New Findings in Visual Communications on Visibility or Legibility in Different Media

1. Introduction

The visibility and legibility of graphic elements and typography in different colours are crucial for the rapid absorption and processing of information, the speed of which depends on typography and graphic design. The development and usability of these elements can be seen in both conventional print products and modern digital media.

Recent developments in the field of printed media have focussed primarily on packaging for protection, sales and transport, with a particular focus on sustainable materials and increasing consumers ecological awareness [1,2,3,4,5,6,7]. At the same time, there have been significant developments in the field of graphic design, including the eco-friendly design of packaging [8,9,10,11,12,13] and the application of various labels with additional information for consumers or users [14,15,16,17,18,19]. Today, attracting potential customers is an important part of graphic design development.

Traditional print products such as books, magazines, newspapers and various information sources are increasingly being replaced by digital media [20,21,22,23,24]. An increasing amount of educational content is being delivered via modern media [25,26,27,28], often supplemented by additional material such as videos that enhance the educational experience. There are recognised developments in typographic and graphic adaptations that help people with various reading difficulties [29,30,31,32,33].

Currently, social games that can be educational, promote thinking and memory, or simply facilitate human interaction and communication are being published in modern media [34,35,36].

Studies in these areas are presented in this Special Issue of Applied Sciences and described as follows.

2. Overview of Published Articles

The first article [37] focuses on eco-friendly graphic design of gift packaging, including design solutions for bottle labelling. Eco-friendly and sustainable design focuses primarily on the use of material and the design of packaging sizes and formats to technologically simplify their production, including the minimisation of waste materials. In addition to ecological materials, design elements of bottle labelling, gift packaging for bottles and general graphic solutions were also considered in the aforementioned research. The latter can have an impact on production costs, user experience and the quality of compostability or impurity in recycled materials. The research presented four design solutions for labels, all containing a QR code, three different design solutions for gift packaging and their two labelling. All were based on minimalist design principles (less is more) in terms of colour usage and printed surface. The study analysed the user experience of different age and income groups (over 200 respondents in total) and four different focus groups based on their role: tourist board, company representatives, potential buyers and students.

Older user groups were found to be more discerning in their choice of graphic design and this affected their product purchases. Younger user groups were more receptive to the use of QR codes and the information accessible through them.

Another study [38] analysed the use of NFC tags on packaging. The level of awareness of this tag was surveyed among more than 160 participants, with understanding tested among more than 30 participants. A focus group of 50 participants tested the visibility of NFC tag placement using eye-tracking devices.

The results showed that older survey participants (Baby Boomers) were not familiar with the meaning of NFC tags. Middle-aged readers (Generation X) recognised and understood the meaning of the tag to a lesser extent. The younger groups (Generation Y and Z) were familiar with the tag and easily searched for more information. The results on the positioning of the NFC tag differed from the general recommendations; ideally, the tag should be located at the bottom right, where it is most noticeable. This research found that the bottom left position is the most preferable, although there may be geographical differences, warranting further research in this direction.

The next article [39] examines the legibility of text in different colour combinations and across different media, i.e., print and digital. The reading speed in the digital medium was measured using an eye-tracking device. In the study, three colour combinations of text and background were tested with 52 participants.

The results showed that the fastest combination to read was the achromatic–chromatic combination, i.e., black text on a green background. Slower reading speeds were found for the achromatic combination, i.e., black text on a light grey background, and the chromatic combination, i.e., purple text on a green background. The research found no statistically significant differences between the media, i.e., between printed text and text on a screen. The medium also had no influence on the understanding of the content presented. As most information today is presented in a variety of colour combinations, it is likely that further research will be conducted in this area.

