Letter variations to train social skills. Expression in speech transcriptions

Abstract

In the course of history, each letterform was linked to a particular vocal sound. Combinations of letterforms make words, which in turn empower written communication over distance and time. Letters are very useful but do not convey the expression that delivers extra meaning within spoken language. However, these expressive variations within speech are important in understanding the speaker’s intention: emphasis, sarcasm, statements and more.
For graphic designers, several possibilities exist to visualise expression within transcriptions. For readers, that can improve reading performance through adding more expression. For readers with functional disorders, like hearing disorders or speech disorders, it becomes a tool to learn about the voice and as such, developing social skills. An overview with examples of past, present and future research and educational materials is provided. These serve as a source of inspiration of how expression can be visualised within transcriptions to improve a person’s social performance.

Full text

3
Diseño
y sociedad
sostenible
2018
Bizkaia Aretoa
Bilbao
Libro
de Actas

4
© 2018 del prólogo: sus autores / The authors
© 2018 de los textos: sus autores / The authors
© 2018 de las imágenes: sus autores / The authors
© 2018 de la edición: Servicio Editorial de la Universidad del País Vasco
Euskal Herriko Unibertsitateko Argitalpen Zerbitzua
Ficha técnica / Technical data
Segundo Congreso de Diseño Gráco:
diseño y sociedad sostenible. Libro de actas /
Second Conference in Graphic Design:
design ad sustainable society Book of Proceedings
Coordinación Cientíca / Scientic Coordination
Leire Fernández Iñurritegui
Eduardo Herrera Fernández
María Pérez Mena
Dirección Editorial / Publishind Management
Leire Fernández Iñurritegui
Eduardo Herrera Fernández
Traducción de artículos / Papers translation
Sus autores / The authors
Diseño y maquetación / Design and Desktop Publishing
LETRAZ Grupo de Investigación en Diseño Gráco y Tipografía /
Diseinu Grakoko eta Tipograako Ikerketa Taldea, UPV/EHU
Impreso en España / Printed in Spain
Fecha de edición / Publishing date
Junio 2018 / June 2018
Depósito Legal / Legal deposit
BI-1041-2018
ISBN
978-84-9082-887-8
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CIP. Biblioteca Universitaria
Congreso de Diseño Gráco (2º. 2018. Bilbao)
Segundo Congreso de Diseño Gráco : diseño y sociedad sostenible,
2018 Bilbao : libro de actas / Leire Fernández Iñurritegui, Eduardo Herrera
Fernández (ed.) ; [Organización, “Letraz” Grupo de Investigación en Diseño
Gráco y Tipografía UPV/EHU y Cursos de Verano de la UPV/EHU]. – Bilbao
: Universidad del País Vasco / Euskal Herriko Unibertsitatea, Argitalpen
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144 p.: il., gráf. ; 30 cm.
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1. Diseño gráco. 2. Desarrollo sostenible. 3. Responsabilidad social.
I. Fernández Iñurritegui, Leire, coed. II. Herrera Fernández, Eduardo, coed.
III. Universidad del País Vasco/Euskal Herriko Unibertsitatea, org.
766(063)

5
Leire Fernández Iñurritegui (ed.)
Eduardo Herrera Fernández (ed.)
Diseño
y sociedad
sostenible
2018
Bizkaia Aretoa
Bilbao
Libro
de Actas

6
Diseño gráco y perspectiva de género
Lenguaje inclusivo a través de la tipografía
María Pérez Mena
Diseño gráco consciente
Creatividad consciente, diseño responsable:
método Made in Good
Nereida Jimenez Fuertes
Diseño gráco y accesibilidad
Gráca museográca bajo los parámetros
del “diseño para todos”
Melani Lleonart, Nuria Rodríguez, David Heras
y Álvaro Sanchis
Diseño gráco sostenible
El concepto de Complejidad en el Diseño Editorial.
La Sostenibilidad aplicada a la producción
de un libro. Caso de estudio: Múltiple[x].
La unidad en la diversidad
Tatiana Lameiro Gonzalez y Ana Soler Baena
Índice
Index
Prólogo
Segundo Congreso de Diseño Gráco:
Diseño y sociedad sostenible
Organización
Programa
9
11
15
25
31
37
47

