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53 . 2
53 . 2
Visible Language
Visible Language
the journal of
visual communication
research
ISSN 0022-2224
Published continuously
since 1967.
Before there was reading there was seeing.
Visible Language has been concerned with ideas that help dene the unique
role and properties of visual communication. A basic premise of the journal
has been that created visual form is an autonomous system of expression
that must be dened and explored on its own terms. Today more than
ever people navigate the world and probe life’s meaning through visual
language. This journal is devoted to enhancing people’s experience through
the advancement of research and practice of visual communication.
Published tri-annually in April, August, and December
website:
http://visiblelanguagejournal.com
send correspondence to:
Mike Zender, Editor
College of Design, Architecture, Art, and Planning
University of Cincinnati
PO Box 210016
Cincinnati, OH 45221-0016
Mike Zender, Editor
Dr. Maria dos Santos Lonsdale, Associate Editor- Typography
University of Cincinnati, School of Design, Publisher
Mike Zender, Publication Manager
Merald Wrolstad, Founder
Sharon Poggenpohl, Editor Emeritus
© Copyright 2019 by University of Cincinnati
1
Visible Language 53 . 2 .
Visible Language
the journal of
visual communication
research
August 2019
23
Visible Language 53 . 2 .
Advisory Board
Naomi Baron – The American University, Washington, D.C.
Michael Bierut – Pentagram, New York, NY
Charles Bigelow – Type designer
Matthew Carter – Carter & Cone Type, Cambridge, MA
Keith Crutcher – Cincinnati, OH
Mary Dyson – University of Reading, UK
Jorge Frascara – University of Alberta, Canada
Ken Friedman – Swinburne University of Technology, Melbourne, Australia
Michael Golec – School of the Art Institute of Chicago, Chicago, IL
Judith Gregory – University of California-Irvine, Irvine, CA
Kevin Larson – Microsoft Advanced Reading Technologies
Aaron Marcus – Aaron Marcus & Associates, Berkeley, CA
Per Mollerup – Swinburne University of Technology, Melbourne, Australia
Tom Ockerse – Rhode Island School of Design, Providence, RI
Sharon Poggenpohl – Estes Park, CO
Michael Renner – The Basel School of Design – Visual Communication Institute,
Academy of Art and Design, HGK FHNW
Stan Ruecker – IIT, Chicago, IL
Katie Salen – DePaul University, Chicago, IL
Peter Storkerson – Champaign, IL
Karl van der Waarde – Avans University, Breda, The Netherlands
Mike Zender – University of Cincinnati, Cincinnati, OH
Dynamic
Visual Identities:
Visualizing the
terror threat:
Legibility of
Pharmaceutical
Pictograms:
For Visual
Attention,
Book Review
from a survey of the
state-of-the-art
to a model of features
and mechanisms
The impact of
communicating
security information
to the general public
using infographics
and motion graphics.
Towards dening a
paradigm
are there any
Tendencies
in Form
Interpretation
Tiago Martins
João M. Cunha
João Bicker
Penousal Machado
Maria dos Santos Lonsdale
David J. Lonsdale
Matthew Baxter
Ryan Graham
Aya Kanafani
Anqi Li
Chunxinzi Peng
Pia Pedersen
Jinsook Kim
Michael H Fritsch
04 — 35
36 — 71
72 — 99
100 — 111
Visible Language
Contents
36 3 7
Lonsdale et al Visualizing the terror threat.
Visible Language 53 . 2 .
Visualizing the
terror threat:
The impact
of communicating
security information
to the general
public using
infographics and
motion graphics.
Dr Maria dos Santos Lonsdale
Dr David J. Lonsdale
Matthew Baxter
Ryan Graham
Aya Kanafani
Anqi Li
Chunxinzi Peng
Terrorism represents one of the most pressing contemporary security
threats. As a consequence, governments provide information to the public
on threat levels and on how to respond to terror incidents. To eectively
reassure the public, and to increase their vigilance, it is essential that the
information communicated is accessible, clear, actionable and engag-
ing. This is the rst empirical study in the world to explore the impact
of information design principles and visualization of information on the
communication of security information related to terrorism. Two dierent
but complementary strands were devised: Strand 1 – compared whether
more visualized information was more eective than text dense information
at communicating to the public; Strand 2 – compared whether a motion
graphics was more eective than an infographic at communicating to the
public. An initial usability test was conducted to identify existing problems
and needs. Several other usability tests and iterations were then conducted
to develop new design solutions. Empirical testing was then conducted for
nal evaluation and validation, collecting quantitative and qualitative data.
Results show signicant dierences between pre- and post-knowledge of
the Terror Threat Levels. Results also show signicant dierences between
text dense information and more visualized information. Results further
show no signicant dierence between communicating information via an
infographic or motion graphics in situations where information needs to be
assimilated as a crescendo (i.e. levels of severity) or as a series of steps to be
followed (action in an emergency). This study provides important guidelines
on how to eectively communicate security information to the public, with
practical implications for security agencies.
Keywords
Information Design,
Visualization of Information,
Infographics,
Motion Graphics,
Terror Threat Levels,
Security Information
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Lonsdale et al Visualizing the terror threat.
Visible Language 53 . 2 .
1. Background and context
This is the rst empirical study in the world to address the visualization of
public security information as a means to improve awareness, understand-
ing and vigilance of existing public information on terrorism. With this in
mind, this interdisciplinary research forges ground-breaking links between
two disciplines that have not previously been brought together: Information
Design and Security Studies.
1.1. The terror threat and how terrorism works
It is axiomatic to note that terrorism represents one of the most pressing
security threats in the contemporary setting. Tragic events around the world,
including the 2017 attacks in Manchester and London, testify to the con-
tinued use of terrorism by extremist groups. Although slightly down on the
previous three years, in 2017 terrorism still accounted for 26,445 fatalities
globally. (https://ourworldindata.org/terrorism, 2018).
