This document provides a literature review and recommendations for designing flight deck documentation to optimize readability and comprehension. It discusses typographical factors like typefaces, font size, spacing, and line length that affect legibility and readability of printed text in the cockpit environment. The document also addresses environmental conditions like glare and paper quality that influence reading. It aims to bridge the gap between basic typography research and the information needs of flight deck documentation designers.
In the aftermath of the September 11, 2001 attacks on the World Trade Center Towers, and the inability of First Responders to effect a rescue of any victims above the aircraft impact points, the SKYSCRAPER EMERGENCY RESPONSE TEAM or IN-S.E.R.T., strategy was crafted with colleagues within academia, industry and government. Formulated with input from key members of the Detroit Fire Department, inclusive of the late General Manager Weylin Gildon, and the Chicago Fire Department, IN-S.E.R.T. was designed as a means to effectively rescue disaster victims trapped in historically inaccessible areas. In this case, the upper floors of a burning high-rise, while using off-the-shelf firefighting technology and modified first response rescue methodologies structured to epitomize operational simplicity. Moreover, it is to serve as a global first response template to be utilized by emergency teams in multiple countries benefitting from strict protocols of cooperation/collaboration.
IN-S.E.R.T. teams, strategically based around the world and equipped with Boeing C-17 Globemasters modestly modified for this mission, would be capable of responding to any emergency, anywhere.
This paper was presented to 18 Argonne National Laboratory scientists and 2 FEMA representatives for review on 18 October, 2001.
Copyright GHHLLC 2001-2008
248-695-0009
NOTICE OF AVAILABILITY, Draft Focused Environmental Assessment (EA) and Draft Finding of No Significant Impact (FONSI) for the Proposed Temporary Relocation of the 366th Fighter Wing (FW), Mountain Home Air Force Base, United States Air Force.
The Idaho Air National Guard invites the public to review and comment on the Draft Focused EA for the Proposed Temporary Relocation of the 366 FW.
In the aftermath of the September 11, 2001 attacks on the World Trade Center Towers, and the inability of First Responders to effect a rescue of any victims above the aircraft impact points, the SKYSCRAPER EMERGENCY RESPONSE TEAM or IN-S.E.R.T., strategy was crafted with colleagues within academia, industry and government. Formulated with input from key members of the Detroit Fire Department, inclusive of the late General Manager Weylin Gildon, and the Chicago Fire Department, IN-S.E.R.T. was designed as a means to effectively rescue disaster victims trapped in historically inaccessible areas. In this case, the upper floors of a burning high-rise, while using off-the-shelf firefighting technology and modified first response rescue methodologies structured to epitomize operational simplicity. Moreover, it is to serve as a global first response template to be utilized by emergency teams in multiple countries benefitting from strict protocols of cooperation/collaboration.
IN-S.E.R.T. teams, strategically based around the world and equipped with Boeing C-17 Globemasters modestly modified for this mission, would be capable of responding to any emergency, anywhere.
This paper was presented to 18 Argonne National Laboratory scientists and 2 FEMA representatives for review on 18 October, 2001.
Copyright GHHLLC 2001-2008
248-695-0009
NOTICE OF AVAILABILITY, Draft Focused Environmental Assessment (EA) and Draft Finding of No Significant Impact (FONSI) for the Proposed Temporary Relocation of the 366th Fighter Wing (FW), Mountain Home Air Force Base, United States Air Force.
The Idaho Air National Guard invites the public to review and comment on the Draft Focused EA for the Proposed Temporary Relocation of the 366 FW.
La meilleure façon d’assimiler de nouvelles connaissances est de les mettre en pratique, c’est la raison pour laquelle chaque chapitre du guide méthodologique comporte des renvois vers les activités de ce livret. Les activités doivent être réalisées en équipe, elles peuvent nécessiter des recherches personnelles ou des déplacements sur le terrain. La durée mentionnée à chaque fois est purement indicative, vous pouvez tout à fait prendre plus ou moins de temps que prévu. Comparez le temps qui vous est nécessaire avec nos estimations, puis planifiez vos réunions en conséquence.
Le kit pratique que vous vous apprêtez à
consulter aborde, de façon très concrète,
certaines thématiques qui occupent une
place croissante dans le métier de bibliothécaire,
au premier chef la question de
l’innovation.
Pourquoi les bibliothèques sont-elles concernées
par l’innovation, une notion que l’on rattache
plus volontiers à la sphère de l’industrie
ou de la technologie ? Tout simplement parce
que, depuis que le numérique est entré dans
nos vies quotidiennes, nous vivons tous
au rythme du changement technologique.
Les pratiques culturelles n’échappent pas
à ce phénomène : elles évoluent en permanence
à un rythme parfois difficile à suivre,
même pour des professionnels. Pour ne pas
être dépassés, les bibliothécaires doivent
apprendre à observer, à comprendre et à
intégrer au fur et à mesure ces nouveaux
usages, bref, à innover.
La démarche design, un outil pour renouveler les processus de l’urbanismeGeoffrey Dorne
Parti de l’univers du mobilier, le design s’est transformé en une véritable « science des processus » au service de l’homme qui se manifeste à travers une démarche d’intervention. Depuis plusieurs années, il s’intéresse de plus en plus à l’espace urbain et lui est bénéfique à de nombreux égards. Les exemples analysés permettent d’identifier les atouts que présente le design pour la ville et les impacts que celui-ci a sur les réalisations. Enfin, il s’agit de suggérer comment les méthodes propres au design peuvent être appropriées par les urbanistes afin d’adapter les processus d’intervention sur la ville à chaque contexte. Les bénéfices potentiels pour chaque acteur sont également mis en avant dans l’optique d’atteindre une ville intense
Le guide de la bonne relation entre annonceur et agence en designGeoffrey Dorne
Qu’il s’agisse de marques produits, de
lieux ou d’entreprises, la mission d’une
agence de design est de créer des uni
-
vers émotionnels spécifiques pour les
marques, univers porteurs de valeurs
pour les différentes parties prenantes
(consommateurs, prescripteurs, colla
-
borateurs, partenaires…).
Les agences de design françaises
emploient plusieurs centaines de desi
-
gners, formés dans les meilleures écoles
d’art graphique, imprégnés de cette
culture et de ce sens des marques qui
rendent leur travail si pertinent. Ce sont
aussi des stratèges qui auscultent les
tendances de nos sociétés pour en anti
-
ciper les grands mouvements.
Brand packaging, retail design ou corpo
-
rate branding, les métiers des agences
sont aujourd’hui tous largement digi
-
talisés.
POUR L’ADC
Frédéric MESSIAN
Président
POUR L’UDA
Étienne LECOMTE
Président
Pierre-Jean BOZO
Directeur Général
Les agences imaginent et donnent
corps à de nouvelles expériences de
marque, physiques et virtuelles, qui
accompagnent la transformation pro
-
fonde et durable des modèles écono
-
miques des entreprises.
Le design est une discipline qui s’ins
-
crit dans le long terme, parce qu’une
marque doit pour s’imposer respecter
son ADN. Mais le design est aussi la dis
-
cipline du temps court. Au-delà de l’an
-
ticipation des tendances, il suscite et
accompagne l’innovation.
Levier de transformation et de création
de valeurs puissant, la marque est plus
que jamais au cœur des préoccupations
de l’ensemble des entreprises.
design.
En d'autres termes, pendant que la formation du
designer continue à vivre placidement à l'ombre d'un
Bauhaus déjà légendaire, l'industrial design, pour sa
part, semble être dans une situation particulièrement
critique.
« Architectes, sculpteurs, peintres, tous nous devons retourner à l’artisanat » écrit l’architecte Walter Gropius dans son manifeste du Bauhaus. Fondé en 1919 à Weimar, dissout en 1933 à Berlin face à la montée du nazisme, le Bauhaus est une école d’enseignement artistique qui s’est imposée comme une référence incontournable de l’histoire de l’art du XXe siècle. Elle a été créée par Gropius pour rendre vie à l’habitat et à l’architecture au moyen de la synthèse des arts plastiques, de l’artisanat et de l’industrie.
Résultats de l'enquête relative aux tendances typographiquesGeoffrey Dorne
Les polices jouent un rôle essentiel dans les projets de tout type. Les polices sont aussi
importantes pour un graphiste que les couleurs le sont pour un peintre. Les fontes
représentent en effet la palette créative du concepteur.
J'ai souhaité mieux comprendre les professionnels de la création et me plonger dans
leur univers créatif. Pour transmettre un message, une grande partie du travail créatif
repose sur des textes et des polices. Une police ou un style de police peut même être le
point de départ de tout un mouvement créatif.
Dans le cadre de cette enquête, j'ai sélectionné plusieurs styles de police vus à droite à
gauche. J'étais curieux de voir les réactions de la communauté créative à ces tendances
et styles spécifiques. Les créateurs sont les premiers acteurs des changements
typographiques observés et je souhaitais vérifier certaines hypothèses émises par les
fonderies au sujet des nouvelles polices disponibles sur le marché.
Lorsque j'ai analysé les données de notre enquête sur les tendances typographiques, j'ai
été frappé par la passion qui animait les créatifs. Les créatifs sont des professionnels
vraiment passionnés !
J'espère que votre équipe et vous apprécierez la lecture de ce document et qu'il vous
sera utile. L'enquête vous aidera peut-être à décider quels styles de police privilégier.
Vous pouvez également avoir envie de lire les résultats de l'enquête simplement pour
satisfaire votre curiosité. Quoi qu'il en soit, nous vous souhaitons une agréable lecture !
Cette année encore au Campus Fonderie de l’Image, nous accueillons des professionnel-les pour les Puces de l’Illu #4, le marché de l’illustration contemporaine. Illustrateurs, illustratrices, éditeurs, éditrices, galeristes et libraires indépendants viendront vous présenter leurs œuvres samedi 10 et dimanche 11 décembre 2016 de 10h à 19h. Ces deux journées de rencontre sont l’occasion de mettre en valeur le design graphique , l’illustration sous tous ses formats et sa production artisanale et numérique.
Les Puces de l’Illu seront inaugurées par un colloque à destination des étudiant-es le jeudi 24 novembre sur la parité dans la création visuelle intitulé 93 % meufs, 100 % illustration, Parité, nf : égalité entre illustratrices et illustrateurs mettant en lumière les question des solidarités et des discriminations de genre.
Amateurs-trices, passionné-es, engagé-es ne manquez pas ces journées riches en découvertes graphiques !
INNOVER EN FRANCE AVEC LE DESIGN THINKING ? MémoireGeoffrey Dorne
Avant de présenter le design thinking tel qu’il sera
défini dans le cadre de ce mémoire, il nous semble
important de comprendre d’où vient cette notion.
Cette mise en perspective historique mettra en
lumière le fait qu’il n’existe pas une définition
incontestée et incontestable du design thinking.
(Chapitre 1)
Fort de ce constat, nous choisirons de traiter le
design thinking en tant que méthodologie d’innovation
développée tout au long des années 90 dans
la prestigieuse université de Stanford. Plus spécifiquement,
nous présenterons la pensée de Tim
Brown, CEO de l’agence d’innovation IDEO et apôtre
depuis une quinzaine d’années du design thinking.
Il s’agit de l’approche la plus diffusée en France ces
dernières années. (Chapitre 2)
Enfin, nous dépasserons cette vision pour mettre en
lumière les grands principes sur lesquels le design
thinking repose : la reformulation de la question
de départ, le process de design et le fait de placer
l’humain au coeur de la démarche. (Chapitre 3)
1. Le design et les métiers d’art : deux secteurs économiques en plein essor représentant un atout
formidable de la France
Le design et les métiers d’art font partie des « industries créatives » (ICC) dans la terminologie
européenne qui représentent aujourd’hui près de 2,6 % du PIB européen et ont un taux de
croissance supérieur à la moyenne. Le chiffre d’affaires du design en France est estimé en 2010
entre 1,9 et 3,4 milliards d’euros.
Le nombre de designers exerçant leur activité à titre principal se situe, en 2010, entre 30 et 33 000,
l’effectif total concerné par l’activité design étant estimé entre 46 et 56 000 personnes, dont 50 %
intégrés dans des entreprises et 50 % indépendants.
Le design n’est plus une question de forme et d’esthétique
Depuis « l’esthétique industrielle » de l’aprèsͲguerre, le design a gagné tous les domaines de la
relation entre l’homme et la machine, entre l’homme et son environnement. Centré davantage sur
l’utilisateur que sur l’objet, le design s’est étendu à des méthodes de management avec le design
Thinking, aux sciences de la conception. Touchant des domaines aussi divers que les nouvelles
technologies, l’écoͲdéveloppement, les politiques publiques et sociales, il est par essence
pluridisciplinaire, polysémique et intégrateur. Le design s’est imposé dans la société civile à la croisée
entre l’art, la science, la technologie, les humanités numériques et il est en totale connexion avec le
monde d’aujourd’hui dans sa réalité concrète et économique.
Il a sa place au MIT à Stanford et dans tous les grands établissements qui pensent et préparent
l’avenir de nos futurs modes de vies, « villes connectées », « prothèses intelligentes », « supports
numériques » etc.
La légitimité d’une recherche en design aussi bien dans les écoles d’art, à l’université que dans les
écoles d’ingénieurs ou de commerce ne devrait plus être sérieusement contestable.
La vingt-deuxième édition de la revue Graphisme en France est parue, publiée par le Centre national des arts plastiques (Cnap). Elle aborde la question de la recherche dans les champs du design graphique et de la typographie.
Un ensemble de contributions inédites, commandées à des chercheurs permet d’établir un panorama non exhaustif sur un domaine en plein développement. Qu’elle s’inscrive dans le projet d’une école d’art, au sein d’universités ou dans la pratique d’ateliers de designers graphiques, la recherche est multiforme et plurielle.
Éloïsa Perez, designer et doctorante dresse un panorama de la recherche en France tandis qu’Alice Twemlow, auteur et enseignante, propose de découvrir des projets menés à l’étranger. Catherine Guiral, designer graphique, partage quant à elle les orientations qui ont été les siennes dans la recherche qu’elle mène sur le travail de Pierre Faucheux. Annick Lantenois et Gilles Rouffineau, enseignants à l’École supérieure d’art et design Grenoble-Valence présentent le programme de recherche qu’ils dirigent dans leur établissement et notamment les enjeux en terme de pédagogie. La typographie est un domaine de recherche spécifique qui bénéficie de programmes particuliers détaillés par Sébastien Morlighem, historien et enseignant. Enfin, Catherine de Smet, historienne de l’art et enseignante raconte l’histoire d’une recherche sur le collectif Grapus, fruit de la collaboration entre plusieurs établissements qui a abouti à la publication d’un ouvrage.