7
Diseño gráco y nes educativos
Information design for the improvement
of educational material according to student’s
interests: The case of a math textbook in a
Brazilian school
Mariana Zampieri and Douglas Menegazzi
Diseño gráco y desarrollo de habilidades
sociales
Letter variations to train social skills.
Expression in speech transcriptions
Maarten Renckens
Diseño gráco y medioambiente
Universidad Verde y Sustentable (USEN)
y su campaña gráca social para la
concientización social y ambiental dirigida
a la comunidad universitaria
Patricia Sandoval Murillo y Mario Yadir Rendón
Diseño gráco social
Proyecto de concienciación social, con
metodología ApS y en colaboración con una ONG,
para crear campañas de sensibilización con el
alumnado del Grado de Diseño para la inclusión
de las personas desplazadas forzosamente,
migrantes y refugiadas
Juanita Bages, Isabel Fernadez Blanco, Angel
Sesma, Ioana Aida Furnica y Ricardo Espinosa
57
71
81
87
Diseño gráco y recuperación de patrimonio
Diseñar un sistema de escritura: alfabeto tinagh
y visibilización de la cultura amazigh
Juan Luis Blanco
Diseño gráco e identidad global/local
El cartel publicitario colombiano: la modernización
de Cali a través de la estampa (1910-1944)
Diego Bermúdez Aguirre
Diseño gráco y activismo
El activismo de las cubiertas protagonistas
de Alianza Editorial
Laura Gómez Cuesta
Diseño gráco y Derechos Humanos:
“Miradas a los Derechos Humanos”
Eduardo Herrera Fernández y Leire Fernández
Iñurritegui
99
113
121
131

71
Resumen
A lo largo de la historia, cada forma de letra estaba
vinculada a un sonido particular. Combinaciónes de letras
forman palabras que a su vez posibilitan la comunicación
escrita. Sin embargo, las letras no transmiten la expresión
que brinda un signicado adicional dentro del lenguaje
hablado. Estas variaciones expresivas dentro del habla son
importantes para comprender la intención del hablante.
Para los diseñadores grácos, se puede visualizar la
expresión dentro de las transcripciones. Para los lectores,
esto puede mejorar el rendimiento de lectura al agregar más
expresividad a lo transcrito. Para los lectores con trastornos
funcionales, se convierte en una herramienta de aprendizaje
sobre la voz mediante la cual desarrollar habilidades
sociales. Un resumen con ejemplos de investigaciones
pasadas, presentes y futuras, así como materiales
didácticos es proporcionado. Estos son una fuente de
inspiración de cómo la expresividad puede ser visualizada
en transcripciones mejorando el desempeño social de una
persona.
Palabras clave
Expresión visual, Materiales de lectura, Materiales
didácticos, Leer en voz alta, Habilidades sociales.
Abstract
In the course of history, each letterform was linked to a
particular vocal sound. Combinations of letterforms make
words, which in turn empower written communication
over distance and time. Letters are very useful but do not
convey the expression that delivers extra meaning within
spoken language. However, these expressive variations
within speech are important in understanding the speaker’s
intention: emphasis, sarcasm, statements and more.
For graphic designers, several possibilities exist to visualise
expression within transcriptions. For readers, that can
improve reading performance through adding more
expression. For readers with functional disorders, like
hearing disorders or speech disorders, it becomes a tool to
learn about the voice and as such, developing social skills.
An overview with examples of past, present and future
research and educational materials is provided. These
serve as a source of inspiration of how expression can be
visualised within transcriptions to improve a person’s social
performance.
Keywords
Visual expression, Reading materials, Teaching materials,
Reading aloud, Social skills.
Letter variations
to train social skills.
Expression in speech
transcriptions
Maarten Renckens
Hasselt University
(UHasselt, Bélgica)
maarten.renckens@uhasselt.be
Variación en la
letra para entrenar
habilidades sociales.
Expresión
en transcripciones
de habla