In the face of such evidence, it is no surprise that, for example,
the UK’s National Security Strategy and Strategic Defence and Security Review
highlighted terrorism as the most immediate and direct threat to national
security (HM Government). Indeed, in response to the growing terror threat
the UK government is making substantial investments in intelligence, secu-
rity and counterterrorism.
These security measures are a response to a ‘new’ form of
terrorism, one that seeks mass casualty events against vulnerable soft
targets (Field, 2009). In this way, the modern terror threat places the public
at ever-greater risk, and at the same time impacts more obviously upon
daily life through enhanced security measures at transport hubs and large
public events. Furthermore, the public is urged to play an important role
in counterterrorism by being ever more vigilant of the threat. Our research
study reects this increased emphasis on the terror threat, but focusing on a
neglected area, i.e. how to inform the public in a clear and accessible way.
Providing good information to the public is an essential
component of an eective counterterror campaign. It is important that the
public is informed of the nature of the terror threat, the necessary security
measures they can expect to encounter, and information on how to act in
the case of a terror attack. With such knowledge, the public is reassured,
better understands the security context, and is empowered to participate in
their own security, i.e. civil defence.
The public also plays an important role through vigilance.
Intelligence is a central component of any counterterror campaign. Whilst
much actionable intelligence is provided by the intelligence agencies, the
public can provide key intelligence on attack preparation and suspicious
behavior. However, for the public to play this important vigilance role, it is
necessary that they know what to look for. The public must be informed in
a manner that is concise, understandable and actionable. This truism is illus-
trated by the terror attack at Brussels Airport. A taxi driver who transported
the terrorists noted a strong chemical smell emanating from their suitcases.
Unfortunately, he did not realise the signicance of this from a counterterror
perspective (Higgins and de Freytas-Tamura, 2016).
1.2. Rationale for choosing the UK as a case study
The UK, US, Australia and France have implemented a Terror Threat Level
system, but they are signicantly dierent from each other: visually, in the
number of levels, in the narratives used, etc. Furthermore, these systems
have drawn criticism for being: tired; unnecessarily complex; overly general;
for contributing more to public anxiety than to eective counterterrorism
(Shapiro and Cohen, 2007; Bergin and Murphy, 2015). This means that the
primary objective of informing the public clearly and eectively is unfullled.
The UK system is particularly problematic and needs close
attention, since all of the information is given in text with no visualization
of any kind. This provides evidence of a clear gap between how the UK
presents its Threat Level system using text only, and how other countries
have progressed by presenting their Threat Level system as an infographic.
Moreover, the British government is on-board with the general principle that
its information and services should be “inclusive, legible and readable as
possible” and should “design for the whole country” as “the people who most
need the services are often the people who nd them hardest to use.” (Gov.
UK, Government Design Principles).
In addition, in terms of an Emergency Action Plan, coun-
tries such as France and the Philippines have practical instructions for the
public on ‘How to react in a terror attack’ and ‘What to do in case of a blast’
using visualization. France, for example, communicates such information
to the public through an infographic design that can be seen on the streets
of France and accessed on the national security webpage, along with a
companion motion graphics video (Gouvernement France, 2018). As for the
Philippines government, after a series of bombing incidents, an infographic
was designed to demonstrate the actions that the public must follow
(ABS-CBN NEWS, 2016). (In terms of legibility and clear communication of
information, taking into consideration principles of information design, the
Philippines infographic is less successful than the French).
In the UK, the National Counter Terrorism Security Oce has
available some guidance on how to react in the event of a rearms and
weapons attack (GOV UK, 2017). However, no guidelines are available to
the public on how to react in the event of a bombing terrorist attack, which
represents a very dierent form of threat.
1.3. The role that Information Design
can play in counterterrorism
When communicating terror threat levels, vigilance awareness, and how to
act in the case of a terror attack, it is dicult to nd a language (both written
and visual) that emphasises the need to be alert, whilst avoiding ambiguity
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Lonsdale et al Visualizing the terror threat.
Visible Language 53 . 2 .
and creating a sense of calm (as highlighted by ASPI – Australian Strategic
Policy Institute, in their 2015 report Sounding the Alarm – Terrorism Threat
Communications with the Australian Public).
Based on existing research in Information Design, it is appar-
ent that visualization could be used successfully to inform the public about
terror threats, security measures and vigilance. Research shows that human
beings remember approximately 80% of what they see and do, and 30%
of what they read (Lester, 2006; Bursi-Amba et al., 2016). Therefore, visual
language has the potential to increase our capacity to take in, comprehend,
and more eciently synthesise new and complex information (e.g. Otten
et al., 2015).
Countries like France, as discussed above, use infographics
and motion graphics to communicate terrorism information to the public.
Australia also uses infographics and motion graphics and applies color cod-
ing to distinguish the dierent levels. The USA has moved from a 5-level col-
or coded system to a 2-level alert system. However, these design approaches
to visualize the Terror Threat Level system show weaknesses, and have been
further criticized (in addition to the criticisms referred to in section 1.2) for
not having been tested with the users/public (Bergin and Murphy, 2015).
The benets of using visualization to communicate informa-
tion eectively are further supported by the work of Spiegelhalter et al.
(2011) who advises: 1) the use of narratives and images that are suciently
vivid to gain and retain attention, but which do not arouse undue emotion
(such as fear, in the case of terror threats); 2) to assume a general low level
of literacy, which leads to a less-is-more approach by reducing the need for
inferences, making clear and explicit comparisons, and providing optional
additional detail (according to the National Literacy Trust, around 5.2 million
adults in England can be described as ‘functionally illiterate’); 3) to assess the
needs of the audience, experiment, test and iterate toward a nal design (as
also suggested by Bergin and Murphy, 2015, in relation to the Terror Threat
Levels system).
