Information Design - Exercises

Samantha Kristalyn / 0373905 / Bachelor of Design (Hons) in Creative Media 

Information Design 

Exercises

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JUMPLINKS

1. INSTRUCTIONS (MIB)

2. LECTURES

3. EXERCISES

4. FEEDBACKS

5. REFLECTION

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INSTRUCTIONS

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LECTURES

Week 1 

(No class)

Week 2
Type of Infographics

Infographics are highly effective when it comes to

increasing engagement and capturing your

audience’s attention.

An infographic is a powerful way of

communicating ideas in a visual form.

Different types of infographics are used in design and
marketing to present information in a simple and
visually appealing way. They can be a useful
alternative to standard text-based content. 

Infographics are usually differentiated by a mix of factors:

• Purpose / Communication Goal
• Content Type
• Design / Visual Structure
• Medium / Context

In most cases, infographics fall into 8 standard categories.

Below are the types of infographics:

Fig. 1.1, Types of Infographics.

1. List Infographics

A list infographic is an informational graphic that uses a written list to get a message across. It’s full of written copy, but it’s also highly visual. Like other kinds of graphics, it’s eye-catching and typically includes a wide range of design elements.

Contextualizing information with visuals makes it easier to read and helps make the statistics more memorable.

2. Statistical Infographics

A statistical infographic includes pie charts, bar graphs, and other visual representations of data. Using a statistical infographic to represent information visually makes it much easier to understand.

Include percentage radials alongside branded illustrations to grab the audience’s attention and draw them into reading the information.

3. How-To Infographics

A how-to infographic explains how to do something — such as solving a problem or performing a task.

It’s a fantastic alternative to long pieces of text that describe a step-by-step process (like proper hand washing or workplace setup) without bombarding the viewer with information.

Compared to a paragraph or written list, a how-to infographic makes each step of the process easier to absorb.

4. Timeline Infographics

A timeline infographic is not only useful and informative, but also visually appealing.

Timeline infographics are one of the most versatile types in terms of use. When creating this type of infographic, be sure to use icons and illustrations along the full length of the timeline to represent each point clearly.

5. Comparison Infographics

A comparison infographic is a visual way to compare and contrast different options.

By presenting two or more alternatives side by side, this type of infographic helps readers understand the distinctions between various concepts and, in many cases, choose which option is best for them.

6. Map or Location Infographics

A map or location infographic is widely used by companies and organizations.

These infographics can be used for a variety of purposes — often to communicate demographic data or other location-specific information in a visually engaging way.

7. Flowchart Infographics

A flowchart infographic is a graphical representation of an information stream, such as a sequence of different steps or actions.

This type of infographic boosts engagement while giving users a clear idea of what the process is about. Because it guides people individually through various steps, it feels more personal and resonates closely with audiences.

8. Process Description Infographics

A process description infographic visually describes the main elements, actions, and steps of a process.

It’s useful for communicating technical information or a complex series of actions, as it highlights the most important steps and simplifies complex ideas by breaking them down and grouping them by category.

Week 3

L.A.T.C.H Theory

Organizing information meaningfully and effectively is still one of the biggest challenges faced by UX designers. Even after working on multiple projects across different industries, we often find ourselves questioning our approach when organizing or restructuring information for a new website.

It’s common to pause and wonder, “Is this really making sense?” or “Am I using the organizational principles properly?”

That’s why the L.A.T.C.H theory serves as a valuable framework. It helps designers organize information based on five key principles; Location, Alphabet, Time, Category, and Hierarchy. By applying these methods, we can create clearer structures, guide users more intuitively through content, and ensure that information feels logical and easy to navigate.

Fig. 1.2, L.A.T.C.H Theory.

01. Location

The location technique organizes information based on its physical or spatial position.

This approach provides a clear spatial order to the information, helping users navigate content more intuitively.

02. Alphabet

Organizing content alphabetically is one of the easiest and most universally recognized methods of grouping information.