72
Introduction
Everybody utilises type. It empowers reading and is available
everywhere in society. Without it, communication would be
even more complex and numerous technologies would not
exist, such as mail, chat, email, road signalisation or the
internet.
Reading is an important skill in society. And yet, although
children learn to speak automatically, reading needs to
be taught to them (Goldin-Meadow & Mayberry, 2001).
In the course of history, each letter of the alphabet was
assigned a speech sound. Once a person can crack the
alphabetical code, that person is able to decode written
words into meaningful units (Goldin-Meadow & Mayberry,
2001; Rayner & Pollatsek, 1989; Stanovich, 1986).
Consequently, this person is capable of comprehending
the meaning of the text. But even though type is involved
in such an important part of human life, it does not contain
the same amount of information as human communication
contains (Figure 1). Each letter displays only the assigned
speech sound, but it lacks the variations that occur within
speech. During vocal communication, the voice constantly
varies in three of its components: loudness (expressed in
dB), duration (time, expressed in milliseconds) and pitch1
(expressed in Hz). These nuances have several functions:
they convey emphasis, statements, questions, sarcasm
and irony (Patel & Furr, 2011; Mostow & Duong, 2011). The
meaning of sentences can change according to the place
of the emphasis (Figure 2). These speech variations, the
expression, are called “prosody”, the extra layer of meaning
in speech. This is completely absent in type.
Figure 1. An example of a movie
script, clearly about a lively
discussion, but the expression
of the discussion is missing
within the transcription as if the
text conveys a monotone. [Text
extract from: Malecent (2014)
by Walt Disney Pictures]
Segundo Congreso de Diseño Gráco:
diseño y sociedad sostenible,
2018, Bilbao: libro de actas, UPV/EHU,
Servicio Editorial, 71-80. ISBN. 978-84-9082-887-8
Letter variation to train social skills.
Expression in speech transcriptions
Maarten Renckens

73
Compared with speech, it seems as if type conveys a
monotonous voice. Still, indications of how to read aloud
more vividly can be provided by means of type variations,
called the prosodic cues. Visualizing the prosody within
type is called the visual prosody. It intends to benet several
target audiences, categorized in two groups.
• For the rst group, consisting of persons who already
acquired decent reading skills, visual prosody can become
a reading aid improving the quality of expressive reading
(aloud). Public speakers mastering correct and agreeable
prosody are much more comfortable to listen to and are
perceived as more open (Ebbink, 2015). Readers who read
with more expression also reach better achievements as
they are not only easier to understand, but they also improve
their own reading accuracy, decoding, reading speed, word
recognition and comprehension skills (Young-Suk Grace,
2016; Ashby, 2006; Miller & Schwanenugel, 2006).
· The speech of beginning readers often appears at and
laborious while reading aloud. In fact, reading uency is
not limited to speed and accuracy. It also includes the right
expression and naturalness in reading (NAEP, 1995; NIH,
2000). However, most beginning readers are perfectly able
to apply prosody correctly within daily speech (Miller &
Schwanenugel, 2006; NIH, 2000). Visual prosody will cue
them, providing an incentive for prosody when and where it
needs to be applied. The positive effects are already proven
by Bessemans et al (in preparation), Patel & Furr, (2011) and
Patel & McNab (2011).
· In theatre and movie scripts, visual prosody can indicate
where the voice needs to change and how the actors are
supposed to perform the role of a character.
· For public speakers performing before an audience, for
example broadcasters or lecturers in public congresses,
visual prosody can provide a reminder to use pauses and
emphasis. Clever use of alternation in speech will enhance
the impact of their message.
· For deaf adults, visual prosody can provide an extra
layer of meaning in the text, because they cannot hear the
expressive information that is conveyed trough voice.
· Word artists, like Paul van Ostaijen, create powerful art
works based on speech prosody.
Figure 2. How the meaning of a
sentence changes, depending
on the place of the emphasis.
Text based on Verstraete (1999)
and Guberina & Asp (1981).
[Source: image by the author].
• Concerning the second group, people with language
difculties who require extra support, visual prosody can
become a learning tool enabling them to learn about (how
to use) speech. Speech variations can be explained visually
together with their impact on the meaning of the sentence
(as in Figure 2). This group is not always capable of
acquiring reading or pronunciation skills automatically. Visual
prosody will support their speech therapy: training will come
about more consciously with extra attention to the voice.
· For persons with learning problems, visual prosody will
indicate meaningful units within the text.
· Not all children learning how to read aloud are able/used
to apply prosody: some have difculties applying expression
within their speech and are often referred to speech
therapists. Previous research revealed that specically a
higher voice range was difcult to execute (Bessemans et
al., in preparation). Here too, visual prosody can become a
learning tool to visualise all possible speech variations.
· The speech of deaf and hearing-impaired persons is
generally linked to an inappropriate prosody. They perceive
less speech, resulting in lesser auditive knowledge than
children without hearing difculties. Visual prosody can
explain speech variations and their inuence on the meaning
of a sentence, as well as provide a tool that will help to read
with more expression.
· It takes more effort for persons diagnosed with autism to
acquire speech, and their speech is often “machine-like”
and monotonous. Visual prosody can become a tool to
make them aware of speech variations and to encourage
them to speak with more expression.
· Persons with apraxia, aprosodia or dysprosody have
difculty conveying or interpreting emotional prosody. Visual
prosody could support them in learning about prosody and
in speaking more uidly and vividly.
For both groups, visual prosody can help train a person’s
social skills; for the rst group it facilitates performing a task
with excellence, while for the second group, it will support
the development of new skills. For several of these target
audiences, the possible effect of visual prosody is not yet
fully explored.