Alice Jauneau et David Vallance, issus de l’Atelier national de recherche typographique (2014-2015) ont réalisé le design graphique de ce numéro. Ils se sont inspirés du vocabulaire visuel et de la mise en forme des ouvrages de transmission du savoir. Le caractère typographique qu’ils ont choisi d’utiliser, le Walther a lui-même été dessiné par Sarah Kremer dans le cadre d’une recherche sur un dictionnaire.
PROCESSUS DE SOLUTION EN DESIGN POUR UNE CRÉATIVITÉ ÉCOLOGIQUEGeoffrey Dorne
Comment peut-on comprendre la notion de « créativité » ? Est-ce une méthode ? Un processus ? On inscrit notre étude dans le modèle de recherche en design de Findeli, comme
une recherche sur le design par le design pour l’éco-design. L’approche de cet article est une application de la méthode des « analogies formelles des situations » aux théories et processus de conception en design
La meilleure façon d’assimiler de nouvelles connaissances est de les mettre en pratique, c’est la raison pour laquelle chaque chapitre du guide méthodologique comporte des renvois vers les activités de ce livret. Les activités doivent être réalisées en équipe, elles peuvent nécessiter des recherches personnelles ou des déplacements sur le terrain. La durée mentionnée à chaque fois est purement indicative, vous pouvez tout à fait prendre plus ou moins de temps que prévu. Comparez le temps qui vous est nécessaire avec nos estimations, puis planifiez vos réunions en conséquence.
Le kit pratique que vous vous apprêtez à
consulter aborde, de façon très concrète,
certaines thématiques qui occupent une
place croissante dans le métier de bibliothécaire,
au premier chef la question de
l’innovation.
Pourquoi les bibliothèques sont-elles concernées
par l’innovation, une notion que l’on rattache
plus volontiers à la sphère de l’industrie
ou de la technologie ? Tout simplement parce
que, depuis que le numérique est entré dans
nos vies quotidiennes, nous vivons tous
au rythme du changement technologique.
Les pratiques culturelles n’échappent pas
à ce phénomène : elles évoluent en permanence
à un rythme parfois difficile à suivre,
même pour des professionnels. Pour ne pas
être dépassés, les bibliothécaires doivent
apprendre à observer, à comprendre et à
intégrer au fur et à mesure ces nouveaux
usages, bref, à innover.
La démarche design, un outil pour renouveler les processus de l’urbanismeGeoffrey Dorne
Parti de l’univers du mobilier, le design s’est transformé en une véritable « science des processus » au service de l’homme qui se manifeste à travers une démarche d’intervention. Depuis plusieurs années, il s’intéresse de plus en plus à l’espace urbain et lui est bénéfique à de nombreux égards. Les exemples analysés permettent d’identifier les atouts que présente le design pour la ville et les impacts que celui-ci a sur les réalisations. Enfin, il s’agit de suggérer comment les méthodes propres au design peuvent être appropriées par les urbanistes afin d’adapter les processus d’intervention sur la ville à chaque contexte. Les bénéfices potentiels pour chaque acteur sont également mis en avant dans l’optique d’atteindre une ville intense
Le guide de la bonne relation entre annonceur et agence en designGeoffrey Dorne
Qu’il s’agisse de marques produits, de
lieux ou d’entreprises, la mission d’une
agence de design est de créer des uni
-
vers émotionnels spécifiques pour les
marques, univers porteurs de valeurs
pour les différentes parties prenantes
(consommateurs, prescripteurs, colla
-
borateurs, partenaires…).
Les agences de design françaises
emploient plusieurs centaines de desi
-
gners, formés dans les meilleures écoles
d’art graphique, imprégnés de cette
culture et de ce sens des marques qui
rendent leur travail si pertinent. Ce sont
aussi des stratèges qui auscultent les
tendances de nos sociétés pour en anti
-
ciper les grands mouvements.
Brand packaging, retail design ou corpo
-
rate branding, les métiers des agences
sont aujourd’hui tous largement digi
-
talisés.
POUR L’ADC
Frédéric MESSIAN
Président
POUR L’UDA
Étienne LECOMTE
Président
Pierre-Jean BOZO
Directeur Général
Les agences imaginent et donnent
corps à de nouvelles expériences de
marque, physiques et virtuelles, qui
accompagnent la transformation pro
-
fonde et durable des modèles écono
-
miques des entreprises.
Le design est une discipline qui s’ins
-
crit dans le long terme, parce qu’une
marque doit pour s’imposer respecter
son ADN. Mais le design est aussi la dis
-
cipline du temps court. Au-delà de l’an
-
ticipation des tendances, il suscite et
accompagne l’innovation.
Levier de transformation et de création
de valeurs puissant, la marque est plus
que jamais au cœur des préoccupations
de l’ensemble des entreprises.
design.
En d'autres termes, pendant que la formation du
designer continue à vivre placidement à l'ombre d'un
Bauhaus déjà légendaire, l'industrial design, pour sa
part, semble être dans une situation particulièrement
critique.
« Architectes, sculpteurs, peintres, tous nous devons retourner à l’artisanat » écrit l’architecte Walter Gropius dans son manifeste du Bauhaus. Fondé en 1919 à Weimar, dissout en 1933 à Berlin face à la montée du nazisme, le Bauhaus est une école d’enseignement artistique qui s’est imposée comme une référence incontournable de l’histoire de l’art du XXe siècle. Elle a été créée par Gropius pour rendre vie à l’habitat et à l’architecture au moyen de la synthèse des arts plastiques, de l’artisanat et de l’industrie.
Résultats de l'enquête relative aux tendances typographiquesGeoffrey Dorne
Les polices jouent un rôle essentiel dans les projets de tout type. Les polices sont aussi
importantes pour un graphiste que les couleurs le sont pour un peintre. Les fontes
représentent en effet la palette créative du concepteur.
J'ai souhaité mieux comprendre les professionnels de la création et me plonger dans
leur univers créatif. Pour transmettre un message, une grande partie du travail créatif
repose sur des textes et des polices. Une police ou un style de police peut même être le
point de départ de tout un mouvement créatif.
Dans le cadre de cette enquête, j'ai sélectionné plusieurs styles de police vus à droite à
gauche. J'étais curieux de voir les réactions de la communauté créative à ces tendances
et styles spécifiques. Les créateurs sont les premiers acteurs des changements
typographiques observés et je souhaitais vérifier certaines hypothèses émises par les
fonderies au sujet des nouvelles polices disponibles sur le marché.
Lorsque j'ai analysé les données de notre enquête sur les tendances typographiques, j'ai
été frappé par la passion qui animait les créatifs. Les créatifs sont des professionnels
vraiment passionnés !
J'espère que votre équipe et vous apprécierez la lecture de ce document et qu'il vous
sera utile. L'enquête vous aidera peut-être à décider quels styles de police privilégier.
Vous pouvez également avoir envie de lire les résultats de l'enquête simplement pour
satisfaire votre curiosité. Quoi qu'il en soit, nous vous souhaitons une agréable lecture !
Cette année encore au Campus Fonderie de l’Image, nous accueillons des professionnel-les pour les Puces de l’Illu #4, le marché de l’illustration contemporaine. Illustrateurs, illustratrices, éditeurs, éditrices, galeristes et libraires indépendants viendront vous présenter leurs œuvres samedi 10 et dimanche 11 décembre 2016 de 10h à 19h. Ces deux journées de rencontre sont l’occasion de mettre en valeur le design graphique , l’illustration sous tous ses formats et sa production artisanale et numérique.
Les Puces de l’Illu seront inaugurées par un colloque à destination des étudiant-es le jeudi 24 novembre sur la parité dans la création visuelle intitulé 93 % meufs, 100 % illustration, Parité, nf : égalité entre illustratrices et illustrateurs mettant en lumière les question des solidarités et des discriminations de genre.
Amateurs-trices, passionné-es, engagé-es ne manquez pas ces journées riches en découvertes graphiques !
INNOVER EN FRANCE AVEC LE DESIGN THINKING ? MémoireGeoffrey Dorne
Avant de présenter le design thinking tel qu’il sera
défini dans le cadre de ce mémoire, il nous semble
important de comprendre d’où vient cette notion.
Cette mise en perspective historique mettra en
lumière le fait qu’il n’existe pas une définition
incontestée et incontestable du design thinking.
(Chapitre 1)
Fort de ce constat, nous choisirons de traiter le
design thinking en tant que méthodologie d’innovation
développée tout au long des années 90 dans
la prestigieuse université de Stanford. Plus spécifiquement,
nous présenterons la pensée de Tim
Brown, CEO de l’agence d’innovation IDEO et apôtre
depuis une quinzaine d’années du design thinking.
Il s’agit de l’approche la plus diffusée en France ces
dernières années. (Chapitre 2)
Enfin, nous dépasserons cette vision pour mettre en
lumière les grands principes sur lesquels le design
thinking repose : la reformulation de la question
de départ, le process de design et le fait de placer
l’humain au coeur de la démarche. (Chapitre 3)
1. Le design et les métiers d’art : deux secteurs économiques en plein essor représentant un atout
formidable de la France
Le design et les métiers d’art font partie des « industries créatives » (ICC) dans la terminologie
européenne qui représentent aujourd’hui près de 2,6 % du PIB européen et ont un taux de
croissance supérieur à la moyenne. Le chiffre d’affaires du design en France est estimé en 2010
entre 1,9 et 3,4 milliards d’euros.
Le nombre de designers exerçant leur activité à titre principal se situe, en 2010, entre 30 et 33 000,
l’effectif total concerné par l’activité design étant estimé entre 46 et 56 000 personnes, dont 50 %
intégrés dans des entreprises et 50 % indépendants.
Le design n’est plus une question de forme et d’esthétique
Depuis « l’esthétique industrielle » de l’aprèsͲguerre, le design a gagné tous les domaines de la
relation entre l’homme et la machine, entre l’homme et son environnement. Centré davantage sur
l’utilisateur que sur l’objet, le design s’est étendu à des méthodes de management avec le design
Thinking, aux sciences de la conception. Touchant des domaines aussi divers que les nouvelles
technologies, l’écoͲdéveloppement, les politiques publiques et sociales, il est par essence
pluridisciplinaire, polysémique et intégrateur. Le design s’est imposé dans la société civile à la croisée
entre l’art, la science, la technologie, les humanités numériques et il est en totale connexion avec le
monde d’aujourd’hui dans sa réalité concrète et économique.
Il a sa place au MIT à Stanford et dans tous les grands établissements qui pensent et préparent
l’avenir de nos futurs modes de vies, « villes connectées », « prothèses intelligentes », « supports
numériques » etc.
La légitimité d’une recherche en design aussi bien dans les écoles d’art, à l’université que dans les
écoles d’ingénieurs ou de commerce ne devrait plus être sérieusement contestable.
La vingt-deuxième édition de la revue Graphisme en France est parue, publiée par le Centre national des arts plastiques (Cnap). Elle aborde la question de la recherche dans les champs du design graphique et de la typographie.
Un ensemble de contributions inédites, commandées à des chercheurs permet d’établir un panorama non exhaustif sur un domaine en plein développement. Qu’elle s’inscrive dans le projet d’une école d’art, au sein d’universités ou dans la pratique d’ateliers de designers graphiques, la recherche est multiforme et plurielle.
Éloïsa Perez, designer et doctorante dresse un panorama de la recherche en France tandis qu’Alice Twemlow, auteur et enseignante, propose de découvrir des projets menés à l’étranger. Catherine Guiral, designer graphique, partage quant à elle les orientations qui ont été les siennes dans la recherche qu’elle mène sur le travail de Pierre Faucheux. Annick Lantenois et Gilles Rouffineau, enseignants à l’École supérieure d’art et design Grenoble-Valence présentent le programme de recherche qu’ils dirigent dans leur établissement et notamment les enjeux en terme de pédagogie. La typographie est un domaine de recherche spécifique qui bénéficie de programmes particuliers détaillés par Sébastien Morlighem, historien et enseignant. Enfin, Catherine de Smet, historienne de l’art et enseignante raconte l’histoire d’une recherche sur le collectif Grapus, fruit de la collaboration entre plusieurs établissements qui a abouti à la publication d’un ouvrage.
Alice Jauneau et David Vallance, issus de l’Atelier national de recherche typographique (2014-2015) ont réalisé le design graphique de ce numéro. Ils se sont inspirés du vocabulaire visuel et de la mise en forme des ouvrages de transmission du savoir. Le caractère typographique qu’ils ont choisi d’utiliser, le Walther a lui-même été dessiné par Sarah Kremer dans le cadre d’une recherche sur un dictionnaire.
PROCESSUS DE SOLUTION EN DESIGN POUR UNE CRÉATIVITÉ ÉCOLOGIQUEGeoffrey Dorne
Comment peut-on comprendre la notion de « créativité » ? Est-ce une méthode ? Un processus ? On inscrit notre étude dans le modèle de recherche en design de Findeli, comme
une recherche sur le design par le design pour l’éco-design. L’approche de cet article est une application de la méthode des « analogies formelles des situations » aux théories et processus de conception en design
This is seminar report of ageing of aircraft.this useful for those student who want to give seminar on designing area of aircraft.In this report you will find brief introduction of ageing of aircraft.
2HOW THANKSGIVING AND SUPER BOWL TRAFFIC CONTRIBUTE TO FLIGH.docxlorainedeserre
2
HOW THANKSGIVING AND SUPER BOWL TRAFFIC CONTRIBUTE TO FLIGHT DELAYS Comment by Jeremy Hodges: You should have a meaningful title that describes what your study is about. Start with a word like “examine” or “explore” to identify the type of study you conducted.
by
XXXXX
A Graduate Capstone Project Submitted to the College of Aeronautics,
Department of Graduate Studies, in Partial Fulfillment
of the Requirements for the Degree of
Master of Science in Aeronautics
Embry-Riddle Aeronautical University
Worldwide Campus
May 2018
HOW THANKSGIVING AND SUPER BOWL TRAFFIC CONTRIBUTE TO FLIGHT DELAYS
by
XXXXX
This Graduate Capstone Project was prepared under the direction of the candidate’s Graduate Capstone Project Chair, XXXXX, Comment by Jeremy Hodges: Dr. Jeremy Hodges
Worldwide Campus, and has been approved. It was submitted to the
Department of Graduate Studies in partial fulfillment
of the requirements for the degree of
Master of Science in Aeronautics
Graduate Capstone Project:
___________________________________________
XXXXXXXX. Comment by Jeremy Hodges: Jeremy Hodges, PhD
Graduate Capstone Project Chair
________________
xxii
Date
xxii
ii
xxii
xxii
ixAcknowledgements Comment by Jeremy Hodges: Add any acknowledgments here. You may use first person in this section, but avoid it everywhere else.
I'd like to thank my legs, for always supporting me; my arms, who are always by my side; and lastly my fingers, I can always count on them.