This tier of evidence reinforces the need to use visualization in
order to engage the public and communicate clearly the Terror Threat Level
system. Moreover, it supports the need to involve the user. We would argue,
however, that such involvement should be at various stages of the design
and research process and not only at the nal testing stage of the design.
Only by involving the users in the various stages of design development,
testing and iteration, is it possible to validate and achieve reliable design
solutions with applicability to real-life contexts and that can achieve high
and long-term impact.
1.4. The power of infographics and motion graphics
in communicating information
The visualization of complex information through infographics and motion
graphics can play a major role in communicating eciently to the general
public by providing information in a more concise, accessible and attrac-
tive form. Moreover, infographics tend to be more inclusive since they are
accessible to a larger number of people, including people with varying
levels of literacy. However, infographic and motion graphics design are in
their infancy, creating an urgent need for more research.
1.4.1. Infographics
Infographics are concise graphic representations of information containing
graphics/visuals and typography, which aim to present information quickly,
clearly and in a way that can be easily accessed, digested and absorbed.
According to Lankow et al, (2012), infographics are eective visual presen-
tations that focus on three basic deliveries: comprehension, retention and
appearance. When information is displayed in a clear and graphical format, it
becomes visually engaging and exciting for the users to look at (Coates et al,
2014). Moreover, with adequately designed visuals, the brain will digest the
information at rst exposure, allowing the reader to understand the content
before they even read a word (Bateman, 2014).
Infographics can also be used as an essential learning tool to
instruct and educate people from dierent ages and literacy levels, as they
make complex text-based information simpler and more accessible (Matrix
et al., 2014 and Orland-Barak and Maskit, 2017). Studies have shown that
using infographics improves learning, user experience, understanding and
achievement (Baglama et al., 2017; Cic, 2016; Bailey et al., 2014). A particu-
lar study conducted by Pisarenko & Bondarev (2016) provides evidence that
using infographics does not only create a positive impact on learning but
also improves visual recognition, critical skills, and knowledge among non-
native speakers.
A memorable and relatable visual design is therefore essential
in notifying, instructing and persuading the user (Smiciklas, 2012). However,
this does not mean that using text is considered less important. Instead, the
combination of both visuals and text leads to greater results (O’Neil, 2011).
This is exactly what infographics oer (i.e. a combination of text and visuals)
and why they can be very eective at communicating terrorism information
to the public.
1.4.2. Motion graphics
Motion graphics combine text, motion and graphics (Freeman, 2017) and
are often complemented with sound or narration. As a result, they can
complement the visual learning benets of static infographics as they oer
an additional and unique way of engaging users (Lankow et al., 2012).
In addition to their engaging nature, motion graphics can
enhance understanding and learning (Lonsdale and Liao, 2018). Multimedia
learning positively builds upon the cognitive load theory (Sweller, 1988;
Sweller, 1989; Sweller, 1994), by allowing users to process information across
auditory and visual channels (Mayer, 2012; Mayer and Moreno, 2003). As
motion graphics uses both channels, they can facilitate better information
integration by maximizing working memory capacity.
Literature also shows how animation has greater learning ben-
ets than static graphics (Höer and Leutner, 2007; Berney and Bétrancourt,
2016). However, whist animation has shown benets over static graphics,
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Lonsdale et al Visualizing the terror threat.
Visible Language 53 . 2 .
evidence exists that a combination of both may be even more benecial.
A study by Arguel and Jamet (2009) found learning scores were higher in
participants when a combination of static and video media was used, in
comparison to individually presented items.
Motion graphics are becoming increasingly popular educa-
tional tools through the accessibility of video sharing sites such as YouTube
and Vimeo (Krum, 2013). Exploring this media as a design solution would
also be familiar to many users worldwide.
1.5. Aims, objectives and hypotheses
This study proposes an integrated design approach between the elds of
Information Design and Security Studies. The aim is to inform the public
clearly and eciently about the terror threat level; increase the public’s
understanding and compliance with the various security measures they
might encounter in their daily lives; improve the public’s understanding of
vigilance; and educate the public on how to act in the case of a terror attack.
To help achieve this aim, the objectives are to:
Conduct the rst user-centred study on the visualization of the
Terror Threat Levels, of associated security information, and of
information to educate the public on how to react in the case
of a bombing terrorist attack.
Ascertain the level of knowledge about the Terror Threat
Levels and security information amongst representatives of
the British public.
Compare user performance (speed and accuracy of nd-
ing information) between more visualized and text-dense
information.
Compare the eectiveness of communicating information to
the general public between an infographic and motion graph-
ics video.
Based on the literature and previous research, the researchers’
hypotheses are:
The level of knowledge about the Terror Threat Levels and
security information amongst the British public is low.
Communicating information to the general public via a motion
graphics video is more eective and inclusive (reaching dier-
ent levels of literacy) than via a static infographic.
2. Problem identification
An initial usability test was conducted using the existing MI5 Security
Services website to understand how users access security information and
to identify existing problems and possible design solutions.
Usability can be measured by how well a product/output can
be used by a specic user to achieve the goals of: Eectiveness – completing
a task accurately and completely to achieve specied objectives; Eciency –
completing a task with maximum accuracy (e.g. ability to nd information,
ability to understand information) and with minimum eort (e.g. nding
and understanding information quickly); and Satisfaction – feeling positive
and comfortable when using and after using a design output (ISO, 2013;
Bevan et al., 2016; Lonsdale and Liao, 2018). In sum, in addition to assessing
performance and identifying problems with a design, usability testing can
also ascertain users’ feelings about a design (Nielsen, 2012 and Ross, 2015).
Usability testing ensures that a design functions as intended and iterating
designs based on usability feedback can provide a marked increase in us-
ability (Nielsen, 2011).