74
Figure 3. Indicating important
words in texts by setting words
larger. [Source: “Mooiste
sprookjes” by Susaeta (2014).
Image used with permission]
Figure 4. Rothstein (2013)
developed the Prosody
Treatment Program which
indicates emphasis to exercise
speech and to learn about
changes within the meaning
of a text. [Source: examples
simulated by the author]
Visualising emphasis and prosody
Several approaches to visualise emphasis and prosody
within a text already exist. Laying emphasis can be done in a
couple of very basic ways: a word set in a larger corps size
(Figure 3), a word underlined, a word set in another font as
for example italic or bold (Figure 4), and more.
Unfortunately, these visualisations merely indicate where the
emphasis should be placed, not how that particular word is
pronounced. As explained before, expression within speech
is performed through variations within three components
of the voice: loudness, duration and pitch. These variations
can serve as a source of inspiration for the visualisation
of prosody (Bessemans et al, in preparation; ABionics,
unpublished; School for the Deaf KIDS, intern teaching
materials; Patel & McNab, 2011; Patel & Furr, 2011). Both
the research groups of Patel (Figure 5) and Bessemans
(Figure 6) followed the same principles to visualise prosody,
only with slightly different interpretations.
· In speech analysis, loudness is often visualised by means
of a contrast in white and black. White indicates that there is
no sound, the graduation of black represents the loudness
of the sound. To indicate loudness, Patel’s group changed
the opacity of the letters while Bessemans’ group changed
the thickness of the letter strokes in order to change the
amount of blackness. (Figures 5a and 6a).
· Conveniently, in speech analysis, time is visualised along
with the x-axis. Both research groups used this x-axis
to indicate duration by making words longer horizontally.
Patel’s group added letterspacing, Bessemans’ group
applied horizontally stretched (extended letterforms). Patel &
McNab also visualised a larger pause through widening the
space between words. (Figures 5b and 6b).
· Both researches visualised pitch vertically, on the y-axis,
by placing characters above the baseline. Patel’s group did
so with different heights for each letter, according to actual
speech characteristics. Bessemans’ group kept all letters of
each word on the same height. (Figures 5c and 6c).
The approach of Patel’s group was aimed at computer
tools. The approach of Bessemans’ group was aimed at
reading materials and became subtler, because a balanced
text is believed to guarantee the most solid structure while
reading (Unger, 2006; Majaj, Pelli, Kurshan & Polmares,
2002; Liang, 2002, Legge, Pelli, Rubin & Schleske, 1985).
Both research groups of Bessemans and Patel concluded
that visual prosody has a positive inuence on the reading
aloud of children (Bessemans et al, in preparation 1; Patel
& McNab, 2011; Patel & Furr, 2011) and Bessemans et
al. (in preparation, 2) also found an effect on the reading
comprehension.
Segundo Congreso de Diseño Gráco:
diseño y sociedad sostenible,
2018, Bilbao: libro de actas, UPV/EHU,
Servicio Editorial, 71-80. ISBN. 978-84-9082-887-8
Letter variation to train social skills.
Expression in speech transcriptions
Maarten Renckens