Abstract
Scholar: XXXXX
Title: How Thanksgiving and Super Bowl Traffic Contribute to Flight Delays
Institution: Embry-Riddle Aeronautical University
Degree: Master of Science in Aeronautics
Year: 2017
This study explores the effects of non-scheduled flights on scheduled flight delays during Thanksgiving and Super Bowl across 5 years. Flight delay data were collected from the Bureau of Transport Statistics and the Federal Aviation Administration. Super Bowl and Thanksgiving were chosen as the special events of interest for this study as they provided complementary datasets. Super Bowl showed an increase in non-scheduled flights whereas Thanksgiving showed greater scheduled flight operations. The results of this study concluded that scheduled flights showed greater delays during Super Bowl when compared to Thanksgiving. A significant interaction was also found to exist between scheduled and non-scheduled flights operating during the two special events. Both scheduled flight delays and non-scheduled flight delays increased during Super Bowl. However, during Thanksgiving this relationship did not exist – scheduled flights had much fewer delays than non-scheduled flights. Due to the increase in the number of non-scheduled flight operations during Super Bowl, delays increased thereby increasing operating costs for flights. The outcomes of this study shed light on another aspect of airspace efficiency that could be researched to reduce costs and improv ...
2HOW THANKSGIVING AND SUPER BOWL TRAFFIC CONTRIBUTE TO FLIGH.docxjesusamckone
2
HOW THANKSGIVING AND SUPER BOWL TRAFFIC CONTRIBUTE TO FLIGHT DELAYS Comment by Jeremy Hodges: You should have a meaningful title that describes what your study is about. Start with a word like “examine” or “explore” to identify the type of study you conducted.
by
XXXXX
A Graduate Capstone Project Submitted to the College of Aeronautics,
Department of Graduate Studies, in Partial Fulfillment
of the Requirements for the Degree of
Master of Science in Aeronautics
Embry-Riddle Aeronautical University
Worldwide Campus
May 2018
HOW THANKSGIVING AND SUPER BOWL TRAFFIC CONTRIBUTE TO FLIGHT DELAYS
by
XXXXX
This Graduate Capstone Project was prepared under the direction of the candidate’s Graduate Capstone Project Chair, XXXXX, Comment by Jeremy Hodges: Dr. Jeremy Hodges
Worldwide Campus, and has been approved. It was submitted to the
Department of Graduate Studies in partial fulfillment
of the requirements for the degree of
Master of Science in Aeronautics
Graduate Capstone Project:
___________________________________________
XXXXXXXX. Comment by Jeremy Hodges: Jeremy Hodges, PhD
Graduate Capstone Project Chair
________________
xxii
Date
xxii
ii
xxii
xxii
ixAcknowledgements Comment by Jeremy Hodges: Add any acknowledgments here. You may use first person in this section, but avoid it everywhere else.
I'd like to thank my legs, for always supporting me; my arms, who are always by my side; and lastly my fingers, I can always count on them.
Abstract
Scholar: XXXXX
Title: How Thanksgiving and Super Bowl Traffic Contribute to Flight Delays
Institution: Embry-Riddle Aeronautical University
Degree: Master of Science in Aeronautics
Year: 2017
This study explores the effects of non-scheduled flights on scheduled flight delays during Thanksgiving and Super Bowl across 5 years. Flight delay data were collected from the Bureau of Transport Statistics and the Federal Aviation Administration. Super Bowl and Thanksgiving were chosen as the special events of interest for this study as they provided complementary datasets. Super Bowl showed an increase in non-scheduled flights whereas Thanksgiving showed greater scheduled flight operations. The results of this study concluded that scheduled flights showed greater delays during Super Bowl when compared to Thanksgiving. A significant interaction was also found to exist between scheduled and non-scheduled flights operating during the two special events. Both scheduled flight delays and non-scheduled flight delays increased during Super Bowl. However, during Thanksgiving this relationship did not exist – scheduled flights had much fewer delays than non-scheduled flights. Due to the increase in the number of non-scheduled flight operations during Super Bowl, delays increased thereby increasing operating costs for flights. The outcomes of this study shed light on another aspect of airspace efficiency that could be researched to reduce costs and improv.
Study of Aircraft Wing with Emphasis on Vibration CharacteristicsIJERA Editor
It is essential that the structural stability of the aircraft wings is a major consideration in the design of the aircraft. Many studies are being carried out for the design of the wings across the globe by the researches to strengthen the aircraft wings for steady and sturdy structures for dynamic conditions. The design of the aircraft wing using NACA standards is been discussed in this work. The wing analysis is carried out by using computer numerical analysis tool, viz., CAD/CAE and CFD. The necessary inputs for carrying out the structural analysis with emphasis on the vibration are obtained by CFD analysis. The deformation of the wing structures are investigated with respect to the standard airflow velocity. The velocity of air at the inlet is taken as 122 m/s (438 km/h), considering service ceiling of 7625 m at moderate temperature. The modal analysis is considered to analyse the wing to determine the natural frequency for vibration characteristics of the wing structure. The study of the effect of the stresses and deformations of the wing structure on the vibration characteristics of the wing is carried out to understand the effect of stress on natural frequency of the aircraft wing structure. Hence it is possible to correlate the effect of wind pressure on the vibration of the wing structure for particular design of the wing (NACA). The CFD results revealed that the pressure on the upper surface of the wing for all the wing section planes (butt planes-BL) is less, about -4.97e3N/mm2, as compared to the pressure on the lower surface, about 1.08e4 N/mm2, which satisfy the theory of lift generation. The pre-stressed modal analysis shows the correlation of the stress, deformation and the corresponding mode of vibration. It is found that the maximum deformation of 17.164 mm is corresponding to the modal frequency of 179.65 Hz which can be considered as design frequency of the wing structure. However the fundamental natural frequency of the wing structure is 10.352 Hz for the deformation of 11.383 mm.
Improvements to Situational Awareness During Approach and Landing Through Enh...Justin Stephen Brown
Pilot workload varies greatly during a typical flight. Technological advances are designed to reduce pilot workload and improve safety by eliminating pilot tasks during the busiest phases of flight - approach and landing. But do these new systems actually increase pilot workload? How do we measure the workload on the pilot? How do we measure safety?
Justin Stephen Brown
Technical Development of Design & Fabrication of an Unmanned Aerial VehicleIOSR Journals
: UAV (Unmanned Aerial Vehicle) is an air vehicle which is largely used for surveillance, monitoring,
reconnaissance, data relay, and data collection or to enter the area which is not safe for human i.e. flood
affected or virus affected area. This paper represents the unique design of such an UAV which designed at
MILITARY INSTITUTE OF SCIENCE & TECHNOLOGY to participate in an international competition SAE
Aero Design West-2013. As per competition requirement empty weight of the UAV must be less than 2 lb and
must fly with payload as heavy as possible for good scoring. Initially, the model of the UAV was tested in wind
tunnel and the test data showed that the model aircraft performance was capable enough for flying and covering
an area specified in the competition. Subsequently, an actual aircraft was fabricated of that model and flight
tested which proved the match with theoretical, statistical and experimental data that was obtained from wind
tunnel test, wing tip test, tensile test of manufacturing material and CFD (Computational Fluid Dynamics) flow
simulation over the aerofoil.
Available online at httpdocs.lib.purdue.edujateJournal.docxcelenarouzie
Available online at http://docs.lib.purdue.edu/jate
Journal of Aviation Technology and Engineering 3:2 (2014) 2–13
Crew Resource Management Application in Commercial Aviation
Frank Wagener
Embry-Riddle Aeronautical University
David C. Ison
Embry-Riddle Aeronautical University–Worldwide
Abstract
The purpose of this study was to extend previous examinations of commercial multi-crew airplane accidents and incidents to evaluate
the Crew Resource Management (CRM) application as it relates to error management during the final approach and landing phase of
flight. With data obtained from the Federal Aviation Administration (FAA) and the National Transportation Safety Board (NTSB), a x2
test of independence was performed to examine if there would be a statistically significant relationship between airline management
practices and CRM-related causes of accidents/incidents. Between 2002 and 2012, 113 accidents and incidents occurred in the researched
segments of flight. In total, 57 (50 percent) accidents/incidents listed a CRM-related casual factor or included a similar commentary within
the analysis section of the investigation report. No statistically significant relationship existed between CRM-related accidents/incidents
About the Authors
Frank Wagener currently works for Aviation Performance
Solution
s LLC (APS), dba APS Emergency Maneuver Training, based at the Phoenix-Mesa
Gateway Airport in Mesa, Arizona. APS offers comprehensive LOC-I solutions via industry-leading, computer-based, on-aircraft, and advanced full-flight
simulator upset recovery and prevention training programs. Wagener spent over 20 years in the German Air Force flying fighter and fighter training aircraft
and retired in 2011. He flew and instructed in Germany, Canada, and the United States. He holds several international pilot certificates including ATP,
CPL, CFI, as well as a 737 type rating. He graduated with honors from the Master’s in Aeronautical Science Program at Embry-Riddle Aeronautical
University. Correspondence concerning this article should be sent to [email protected]
David C. Ison has been involved in the aviation industry for over 27 years, during which he has flown as a flight instructor and for both regional and
major airlines. He has experience in a wide variety of aircraft from general aviation types to heavy transport aircraft. While flying for a major airline, Ison
was assigned to fly missions all over the world in a Lockheed L-1011. Most recently, he flew Boeing 737–800 aircraft throughout North and Central
America. He worked as an associate professor of aviation for 7 years at a small college in Montana. He is currently Discipline Chair–Aeronautics and an
assistant professor of aeronautics for Embry-Riddle Aeronautical University–Worldwide. Ison has conducted extensive research concerning aviation
faculty, plagiarism in dissertations, statistics in aviation research, as well as the participation of women and minorities in aviation. His previo.
Rendre la critique créative. La démarche abductive et pragmatique du design E...Geoffrey Dorne
La démarche à la fois abductive et pragmatique du design se nourrit du terrain puis s’en détache pour proposer des scénarii à vivre, se préoccupant de l’expérience humaine dans toutes ses dimensions. Sa vocation est d’« améliorer ou au moins maintenir l’habitabilité du monde » (Findeli, 2010, 292). Basé sur un dialogue entre textes et retours d’expériences de l’auteure, designer chercheuse française, cet article vise à dresser un portrait du praticien réflexif et à dessiner quelques jalons pour outiller sa démarche, portée par un questionnement éthique. Les notions théoriques seront interrogées au regard de l’expérience, des rencontres interdisciplinaires, et des paradoxes de l’identité flexible du praticien réflexif. Renégociant perpétuellement son positionnement ainsi que ses outils, c’est une force à la fois critique et créative que celui-ci cherche à exercer dans les entreprises et la société au sens large.
Cette 23e édition de Graphisme en France propose, pour
la première fois, un objet central dans la pratique des designers
graphiques : les logotypes et les identités visuelles.
Ce sujet très large est abordé selon plusieurs aspects
qui tendent plus à une compréhension globale des origines
et des pratiques qu’à une quelconque exhaustivité.
Ainsi, Roger R. Remington, historien et directeur du Vignelli
Center for Design Studies, revient sur les origines et
les développements des identités visuelles aux États-Unis.
La traduction d’un texte de Paul Rand datant de 1991 permet de
comprendre la position de cet immense designer qui a aussi
beaucoup écrit sur sa pratique. Vivien Philizot, lui même designer
et chercheur en études visuelles, nous invite à un parcours
sur l’histoire des logos, et décrypte leur impact et leur sens dans
notre environnement visuel. Ruedi Baur, designer et concepteur
d’innombrables identités visuelles pour des institutions en France
et à l’étranger, partage ses préconisations au regard de
son expérience. Enfin, Martin Lorenz, designer, nous fait part
de ses recherches sur les identités visuelles fluides, suscitées
par la généralisation des supports numériques.
Cette nouvelle édition est l’occasion d’une collaboration
avec Elsa Aupetit et Martin Plagnol. Diplômés de l’École nationale
supérieure des arts décoratifs de Paris en 2012, ils ont fondé l’atelier
Kiösk en 2015. S’inspirant de la structure des chartes graphiques,
ils ont conçu ce document à la manière d’un ouvrage technique.
L’utilisation du caractère typographique Programme, créé
par les designers suisses de Maximage, permet des variations
tout en donnant à l’ensemble une identité forte.
Comme chaque année, le calendrier des événements
organisés dans toute la France témoigne d’initiatives et de projets
toujours plus nombreux. Le Cnap accompagne et promeut par
de nombreuses actions ce réseau de diffusion national du design
graphique et de la typographie afin de permettre une meilleure
reconnaissance de ces pratiques et d’aller à la rencontre d’un public
toujours plus large.
L'enjeu du design industriel en 1980 - Quand on demande à un expert anglo-saxon les
raisons du succès exceptionnel de l'industrie automobile
française, au moment où ses concurrentes américaines,
anglaises, italiennes, allemandes sont en difficulté, il
répond invariablement: «Les automobiles françaises
ont un meilleur design » — signifiant par là que ce n'est
ni l'avance technologique, ni la gestion des entreprises
qui fait la différence mais l'architecture du produit, son
esthétique et sa valeur d'usage.
Le diagnostic se confirme
Design, ergonomie et IHM : études complémentaires pour favoriser les activité...Geoffrey Dorne
Compte tenu des enjeux relatifs aux activités créatives de conception–qui visent à créer des produits à la fois nouveaux et adaptés au contexte, nous soulignons d’abord les caractéristiques de ce type d’activité. Ensuite, nous décrivons plusieurs études expérimentales, réalisées afin de mieux comprendre l’impact de la présentation de certains stimuli présentés sous forme d’images ou de mots clés sur le processus d’évocation de participants possédant différents niveaux d’expertise en conception (novice, expérimentés ou professionnels). Nous présentons ensuite deux environnements numériques de conception qui résument certains aspects mis en avant pendant les études expérimentales: le système TRENDS et le système SKIPPI system, qui permettent respectivement aux concepteurs-utilisateurs d’avoir accès à des images ou à des mots. Des analyses ergonomiques sont finalement réalisées sur l’utilisation de chacun de ces systèmes. Ainsi, cet article nous permet de montrer l’importance d’un travail multi-disciplinaire associant l’ergonomie, la conception et le design, et le développement d’outils numériques d’aide à la conception.
ecology by design METTRE L’INFORMATIQUE AU SERVICE DE LA TRANSFORMATION ÉCOLO...Geoffrey Dorne
La transition écologique est notre horizon, notre objectif, mais 30 ans
de déceptions
nous obligent à admettre qu’elle sait mieux décrire son but,
que son chemin.
La transition numérique est notre quotidien, notre levier..., mais c’est une force
sans but collectif, qui transforme tout ce qu’elle touche, sans trop savoir en quoi.
L’une a le but, l’autre le chemin : chacune des deux transitions a besoin de l’autre !
Et pourtant leurs acteurs communiquent trop peu et trop mal.
Transitions2 s’adresse à toutes celles et tous ceux qui ne se satisfont pas
de cette disjonction. À celles et ceux qui agissent, pensent, militent, inventent,
créent à l’intersection du numérique et de l’écologie.