Quantitative data was collected through a questionnaire
focusing on usability issues, and qualitative data was collected through an
interview that took place after the questionnaire. Ten participants took part
in the scoping usability test: six were female and four were male; the average
age was 27.8; eight had postgraduate education, one had undergraduate
education, and one had high school education.
2.1. Questionnaire
Participants were asked to access the current MI5 webpage and rate their
opinion on aspects of the design such as understanding, ease of use and
information organization. A 3-point Likert scale was used (disagree, neutral
or agree). The questionnaire was spilt into 3 sections regarding: Threat Level
system, webpage content and existing visualizations.
Results showed that in terms of Threat Levels, after accessing
the webpage: 80% of participants indicated that they found it dicult to un-
derstand the current threat level after accessing the webpage; and 70% did
not know how to react with the current UK threat level after accessing the
webpage, with no participant saying that they knew how to react. In terms
of website content: 100% of participants considered the current website
to be time-consuming; 80% found that the amount of text on the existing
website was too much; and 100% of participants did not consider the infor-
mation to be memorable. In relation to existing visualizations (limited to one
webpage – ‘People and organization’): 70% of participants found it hard to
understand them; and no one found the visualizations attractive.
Accessing the Terror Threat Levels page also elicited a negative
emotional response from participants: 40% felt anxious after viewing the
webpage; 30% felt stressed, and 20% felt confused and frightened.
2.2. Interview
The questionnaire was followed by an interview, where the same ten par-
ticipants were asked a series of open-ended questions to look at problems
with the existing website in more depth and in relation to: existing webpage
information; and existing visualizations.
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When asked about their rst impression of the information on
the website, comments included: “Very dicult to understand”; “Too much
info that’s hard to digest”; “Get bored reading it”. Participants also felt that
there was too much text on the MI5 website, with notable comments being:
“Way too much text, it is not engaging”; “It’s like an essay on every page.” In
addition, participants felt that the information on the website was dicult
to understand, commenting: “The content is complex, not easy to nd the
information you need”; “People have a short attention span so will not read”;
“The threat levels page doesn’t tell you any specic details. It triggers un-
necessary panic”. Finally, participants felt that visualization of information
could improve the clarity of the information stating: “Images would help
the information to be more memorable”; “Infographics/images would be
benecial, or videos.” In relation to the existing visualization, participants
had a negative response saying that the colors were poor and the informa-
tion confusing. Users found it unattractive with the background making the
text hard to read. Some suggested using color more eectively to explain
the structure of the information better.
2.3. Summary
The results from the scoping study conrm prior arguments that text heavy
information is problematic for both user engagement and understanding.
An area where this was particularly evident was the low understanding of the
Threat Levels. Application of this initial research in the development of new
design solutions (as described in the sections below), suggests that particular
focus should be aimed at reducing the text heavy appearance of the existing
website, and increasing understanding of both threat levels and visualizations.
3. Design development and iteration
3.1. Design guidelines
Literature on the design principles of Infographics is scarce and mostly relate
to presenting numerical, medical or vast quantities of text-based informa-
tion. Despite this, a few principles have been collected, that when used in
conjunction with information design principles, can inform the visualization
of the UK Terror Threat Levels as shown in Table 1.
Little empirical research has also been conducted into how
motion graphics should be designed to improve comprehension and recall
of information. Apart from a few studies (e.g. Lonsdale and Liao, 2018),
design principles and theories of motion graphic design largely stem from
creative practice. The design principles that informed the development of
the design outputs for this research study are also presented in Table 1.
Principles on the design of online information were also col-
lected to further inform the re-design of the information provided to the
public on the MI5 website (also included in Table 1).
TABLE 1.
Design principles
framework used to inform
design solutions to the
problem identified in
this study.
DESIGN PRINCIPLES
Online
Information
• Bonnardel et al. (2011)
• Bringhurst (1992)
• Carter et al. (2018)
• Cyr et al. (2010)
• Lonsdale (2014)
• Lonsdale et al. (2019)
• Michailidou et al. (2008)
• Rehe (1979)
• Reynolds (1978)
• Saltz (2009)
• Schriver (1997)
• Seckler et al. (2015)
• Tselentis (2012)
• Tuch et al. (2012)
• Wijnholds (1997)
• Williams & Spyridakis
(1992)
• The number of typefaces should be limited. No more than two, and
dierent weights and sizes should be used instead.
• Simple and clean typefaces designed for screen should be used.
• Too short and too long lines should be avoided. 75-100 characters are
best to enhance reading speed.
• Headings should be larger than the body of text.
• Bold text can be used to emphasize important information.
• Text should be justied to the left.
• Color should be used sparingly, with good contrast for text and images,
and as an information tool (not as decoration).
• Color can be used to inuence user satisfaction and trust. Users seem
to have a preference for the colors blue and orange on a website, with
the presence of orange increasing information recall (probably due to
increased attention).
• The cultural inuence of a color’s perceived meaning should be
considered.
• Color coding should be used in a consistent and logical manner, and
should be understood quickly.
• Larger areas of white space should be used on a webpage to increase the
clarity and prevent the appearance of cluttered information.
• Webpages with lower visual complexity and uncluttered, should be
considered, as users nd them organized, clean, clear and appealing.
[ continues ]
Infographics • The use of text should be easy to read and kept to a minimum.
• A maximum of three type fonts, ideally two, should be used.
• Titles should be large in scale and have high contrast, as well as clearly
distinct from subtitles and main text (size, features, etc.)
• Colors must reect the subject matter and full specic needs and
purposes.
• A color palette should be on average between 3-5 colors.
• Color can be used to help group chunks of information, to emphasize
certain words, to show hierarchy and relationships between elements,
to help navigate the information.