However, it’s important to ensure that the labels used also align with the user’s mental model, so the organization feels natural and meaningful to them.

03. Time

This technique organizes information based on its temporal nature — that is, when events occur.

It’s especially effective on social media platforms, where users often want to see the most recent activities or updates in their networks.

04. Category

The category method is one of the most frequently used techniques for organizing content on websites.

A category refers to any meaningful group that relates to the website’s purpose or audience. It’s important to define categories that make sense to your users.

Tools such as Card Sorting can help designers create relevant and user-centered categories.

05. Hierarchy

Hierarchy organizes information according to a specific order or ranking, such as size, cost (low to high or high to low), popularity, or importance.

This structure helps users quickly understand the relative value or priority of different pieces of information.

Week 4

Miller's Law

Communication can be a messy endeavor, with interruptions happening frequently and misunderstanding affecting the way the message is carried across to other participants.

Miller's law suggests how our short-term memory is limited when it comes to remembering more than seven information "objects," and how retaining that information does not last longer than 30 seconds.

“The Magical Number Seven, Plus or Minus Two”
Most human brains are incapable of holding more than roughly seven items in their short-term memory at once — or as Miller put it, “the magical number seven, plus or minus two.” Pass that threshold, and most humans tend to forget some of the items.

Validating Miller’s Rule: The Paradox of Choice
Miller's law directly opens up the issue of certain limitations when it comes to humans.
Our brain processes just a certain amount of information in any communication, but not always can we grasp it to a full extent.

The Art of Refining Options
“Learning to choose is hard. Learning to choose well is harder. And learning to choose well in a world of unlimited possibilities is harder still, perhaps too hard.” You will have a hard time remembering anything more than seven different information if they come at you in a short period, and you will likely forget them in less than 30 seconds.

Our brain processes just a certain amount of information in any communication, but not always can we grasp and recall the memory to a full extent.

Week 5

Information Architecture

Manuel Lima’s 9 Directives Manifesto

Manuel Lima’s Information Visualization Manifesto, published on VisualComplexity.com, provides a practical set of nine directives that clarify what information visualization truly represents and how it differs from information art or infographics.

1. Form Follows Function

The form of a visualization should always serve its function. Start with a clear question — your work should be driven by inquiry and aimed at producing understanding.

2. Interactivity is Key

Allows for investigation and learning through discovery.

3. Cite Your Source

Always disclose the origin of your data. Transparency about sources strengthens credibility and trust in the visualization.

4. The Power of Narrative
Integrate storytelling elements into your design to make information more interesting, memorable, and emotionally resonant.

5. Do Not Glorify Aesthetics
“Aesthetics should always be a consequence and never a goal.”
Visual appeal is valuable, but clarity and purpose must come first. Beauty should support understanding, not distract from it.

6. Look for Relevancy
Ensure every visualization serves a meaningful purpose and delivers value to its audience.

7. Embrace Time
Effective visualizations should acknowledge and manage time, helping users see patterns, trends, and progressions that aid better decision-making.

8. Aspire for Knowledge
“A core ability of Information Visualization is to translate information into knowledge.”
The ultimate goal of information visualization is to facilitate understanding, enhance cognition, and empower informed decisions.

9. Avoid Gratuitous Visualizations
“Visualizations should respond as a cognitive filter, an empowered lens of insight, and should never add more noise to the flow.”
Avoid adding unnecessary complexity or decoration. Every visual element should serve insight, not obscure meaning.

“The purpose should always be centered on the explanation, which in turn leads to insight.”

Interactivity allows users to investigate, explore, and learn through discovery, transforming passive observation into active engagement.

Humans are naturally drawn to stories.

Ask yourself: Why are you visualizing this information?

Time is a challenging yet essential dimension in information design.

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EXERCISES

Exercise 1: Quantifiable Information (10%)

Quantify raw data and visualize information as a photograph.

Instruction:

Gather a set of objects and separate it into category such as color, shape, pattern, and other quantifiable factor.