75
Figures 5a, 5b and 5c. Examples
of visual prosody as applied
by Patel & Fur (2011) and
Patel & McNab (2011). Top: an
augmented visualisation, through
the addition of measured sound
data. Bottom: manipulated text
cues for providing prosodic
information. [Source: examples
simulated by the author]
Figure 6a. The visual prosodic
parameter for intensity, by means
of making the word bolder.
Figure 6b. The visual prosodic
parameter for duration, by
means of stretching the word
horizontally.
Figure 6c. The visual prosodic
parameter for pitch, by means of
raising the word vertically.
Figures 6a, 6b and 6c.
Bessemans et al. (in
preparation). Three ways to
visualise the components of
speech prosody. [Source:
images by the author]
Figure 5a.
Figure 5b.
Figure 5c.

76
Figure 7. The melody bow as
developed by van Uden for
pupils with a hearing impairment
(van Uden, 1973: 319;
Verstraete, 1999: 114). [Source:
image by the author]
Figure 8a. Training on the
loudness of the voice, indicated
by bolder or larger letters.
Figure 8b. Training on the
duration of the words, indicated
by extra letter spacing.
Figure 8c. Training on the pitch
of the voice, indicated by words
placed higher.
Figures 8a, 8b and 8c. Prosody
training for very young hearing-
impaired children. The aids are
designed by the technology
company ABionics, based on
the idea of the school for the
Deaf the KIDS. These lessons
are combined with singing and
sound recognition trainings.
[Source: unpublished yet,
images used with permission]
Ongoing research: hearing impaired children
Visual prosody is often applied within the schools for the
Deaf, as a learning tool for the deaf and hearing-impaired
children. The speech of the deaf and hearing-impaired
children is often associated with a low intelligibility. In the
last decennia, new technologies like cochlear implants
and hearing aids provided a better hearing for this target
audience. However, their hearing still doesn’t reach the
same level as a normal hearing person, and speech therapy
remains a necessity (Boons, 2013; De Raeve, 2012; Chin et
al., 2012).
van Uden (1974) developed the melody bow to indicate
emphasis within a sentence (Figure 7) (used in the
Netherlands and in Belgium). Staum (1987) developed
a music therapy, in which words are accompanied with
musical notes. The school for the Deaf KIDS (Belgium) plays
with typography to indicate the three components of speech
which young children should apply in speech. A louder voice
is indicated by a bolder or bigger typeface, a longer duration
is indicated with more letter spacing, and a higher pitch is
indicated by more highly placed words. ABionics continued
this idea and developed their own typographical speech
therapy for young children (Figure 8, yet unpublished).
Segundo Congreso de Diseño Gráco:
diseño y sociedad sostenible,
2018, Bilbao: libro de actas, UPV/EHU,
Servicio Editorial, 71-80. ISBN. 978-84-9082-887-8
Letter variation to train social skills.
Expression in speech transcriptions
Maarten Renckens