Mettons la puissance transformatrice du numérique au service
de la transition écologique !
Rendons la transition écologique aussi attractive, excitante, dérangeante,
mobilisatrice et même addictive, que le numérique !
DE L’HYPERTEXTE AU DESIGN MONOPAGE: UNE TRANSITION SÉMIOTIQUEGeoffrey Dorne
Dans la communauté des concepteurs de site web
(webdesigners), le design de site dit monopage (single-page
design, one-page design ou pageless design) apparaît comme
la révolution de ces dernières années, au point de prétendre
détrôner le genre numérique de l’hypertexte. Dans la mesure
où elle expose une transition entre tradition hypertextuelle
et nouveauté du design monopage, cette période offre
l’opportunité d’étudier la relation entre l’émergence d’un
dispositif techno-sémiotique et les systèmes de valeurs
mobilisés jusque-là par les concepteurs et les lecteurs de sites
web. Nous chercherons notamment à démontrer comment
l’abandon de l’hypertexte, au profit du design monopage,
reflète un souci de concevoir l’hypertexte non plus comme le
monde interconnecté décrit par les scientifiques, mais comme
une expérience de lecture/écriture singulière commentée par
les usagers.
Ma recherche porte sur une nouvelle catégorie d’acteurs du processus de fabrique de la ville, que nous avons désigné sous le terme d’ « entrepreneurs militants » avec François Bottollier-Depois (2015). Ils ont en commun d’à la fois mobiliser un certain nombre de revendications issues des mouvements sociaux tout en inscrivant leur registre d’action dans une activité entrepreneuriale. Dans le cadre de ma thèse en contrat CIFRE à la Fabrique des Territoires Innovants, j’ai eu l’occasion de participer à la première phase du concours Réinventer Paris. Dans cet article, j’aborderai donc à travers ce cas la façon dont les entrepreneurs militants se saisissent de la participation. Je proposerai tout d’abord de s’intéresser au cadre du concours qui articule les notions d’innovation et de participation à la fois comme vecteur d’amélioration des politiques publiques, mais également d’encouragement à l’entrée de ces entrepreneurs militants dans le projet urbain. Par ailleurs, la littérature sur la participation ne s’est pas beaucoup intéressée jusqu’à présent à la figure de l’acteur entrepreneurial. J’aborderai donc dans un deuxième temps, le dispositif de design thinking de conduite de projet mis en place par la Fabrique, prise comme exemple d’entrepreneur militant en proposant une exploration d’une grille d’analyse sur la participation comme instrument d’action publique.
Quel design d’interaction pour le webdocumentaire ?Geoffrey Dorne
Quel design d’interaction pour le webdocumentaire ?
Sur la décennie 2005-2015, plusieurs centaines de web-documentaires
francophones et anglophones ont été publiés sur Internet. Une cartographie des
principaux acteurs de la production identifie deux logiques de conception
symétriquement opposées (cf. Gantier, 2012). D’une part, des outils d’aide à la
conception favorisent la publication de récits hypermédias sans qu’aucune expertise
en développement web ne soit nécessaire1
. D’autre part, des œuvres plus
ambitieuses et plus coûteuses sont régulièrement produites sous l’impulsion des
fonds étatiques et régionaux d’aide aux « nouveaux médias »2
. Dans ce contexte,
l’internaute doit s’acculturer à des « interface-films » (Di Crosta, 2009) qui
mélangent les codes filmiques du genre documentaire aux modes d’interaction
propres aux « médias informatisés » (Jeanneret, 2007). Cette nouvelle praxis
documentaire modifie en profondeur le travail de conception et de réception.
L’auteur doit désormais formaliser son intention éditoriale et artistique sous le
prisme du design d’interaction3 qui consiste à définir la place et le rôle attribué à un
utilisateur. Dès lors, selon quels critères peut-on classer l’hétérogénéité de ces
écritures documentaires interactives ? Quelles sont les possibilités d’action
octroyées à l’interacteur par le dispositif médiatique ? De quelle manière et sous
quelles conditions ces œuvres interactives proposent-elles de nouvelles formes
relationnelles de re-présentation du réel ?
En filiation avec les recherches menées dans le champ de l’audiovisuel interactif
(Perény et Amato, 2011), de la fiction interactive (Di Crosta, 2009), du Net art
(Fourmentraux, 2010) et de la littérature numérique (Bouchardon, 2009), l’axe de
pertinence retenu consiste à qualifier les opérations textuelles attendues de la part de
l’utilisateur. Dans la continuité des travaux de Bill Nichols (2010) sur le cinéma
documentaire4
, Sandra Gaudenzi (2013) propose une ébauche de catégorisation du
documentaire interactif basée sur des « modes d’interaction » 5
. Cet article propose
de reformuler cette approche afin d’établir une typologie du documentaire interactif
suivant six entrées : hypermédiatique, dialogique, contributif, participatif, ludique et
performatif. Ces modes ne sont pas exclusifs et certains web-documentaires
combinent différentes catégories entre elles. En d’autres termes, il s’agit d’interroger
la relation systémique qui articule trois entités : l’instance d’énonciation, le
dispositif médiatique et l’interacteur. L’ambition heuristique de cette typologie
interactionnelle est donc double : elle permet d’une part de discerner les spécificités
du travail de conception et d’autre part d’analyser la nature de l’expérience
Hello everyone! I am thrilled to present my latest portfolio on LinkedIn, marking the culmination of my architectural journey thus far. Over the span of five years, I've been fortunate to acquire a wealth of knowledge under the guidance of esteemed professors and industry mentors. From rigorous academic pursuits to practical engagements, each experience has contributed to my growth and refinement as an architecture student. This portfolio not only showcases my projects but also underscores my attention to detail and to innovative architecture as a profession.
You could be a professional graphic designer and still make mistakes. There is always the possibility of human error. On the other hand if you’re not a designer, the chances of making some common graphic design mistakes are even higher. Because you don’t know what you don’t know. That’s where this blog comes in. To make your job easier and help you create better designs, we have put together a list of common graphic design mistakes that you need to avoid.
Book Formatting: Quality Control Checks for DesignersConfidence Ago
This presentation was made to help designers who work in publishing houses or format books for printing ensure quality.
Quality control is vital to every industry. This is why every department in a company need create a method they use in ensuring quality. This, perhaps, will not only improve the quality of products and bring errors to the barest minimum, but take it to a near perfect finish.
It is beyond a moot point that a good book will somewhat be judged by its cover, but the content of the book remains king. No matter how beautiful the cover, if the quality of writing or presentation is off, that will be a reason for readers not to come back to the book or recommend it.
So, this presentation points designers to some important things that may be missed by an editor that they could eventually discover and call the attention of the editor.
Transforming Brand Perception and Boosting Profitabilityaaryangarg12
In today's digital era, the dynamics of brand perception, consumer behavior, and profitability have been profoundly reshaped by the synergy of branding, social media, and website design. This research paper investigates the transformative power of these elements in influencing how individuals perceive brands and products and how this transformation can be harnessed to drive sales and profitability for businesses.
Through an exploration of brand psychology and consumer behavior, this study sheds light on the intricate ways in which effective branding strategies, strategic social media engagement, and user-centric website design contribute to altering consumers' perceptions. We delve into the principles that underlie successful brand transformations, examining how visual identity, messaging, and storytelling can captivate and resonate with target audiences.
Methodologically, this research employs a comprehensive approach, combining qualitative and quantitative analyses. Real-world case studies illustrate the impact of branding, social media campaigns, and website redesigns on consumer perception, sales figures, and profitability. We assess the various metrics, including brand awareness, customer engagement, conversion rates, and revenue growth, to measure the effectiveness of these strategies.
The results underscore the pivotal role of cohesive branding, social media influence, and website usability in shaping positive brand perceptions, influencing consumer decisions, and ultimately bolstering sales and profitability. This paper provides actionable insights and strategic recommendations for businesses seeking to leverage branding, social media, and website design as potent tools to enhance their market position and financial success.
Top 5 Indian Style Modular Kitchen DesignsFinzo Kitchens
Get the perfect modular kitchen in Gurgaon at Finzo! We offer high-quality, custom-designed kitchens at the best prices. Wardrobes and home & office furniture are also available. Free consultation! Best Quality Luxury Modular kitchen in Gurgaon available at best price. All types of Modular Kitchens are available U Shaped Modular kitchens, L Shaped Modular Kitchen, G Shaped Modular Kitchens, Inline Modular Kitchens and Italian Modular Kitchen.
Dive into the innovative world of smart garages with our insightful presentation, "Exploring the Future of Smart Garages." This comprehensive guide covers the latest advancements in garage technology, including automated systems, smart security features, energy efficiency solutions, and seamless integration with smart home ecosystems. Learn how these technologies are transforming traditional garages into high-tech, efficient spaces that enhance convenience, safety, and sustainability.
Ideal for homeowners, tech enthusiasts, and industry professionals, this presentation provides valuable insights into the trends, benefits, and future developments in smart garage technology. Stay ahead of the curve with our expert analysis and practical tips on implementing smart garage solutions.
1. 38
NASA CONTRACTOR REPORT # 177605
ON THE TYPOGRAPHY OF
FLIGHT-DECK DOCUMENTATION
ASAF DEGANI
CONTRACT NCC2-327
December, 1992
National Aeronautics and
Space Administration
2. 39
NASA CONTRACTOR REPORT # 177605
ON THE TYPOGRAPHY OF
FLIGHT-DECK DOCUMENTATION
ASAF DEGANI
SAN JOSE STATE
UNIVERSITY FOUNDATION
SAN JOSE, CALIFORNIA
Prepared for
Ames Research Center
CONTRACT NCC2-327
December, 1992
National Aeronautics and
Space Administration
Ames Research Center
Moffett Field, California 94035-1000
3. 40
Contents
Summary
1. Background
2. Objectives and Scope
3. Typography
3.1. Principles of typography
3.2. Typeface (Fonts)
3.3. Lower-case vs. UPPER-CASE Characters
3.4. Font height (typesize)
3.5. Stroke width and height-to-width ratio
3.6. Horizontal and vertical spacing
3.7. Line length
3.8. Face (italic, bold) and underline
3.9. Contrast
3.10. Color coding
3.11. The commutative effect of improper typography
4. Several Environmental
Conditions Influencing Reading
4.1. Glare
4.2. Slope and angular alignment for reading
4.3. The quality of paper and print
4.4. The effect of pilot’s age on reading
5. Final Note
6. List of Design Recommendations
7. Acknowledgments
8. References
iii
4. 1
Summary
Many types of paper documentation are employed on the flight-deck. They
range from a simple checklist card to a bulky Aircraft Flight Manual (AFM).
Some of these documentation have typographical and graphical deficien-
cies; yet, many cockpit tasks such as conducting checklists, way-point entry,
limitations and performance calculations, and many more, require the use of
these documents. Moreover, during emergency and abnormal situations,
the flight crews’ effectiveness in combating the situation is highly depen-
dent on such documentation; accessing and reading procedures has a
significant impact on flight safety. Although flight-deck documentation are
an important (and sometimes critical) form of display in the modern
cockpit, there is a dearth of information on how to effectively design these
displays.
The object of this report is to provide a summary of the available literature
regarding the design and typographical aspects of printed matter. The
report attempts “to bridge” the gap between basic research about typogra-
phy, and the kind of information needed by designers of flight-deck docu-
mentation. The report focuses on typographical factors such as typefaces,
character height, use of lower- and upper-case characters, line length, and
spacing. Some graphical aspects such as layout, color coding, fonts and
character contrast are also discussed. In addition, several aspects of cockpit
reading conditions such as glare, angular alignment, and paper quality are
addressed. Finally, a list of recommendations for the graphical design of
flight-deck documentation is provided.
5. 2
On May 26, 1987, at 16:45 Central Daylight Time, an Air New Orleans BAe-
3101, departed from runway 19 at New Orleans International Airport on a
scheduled commuter flight to Eglin Air Force Base, Florida. Flight 962 never
reached Eglin AFB that day, nor any altitude above 200 feet. The flight crew
felt a severe yawing motion and engine torque fluctuations. The captain
proceeded to make an emergency landing on the overrun of runway 19.
The aircraft rolled off the overrun, crossed an adjoining highway, struck
several vehicles, and came to rest on the far side of the highway. The
National Transportation Safety Board (NTSB) concluded that “the engine
RPM levers were either advanced to a position less than full forward or they
were not advanced at all before takeoff, indicating a lack of checklist
discipline on the part of the aircrew” (NTSB, 1988, p. 24). The report also
stated that,
The typeface on the Air New Orleans’ checklist is 57 percent smaller than
that recommended by human engineering criteria. This smaller typeface
reduces the legibility of print even under optimum conditions. Although
there was no evidence that checklist legibility was a factor in this accident,
the Safety Board believes that under other operational circumstances, this
deficiency could compromise the intended purpose of this device.
Therefore, the Safety Board believes the FAA should take action to verify
that aircraft checklists are designed to comply with accepted human
engineering criteria (p. 22).
The NTSB made a recommendation to the FAA to “issue an Advisory Circular
to commercial operators recommending the use of a procedural checklist
that incorporates human engineering design criteria for size and style of
print” (NTSB A-88-72). Figure 1 is a copy of the checklist used by the flight
crews of Air New Orleans Flight 962 (note that the poor quality of the
checklist in figure 1 is due to several reproductions of the original checklist
used by the crew of Flight 962).
On August 19, 1980, a Saudi Arabian Lockheed L-1011 was returning to
Riyadh Airport (Saudi Arabia), after warnings in the cockpit indicated smoke
in the aft cargo compartment. The crew was searching for the appropriate
emergency procedure in their flight documentation. The accident report
stated that,
About 3 minutes were spent by the crew looking for the aft cargo smoke
warning procedure. Evidence indicated this difficulty was due to a split of
the Emergency and Abnormal procedures into Emergencies, Abnormal,
and Additional [sections]. The crew apparently believed that the proce-
dure was in the Abnormal section when it was actually in the Emergency
section.... (Flight Safety Focus, 1985)
This, and several other factors led to a horrific accident in which 287
passengers and 14 crew members died of fire and toxic smoke inhalation.
1. Background
6. 3
Figure 1. Air New Orleans, BAe 3101 checklist (adopted from NTSB, 1988).
7. 4
Documents, manuals, checklists and many other paper forms are used in the
cockpit. Ruffell Smith (1979), reported that excluding aircraft flight manu-
als, the amount of paperwork needed for a flight from Washington D.C. via
New York to London, had a single side area of 200 square feet (Figure 2).
One recent report submitted to NASA’s Aviation Safety Reporting System
(ASRS) speaks to this issue:
Both the copilot and I wrote our flight clearance, which included
the KIRN 2D departure, as we received it from clearance delivery....