Example:

1. Box of Lego

2. Jar of button

3. Jar of marble ball

4. Set of colorful rubber strap

On this exercise, we are required to quantify our chosen objects and arrange them into a presentable layout or chart. 

The information must be presented as is, and we need to arrange the objects with relevant indicators written out with pens to help you to visualize the quantity and data.

For this exercise, I chose to use M&M’s as my set of objects. According to the instructions, the task was to separate objects into categories such as color, shape, or pattern, quantify the data, and then present it visually in an organized way. By arranging the M&M’s physically and annotating them with written notes, I was able to transform raw data into visualized information.

1. Objects Before Sorting

Before sorting, all of the M&M’s were placed together as a single mixed group without any categories. At this stage, the objects appeared random and unorganized, with no clear way to interpret or compare them. Showing the M&M’s in their original unsorted state is important because it establishes the raw data set and provides a visual contrast to the later stages of categorization, where order, patterns, and meaning start to emerge.

Fig. 2.1.1, left: M&M sachets; right: M&M candies.

2. Objects Sorted Out by Categories

A. M&M's Sorted Out by Individual Colors

I started off by using the packets of M&M’s to demonstrate the visualization of quantifiable data. The candies were categorized by color, counted, and arranged to represent the distribution of each category. The analysis revealed that red and blue were the most frequent colors, each comprising 20.9% of the total sample, while yellow and brown were the least frequent at 13.4% each. This visualization effectively presents numerical data through a clear and organized physical layout, enhancing comprehension through visual representation.

Fig. 2.1.2, M&M's Categorized by Color.

B. M&M's Sorted Out by Texture & Shape

After sorting the M&M’s by color, I also introduced another measurable factor by separating them based on texture and shape: Crispy versus Regular varieties. This gave me a new way to categorize the data beyond just visual appearance.

By categorizing the M&M’s this way, I was able to highlight physical properties (texture/shape) as another form of quantifiable data. While color represents a visual/psychological dimension, texture introduces a tactile and structural dimension. This combination shows that quantification is not limited to obvious factors like color but can extend to subtle details such as form, size, or surface texture.

This added layer of categorization also makes the exercise more engaging. It shows that data can be read in different ways: the same set of objects (M&M’s) can tell multiple stories depending on which characteristic you choose to measure. By using both color and texture/shape, the analysis becomes multidimensional, combining visual, psychological, and physical aspects into one cohesive dataset.

Fig. 2.1.3, M&M's Categorized by Shape & Texture.

• Crispy (26 pieces – 38.8%)

- These M&M’s are slightly larger, more rounded, and have a puffier surface due to the rice-crisp center.
- They stand out physically because of their irregular texture, which makes them easy to distinguish when compared to the smoother Regular pieces.

In the dataset, Crispy M&M’s made up a little over one-third of the total, which shows they were less common but still a significant portion.

• Regular (41 pieces – 61.2%)

These have the classic flat oval shape with a smoother and shinier surface.
 They are the standard variety most people recognize as the “default” M&M’s.
With over 60% of the total, Regular M&M’s clearly dominated the sample, reinforcing their role as the baseline or majority group.

C. M&M’s Organized into Warm vs. Cool Color Categories

Lastly, instead of only showing “red, orange, yellow…” as separate groups, I also came up with the idea of combining them into warm colors vs. cool colors. This made the data easier to compare in bigger clusters, while also connecting to design and art theory where colors are often divided this way.

 I separated the M&M’s into warm colors (red, orange, yellow, brown) and cool colors (green, blue).

• Warm colors: 42 pieces (62.7%)

• Cool colors: 25 pieces (37.3%)
  This allowed me to visually compare which category was more dominant. To support the data, I calculated the mean, median, and mode, showing that warm colors occurred more frequently than cool ones.

Fig. 2.1.4, M&M's Divided into Warm Colors & Cool Colors.