77
Figure 9a. The visual prosodic
parameter for intensity, by
means of making the word
lighter (speaking softer) or bolder
(speaking louder).
Figure 9b. The visual prosodic
parameter for duration, by
means of making the word
condensed (speaking faster) or
extended (speaking slower).
Figure 9c. The visual prosodic
parameter for pitch, by means
of placing the word lower (lower
voice) or higher (higher voice).
Figure 9d. The visual prosodic
parameter for pause, by means
of enlarging word spacing.
Figures 9a, 9b, 9c and 9d. The
new visual cues, as will be tested
in the research for the hearing-
impaired. [Source: images by
the author]
However, all these applied designs are for learning the
very young children to speak. They are not suited for texts
and for continuous, expressive reading. The author’s own
doctoral research focusses on hearing-impaired children
who learn to read aloud expressively. Based on the subtle
parameters of Bessemans et al. (Figure 6), he is developing
new parameters aimed at vivid text reading for hearing-
impaired children.
In the rst research phase, it will be determined if the same
visual cues can be useful for both children without hearing
difculties and hearing-impaired children. For the rst time,
the opposite direction of each parameter will be tested:
lighter text for a softer voice, condensed text for shorter
duration and lowered text for words pronounced in a lower
pitch. Also, the pause in between words will be added,
indicated by a larger space between the words as pause is
an important part of human speech (Figure 9). An important
part of this research consists in determining if the hearing-
impaired children have sufcient auditive knowledge to
be able to understand the parameters intuitively. Hearing-
impaired children can be expected to have more difculty
understanding these parameters than children without
hearing loss. For example: the input of cochlear implants
and hearing aids can be compared with a computer voice.
For some hearing-impaired children, ne details like pitch
are partly lost when using those devices, resulting in limited
understanding of the voice.
During the second phase of the research, the efciency of
visual prosody on the expressive reading aloud of hearing-
impaired children will be measured, along with an evaluation
if visual prosody affects their understanding of various
meanings in sentences (as in Figure 2).

78
Expected results and social impact
Previous research showed that prosodic cues have the
intended effect on the reading aloud of children in regular
schools (Bessemans et al, in preparation; Patel & Furr, 2011;
Patel & McNab, 2011). The rst results about the impact on
the reading aloud of hearing-impaired children are expected
in October 2018. It is believed that visual prosody will have a
positive impact on their expressive reading aloud.
Visualising the abstract voice in print or on screen will
facilitate talking about variations in speech and their
meaning. As hearing-impaired children are in need for
speech training, visual prosody is promising to become an
aid in their speech therapy as well as in their reading aloud.
This new easy-to-use tool can become one of the aids they
can rely on to train their communicative skills, endowing
them with valuable insights so they will be more at ease in
social situations.
Conclusions
Type is an important part of human life, a lot of daily facilities
would not exist without it. But for several target audiences,
there is still room for improvement. Type enriched with
prosodic cues conveys more information about human
speech. This can become a tool to read more expressively,
as well as a tool for the speech training of several target
audiences with speech difculties. Therefore, visual prosody
results in better skills within society.
Surprisingly, not all possibilities of visual prosody are
explored yet. Currently, visual prosody for the deaf and
hearing-impaired is researched. Future research will reveal
how designers can improve support for other target
audiences.
Segundo Congreso de Diseño Gráco:
diseño y sociedad sostenible,
2018, Bilbao: libro de actas, UPV/EHU,
Servicio Editorial, 71-80. ISBN. 978-84-9082-887-8
Letter variation to train social skills.
Expression in speech transcriptions
Maarten Renckens

79
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Rayner, K., & Pollatsek, A. (1989). The psychology of
reading. New Jersey: Prentice Hall.
Rothstein, J.A. (2015). Prosody treatment program: Ages
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Stanovitch, K. E. (1986). Matthew effects in reading: Some
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Staum, M.J. (1987). Music Notation to Improve the Speech
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80
Footnotes
1 A voice contains a range of frequency values. For that reason,
pitch is expressed as the Fundamental Frequency (Fo), which is
characterized in one value.
Special thanks to
Ria Pans (KIDS), Marleen Bammens (KIDS) & Fanny Scherf, (Sr
Rehabilitation Programme Manager AB Intl) for providing visual
materials used for the hearing-impaired.
Segundo Congreso de Diseño Gráco:
diseño y sociedad sostenible,
2018, Bilbao: libro de actas, UPV/EHU,
Servicio Editorial, 71-80. ISBN. 978-84-9082-887-8
Letter variation to train social skills.
Expression in speech transcriptions
Maarten Renckens