I briefed the crew on the departure, including emergency items,
and read aloud the KIRN 2E departure procedure. During our de-
parture, radar [ATC] asked why we had turned early.... Radar re-
minded us that we were to fly the KIRN 2D departure of this
flight.... I and other pilots I know are concerned about the amount
of information presented to us for the operation of our flights. For
the flight prompting this report we had over 30 feet [italic added] of
computer printout of information for this flight including 30 naviga-
tion waypoints, later to be revised enroute. Together, the two air-
ports at Paris (Orly and Charles De Gaulle) have procedures and
info that make up a small volume of 89 pages. The 25 pound flight
bag I carry contains 5 volumes of information in a constant state of
revision. Too much information could cause important items to be
overlooked--lost in the maze of print. Important items of informa-
tion and procedures should be concise and printed as to be easy to
read--especially at night. (ASRS Report No. 157620)
Although flight-deck documentation and written procedures are an inherent
part of flight operation, there is a drought of research regarding this aspect
of cockpit activity. The topic of procedural design and its associated display
has long been neglected by the human factors profession; partly because
human factors research has traditionally focused on the hardware interfaces
in the cockpit (controls, displays, etc.). Nevertheless, flight-deck documen-
tation are an integral part of the interfaces in the cockpit—specifying and
dictating the actions by which the pilot is expected to interact with the
machine.
In a recent study, Degani and Wiener (1990) studied the human factors
aspect of checklist procedures. While conducting that study, the authors
encountered many flight-deck documentation, such as flight plans, fuel
sheets, manifests, dispatch material, that were poorly presented (graphically
and typographically). Those documentation were not only difficult to
follow, but also difficult to read and comprehend. Those findings prompted
this work.
8. 5
Figure 2. Paperwork needed for a flight from Washington, D. C., to London (adopted from Ruffell Smith, 1979).
9. 6
The intent of this report is to provide a literature review of the basic research
on typography and suggest compatible approaches for designing flight-deck
documentation. The report focuses on several typographical and environ-
mental factors that affect the ability of the pilot to use, read, and compre-
hend flight-deck documentation and written procedures. The efficiency and
accuracy of reading checklists, maps, airport charts, flight plans, fuel slips,
manifests, etc., depends in part on typographical and graphical factors.
Moreover, during emergency or abnormal conditions, the flight crew
efficiency in accessing, reading, comprehending, and executing procedures
has a significant impact on flight safety (de Ree, 1991; Degani and Wiener,
1991).
There is very little experimental data in the literature regarding reading and
using printed text in the airline cockpit. Therefore, the data reported in this
study is based on laboratory studies. These experiments were not conducted in
a cockpit; the majority were conducted while the subjects (usually college
students), were seated by a desk and the printed matter was lighted with
normal room lighting.
This report attempts to “bridge” this gap between empirical research and
“the real world” by providing a summary of the basic research findings to
the documentation designer. Hence, the information presented here only
serves to provide a baseline. The designer should make an initial assump-
tion from the data and the author’s recommendations, then validate the
design in an appropriate flight simulator using his/her own company
documentation and a representative sample of the pilot population. For an
example of this process, conducted for a major international airline, see de
Ree (1991).
Although it is beyond the scope of this report to discuss concepts of human
perception, the author would like to raise one “warning flag” regarding the
data in this report. I believe that information from data books and graphs
regarding human sensing of physical energies may be insufficient. While it is
true that the data reported in the literature are well established, it is also
very important to realize that the data cannot be used as a simple look-up
2. Objectives and Scope
10. 7
table to predict what will happen when an observer is confronted by a
particular display (in this case a printed matter). The specification of a
printed document in terms of physics can ensure that the information is
available. However, whether that information is perceived accurately by the
observer also depends on how she/he processes that information. What is
perceived by the observer is a combination of [1] what the data books detail
about human sensory detection and [2] the observer’s strategies of informa-
tion processing (Foley and Moray, 1987).
An example of the above combination in human perception is the Delta Air
Lines Flight 1141 accident. The aircraft, a B-727, crashed shortly after lifting
off from runway 18L at Dallas-Fort Worth International Airport, following a
no-flap/no-slat takeoff. The NTSB concluded that “the flight crew did not
extend the airplane’s flaps or slats for takeoff” (NTSB, 1989, p. 92). How-
ever, the cockpit voice recorder indicated that in response to the second
officer prompt “flaps,” the first officer responded “fifteen, fifteen, green
light.” Presumably, the first officer’s response is based on a visual check of
the needle position on the inboard and outboard flap/slat position indica-
tors (“fifteen, fifteen”) and illumination of the leading edge flaps and slats
indicator light (“green light”). However, all these indicators displayed
something very different from what the first officer responded (the flap/slat
gauges indicated zero). In this case, as in many other reported incidents
(ASRS, 1987, 1989), the active strategies of information processing of the
first officer played a dominant role in determining what he actually per-
ceived. Hence, the mere existence of the display and its information is not
predictive of what the observer will perceive.
Effective appearance of flight-deck documentation is affected by the correct
graphical presentation and the environmental conditions that influence
reading in the cockpit. These two factors should agree with the unique
physical condition of the cockpit, the capabilities and limitations of the
human operator, and the method of using the documentation as dictated in
the standard operating procedures (Degani and Wiener, 1991; 1994).
Some of these considerations will be discussed in the following sections.
11. 8
3. Typography
3.1 Principles of Typography
Typography is defined by the Webster’s dictionary as “the arrangement,
style, or general appearance of matter printed from type.” In order to select
and use the appropriate typography, there are two factors that the docu-
ment designer should consider.
Legibility of Print (Discriminability). This characteristic of an alphanumeric
enables the observer to quickly and positively identify it from all other letters
and characters. Legibility depends on stroke width, form of characters,
illumination on the page, and the contrast between the characters and the
background.
Readability. This quality of the word or text allows for rapid recognition of
a single word, word-groups, abbreviations, and symbols. Readability
depends on the spacing of individual characters, spacing of words, spacing
of lines, and the ratio between characters area to background area (Heglin,
1973; Sanders and McCormick, 1987). These criteria are important for all
printed matter; however, they are crucial for the typographical design of
flight-deck documentation. Reading conditions in the airline cockpit is
characterized by some of the following:
1. Non-optimal viewing conditions (during night operations, dim
lighting, and direct sunlight);
2. Fast and frequent changes of accommodation between far- and
near-vision (looking for other traffic and then reading an approach
plate);
3. Interruptions and distractions while following procedural sequences
from manuals and checklists (ATC communications, flight attendants,
company calls, etc.);
4. Several age groups with different viewing abilities within the pilot
population.
The following sections will detail some of the basic research findings
regarding aspects of typography and graphical design. Some of these
aspects will be illustrated here using a checklist of a wide-body airliner.
Nevertheless, the reader is cautioned that these basic research findings are
not specific for flight-deck documentation. Therefore, the author’s recom-
mendations provided at the end of each sub-section, cannot be used as
specifications; each recommendation must be evaluated by the designer for
his/her unique application.
12. 9
DESCENDER
SERIF
ASCENDERS
COUNTERS
LOWER CASE LETTERS
BASELINE
X-HEIGHT, OR BODY
Figure 3. Letterforms (adopted from Craig, 1980).
UPPERCASE
LETTER
ROMAN UPPERCASE AND LOWERCASE LETTERFORMS
3.2. Typeface (Fonts)
Typefaces or fonts refer to the style of the alphanumeric used in printing.
There are over 2300 typefaces available today. Two major groups of fonts
are applicable for use on the flight deck: roman and sans-serif. Roman is
well known since it is used daily in newspapers, journals, and books. Sans-
serif is a contemporary font that does not include the little strokes (serifs)
that project horizontally from the top or bottom of a main stroke (Figure 3).
Several researchers have reported that when other typographical factors are
controlled, sans-serif fonts are more legible than roman. The premise
behind this statement is that absence of serifs presents a more simple and
clean typeface, and therefore improves the legibility of the print (Cheetham
and Grimbly, 1964; Heglin, 1973; Poulton, 1965). Serifs disrupt character
discrimination and may add uneven appearance to the shape of strokes
and characters. However, it is also evident that they somewhat aid the
horizontal movement of the eye along the printed line—the serifs at the
top and bottom of a character create a “railroad track” for the eye to
follow along the line of print. Therefore, when using a typeface without
serifs, adequate spacing between the lines of print should be used in order
to prevent the eye from bridging (slipping) to the adjoining line (Craig,
1980). The designer should safeguard against this factor as it may lead to
skipping a line while reading a long list.
Alphabet
13. 10
HELVETICA
Many types of paper documentation are employed on the
flight deck. They range from a simple checklist card to a
TIMES
Many types of paper documentation are employed on the flight
deck. They range from a simple checklist card to a
PALATINO
Many types of paper documentation are employed on the
flight deck. They range from a simple checklist card to a
FUTURA
Many types of paper documentation are employed on the flight
deck. They range from a simple checklist card to a
MELIOR
Many types of paper documentation are employed on the
flight deck. They range from a simple checklist card to a
OPTIMA
Many types of paper documentation are employed on the
flight deck. They range from a simple checklist card to a
GARAMOND
Many types of paper documentation are employed on the
flight deck. They range from a simple checklist card to a
Among the sans-serif group there are many different fonts from which to
select. Pulton (1965) compared the level of reading comprehension among
five different fonts (three different sans-serifs and two fonts with serifs). He
found a significantly higher level of comprehension while subjects were
using a sans-serif font called Gill-Medium. This font was also ranked first in
its level of character discrimination. A careful examination of Figure 4 will
indicate that in contrast to the Gill-Medium font, the letters of the other
sans-serif fonts are characterized by several “family resemblances.” This
results in similar appearance and may reduce legibility (compare the “O”
and “C”). Likewise, most of the modern sans-serif fonts such as Futura,
Avant Garde, and Helvetica also include characters that are too similar to
one another, and therefore difficult to distinguish. The sources of similarity
between the characters of modern sans-serif fonts are:
1. The standardized or modular appearance of the letters (“P,” “R”).
2. The effect of mirror images between the upper and lower part of the
character (“E,” “B,” “D”).
3. The use of equal radius for different letters (“G,” “O,” “C”)
(Craig, 1980; Cheetham and Grimbly, 1964).
Figure 4. Comparison of several fonts (adopted from Poulton, 1965).
Gill Medium
ABCDEFGHIJKLMN
OPQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
14. 11
Sans-serif fonts are
usually more legible than
fonts with serifs.
Avoid using a font that
has characters that are
too similar to one
another, as this will reduce
the legibility of the print.
Avoid using dot matrix
print for critical flight-
deck documentation.
•
•
•
Figure 5. Serifs vs. sans-serif fonts.
Circuit breakers....................................ckd
• Flt recorder* .......................................... on
• Voice recorder* ............................... tested
Oxy................................ on & 100%, spkrs
• Anti-skid*.............................tested & norm
Evacuation signal............................ armed
Compasses ..........................................ckd
Lo spd AIL............................. norm & auto
Rud trav/pitch feel ................................. on
• Exterior lts* ............................... on (or off)
Servo controls ....................................... on
Circuit breakers ...................................... ckd
• Flt recorder* ............................................. on
• Voice recorder* ...................................tested
Oxy .................................. on & 100%, spkrs
• Anti-skid* .............................. tested & norm
Evacuation signal ............................... armed
Compasses .............................................. ckd
Lo spd AIL .............................. norm & auto
Rud trav/pitch feel .................................... on
• Exterior lts* ................................. on (or off)
Servo controls ........................................... on
Figure 6. Dot-matrix vs. laserwriter printing.
• Eng start panel* .............. crank/start abort
Fire handles .......................................... up
• No smoking* ......................................... on
Emer exit & min cab lts .......... armed & on
• Ice protection* ....................................... off
• Window heat*................................. lo & on
Radio master sws ................................. on
Auto flt/nav ...........................................ckd
Inst sws ................................... ckd & norm
• Flt insts & altms* ........................ ckd & set
GPWS ............................................. tested
It is interesting to note here that most human factors design handbooks
advocate the use of sans-serif fonts—emphasizing the characteristics of
modern sans-serif fonts as clean and simple fonts. Neglecting, however, the
sub-optimal effect of their over-modularity on the legibility and readability.
Figure 5 compares sans-serif and serif fonts for a checklist of a wide-body
aircraft.
Another font related problem is the use of dot matrix printers. Several
airlines employ such printers for documents that are produced by dispatch
agents (e.g., flight plan, fuel sheet, and cargo/passenger manifest). This
font is very modular, especially in upper case letters. In addition, it is
difficult to discriminate between characters because of the dot construction
that make up a character and the uneven spacing between dots (see Figure
6). There are also instances in which the print is almost unreadable because
of an old ribbon in the printer.
15. 12
Figure 7. Pattern of stripes (adopted from Wilkens and Nimmo-Smith, 1987).
3.3. Lower-case vs. UPPER-CASE Characters
There is almost a consensus among researchers that, when other factors are
controlled, lower-case characters are more legible than upper-case (Hartley,
1981; Philips, 1979; Tinker, 1963). Poulton (1967) performed an experi-
ment to determine the difference in readers’ attention between upper and
lower-case in newspaper headings. He reports that lower case headings
were located faster than upper case heading. Tinker (1963) tested lower-
case and upper-case fonts for legibility and pleasingness. He reported that
lower case was read faster and ranked higher in pleasingness.
There are several factors that contribute to the reduced legibility of upper-
case words compared with lower-case:
1. Most printed material that we read and use in everyday life is set in lower
case.
2. Readability of lower case words is superior; words set in lower-case are
perceived at a greater distance, suggesting that the “total word form” and
legibility of the elements is important while perceiving words set in lower-case
(Tinker, 1963; Smith, Lott, and Cronnell, 1969). Note, however, that when
researchers compared the legibility of individual characters, upper-case charac-
ters were perceivable at a greater distance.
16. 13
•
CIRCUIT BREAKERS.............................................. CKD
FLT RECORDER* ............................................... ON
circuit breakers ..................................ckd
flt recorder* .................................... on
Long chunks of text should
be set in lower case.
If upper case is required,
the first letter of the word
should be made larger
in order to enhance the
legibility of the word.
3. DURING READING OF UPPER-CASE WORDS, PERCEPTION OCCURS IN A
CHARACTER-BY-CHARACTER ORDER, THEREBY REDUCING THE SPEED OF
READING AND READABILITY OF THE ENTIRE WORD.
4. The pattern or shape of a familiar word is stored in the human memory.
While reading text, a matching sequence occurs between the observed word
and the memory patterns stored in the brain. The more unique the patterns
of the word, the easier it is to perform the matching sequence.
5. RESEARCH SUGGESTS THAT SUCCESSIVE LINES OF PRINTED TEXT,
COMPOSING A PATTERN OF “STRIPES,” MAY INDUCE DISCOMFORT AND
ANOMALOUS VISUAL EFFECTS TO THE READERS (SEE FIGURE 7) (WILKINS
AND NIMMO-SMITH, 1987). THE LACK OF ASCENDERS AND DESCENDERS
MAY FURTHER INTENSIFY THIS EFFECT.