• Arslan and Toy (2015)
• Conley (2017)
• Krum (2013)
• Menezes & Pereira (2017)
• Murray et al. (2017)
• Niebaum et al. (2015)
• Stones & Gent (2015)
• White (1991)
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3.2. Design development
With the new design outputs’ aim of increasing learning, it was imperative
that the new designs met the needs of the end user, while still appropriately
representing the MI5 organization. Therefore, usability testing was conduct-
ed with representative users and an iterative design process was followed
at various stages of design development. That is, new design solutions
of information visualization for the MI5 website and Terror Threat Levels
system, were developed, tested with representative users, and iterated at
various stages of the design development in order to create reliable outputs
of direct applicability to real-life contexts.
The steps of design development, usability testing and itera-
tion conducted in this study are presented in Table 2 and Table 3, which
describe the two ramications of the study: Development 1) Terror Threat
Levels and Online Information; Development 2) Terror Threat Levels and
DESIGN PRINCIPLES (cont.)
• Color coding can be used to show levels of severity.
• Design elements should be consistently aligned.
• Lines and arrows can be used to guide through the information.
• Simple and colorful shapes can be used to emphasize information and
engage the user.
• Pictograms can be used for eective representation of populations,
actions, etc.
• Distinctive layouts should be used.
• Online infographics should use a vertical layout in order to follow the
scroll direction.
• User feedback should be sought when designing.
Motion
graphics
• A storyboard should be used to plan the overall narrative.
• Motion graphics should employ hierarchy, balance and unity.
• Engaging motion graphics should possess a cohesive color palette, forms,
characters and textures.
• Music and voice could be used to further the narrative and aid auditory
learners.
• Fundamental motion design principles should be considered, such as:
sequencing, timing, slow in slow out, and stretch and squash.
• Sans serif fonts should be used to secure legibility.
• Too much text should be avoided.
• Excess movement, motion eects for type, and high speed should be
avoided.
• Colors should be chosen carefully to ensure sucient contrast between
elements and background.
• Avoid long sequences as these are tiring.
• Information can be emphasized by using color, size, manipulating speed
(slow or fast), etc.
• Bellato (2013)
• Finke et al. (2012)
• Freeman (2017)
• Landa (2016)
• Lasseter (1987)
• Lodigiani (2014)
• Lonsdale and Liao (2018)
• Pannano (2015)
• Stones & Gent (2015)
• Strizver (2014)
• Taylor (2013)
• Willenskomer (2017)
Infographics
(cont.)
Design Results and imporvements neededParticipants Data collection
• Initial infographic design
• 2 initial webpages
• Motion graphics storyboard
Iteration 1 • 10 participants (6 F + 4 M)
• 22- 52 years old
• Average age: 27.8
• Interview (best and worst
design features)
• Infographic: improve text alignment, color contrast and
layout.
• Webpages: use a more corporate color palette; using the
existing blue from the MI5 website is most appealing; icons
and color need renement.
• Motion graphics: more emphasis on why not to panic in the
highest threat level; characters should be more mature in
style; use blue color palette.
DESIGN DEVELOPMENT 1 – Terror Threat and Online Information
• New Infographic layout
• 5 webpages
Iteration 2 • 23 participants (15 F + 8 M)
• 18-54 years old
• Average age: 27.1
• Questionnaire
• Rating (5-point Likert scale)
• Opinion (best and worst
design features)
• Infographic: improve color contrast and use a larger font size.
• Webpages: more coherent illustration style; larger typeface;
alter some icons to better represent their meaning; further
reduce block text on some pages.
• Revised infographic placed
on webpage
• 5 webpages
• Motion graphics demo
Iteration 3 • 6 participants (3 F + 3 M)
• 22- 48 years old
• Average age: 32.5
• Pre-knowledge test
• Performance recall test
• User feedback
• User opinion and satisfaction
Results (quantitative):
• Knowledge was low and increased after looking at the
infographic, motion graphics and webpages.
• 100% participants agreed the new design improved
knowledge of threat level and security measures.
• Only 50% participants agreed that the new designs
improved knowledge of the importance of being vigilant.
Should be more prominent on motion graphics.
• 100% participants agreed that the infographic made it easier
to understand the threat levels.
• 83% participants agreed that the infographic made the
information more memorable.
• 67% participants agreed that the companion motion
graphics made the information both easier to understand
and more memorable than just text or an infographic.
• Infographic was considered ‘Straightforward’ by 100% of
participants and ‘Clear’ by 83%; 100% of participants felt
‘Informed’ and 83% felt ‘Aware’ after viewing the infographic.
• The motion graphics was described as ‘Accessible’ by 67% of
participants and ‘Relevant’ and ‘Eective’ by 50%; 100% of
participants felt ‘Informed’ and 83% felt ‘Aware’.
Results (qualitative):
• Infographic: improve color contrast and type size.
• Motion graphics: improve transitions (inconsistent / too
quick), characters needed more movement, and more
information is needed on the importance of vigilance.
• Webpages: make visual icons and infographics clearer; use
more color and text.
Design Results and imporvements neededParticipants Data collection
• Existing design styles for
infographics and motion
graphics
Iteration 1 • 28 participants (15 F + 13 M)
• 21- 55 years old
• Average age: 31.57
• Interview (advantages and
disadvantages for 3 design
styles – contemporary,
realistic, and expressive)
• 61% of participants chose contemporary style (because it is
straightforward, clear, simple and looks professional).
• Suggestion to combine well-known symbols and gures in
the illustration.
DESIGN DEVELOPMENT 2 – Terror Threat and Emergency Action Plan
• Infographic sketches
• Motion graphics storyboard
Iteration 2 • 5 participants (3 F + 2 M)
• 17- 25 years old
• Average age: 22
• Interview (best and worst
design features)
• Threat Levels Infographic: preference for vertical style layout
(straightforward and easy to read).
