"Every photography subject deserves to be treated as an autonomous human being, capable of making independent decisions. In case of children, we also need to ensure their parents’ consent. We need to be constantly aware of our position in the power hierarchy — in the development world, in many c
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ases, we control the subject’s access to money, schooling, opportunities, and even fun. So they may defer to us by default, and it is our responsibility to not take advantage of this. It is our duty to protect the subjects from harm, and to ensure they enjoy every possible benefit of participating in our activity." (Page 8)
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"Esta guía pretende proveer los elementos necesarios para establecer un protocolo de seguridad en una diversidad de contextos; así como recomendaciones prácticas para hacer frente a diversas situaciones. La guía está enfocada en todos los periodistas visuales, en particular aquellos que trabaja
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n en zonas de riesgo. El primer apartado del texto se enfoca en los elementos necesarios para elaborar un protocolo de seguridad. Se enlistan las herramientas necesarias para valorar el riesgo y las amenazas y se dan los lineamientos para decidir qué medidas de seguridad adoptar. En el segundo apartado se dan recomendaciones para enfrentar diversos escenarios. La labor de los periodistas visuales los obliga a enfrentar una diversidad de circunstancias con características particulares. Este segundo apartado pretende brindar al lector recomendaciones específicas que le serán útiles en cierto tipo de contextos, pero sin olvidar que no hay dos situaciones iguales, por lo que cada cobertura requiere de medidas específicas de seguridad. El último apartado está dedicado al manejo de estrés y los efectos psicológicos que pueden surgir por el trabajo en situaciones de alto riesgo. El bienestar psicológico es fundamental para poder desarrollar una buena cobertura periodística. La labor de los reporteros gráficos los obliga a estar en estados de alto nivel de adrenalina, lo que puede causar estragos en la salud." (Página 6)
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"This guide is made for civil society activists who plan to run wallposter comics workshops within their own organisations or groups. All steps needed to run a workshop are fully explained in the guide and it should be used together with our manual “How to make wallposter comics”, which should b
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e given as a handout to the participants. To arrange a wallposter comics workshop you need two trainers, a hall, pens, papers, and access to a copying machine. Your participants (about 15-20) should be motivated people, e.g. community activists, who wish to have their voices heard about issues they want to raise." (Page 3)
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"This guide starts with "the three principles of visual communication": Humans are visual first, verbal second; our decisions and actions are based more on emotional reactions than rational thought; visuals are the most effective communications vehicles for evoking emotion and getting people to take
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action. It then presents "Seven Rules of the Road" for those seeking to maximise the impact of visuals: 1. Don't assume others will react to a picture or video the same way you do. Test visuals with your intended audience. (Cost-effective strategies are offered for how to carry out such testing). 2. Pair your pictures with words for highest impact and to cement them deeper into your audience's memory. 3. Make sure your images match your message. 4. Use genuine, not generic, pictures. 5. Invest the most in the first picture your audience sees, and in overall design quality. 6. To use pictures effectively, be diligent about taking them and storing them for easy sharing. 7. Choose your subjects carefully." (commbox)
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"Any scientist or engineer who communicates research results will immediately recognize this practical handbook as an indispensable tool. The guide sets out clear strategies and offers abundant examples to assist researchers-even those with no previous design training-with creating effective visual
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graphics for use in multiple contexts, including journal submissions, grant proposals, conference posters, or presentations. Visual communicator Felice Frankel and systems biologist Angela DePace, along with experts in various fields, demonstrate how small changes can vastly improve the success of a graphic image. They dissect individual graphics, show why some work while others don't, and suggest specific improvements. The book includes analyses of graphics that have appeared in such journals as Science, Nature, Annual Reviews, Cell, PNAS, and the New England Journal of Medicine, as well as an insightful personal conversation with designer Stefan Sagmeister and narratives by prominent researchers and animators." (Publisher description)
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"This workbook provides an overview of the main points contained in the book 'Making Data Talk: Communicating Public Health Data to the Public, Policy Makers, and the Press', as well as practical exercises for applying the book’s concepts and communication principles to your unique situation. The
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first three chapters review basic communication concepts, from analyzing your audience to building a storyline. Chapters 4 and 5 shift the focus from conceptual to practical by introducing guidelines for presenting data, as well as the Organize, Plan, Test, and Integrate (OPT-In) framework developed by the textbook’s authors to aid in planning and executing data-related communications. Chapters 6 and 7 focus on the application of concepts and the OPT-In framework to the real world in scenarios, such as crisis situations or advocacy. The ultimate goal of this workbook—and the book 'Making Data Talk: Communicating Public Health Data to the Public, Policy Makers, and the Press'—is to help you select and communicate quantitative data in ways lay audiences can understand. You will gain the most from this workbook by reviewing its contents in concert with the book 'Making Data Talk: Communicating Public Health Data to the Public, Policy Makers, and the Press', making note of the tips and guidelines it presents, and completing the practical exercises beginning in Chapter 3 to ensure your understanding of the concepts and ability to successfully apply them." (How to use this workbook)
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"Drei Auflagen lang etablierte sich Lesetypographie als unverzichtbarer Leitfaden für Dozenten, Studierende und Praktikern. Die Anregungen, Regeln, Lektionen der Lesetypo basieren auf der Analyse von Spitzenleistungen der Buchgestaltung aus Jahrhunderten und haben zeitlose Gültigkeit. Aber natürl
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ich sind in den letzten Jahren neue hervorragende Beispiele entstanden - nicht zuletzt dank der Breitenwirkung der Lesetypographie. Und so finden Sie in der [neuen] Lesetypo aktuelle Beispiele, dreidimensional farbig fotografiert, Ergänzungen und Erweiterungen." (Verlagsbeschreibung)
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"Design is an iterative process and design thinking is present in each stage of the journey from client brief to finished work. Different solutions can be produced for any given brief and these can differ widely in levels of creativity, practicality and budget. This book aims to present an overview
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of the design thinking involved at each stage of the design process: the methods used by designers to generate and refine creative ideas, the key considerations that help shape them and the feedback and review elements that allow design teams to learn from each job and contribute to future commissions. Through detailed studies of contemporary work and analysis of the basic theories, we examine how a designer can generate and resolve ideas to produce creative solutions that best meet the stated aims of a brief." (Introduction)
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