By dividing the M&M’s this way, the dataset became easier to interpret at a glance. Rather than comparing six separate colors individually, I could now see a clear dominance of one category (warm) over the other (cool). This highlighted not only numerical distribution but also visual dominance and emotional tone, which is important when thinking about color in relation to communication and perception.

To further support the data, I calculated basic statistics: mean, median, and mode. All three measures pointed to warm colors occurring more frequently. This confirmed what the visual grouping already suggested; that warm tones dominated the sample both quantitatively and visually.

In summary, the warm vs. cool classification added a layer of creativity and meaning to the project. It transformed raw numbers into a structured comparison while connecting the exercise to broader ideas in art and design theory, such as balance, contrast, and color psychology.

3. Information on Papers

Applying Goethe’s Color Theory to M&M’s

By applying Goethe’s Color Theory, the project shows that data is not only numerical but also interpretive. Each color in the dataset has a dual meaning; positive and negative, which helps explain why colors influence mood, perception, and design choices.

Instead of just saying “red = 14 pieces,” this approach transforms the number into a story: 14 red candies do not just mean frequency, they also symbolize intensity, passion, or aggression depending on the context. This makes the exercise much more engaging and connects the raw data (counts and percentages) with real-world concepts used in art, psychology, and communication.

Fig. 2.1.5, M&M's Divided Individually to Represent Goethe's Color Theory.

1. Red

Symbolizes energy and intensity.

Positive associations: love, passion, excitement, strength, warmth.
Negative associations: aggression, war, danger, defiance.

In the dataset: Red appeared frequently, showing how a dominant color visually can also dominate psychologically, creating a strong and sometimes overwhelming presence.

2. Orange

Transitional color between red and yellow.

Positive associations: warmth, happiness, flamboyance, friendliness.
Negative associations: over-emotional reactions, frustration, worrying.

In the dataset: Orange played a balancing role, softening the intensity of red while still carrying warmth and liveliness.

3. Yellow

The brightest and most eye-catching color.

Positive associations: creativity, confidence, sunlight, optimism, wealth.
Negative associations: cowardice, deceit, hazard, depression.

In the dataset: Yellow acted like a visual highlight, supporting Goethe’s idea that it naturally attracts attention and carries strong emotional weight even if less frequent.

4. Green

A middle ground between warm and cool tones.

Positive associations: growth, balance, peace, health, good luck.
Negative associations: jealousy, envy, greed, sickness.

In the dataset: Green served as a stabilizing element, linking the warmth of red, orange, and yellow with the coolness of blue.

5. Blue

Considered calming and intellectual.

Positive associations: peace, calmness, intelligence, professionalism, trust.
Negative associations: coldness, depression, detachment.

In the dataset: Blue balanced the intensity of warmer tones, showing how cooler colors can add stability and harmony.

6. Brown
Represents stability and grounding.

Positive associations: reliability, tradition, calmness, earthiness.
Negative associations: poverty, dullness, heaviness, dirtiness.

In the dataset: Brown acted as the neutral tone, preventing the overall composition from being overly bright or chaotic.

Exercise 2: L.A.T.C.H Infographic (10%)

Instruction:

1. Select 1 topic of your own choice and create a poster design.

2. Organize a group of information into a visual poster that combines and utilizes the LATCH principles (Minimum 4); Location, Alphabet, Time, Category, Hierarchy.

3. You are required to use the digital photo editing/illustration software available to assemble the information into a LATCH infographic poster.

4. You are allowed to reuse back the images but you have to create the rest of visuals to complete the poster.

We were told to create an A4 infographic poster (100 DPI) containing the LATCH principles. 

I started off with exploring some topics and landed on one that I thought would suit best; bubble tea! After that, I started off by creating a LATCH-based content outline before moving into the actual visual poster phase. 

Below is the concept planning sheet:

After making the poster information hierarchy plan, I started sketching an outline first to figure out how I'll spread out the information on the poster later on. Below is the sketch for the poster: 

Fig. 2.2.1, Initial sketch for L.A.T.C.H poster.