• Emergency Action Plan motion graphics: remove harsh use of
background color such as red (overpowering and can cause
stress and worry); include more setting scenarios when
escaping from an attack (directed to a wider public).
• Further developed
Infographics
• Motion graphics – static
frames
Iteration 3 • 4 participants (3 F +1 M)
• 17-33 years old
• Average age: 29.25
• Interview (best and worst
design features)
• Threat Levels infographic: new inverted order of threat levels,
i.e. from top to bottom, was better and more logical.
• Threat Levels motion graphics: delete the death numbers
linked to previous terror attacks in the UK (it only causes
alarm, raises fear and anxiety, brings back sad memories).
• Emergency Action Plan motion graphics: change content
for the ‘Inform’ section because it is not common practice
nowadays for terrorists to call and warn of a bomb threat.
• Further developed
infographics
• Motion graphics demos
Iteration 4 • 10 participants (8 F + 2 M)
• 23- 36 years old
• Average age: 27.1
• Pre-knowledge test
• User feedback
• User opinion and satisfaction
• Performance recall test
• Threat Levels infographic: the current threat level in the
infographic is still dicult to understand; the motion
graphics voice over is not engaging enough.
• Emergency Action Plan infographic: text in the infographic is
dicult to read in parts; too many details in a small space
(remove unnecessary information). Still some problems with
the motion graphics being too fast in places.
• Fully developed infographic
• Motion graphics demos
Iteration 5 • 10 participants (6 F + 4 M).
• 22- 41 years old
• Average age: 29.5
• Same as Iteration 4 • Threat Levels infographic: characters should be of dierent
races to make infographic more inclusive.
• Emergency Action Plan infographic: it needs slight changes in
wording; increase text size; improve color contrast.
T A B L E 2 . (OPPOSITE)
Stages of design
development and testing
for the Terror Threat
Levels system and Online
information available on
the MI5 Security Services
website
T A B L E 3 . (OPPOSITE)
Stages of design
development and testing
for the Terror Threat system
(as available on the MI5
Security Services website)
and Emergency Action Plan
(creation of a brand new
emergency action plan in
the event of a bombing
terrorist attack)
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Visible Language 53 . 2 .
Emergency Action Plan. Initial design solutions were informed by the litera-
ture and the ndings from the questionnaire and interview conducted to
identify the problems and needs. Any design issues that emerged from the
various stages of the design development were resolved before moving on
to the next design renement and iteration.
4. Evaluation
4.1. Evaluation 1 – Terror Threat and
Online Information
Evaluation 1 assessed whether communicating security information on the
MI5 Security Services website, through a combination of text and visualiza-
tion, enhances performance and is preferred by the public, in comparison to
information communicated through text only.
4.1.1. Participants
A sample of 64 participants completed the experimental testing with partici-
pants being equally divided into two groups: Group 1) A control group of 32
participants, exposed to the existing design in order to test its eectiveness;
Group 2) An experimental group of 32 participants, exposed to the new
design to test its eectiveness.
Group 1 (existing design) consisted of 17 females and 15
males; between 22-57 years old (an average age of 30.3); 22 were British and
10 Non-British; 24 spoke English as a native language; 20 were educated to
Postgraduate Level, 9 to Undergraduate level and 3 to Further Education
level; 10 had an Advanced IT level, 18 Intermediate level and 4 Beginners
level. Two participants reported having briey seen the MI5 website before.
Group 2 (new design) consisted of 18 females and 14 males;
between 18-65 years old (an average age of 32.25); 25 were British and 7
Non-British; 25 spoke English as a native language; 9 were educated to
Postgraduate Level, 17 to Undergraduate level and 6 to Further Education
level; 10 had an Advanced IT level, 21 Intermediate level and 3 Beginners
level. Three participants reported having briey seen the MI5 website before.
4.1.2. Procedure and materials
In Group 1 (existing design) all 32 participants were presented with the
existing MI5 webpages, including the webpage containing information on
the Terror Threat Levels. In Group 2 (new design) all 32 participants were
presented with the redesigned webpages, as well as a motion graphics
video designed to further explain the UK Terror Threat Levels (meaning and
impact on the public).
All 64 participants were tested individually and completed an
experimental study that was divided into 5 sections. In Section 1 partici-
pants were asked to write and explain their current knowledge of the exist-
ing UK Terror Threat Levels. In Section 2 participants were asked to view the
current ‘Threat levels’ page on the MI5 website to learn the information that
fully answered the questions in section 1. Participants were allowed to take
as long as they needed. Group 2, using the new design, also had a motion
graphics to watch. Figure 1.1 shows the new infographic design and inserted
in the newly designed webpage, and Figure 1.2. shows static frames of the
new motion graphics design. The existing design encompassed text only.
Figure 1.1.
New infographic design
for the Terror Threat
Levels (left) and its
implementation on the
webpage (right).
Figure 1.2.
New Terror Threat Levels
motion graphics – static
frames.
In Section 3 participants were asked to navigate 7 webpages
and nd information that answered a series of questions relating to informa-
tion on those pages. Performance was measured by time and accuracy (as
described below). Figure 2 shows two examples of the newly designed
Low
An attack is not likely.
Moderate
An attack is possible but not likely.
Substantial
An attack is a strong possibility.
Severe
An attack is highly likely.
Critical
An attack is expected imminently.
Low
An attack is not likely.
Moderate
An attack is possible but not likely.
Substantial
An attack is a strong possibility.
Severe
An attack is highly likely.
Critical
An attack is expected imminently.
Threat Levels
Threat levels in themselves do not require specific responses from the public. They are a tool for
security practitioners working across different sectors of the Critical National Infrastructure (CNI)
and the police to use in determining what protective security response may be required.
Vigilance is vital regardless of the current national threat level. It is especially important
given the current national threat. Sharing national threat levels with the general public keeps
everyone informed. It explains the context for the various security measures (for example
airport security or bag searches) which we may encounter in our daily lives.