Another study [40] investigated the effects of graphic design and the media used to display instructions for task completion/performance among high school students. The graphic design varied in terms of typography, colour and layout. At the same time, the user-friendliness of the different display media (conventional and digital) was analysed. In the case of the digital media, both the projection and the close-up display on a computer screen were tested. The study was divided into two parts. In the first experiment, in which 125 students took part, the focus was on the variety of typography, colour and design of the instructions. The second experiment, in which 75 students took part, investigated the influence of the presentation of the instructions and the medium used to complete the tasks. In the second part: one group received the instructions on a computer screen and completed the tasks on a tablet. Another group received the instructions projected onto a blackboard and completed the tasks on paper. The third group received printed instructions and completed the tasks on paper.

The differences in terms of typography and choice of colour were not statistically significant. However, it was found that black text was read more quickly than coloured text. Statistically significant results showed an advantage of printed instructions, regardless of the colour combination, over digital ones. Serif typefaces were read faster on paper than on screen. The same applies to sans-serif typefaces. Instructions written exclusively in capital letters were read the slowest.

Colours and represent the basis of graphic design and can help us recognise and understand information more quickly. Colour psychology explains how humans experience their perception [41]. In one study [42], the recognition of grey tone variations in the Koffka ring in conjunction with different combinations of background colours (red, blue, green) on a computer screen was investigated. Twenty-seven test patterns were created with a colour combination of primary and secondary stimuli. The intensity of the effect was measured by the difference in brightness between light, medium grey and dark grey tones. The visual study was conducted with 60 test subjects from a mixed population with an average age of 22 years (Generation Z).

The visual effect of the simultaneous contrast evoked by the Koffka ring varies considerably depending on the brightness of the stimuli, the design variant of the ring and the background colour. The strongest visual effect was observed at the dark grey tones of the Koffka ring on blue/green and red/green backgrounds. In contrast, the effect was weak for the red/blue background at all brightness levels. The results have important implications for the design of digital media, where the understanding of these effects can help avoid unintended colour distortions caused by a simultaneous contrast.

Board games can have a positive effect on memory, although care should be taken not to use typefaces that are illegible or too small [43]. The research [44] compared the user experience (i.e., player experience—PX) of traditional, i.e., printed, and digital games. It compared the board game Monopoly and the card game Uno. A total of 100 players took part in the study. The majority of players (55%) were under the age of 24 (Generation Z), and 21% were young adults under the age of 30 (Generation Z and Y).

The results showed some differences in the design solutions between the physical and updated digital versions of the games. In the digital version of Monopoly, players were more satisfied with the design of the game tokens. However, statistically significant results indicated that the physical version of Monopoly provided a better player experience (PX). In Uno, the colour scheme was changed more in the digital version than in the classic playing cards. Nevertheless, the results showed a statistically significant preference for physical playing cards. In addition, the digital game eliminates direct human interaction and communication. The desire for direct communication and social interaction still seems to be prevalent in board games.

3. Conclusions

Looking at information in the context of societal changes brought about by new visual communication media, especially in relation to overlapping age boundaries between generations, can shed light on the information consumption habits of different age groups. Each generation is born into an era characterised by a particular technology or medium. At the same time, the same generation begins to develop a new form of media; however, the majority often does not keep up with the new technologies and instead remains loyal to the media that is already familiar. Given the ageing population [45,46], research targeting this audience will be crucial not only in terms of raising awareness of modern graphic design elements that enhance packaging and print, but also in terms of the presentation of information in digital media. Many previous studies have shown that legibility is better in printed media than in digital formats. Therefore, further research in this area is crucial. To ensure tangible and credible results, such studies must include sufficiently large test groups. Objective methods, such as eye-tracking technology, should also be used. In addition to testing typographical adaptations, graphic elements and the overall design must also be adapted to the needs of older population groups. For educational purposes, close scrutiny is required across different age groups, i.e., from children and teenagers to students, as well as for those with specific reading difficulties. In the area of packaging, further development will undoubtedly focus on ecological and sustainable materials and the corresponding technologies. There will also be advances in ecological design and additional elements that provide additional or detailed information.

There is no doubt that the wide field of graphic design is dynamic, evolving and requires continuous detailed research.