their continent’s grouping. This made me reconsider my approach and explore alternative ways to organize them more effectively.
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| Fig 2.4 Erasers Arranged By Continents |
To improve the organization, I adapted a new approach by drawing out a world map and placing the erasers according to their respective continents. However, a major issue quickly arose—I didn’t have enough space to clearly display the number of erasers or arrange them in a way that accurately reflected their quantities. This was especially problematic for Europe, where the high concentration of erasers made the arrangement feel overcrowded. The limited space not only made it difficult to fit all the erasers but also reduced the clarity of the distribution, prompting me to rethink my method.
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| Fig 2.5 First Attempt At Arrangement |
Mr. Shamsul suggested that I try dividing the space into clear sections to better organize the erasers. Taking his advice, I made a second attempt by creating distinct divisions for each continent and incorporating a bar chart at the bottom to visually represent the number of erasers per country within each continent. This new approach significantly improved the clarity and organization of the display, making it much neater compared to my initial attempt. The structured layout not only made it easier to distinguish between continents but also provided a clearer visual comparison of the eraser distribution across different countries.
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| Fig 2.6 Second Attempt At Arrangement |
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| Fig 2.7 Final Quantifiable Information Data |
Final Submissions :
Final Quantifiable Information
Information Data
3. Feedback
Week 1 : Mr Shamsul suggested that using a map and arranging the erasers around it might look a little messy as it looks quite packed
4. Reflection
Experience :
This exercise provided a hands-on approach to quantifying and visually representing data, transforming a childhood collection into a structured dataset. Sorting through a box of country-themed erasers brought back memories, but also introduced an analytical aspect to something once considered purely recreational. Initially, I categorized the erasers by country, arranging them in descending order based on quantity. However, to create a more meaningful visual representation, I experimented with different layouts, including mapping them according to continents.
Observations :
Through this process, I observed that organization and space utilization play a significant role in the effectiveness of an infographic. My first attempt at arranging the erasers by continents revealed issues with balance and readability, as some continents had highly uneven distributions of erasers. Additionally, attempting to place the erasers directly on a world map made the visualization cluttered and difficult to interpret, particularly in areas like Europe, where the density of erasers created overcrowding.
Findings :
From this exercise, I learned that data visualization requires both logical structuring and creative problem-solving. While an initial idea may seem effective, the practical execution may reveal challenges that require adaptation and refinement. By experimenting with different layouts, I found that segmentation and the use of clear visual indicators—such as separate sections for continents and a supporting bar chart—greatly improve the interpretability of information.
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