The threat level for the UK from international terrorism is set by the Joint Terrorism Analysis
Centre (JTAC). MI5 is responsible for setting the threat levels from Irish and other domestic
terrorism both in Northern Ireland and in Great Britain.
In reaching a judgement on the appropriate threat level in any given circumstance several
factors need to be taken into account. These include:
Date Threat from
international terrorism
Threat from Northern Ireland- related terrorism
in Northern Ireland in Great Britain
1 March 2018
17 September 2017
15 September 2017
27 May 2017
23 May 2017
11 May 2016
29 August 2014
24 October 2012
11 July 2011
24 September 2010
22 January 2010
20 July 2009
4 July 2007
30 June 2007
13 August 2006
10 August 2006
1 August 2006
IMPORTANT
Severe Severe
Current Terrorism Threat levels
Moderate
Threat level history
How should you respond?
Threat Level Video
How are threat levels decided?
If you have information about possible terrorist activity, call the Anti-Terrorist
Hotline: 0800 789 321.
The Anti-Terrorist Hotline is for tip-offs and confidential information. For warnings
about possible bombs or other urgent threats please call 999.
• Available intelligence. It is rare that specific threat information is available and
can be relied upon. More often, judgements about the threat will be based on a
wide range of information, which is often fragmentary, including the level and
nature of current terrorist activity, comparison with events in other countries
and previous attacks. Intelligence is only ever likely to reveal part of the picture.
• Terrorist capability. An examination of what is known about the capabilities
of the terrorists in question and the method they may use based on previous
attacks/intelligence. This would also analyse the potential scale of the attack.
• Terrorist intentions. Using intelligence and publicly available information to
examine the overall aims of the terrorists and the ways they may achieve them
including what sort of targets they would consider attacking.
• Timescale. The threat level expresses the likelihood of an attack in the near
term. We know from past incidents that some attacks take years to plan, while
others are put together more quickly. In the absence of specific intelligence, a
judgement will need to be made about how close an attack might be to fruition.
Threat levels do not have any set expiry date, but are regularly subject to review
in order to ensure that they remain current.
=Low =Moderate =Substantial =Severe =Critical
The international threat level refers to the threat of terrorism in the UK from other countries.
The threat level for Northern Ireland-related terrorism is set separately for Northern Ireland
and Great Britain (England, Wales and Scotland).
Northern Ireland-related terrorism
In Northern Ireland: In the UK:
International
terrorism in the UK:
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webpages. The existing designs encompassed text only. All newly designed
pages follow the same approach in combining text and graphics to make in-
formation more accessible, easy to understand and memorize and engaging.
In Section 4 participants were asked to answer the questions in
section 1 again. Post-knowledge was measured by accuracy of the answers.
In all sections, participants were always asked not to guess any answers
but only to write what they knew (Section 1) or were able to nd on the
webpages (Section 2-4).
After the performance test, a recorded interview was con-
ducted where participants were asked their opinion on the design of two
webpages only – ‘Threat Levels’ and ‘What to look for’ (in terms of suspicious
behavior)– by comparing existing and redesigned versions. Statements
were read out and participants were asked to agree or disagree based on
a 5-point Likert scale from ‘Strongly disagree’ to ‘Strongly agree’, and then
explain their option. Further opinions on the existing designs were gathered
using an Appraisal Word Chart and Emotional Word Chart (each presented
as a table with 10 positive and 10 negative words) where participants de-
scribed: 1) their opinion on the design of the webpages; and 2) their feelings
after using the webpages. Group 2 was further asked about: 3) their opinion
regarding the companion motion graphics.
4.1.3. Results
4.1.3.1. Pre-knowledge vs post-knowledge
A paired samples t-test was used to compare pre-knowledge and post-
knowledge of the UK Terror Threat Levels. Results show that there was a
signicant dierence between pre-knowledge and post-knowledge when
measured by accuracy, i.e. the number of correct answers, for both Group 1
and Group 2. In Group 1 (existing), knowledge before seeing the information
(M=0.34, SD=0.83) was signicantly lower than knowledge after looking at
the webpages (M=2.38, SD=0.91); t(31) = - 8.961, p<0.001. In Group 2 (new),
knowledge before seeing the information was also signicantly lower before
(M=0.06, SD=0.25) than after seeing the information (M=3.25, SD=1.83);
t(31) = -10.096, p<0.001 (Figure 3). This supports our hypothesis that the UK
public has very little knowledge of the Terror Threat Levels and of the cur-
rent Threat Level that is in place.
When comparing the benecial eects of the existing web-
pages design (M = 2.38, SD = 0.91) and the new design (M = 3.25, SD = 1.83)
upon post-knowledge, a signicant dierence was also found, t(45.34) =
-2.422, p <0.05 (Figure 3). That is, the increase in knowledge after learning
the information was signicantly higher with the new design than with the
existing design.
Figure 3.
Mean accuracy (number
of correct answers):
comparison between
‘Existing’ and ‘New’ design,
as well as ‘Pre-knowledge’
and ‘Post-knowledge’.
4.1.3.2. Performance – Time and accuracy
An Independent Two Samples t-test was used to compare performance for
completing the given tasks between Group 1 (existing design) and Group 2
(new design). Performance was measured by time (i.e. the time to nd the
information on the webpages and answer the questions) and accuracy (i.e.
the number of correct answers).
Results show that there were signicant dierences between
the two groups. In Group 2 (new design), participants took signicantly
less time (M=630.03, SD=156.4) than Group 1 (existing design) (M=908.06,
SD=265.0) to complete the performance test; t(62) = 5.112, p<0.001. Results
further show that accuracy was also signicantly higher with Group 2 (new
design) (M=40.38, SD=2.11) than with Group 1 (existing design) (M=37.19,
SD=3.72); t(62) = -4.218, p<0.001 (Figure 4). Therefore, participants
performed signicantly better with the new, rather than with the
existing, design.