6. Lower-case words consist of characters that have ascenders (the vertical
stroke of “d”) and descenders (“p,” “q”), that contribute to the unique
shape and pattern of a word. This makes the lower-case word-form appear
more “characteristic.” Conversely, an upper-case word appears like a
rectangular box with no distinguishable contour (Figure 8).
Another explanation of the superior legibility of lower-case text is the combina-
tion of a capital letter and lower-case characters at the beginning of a sentence
and/or proper names. Research has shown that visual emphasis given to the
first letter of a word will significantly improve the speed of a search. This finding
is true for lower-case words as well as for upper-case words combined with a
larger first character (Philips, 1979). This can be useful when a documentation
designer decides to make a distinction by using typographical features such as
lower- and upper-case words and still maintain discriminability and search
speed (Circuit, CIRCUIT). It is worth mentioning here that most flight-deck
documentation and checklists used today are set in upper case. Figures 9 and
10 are a comparison of lower-case and upper-case format of a checklist.
•
•
•
Figure 8. Word form in lower and upper case (adopted from Tinker, 1963).
This illustrates that the upper half of a printed line
furnishes more clues to “word form” when printed
in lower case.
stopped
STOPPED
17. 14
BEFORE STARTING ENGINES
CIRCUIT BREAKERS ............................................ CKD
• FLT RECORDER* .................................................... ON
• VOICE RECORDER* ...................................... TESTED
OXY..................................... ON & 100%, SPKRS CKD
• ANTI-SKID* ......................................TESTED & NORM
EVACUATION SIGNAL.................................... ARMED
COMPASSES ........................................................ CKD
ANNUNCIATOR LIGHTS.............. TESTED & BRIGHT
LO SPD AIL.......................................... NORM & AUTO
RUD TRAV/PITCH FEEL ......................................... ON
• EXTERIOR LTS* ..................................... ON (OR OFF)
SERVO CONTROLS................................................ ON
• ENG START PANEL* ............ CRANK/START ABORT
FIRE HANDLES ........................................................ up
• NO SMOKING* ........................................................ ON
EMER EXIT & MIN CAB LTS..................ARMED & ON
• ICE PROTECTION* ............................................... OFF
• WINDOW HEAT* ............................................ LO & ON
RADIO MASTER SWS............................................. ON
AUTO FLT/NAV ..................................................... CKD
INST SWS .............................................. CKD & NORM
• FLT INSTS & ALTMS* ............................... CKD & SET
GPWS ............................................................. TESTED
• ENG INST/N1 COMPUTER* .............. CKD & TESTED
• GEAR LEVER* ....................................... DN, 3 GREEN
OMEGA* ................................................................ CKD
FLAP/SLAT LEVER ..................................... W/GAGES
SPEED BRAKES ..................... RETRACT/DISARMED
FUEL LEVERS ....................................................... OFF
• PK BRKS & PRESS*.................................. SET & CKD
• RADAR & TRNSPDR* ......................................... STBY
• TRIM CONTROLS* ................................................ SET
MAN DEPRESS VLV ......................................CLOSED
• ELEC PANEL*............................................ CKD & SET
• BATTERIES* ...................................................... NORM
FUEL PANEL ............................................. CKD & SET
• FUEL QUANTITY* ................... LBS, CTRS RESET
• HYD PANEL* ............................................. CKD & SET
OIL QUANTITY* ............................................... QTS
• APU* ...................................................................... CKD
FIRE & SMOKE DETECTION......................... TESTED
• AIR COND & PRESS*................................ CKD & SET
• RAM AIR INLET SWITCH* ................... NORM CLOSE
• VENT PNL* ................................... CKD/BLOWER OFF
TEST PANEL ..........................................NORM & OFF
PROBE HEAT ............................................ CKD & OFF
Figure 9. Checklist of a wide-body
airplane set in upper-case.
18. 15
Before Starting Engines
Circuit breakers ................................... ckd
• Flt recorder* .......................................... on
• Voice recorder* ............................... tested
Oxy ......................... on & 100%, spkrs ckd
• Anti-skid* ............................ tested & norm
Evacuation signal ............................armed
Compasses ......................................... ckd
Annunciator lights.............. tested & bright
Lo spd AIL ............................. norm & auto
Rud trav/pitch feel ................................. on
• Exterior lts* ................................ on (or off)
Servo controls ....................................... on
• Eng start panel*...............crank/start abort
Fire handles .......................................... up
• No smoking* .......................................... on
Emer exit & min cab lts .......... armed & on
• Ice protection* ....................................... off
• Window heat* .................................lo & on
Radio master sws.................................. on
Auto flt/nav .......................................... ckd
Inst sws ...................................ckd & norm
• Flt insts & altms* ........................ ckd & set
GPWS ............................................. tested
• Eng inst/N1 computer* .......... ckd & tested
• Gear lever* ............................. dn, 3 green
• Omega* ............................................... ckd
Flap/slat lever .............................. w/gages
Speed brakes ..................retract/disarmed
Fuel levers............................................. off
• Pk brks & press*......................... set & ckd
• Radar & trnspdr* ................................ stby
• Trim controls* ....................................... set
Man depress vlv ............................. closed
• Elec panel* ................................. ckd & set
• Batteries*...........................................norm
• Fuel panel .................................. ckd & set
Fuel quantity* ................ lbs, ctrs reset
• Hyd panel*.................................. ckd & set
• Oil quantity* .................................... qts
• APU* ................................................... ckd
Figure 10. Checklist of a wide-body
airplane set in lower-case.
19. 16
3.4 Font Height (Typesize)
Measurement. When specifying the height of a font and spacing (both
vertically and horizontally), the designer should be aware that there are
several scales and methods of measurement. The traditional printer’s
“point” used for typesize-height equals 1/100 of an inch; however, when it
is used to measure distance between lines, words, etc., a point is approxi-
mately equal to 1/72 of an inch. This can be confusing. Another area of
confusion is the method of measurement. Lower-case letters can be mea-
sured in two different methods. One is the overall size of the character,
measured from the bottom of the descender (p) to the top of the ascender
(d). The other is the actual height of a character that lacks ascenders or
descenders (“o,” “r,” “x”); this measurement is called the “x height” of a
font. The designer should also note that while a “point” on a Macintosh
computer is exactly 1/72 of an inch, a “point” on a professional typesetter is
slightly less than 1/72 of an inch (L. E. Gifford, personal communication,
February, 1992).
Font height vs. viewing condition. Most of the information in the literature
regarding font height is presented in graphs. These graphs usually indicate
the relationship between character height, viewing distance, illumination
level, stroke width, and visual acuity (Woodson, 1981; Howett, 1983). The
graph in Figure 11 depicts the recommended relationship between charac-
ter height and viewing distance for different illumination levels and alpha-
numeric status (static, dynamic). Although this graph was designed for
labels on instrument panels, it also can be used as a guide for character size
(Woodson and Conover, 1964). When using this graph to determine the
height of a lower-case character, the distinction between the overall typesize
and “x” height should be considered.
CIRCUIT BREAKERS CKD
• Flt recorder* ............ on
• Voice recorder* ...........
Oxy ..............................
• Anti-skid* .....................
Evacuation signal ..........
CIRCUIT BREAKERS ....
• Flt recorder* ..........on
• Voice recorder* .........
Oxy ...........................
• Anti-skid*...................
Evacuation signal .......
12 Point Helvetica
(x height = .125 ;1 point = 1/100 of an inch)
CIRCUIT BREAKERS.... CKD
• Flt recorder*................. on
• Voice recorder*................
Oxy ..................................
• Anti-skid* .........................
Evacuation signal .............
Annunciator lights . tested
11 Point Helvetica
(x height = .110 ;1 point = 1/100 of an inch)
10 Point Helvetica
(x height = .094 ;1 point = 1/100 of an inch)
CIRCUIT BREAKERS .......CKD
• Flt recorder* ................... on
• Voice recorder* ..................
Oxy ....................................
• Anti-skid* ...........................
Evacuation signal ..............
Annunciator lights .... tested
Lo spd AIL ..... norm & auto
9 Point Helvetica
(x height = .081 ;1 point = 1/100 of an inch)
20. 17
Two variables are manipulated in Figure 11: viewing distance and illumina-
tion levels. The normal reading distance is about 16-24 inches from the eye.
However, this is dependent on cockpit layout, company procedures, and
personal preference. It is not uncommon to see checklists and approach
plates mounted on the yoke clip, placed on the forward panel, or on a clip
below the side window. In all these cases the distance from the eye to the
print may vary considerably. The other variable, luminance, is defined as
the amount of light (per unit) reflected from the surface. This unit is
measured in foot lambert (fL). The minimum recommended level of
luminance in Boeing’s cockpits is 0.2 fL. (R. J. Braune, personal communi-
cation, January 1989). Thus, for these cockpits the entry to the graph in
figure 11, will be on the dashed line.
In addition to the above, other graphs are available to determine character
height. These graphs are presented in Figures 12 and 13. The designer
should be conservative in using the data from these graphs since no infor-
mation regarding the subject group is presented. Furthermore, there are no
available data to indicate whether the information presented in these
graphs (Kubakawa, 1969; Sanders and McCormick, 1987; Woodson, 1981),
was constructed from experimental data or simply by calculations of the
visual angle.
Figure 11. Letter height (adopted from Woodson et. al. 1964).
.8
.7
.6
.5
.4
.3
.2
.1
0 20 40 60 80 100 120 140 160 180 200 220 240
Viewing distance (in.)
Numeral/letterheight(in.)
Letter Height vs. Viewing Distance
and Illumination Level
(Minimum space between characters, 1 stroke width;
between words, 6 stroke widths)
Vary (dynamic) .03 - 1 fL
Fix (static) .03 - 1 fL
Fix (static) over 100 fL
21. 18
Figure 12. Stroke width vs. viewing distance and illumination level
(adopted from Woodson, 1981).
Luminance level. This factor, as mentioned above, affects legibility. The
minimum luminance level reflected from the paper can drop to 0.16 fL when
no direct light is on the document. de Ree (1991) conducted an experiment
to evaluate different layout formats for emergency checklists. He reported
that search time is significantly slower in dark flight conditions and stated
that “perhaps the intensity of the reading lights on the flight deck has to be
increased to improve this situation” (p. 165).
The table presented in Figure 14 was developed for designing labels for
instrument panels at a viewing distance of 28 inches. In cases where the
viewing distance is not 28 inches, the table allows for a linear conversion to
different viewing distances (Heglin, 1973).
Recommendation for font height in the literature. Grether and Baker (1972)
provided several recommendations for checklist typesize in a chapter titled
“Design Recommendations for Decals, Check Lists, and Labels” (pp. 107-
108). They recommend that for a viewing distance of 28 inches or less, and
for illuminance below 1.0 fL, the font height should be at least 0.20 inch.
When the illuminance is above 1.0 fL, the font height can be reduced to
0.10 inch. These data are what the NTSB referred to in their analysis of the
Air New Orleans BAe-3101 accident (cited in the introduction of this report)
(NTSB, 1988).
240220200180160140120100806040200
.01
.02
.03
.04
.05
.06
.07
.08
.09
.10
.11
.12
.13
Strokewidth(in.)
Black on white
Vary (dynam
ic)
.03 - 1 fL
Fix (static)
.03 - 1 fL
Fix (static)
over 100 fL
Viewing distance (in.)
22. 19
When specifying font
height or accessing graphs
to determine the size of a
lower-case character, the
distinction between “x”
height and overall size
should be made.
As a general
recommendation, the “x”
height of a font used for
important flight-deck
documentation should
not be below 0.10 inch.
•
•
Viewing distance (m)
Visual acuity
(Snellen index)
(Poor)
20/200
(G
ood)
20/2020/100
20/40
100500 2500
Strokewidth(mm)
3.3 30 300
250
25
2.5
.25
101 100 1000.1
Viewing distance (ft.)
10
1
.1
.01
50
5
.5
.05
Height(in.)
Stroke width (in.)
This recommendation, however, must be assessed with the following in mind:
1. The recommendation regarding checklists is coupled with labels and
decals, which are used differently on the flight deck (labels are fixed to the
panel).
2. This recommendation assumes the use of upper-case characters.
3. There is no mention of color or contrast level.
4. The recommendation is based on a height vs. viewing distance graph and
not on an empirical experiment (W. F. Grether, personal communications, 1988).
While evaluating typesize for optimum reading, Tinker (1963) experimented
with typesizes that ranged from 0.08 to 0.14 inches, all set in lower-case
roman. He reported that a 0.11 inch typesize was read significantly faster
than 0.10 inch. The majority of the readers judged the 0.11 inch typesize as the
most legible.
To summarize, it appears from the above graphs and tables that a font size
between 0.14 and 0.20 inches is suitable for checklists and other critical
documentation used on the flight deck. However, for practical reasons of
limited space on a single page (in case of a checklist) and simply because of
increased volume (in case of manuals), this range (0.14-0.20) may not be
efficient (Turner and Huntley, 1991). Again, one must not forget that any
determination of suitable font height must be combined with accompanying
typographical factors such as horizontal spacing, line width, vibration levels,
color, etc., before any final judgement concerning the legibility of any
typesize can be extracted. How far can the designer go in reducing the font
size of important flight documentation? The answer is based on the specifics
of each case. What is clear, from reviewing checklists, manuals, and these
data, is that a font size below 0.10 inch for any important flight-deck docu-
ment is not recommended.
Figure 13. Height vs. viewing distance and visual acuity (adopted from Woodson, 1981).
23. 20
The recommended
height-to-width ratio of a
font that is viewed in
front of the observer
is 5:3.
3.5. Stroke Width and
Height-to-Width Ratio
Stroke widths affect the ability of the eye to differentiate between the stroke
of the character (“I”) and the space inside the character (“E,” F”). The
width of a stroke is a function of height of the character. Most human
factors data books recommend the use of a height-to-width ratio of 5:3
(Heglin, 1973; Sanders and McCormick, 1987; Woodson, 1981).
The reader should note that this recommended ratio is applicable only when
the document is in front of the observer (a 90 degrees angle between the
line-of-sight and the document). Fixed display, such as a mechanical
checklist (which is mounted on a panel in the cockpit), may not be located
in front of the pilot. Therefore, in designing a display that is viewed from an
unfavorable viewing angle (which may artificially reduce the apparent width
of the character), a different height-to-width ratio (e.g., 5:4) should be
considered in order to increase the actual width of the character
(Heglin,1973).
•
Figure 14. (adopted from Howett, 1983).
NUMERAL/LETTER HEIGHT FOR 28-INCH VIEWING DISTANCE
For other viewing distances, multiply the value by [distance (in inches)/28].
HEIGHT OF NUMERALS AND LETTERS (IN.)