I designed the outline this way to simplify the information, making it easy to understand at a glance. Mr. Fauzi once mentioned that viewers of infographic posters usually only spend a short amount of time looking at them; they might just pass by; so the content needs to be clear, visually organized, and quickly processed. 

That's why I broke down the topic into simple sections like "How to Make," "Types of," "Origin," and "Popularity Ranking," using minimal text and supportive visuals to guide the viewers' attention.  

Final Poster

Fig. 2.2.2, Final L.A.T.C.H poster.

Explore Bubble Tea — From Taiwan to the World.
This infographic introduces bubble tea as a global phenomenon by combining visual storytelling with the LATCH framework, which helps structure complex information in a way that is easy and engaging to understand. The goal was to make the content simple, visually guided, and instantly readable; following Mr. Fauzi’s advice that infographic viewers often only have a few seconds to process information while passing by.

Applying the LATCH Principles

1. Time (Process Flow)

At the top, the “How to Make Bubble Tea” section uses a step-by-step sequence to show the drink-making process; from boiling tapioca pearls to brewing tea, mixing, and finally serving.

This aligns with the Time principle, as it arranges information in chronological order, guiding the viewer through each stage of preparation.

2. Category (Flavors)

The “Types of Bubble Tea” section organizes information by flavor categories such as Classic Milk Tea, Brown Sugar, Matcha, and Cheese Foam.

This represents the Category aspect of LATCH — grouping items that share a common theme so that viewers can compare them easily.

3. Hierarchy (Popularity Ranking)

On the right, the “Popularity Ranking” section lists the top bubble tea flavors from number one to five.

This visual ranking demonstrates Hierarchy, showing which flavors are most popular globally and helping the audience prioritize information quickly.

4. Location (Origin and Global Spread)

At the bottom left, the “Origin” map points to Taiwan as the birthplace of bubble tea, while the “Top Countries” section highlights regions like Japan, Singapore, Malaysia, the United States, and the United Kingdom.

This applies the Location principle, connecting the cultural roots of bubble tea to its worldwide influence.

Design Intent

The poster uses warm brown tones and creamy textures that mimic the appearance of milk tea, reinforcing the theme visually. Each section is neatly boxed to separate ideas while maintaining a logical flow from top to bottom; a technique inspired by information hierarchy principles. The combination of icons, images, and short text lines ensures that viewers can understand the content within a few seconds.

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FEEDBACKS

Week 1 (No Class)

Week 2

On this week, Mr. Fauzi instructed us to start working on our exercise. By next week, we will have to show our final work to him to receive feedback so we can revise our work before submitting it. 

Week 3

By this week, Mr. Fauzi said that my work is complete and ready to submit.

Week 4 (Deepavali)

Week 5

Mr. Fauzi told me that my initial topic was too broad (Breakfasts All Around The World) and he told me to just go for something simple and easier to decipher. I went with the Bubble Tea topic and Mr. Fauzi just told me to refine the title (How to Make Bubble Tea ➡️ Exploring Bubble Tea)

Week 6 (Absent)

Submission Week

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REFLECTION

Through these exercises, I learned how crucial it is to organize and present information in a clear, meaningful, and visually engaging way. The process of quantifying data and turning it into a visual composition; such as using M&M’s to represent color categories; taught me that design can make data more relatable and easier to understand. It also helped me appreciate how visual hierarchy, color theory, and categorization all contribute to effective communication.

Applying concepts like the LATCH theory and Goethe’s Color Theory deepened my understanding of how information design is not just about aesthetics, but also logic and emotion. LATCH helped me see how different methods of organization (location, alphabet, time, category, hierarchy) can influence user experience, while Goethe’s theory added meaning behind color selection and its psychological impact.

Overall, this exercise strengthened my ability to think critically about how information is structured, interpreted, and perceived. It encouraged me to go beyond simply presenting data;  to instead tell a visual story that connects logically, emotionally, and contextually with the audience.