Lizard people (ahem, Minnesota), butterfly ballots, and hanging, swinging, pregnant, and dimpled chads (here's looking at you, Florida)—voting in American elections always comes with a healthy dose of anxiety. But as I voted this morning here in Chicago, I found myself reassured by the ballot before me. Easy-to-follow directions, an understandable layout, and readable text—the ballot let me focus on making important decisions rather than navigating impenetrable blocks of letters or deciphering a baffling design.
Ballots in Cook County are a great example of how graphic design can serve the common good. After voting debacles in 2000, the American Institute of Graphic Arts (AIGA) launched a project called Design for Democracy, which aims to make the process of voting easier and more efficient. AIGA worked with Cook County and the state of Oregon to revamp voting materials and in 2007, Marcia Lausen published Design for Democracy: Ballot and Election Design (University of Chicago Press/AIGA), which has become an invaluable toolkit for citizens and officials who want to make voting as straightforward as possible.
Displayed at the Art Institute this spring and summer as part of the exhibition Rethinking Typologies, Design for Democracy: Ballot and Election Design includes suggestions (that might seem obvious, but aren't embraced as often as you might think) such as:
– Prioritize voter directions over administrative requirements
– Present concise text
– Use upper- and lowercase sans serif typefaces with left alignment for readability
– Don't use all caps
– Print text in 12-point font or larger
– Use universally recognized icons
– Utilize color and contrast to highlight important information
Election administration is up to states and municipalities, so even though there are model cities, counties, and states, many polling sites around the country still have atrocious voter-experience. Voting is an important part of maintaining democracy (duh), but making the process easier, clearer, and less prone to electoral dysfunction is vital in reinvigorating our democratic institutions.
If you haven't already, go vote! And if your ballot leaves something to be desired (we're talking graphic design, here, people), talk to your local election officials about making better design happen in your community.
1 hour 50 min ago The Art Institute of Chicago Happy birthday to Winslow Homer. In 1883 the artist moved to a small coastal village in Maine, where he created a series of paintings of the sea unparalleled in American art. The paintings he created after 1882 focused almost exclusively on humankind’s age-old contest with nature.
In The Herring Net, Homer depicted the heroic efforts of fishermen at their daily work. While one fisherman hauls in the netted and glistening herring, the other unloads the catch. Utilizing the teamwork so necessary for survival, both strive to steady the precarious boat as it rides the incoming swells. Homer’s isolation of these two figures underscores the monumentality of their task: the elemental struggle against a sea that both nurtures and deprives.
See five paintings by Winslow Homer in Gallery 171 of American Art—http://bit.ly/2l89rfx
15 hours 49 min ago The Art Institute of Chicago Put your own creative spin on 30 masterpieces from the Art Institute of Chicago. Our coloring book is now available online at the Museum Shop.
21 hours 27 sec ago The Art Institute of Chicago #TBT The Boy Scouts check out Whistler’s Mother, on view at the Art Institute for the Chicago World’s Fair, 1933.
Whistler’s iconic painting has only been exhibited at the Art Institute on two occasions: once in 1933 and again in 1954 for the exhibition Sargent, Whistler, and Mary Cassatt. See this beloved American portrait—at the Art Institute again for the first time in over 60 years—starting March 4.