Low luminance
(down to 0.03 fL)
High luminance
(1.0 fL and above)
Critical markings – position variable
(numerals on counters and settable or
moving scales)
Critical markings – position fixed
(numerals on fixed scales, control
and switch markings, emergency
instructions, etc.)
Noncritical markings (instrument
identification labels, routine
instructions, any marking
required only for initial
familiarization)
0.20 to 0.30 0.12 to 0.20
0.10 to 0.200.15 to 0.30
0.05 to 0.20 0.05 to 0.20
24. 21
The vertical spacing
between lines should
not be smaller than
25-33% of the overall
size of the font.
The horizontal spacing
between characters
should be 25% of the
overall size and not less
than one stroke width.
Figure 15. Variations—Vertical Spacing.
•
Circuit breakers .......................... ckd
• Flt recorder* ................................. on
• Voice recorder* ...................... tested
Oxy ................ on & 100%, spkrs ckd
• Anti-skid* ................... tested & norm
Evacuation signal ................... armed
Compasses ................................ ckd
Annunciator lights......tested & bright
Lo spd AIL .................... norm & auto
Rud trav/pitch feel ........................ on
• Exterior lts* ....................... on (or off)
Servo controls .............................. on
• Eng start panel*...... crank/start abort
Fire handles ................................. up
• No smoking* ................................. on
Emer exit & min cab lts . armed & on
• Ice protection* .............................. off
• Window heat* ........................lo & on
Radio master sws......................... on
Auto flt/nav ................................. ckd
Inst sws ..........................ckd & norm
• Flt insts & altms* ............... ckd & set
GPWS .................................... tested
Circuit breakers .............................ckd
• Flt recorder* ................................... on
• Voice recorder*.......................... tested
Oxy ................... on & 100%, spkrs ckd
• Anti-skid* ...................... tested & norm
Evacuation signal...................... armed
Compasses...................................ckd
Annunciator lights .......... tested & bright
Lo spd AIL ....................... norm & auto
Rud trav/pitch feel ........................ on
• Exterior lts* ....................... on (or off)
Servo controls .............................. on
• Eng start panel*...... crank/start abort
Fire handles ................................. up
• No smoking* ................................. on
Emer exit & min cab lts . armed & on
• Ice protection* .............................. off
• Window heat* ..................... lo & on
Radio master sws ...................... on
Auto flt/nav ............................... ckd
Inst sws ....................... ckd & norm
• Flt insts & altms*............ ckd & set
GPWS ................................... tested
3.6. Horizontal and Vertical Spacing
The vertical and horizontal spacing between characters affects the legibility
and readability of the text especially when the font height is small. Increas-
ing the vertical spacing between lines reduces the probability of adverse
visual effect from the “pattern of stripes” (Figure 8). Wilkins and Nimmo-
Smith research (1987) suggests that “judgements of the clarity of text... are
critically dependent on the spacing of the lines, more so than the overall
density of lettering on the page. As a result, the clarity of text can poten-
tially be increased at no extra cost by increasing the separation between the
lines slightly and decreasing slightly the mean horizontal spacing between
the centers of letters, within the limits of conventional typography” (p.
1718). In addition, the “opening” of an appropriate vertical space between
lines reduces the chance of optical bridging between adjacent lines—a
critical factor for the design of any list-type documentation. The recom-
mended vertical space between lines is 25-33 percent of the overall size of
the font (Tinker, 1963; Woodson, 1981). The horizontal space between
characters should not be less than one stroke width. As for word spacing,
the gap between characters should be large enough to allow grouping of
words. This is achieved when the word space is 25 percent of the overall
height, and, again, not less than one stroke width (Hartley, 1985; Woodson,
1981). Figures 15 and 16 are variation on horizontal and vertical spacing.
Optimal
Optimal
•
Figure 16. Variations—Horizontal Spacing.
25. 22
3.7. Line Length
Line length is an important factor for flight-deck documentation because the
designer will always try to minimize the size of checklists, manuals,
and other documentation. A traditional checklist layout is very similar
to an index list or table of contents. A common problem with these layouts
is the large gap between the entry and the corresponding information
(Challenge <-......-> Response). The wider the gap, the greater the chance
that the reader will make a mistake through perceptual misalignment
(Wright, 1981). Although most airlines try to minimize this gap in order to
fit two checklist columns on one page, some checklists cover the entire
width of an 8.5 by 11 inch piece of paper. This makes them more prone to
such misalignment. For additional information about the effect of different
line length on the legibility of print see Tinker (1963, pp. 77-87). Figure 17
compares column size for a checklist of a wide-body aircraft.
Circuit breakers ................................... ckd
• Flt recorder* .......................................... on
• Voice recorder* ............................... tested
Oxy ......................... on & 100%, spkrs ckd
• Anti-skid* ............................ tested & norm
Evacuation signal ............................armed
Compasses ......................................... ckd
Annunciator lights.............. tested & bright
Lo spd AIL ............................. norm & auto
Rud trav/pitch feel ................................. on
• Exterior lts* ................................ on (or off)
Flap/slat lever .............................. w/gages
Speed brakes ..................retract/disarmed
Fuel levers............................................. off
• Pk brks & press*......................... set & ckd
• Radar & trnspdr* ................................ stby
• Trim controls* ....................................... set
Man depress vlv ............................. closed
• Elec panel* ................................. ckd & set
• Batteries*...........................................norm
• Fuel panel .................................. ckd & set
Fuel quantity* ................ lbs, ctrs reset
Figure 17. Comparison of column size.
• No smoking* ...................................................................................................................on
Emer exit & min cab lts.................................................................................... armed & on
• Ice protection*.................................................................................................................off
• Window heat* ......................................................................................................... lo & on
Radio master sws ...........................................................................................................on
Auto flt/nav.................................................................................................................... ckd
Inst sws............................................................................................................ ckd & norm
• Flt insts & altms*.................................................................................................. ckd & set
GPWS....................................................................................................................... tested
• Eng inst/N1 computer* .................................................................................... ckd & tested
• Gear lever* ...................................................................................................... dn, 3 green
26. 23
Avoid using long strings
of text set in italics.
Use primarily one or two
typefaces for emphasis.
• No smoking* ................................. on
Emer exit & min cab lts.. armed & on
• Ice protection*............................... off
• Window heat* ........................ lo & on
Radio master sws ......................... on
Auto flt/nav.................................. ckd
Inst sws...........................ckd & norm
• Flt insts & altms*................ ckd & set
GPWS..................................... tested
• Eng inst/N1 computer* .. ckd & tested
• Gear lever* .....................dn, 3 green
• Omega* ...................................... ckd
Flap/slat lever ......................w/gages
Speed brakes ......... retract/disarmed
•
Figure 18. Italic vs. Non-Italic face.
• No smoking* ................................ on
Emer exit & min cab lts..armed & on
• Ice protection*.............................. off
• Window heat* ....................... lo & on
Radio master sws ........................ on
Auto flt/nav..................................ckd
Inst sws.......................... ckd & norm
• Flt insts & altms*............... ckd & set
GPWS.................................... tested
• Eng inst/N1 computer* . ckd & tested
• Gear lever* .................... dn, 3 green
• Omega* ......................................ckd
Flap/slat lever ..................... w/gages
Speed brakes ........ retract/disarmed
3.8. Face (Italic, Bold) and Underline
Several experiments discuss the effects of different type faces on legibility.
In one experiment preformed by Tinker (1965), italic face was read 2.7 per
cent slower than roman lower-case (with an equal “x”- height). Further-
more, 96% of the 224 subjects who participated in this study judged that
italic is less legible than a regular roman font (see Figure 18). Bold face was
read at the same reading speed as lower-case text. However, the majority of
the subjects (70%) commented about the unpleasingness of the text as
compared to plain roman font. Results of another experiment (Antersijn
and de Ree, 1989) indicated “that bold and medium face do not differ in
readability, even under low illumination” (p. 291); suggesting that there is
no apparent advantage in printing long chunks of text in bold face. Never-
theless, bold face can be safely and advantageously used for contrast and
emphasis. Although faces can highlight a specific item on a document, over
usage of this typographical technique can be inefficient. EMPLOYING too
many facesfacesfacesfacesfaces for contrast , emphasis, and ATTENTION-
seeking may be CONFUSING and can dramatically reduce the
legibility, and readability of the PRINTED matter (Hartley, 1981).
•
27. 24
Use black characters over a
white background for most
cockpit documentation.
Avoid using white charac
ters over a black back
ground in normal line op
erations. However, if this
is desired:
1. Use minimum amount of
text.
2. Use relatively large
typesize.
3. Use sans-serif to
minimize the loss of
legibility.
•
•
3.9. Contrast
Woodson (1981) recommends the use of dark characters over a light back-
ground for normal illumination conditions. However, when the observer
must maintain a dark adaption condition, Woodson recommends a light
character over a dark background. To evaluate this condition, Tinker (1965)
manipulated and measured the following variables in a laboratory experi-
ment: speed of reading, subject’s preference, eye movement measurements,
recognizability in the peripheral vision, and discriminability at a distance
(when looking straight ahead). For all the above dependent measures, the
definite advantage of black print on a white background was proven. Black
over white is also recognized at a larger angle from the line-of-sight. This is
important in the cockpit environment as documents cannot always be held in
optimal viewing angles. Nevertheless, white over black may provide a good
method to emphasize a title (such as a name of an emergency checklist).
3.10. Color Coding
A character and its background may differ in the amount of light they reflect
and color. Howett (1983) reported that when the character and its back-
ground are viewed from a short distance, more visual difference can be
reinforced by using large luminance differences than by employing large
chromatic (color) differences. In other words, the contrast is more important
than color differences in determining visibility of the characters. For ex-
ample, red and blue have considerable color contrast, yet very small lumi-
nance contrast.
Some airlines use color coding to distinguish between different checklists in
the flight manual. Black print over white background is used for the normal
checklists and performance graphs, black over yellow for the abnormal
checklists, and black over light red for the emergency checklists. If one
wishes to employ color in flight-deck documentation, Figure 19 presents the
recommended color contrasts. Yellow characters over black, and blue over
white are probably the best choice of color contrast.
Tinker (1963) performed several experiments to determine the effect of color
contrast on legibility. In a test to investigate the perception of different
colored numerals at a glance, black characters over yellow background
showed the best results. Tinker gives the following recommendations
regarding the use of dark characters over colored background:
1. The reflection percentage of the background should be at least 70
percent.
2. The luminance ratio between the character and the background should be
about 1:8.
3. The typesize should be 0.10 inch or greater.
The human peripheral vision is limited in color sensitivity. Figure 20 shows
that some colors are recognized at a greater angle away from the line-of-sight
than others. When a pilot uses colored document during night operations,
certain colored ambient lighting (usually red or green) will effect the color of
the print and/or its background. The data presented in Figure 21 indicates
the effect of colored light on colored objects (Kybakawa, 1969).
STAB TRIM FAILURE
28. 25
Conditions Characters Background
Average or higher levels Black White
and quality of illumination Black Yellow
White Black
Dark blue White
White Dark red, green, and brown
Black Orange
Dark green and red White
White Dark gray
Black Light gray
Poor level and quality of Black White
illumination White Black
Black Yellow
Dark blue White
Black Orange
Dark red and green White
Dark adaptation required White Black
Yellow Black
Orange Black
Red* Black
Blue and Green Black
*Low-level red light is required to maintain the lowest dark adaptation level.
Figure 19. Suggested color contrast (adopted from Woodson, 1981).
29. 26
TEMPORAL NASAL
WHITE
BLUE
YELLOW
RED
GREEN
FOVEA
60°
33°
25°
15° 10°
50°
65°
90°
Colors have a psychological effect on human beings, mainly because we
associate certain colors with past experiences. Some colors convey the
feeling of warmth, while others appear cold (Woodson, 1981, cited from
U.S. Navy Shipboard Color Coordination Manual, NAVESEA 0929-002-7010).
The color red is usually associated with danger, green with normal, and
amber with caution; and so are the colors of indicators in the cockpit
(Federal Aviation Regulation 25.1322). For example, black characters over a
yellow background, will always be associated with caution for most military
pilots (diagonal yellow and black stripes are used in many military cockpits
to indicate caution conditions).
Black over white or yellow are
recommended for cockpit
documentation.
Avoid using black over dark
red, green, and blue.
Figure 20. Recognition of color as function of angular
displacement from line-of-sight (Adopted from Heglin, 1973).
•
•
30. 27
3.11. The Cumulative Effect
of Improper Typography
For a given printed document, it is obvious that the combination of two or
more non-optimal or marginal conditions will have a greater effect on
legibility and/or readability. Therefore, when specifying the graphical
appearance of flight-deck documentation, the designer must be careful in
combining several non-optimal conditions (white print over black back-
ground, italic and bold faces, colors, small typesize, etc.). Such combinations
will tend to reduce the overall efficiency of using the document (see Figure
22). Tinker (1963) conducted several experiments to determine to what
extent these combinations could be predicted. He found a progressive loss
of legibility due to multiple non-optimal conditions such as decrease in
typesize, increase in line length, changes in font type, etc. However, his
findings indicate that the combined effect of non-optimal conditions cannot
be predicted by merely adding the effect of each sub-optimal condition.
EFFECT OF COLORED LIGHT ON COLORED OBJECTS
Object color
White
Black
Light Blue
Dark Blue
Green
Yellow
Red Light
LIght Pink
Reddish Black
Brilliant Red
Reddish Blue
Dark Reddish
Purple
Olive Green
Red Orange
Blue Light
Very Light Blue
Blue Black
Dark Bluish Red
Bright Blue
Brilliant Blue
Green Blue
Light Reddish
Brown
Green Light
Very Light Green
Greenish Black
Yellowish Red
Greenish Blue
Dark Greenish
Blue
Brilliant Green
Light Greenish
Yellow
Yellow light
Very Light Yellow
Orange Black
Bright Red
Light Reddish
Blue
Light Reddish
Purple
Yellow Green
Brilliant Light
Orange
Red
Brown Red Bluish Brown Dark Olive Brown Brownish OrangeRed Orange
Figure 21. The effect of colored light on colored objects (adopted from Kubakawa, 1969).
• Flt recorder* .......................................................................................... on
• Voice recorder* ............................................................................... tested
Oxy ......................................................................... on & 100%, spkrs ckd
• Anti-skid* ........................................................................... tested & norm
Evacuation signal ........................................................................... armed
Compasses......................................................................................... ckd
Annunciator lights .............................................................tested & bright
Lo spd AIL ............................................................................ norm & auto
Rud trav/pitch feel ................................................................................. on
Servo controls ...................................................................................... on
• Eng start panel* .............................................................. crank/start abort
Fire handles .......................................................................................... up
• No smoking* ......................................................................................... on
Figure 22. The combined effect of several sub-optimal typographical conditions.
• Flt recorder* .................................. on
• Voice recorder* ........................tested
Oxy ................. on & 100%, spkrs ckd
• Anti-skid* ..................... tested & norm
Evacuation signal .................... armed
Compasses .................................. ckd
Annunciator lights....... tested & bright
31. 28
Use anti-glare plastic to
laminate documents.
4.1. Glare
Several quick reference handbooks (QRH) and checklists used by several
airlines and some military units are laminated to protect them from wear
and tear. Others are inserted into a plastic casing and are pulled out only
when a new revision is issued. In choosing a plastic cover or lamination, an
anti-glare plastic that diffuses the light is recommended; otherwise, some
rays from the light source will be reflected to the pilot’s eyes. This is
commonly observed in a dim cockpit when the pilot-light is directed to a
document covered with glossy plastic. Tinker (1963) conducted several
experiments to find the effect of surface glare on reading. He tested with
three types of surface reflection (22.9%, 85.8% and 95.1%). The results
showed a significant reduction in reading speed of the high glossy material
(95.1% reflection). Furthermore, 75% of the subjects (sample size was
224), preferred the non-glossy paper.
Other types of glare are common during night operation. When the printed
matter is lit by a direct light (such as a flashlight or pilot-light) and the
pilot’s eyes shift between the document and the dark window or panels, the
eyes must constantly readapt to different levels of luminance. Severe
differences in luminance between the document in-front of the observer
(the critical vision) and the surroundings (peripheral vision), can lead to a
reduction in visual discrimination, reading speed, and comfort. Further-
more, any strong light source (direct-sunlight, radar scope) that is not
shielded from the field of vision, will cause disability glare. As the light
source gets closer to the line-of-sight an increased reduction in visual
efficiency will be experienced (Sanders and McCormick, 1987).
4.2. Slope and Angular
Alignment for Reading
Optimum reading conditions are achieved when the printed copy is held flat
and the plane of the copy is at 90 degrees to the line-of-sight. In this
condition, the printed alphanumerics are seen at their exact form. As the
printed copy is tipped away, the geometric form of the alphanumeric
(width-height ratio) is distorted. Several experiments were conducted to
investigate the reduction in legibility due to this factor. One experiment
revealed that a document with a typesize of 0.10 inch aligned at 105, 120,
and 135 degrees from the line-of-sight, retarded reading speed by 1.5, 5.3,
9.8 percent respectively (Tinker, 1963, cited from Skordhal, 1958).
When the printed matter was held at 90 degrees to the line-of-sight, but the
lines of text were at angle (tilted to the side), a retardant in speed of
reading and a reduction in visibility of the alphanumeric character occurred.
One explanation for this is that when the printed document is tilted away
the eyes have to move obliquely from one fixation pause to another along
the line of text. This strains additional eye muscles and makes this practice
of reading more difficult.
•
4. Several Environmental Conditions Influencing Reading
90
32. 29
Ensure that the quality of
the print and the paper is
well above normal
standards—poor quality of
print and paper will effect
legibility and readability.
•
The designer must assess
the age groups of the pilots
that will be using the
documentation and take a
very conservative approach
in assessing information
obtained from graphs and
data books.
•
4.3. The Quality of Paper and Print
The thickness of the material, i.e., the paper on which the document is
written, can also affect the legibility of print. It is not uncommon to see
pilots hold their checklist card between the eyes and the window. It is
therefore recommended that documentation should be printed on a thick
opaque paper. This will prevent the print on the other side of the document
from showing through and blurring the print on the front.
The visual impression of printed matter plays an important role in the
attraction and motivation of the pilot to read and use it (Hawkins, 1987).
The layout of the document and the organization of the procedures in the
aircraft operating manual is an important factor in minimizing search time to
locate emergency procedures (Degani and Wiener, in progress; de Ree,
1991; Flight Safety Focus, 1985). Another important factor is the quality of
the actual print that comes out from the print shop. The print should be
clear and the boundaries between strokes and spaces should be sharp and
distinguishable (for a bad example, see the BAe 3101 checklist in Figure 1).
Likewise, several checklists obtained by the author from one major U.S carrier
appeared to be degraded as the result of several copier machine iterations;
vertical spacing between characters was reduced, and strokes discrimination
was poor. It was difficult to read the checklist.
4.4. The Effect of Pilot’s Age on Reading
There is a 50% reduction in retinal illumination at the age of 50 years
compared to 20. This reduction in the level of retinal illumination also plays
a role in slowing the rate as well as the level of dark adaptation. The
thickness of the eye’s lenses is the major cause of farsightedness among the
middle aged and elderly. As the lens thickens, it becomes yellow and
reduces the transmission of blue light through it. Thus, older people have
more difficulty in differentiating between colors. This effect is mainly seen in
the blue-green and red regions of the hue, and therefore should be consid-
ered in designing a colored document (Sanders and McCormick, 1987;
Tinker, 1965). These effects will only be amplified while reading critical text
under adverse environmental conditions in the cockpit. It should be noted
here, that in all the tables and figures in the proceeding sections, there is no
indication of the age group of the subjects. As some of the data were
prepared for the military, the reader may very well assume that in most cases
the subjects employed in these studies were young recruits.
33. 30
5. Final Note
It will probably take a decade or two until most commercial airplanes in the
U.S. will fall into the category of “paper-less cockpits.” These future cockpits
will have electronic checklists and electronic libraries containing most of the
information that is now in print (O’Lone, 1990, November 5; Riley, 1990).
Meanwhile, paper (manuals, checklists, dispatch papers) will dominate as a
form of presentation for this type of information on the flight deck. Never-
theless, there is almost no applied research on how to present flight-deck
documentation in the most efficent manner. The author believes that this is
a clear gauge to the lack of attention given to these devices by most high
risk industries (nuclear power, process control, military, maritime, and
more). It is puzzling to note this deficiency in flight-deck documentation of
several major U.S. airlines.
This report was intended to fill an existing “vacuum” of information con-
cerning typographical and graphical aspects of flight-deck documentation.
The author hopes that NTSB recommendation A-88-72, will lead human
factors specialists to investigate these issues and provide specific guidelines
and answers concerning optimal methods of presenting critical documenta-
tion. Similar issues pertaining to computer generated displays such as
electonic checklist and electronic library systems should also be investigated.
If proper typographical and graphical display design will not be imple-
mented, then it is possible that the same problem of hard-to-read displays
may perpetuate into these new systems.
34. 31
6. List of Design Recommendations
This section lists together all the design recommendations from the previous
sub-sections. These recommendations are not specifications. They only form a
baseline, which is based exclusively on the author’s subjective interpretation of
the data. Each recommendation should be carefully evaluated by the designer
based on the type of documentation, usage, criticality, and the target popula-
tion. The recommendations are listed according to the order of sections in this
report (sub-section numbers are given in parenthesis):
1. Sans-serif fonts are usually more legible than fonts with serifs.
(3.2)
2. Avoid using a font that has characters that are too similar to one
another, as this will reduce the legibility of the print. (3.2)
3. Avoid using dot matrix print for critical flight-deck
documentation. (3.2)
4. Long chunks of text should be set in lower case. (3.3)
5. If upper case is required, the first letter of the word should be
made larger in order to enhance the legibility of the word. (3.3)
6. When specifying font height, or accessing graphs to determine
the size of a lower-case character, the distinction between “x”
height and overall size should be made. (3.4)
7. As a general recommendation, the “x” height of a font used for
important flight-deck documentation should not be below 0.10
inch. (3.4)
8. The recommended height-to-width ratio of a font that is viewed
in front of the observer is 5:3. (3.5)
9. The vertical spacing between lines should not be smaller than 25-
33% of the overall size of the font. (3.6)
10. The horizontal spacing between characters should be 25% of the
overall size and not less than one stroke width. (3.6)
11. Avoid using long strings of text set in italics. (3.8)
35. 32
12. Use primarily one or two typefaces for emphasis. (3.8)
13. Use black characters over a white background for most cockpit
documentation. (3.9)
14. Avoid using white characters over a black background in
normal line operations (3.9). However, if this is desired:
1. Use minimum amount of text.
2. Use relatively large typesize.
3. Use sans-serif to minimize the loss of legibility.
15. Black over white or yellow are recommended for
cockpit documentation. (3.10)
16. Avoid using black over dark red, green, and blue. (3.10)
17. Use anti-glare plastic to laminate documents. (4.1)
18. Ensure that the quality of the print and the paper is well above
normal standards. Poor quality of the print will effect legibility
and readability. (4.3)
19. The designer must assess the age groups of the pilots
that will be using the documentation, and take a very
conservative approach in assessing information
obtained from graphs and data books. (4.4)
36. 33
7. Acknowledgments
Note: This report was typeset in ITC Stone Sans 9 1/2 point type, x height =
8 point, 12 point linespacing (leading), and output on a 600 dot per inch
laser printer.
This work was supported by NASA research grant No. NCC2-327 from the
Ames Research Center to the San Jose State University and grant No. NCC2-
377 to the University of Miami. The technical monitor was Everett A.
Palmer. The author wishes to thank Sheryl L. Chappell, Loren E. Gifford,
Everett A. Palmer, Leon Segal, and Barbara T. Sweet, of NASA Ames Re-
search Center; Roweena Morrison of the Battelle/ASRS office; and Earl L.
Wiener of the University of Miami for reviewing this report and providing
helpful comments. Graphics provided by Kristen G. Bauersfeld, Tom J.
Esposito, Loren E. Gifford, Tom E. Nast, and Marie Westfall.
37. 34
8. References
Antersijn, P., and de Ree, H. (1989). Readability improvement of emergency
checklists. Proceedings of the Fifth International Symposium on Aviation
Psychology (pp. 288-295). Columbus, OH: The Ohio State University.
ASRS. (1987). Erroneous flap setting; checklist use (Special request No. 1177/
1182 [Database search]). ASRS office, Mountain View, California:
Battelle.
ASRS. (1989). Erroneous flap setting; checklist use (Special request No. 1503
[Database search]. Update of special request No. 1177/1182). ASRS
office, Mountain View, California: Battelle.
Cheetham, D. and Grimbly, B. (1964). Design analysis: Typeface. Design,
186, 61-71.
Craig, J. (1980). Designing with type. London: Pitman Publishing.
de Ree, H. (1991). The emergency checklist, testing various layouts. Proceed-
ings of the Sixth International Symposium on Aviation Psychology (pp. 160-
164). Columbus, OH: The Ohio State University.
Degani and Wiener, E. L. (1990). The human factors of flight-deck checklist: The
normal checklist (NASA contract report 177549). Moffett Field, CA: NASA
Ames Research Center.
Degani, A., and Wiener, E. L. (1991). Philosophy, policies, and procedures:
The three P’s of flight-deck operations. Proceedings of the Sixth Interna-
tional Symposium on Aviation Psychology (pp. 184-191). Columbus, OH:
The Ohio State University.
Degani, A., and Wiener, E. L. (1994). On the design of flight-deck procedures
(NASA Contractor Report 177642). Moffet Field, CA: NASA Ames
Research Center. <http://olias.arc.nasa.gov/publications/DOP/DOP.html>
Flight Safety Focus. (1985, May). In-flight fire: Report of the Saudi Arabian
Civil Aviation Authority. Flight Safety Journal, p. 1-12.
Foley, P. and Moray, N. (1987). Sensation, perception, and system analysis.
In G. Salvendy (Ed.), Handbook of human factors (pp. 45-71). New York:
John Wiley & Sons.
38. 35
Grether, W. F. and Baker, C. A. (1972). Visual presentation of information. In
H. P. Van-Cott and R. G. Kinkade, (Ed.), Human engineering guide to equip-
ment design (pp. 49-127). Washington, DC: American Institute for Re-
search.
Hartley, J. (1981). Eighty ways of improving instructional text. IEEE
Transactions on professional communication, PC-24(1), 17-27.
Hartley, J. (1985). Designing instructional text. (2 ed.). London: Kogan Page.
Hawkins, F. H. (1987). Human factors in flight. Brookfield, VT: Gower
Publishing Company.
Heglin, H. J. (1973). Navships display illumination design guide (NELC/TD-223).
San Diego: Naval Electronics Laboratory Center.
Howett, G. L. (1983). Size of letters required for visibility as a function of viewing
distance and viewer acuity (Tech. note #1180). Washington, DC: National
Bureau of Standards.
Kubakawa, C. (1969). Databook for human factors engineers (NASA contract
report NAS2-5298). San Diego: Man Factors, Inc.
National Transportation Safty Board (1988). Air New Orleans. BAe-3101 N331CY.
New Orleans International Airport, Kenner, Louisiana. May 26, 1987
(Aircraft Accident Report, NTSB/AAR-88/06). Washington, DC: Author.
National Transportation Safty Board (1989). Delta Air Lines, Boeing 727-232,
N473DA. Dallas-Fort Worth International Airport, Texas. August 31, 1988
(Aircraft Accident Report, NTSB/AAR-89/04). Washington, DC: Author.
O’Lone, R. G. (1990, November 5). Boeing picks subcontractors for 777’s
structural and cockpit components. Aviation Week & Space
Technology, p. 34.
Philips, R. J. (1979). Why is lower-case better? Applied Ergonomics,
10(4), 211-214.
Poulton, E. C. (1965). Letter differentiation and rate of comprehension in
reading. Journal of Applied Psychology, 49(5), 358-362.
39. 36
Poulton, E. C. (1967). Searching for newspaper headlines printed in capitals
of lower-case letter. Journal of Applied Psychology, 51(5), 417-425.
Riley, J. (1990). The electronic library system (ELS): safety through efficient data
management. Honeywell, Inc: Author.
Ruffell Smith, H. P. (1979). A simulator study of the interaction of pilot
workload with errors, vigilance, and decisions (NASA technical memo
78482).
Moffett Field, CA: NASA Ames Research Center.
Sanders, M. S., and McCormick, E. J. (1987). Human factors in engineering
and design. (6th ed.). New York: McGraw-Hill.
Smith, F., Lott, D., and Cronnell, B. (1969). The effect of type size and case
alteration on word identification. American Journal of Psychology, 82,
248-253.
Tinker, M. A. (1963). Legibility of print. Ames: Iowa State University Press.
Tinker, M. A. (1965). Bases for effective reading. Minneapolis: Univ. of
Minnesota press.
Turner, J. W., and Huntley M. S. (1991). The use and design of flight crew
checklists and manuals (DOT/FAA/AM-91/7). Cambridge, MA: National
Transportation System Center.
Wilkins, A. J., and Nimmo-Smith, M. I. (1987). The clarity and comfort of
printed text. Ergonomics, 30, (12), 1705-1720.
Woodson, W. E. (1981). Human factors design handbook. New York:
McGraw-Hill.
Woodson, W. E., and Conover, D. W. (1964). Human engineering guide for
equipment designers (2 ed.). Los Angeles: University of California press.
Wright, P. R. (1981). Five skills technical writers need. IEEE Transaction of
professional communication, PC-24(1), 10-16.