The terrorist threat is serious and ongoing. Members of the public can help to prevent
terrorism by being alert to possible suspicious activities. Terrorists have to live somewhere,
and they need to plan and prepare for attacks. Members of the public may spot such activities,
and if reported in time, a planned terrorist attack may be stopped before it happens.
Buying/storing of unusual materials and equipment.
Undergoing suspicious training.
Behaving differently to how they did in the past.
Coming / going at strange times during the night.
False documents to hide their real identities.
Unusual financial transactions.
Report suspicious activity to the police:
If you are aware of something suspicious, trust your instincts and report it to the
police. What might seem insignificant on its own could actually provide a vital link in a
wider investigation. Call 999 for emergenies and 101 for non-emergencies.
Terrorists often use the Internet to promote extremism and terrorism. The Terrorism Acts
2000 and 2006 made it illegal to have or share information that could be useful to terrorists,
share information that urges people to commit or help with acts of terrorism, or glorify or
praise terrorism. If you come across extremist or terrorist content you find online, you may
wish to report it (see Report online terrorist material).
Be aware of the following suspicious activities:
Western countries and their interests overseas remain prime targets for international terrorist
groups like the Islamic State of Iraq and the Levant (ISIL) and Al Qaida. Al Qaida’s founder
Usama bin Laden, and his successor Ayman al Zawahri, identified a number of countries as
allies of the US and so legitimate targets, including the UK, Australia, France, Japan, Norway,
Poland and South Korea. Al Zawahiri cited as justification their actual or claimed involvement in
conflicts in Afghanistan, Iraq and Chechnya or their support for Israel.
There are many reasons a terrorist group may consider a country to be a potential target for
attacks. ISIL, for example, considers any countries which have supported military action against
the group to be legitimate targets. As well as seeking to direct attacks against these countries,
ISIL frequently uses its social media to inspire low sophistication attacks by extremist
supporters worldwide on generic “Western” interests.
Terrorists often try to attack official personnel and property, such as diplomatic missions and
military forces. Terrorists also target the police and military as they easily associated with
the state, and their public-facing nature makes them fairly accessible for low sophistication
attacks. Notable incidents include:
However, terrorist cells also target less well-protected places frequented by Westerners. These
could include locations where crowds gather such as social and retail venues, tourist sites and
transport networks (rail, road and airports). The effectiveness of randomly targeting a public
place comes from the likelihood of low security and the element of surprise. Depending on the
location, public venues also offer the chance for maximum casualties. This was illustrated by
the attacks in:
Terrorist Targets
Target Countries
Example target countries:
Example target locations:
USA
Diplomatic
missions
Great Britain
Military
forces
France
Transport
networks
Japan
Social
venues
Australia
Tourist
destinations
Target Locations
• Mumbai in 2008
• Nairobi in 2013
• Paris, Tunis and Sousse in 2015.
• Bali in October 2002
• Madrid in March 2004
• Egypt in July 2005
• Shootings at the Canadian Parliament in Ottawa in October 2014
• Shootings at various army venues around Chattanooga, USA in July 2015
• The shooting of a policeman in Australia in October 2015.
Figure 2.
Newly designed webpages:
‘Suspicious Behavior’ (left)
and ‘Terrorist Targets (right).
5
G1 | Existing
PRE-knowledge | Accuracy
POST-knowledge | Accuracy
G2 | New
0.06
0.34
2.38
3.25
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Figure 4.
Mean accuracy (number of
correct answers) between
‘Existing’ and ‘New’ design,
as well as mean time (time
in seconds taken to find
and write the information
down) between ‘Existing’
and ‘New’ design.
4.1.3.3. Opinion
WEBPAGE AND INFOGRAPHIC
For the interview and to gather participant feedback, only two webpages
were shown: ‘Threat Levels’ and ‘What to look for’. Participants’ impression of
the webpages design was not positive for the existing design, but was very
positive for the new design. In Group 1, very few (or no) participants agreed
that the existing design made the information: easier to nd (3%); easier to
understand (0%); more memorable (0%); more engaging (0%); and more
professional (19%) than the new design (Figure 5). In contrast, the majority of
participants in Group 2 agreed that the new design made the information:
easier to nd (94%); easier to understand (97%); more memorable (97%);
more engaging (97%); and more professional (78%) than the existing design
(Figure 6). Specic comments mentioned the fact that the infographic makes
it easier to understand the 5 dierent levels, and that it is much better than
just having text. Participants also mentioned that having dierent colors
for each threat level, as well as increasing the size of the circle as the level
increases, helps to understand the severity of each level better.
When participants were asked to choose three words to de-
scribe both their opinion and feelings after using the webpages design, the
results were as follows. In Group 1 (existing design) the majority of partici-
pants chose negative words to describe both their opinion and feelings: 66%
described the existing design as time consuming and 50% of participants
felt overwhelmed. But, on a more positive note, 50% also felt informed. In
Group 2 (new design) the majority of participants chose positive words: 98%
felt informed, 78% felt engaged and 72% thought the new design was clear
(top ve most chosen words are shown in Figure 7 below). Further com-
ments highlighted the fact that the existing design was too text heavy and
required the user to read entire paragraphs to nd important information; it
was also thought to appear dated with little consideration of how the user
would interact with it. The new design, on the other hand, had a more posi-
tive response with participants describing the use of color and images both
as appealing and useful, especially in the visualization of the threat levels;
and the division and reorganization of information on the webpages as be-
ing useful in nding the required information.
50
Accuracy
G1 | Existing
G2 | New
Time
908.06
37.19
40.38
630.03
1000 sec
G1 | Existing
G2 | New
EXISTING DESIGN – WEBPAGES
Strongly agree + Agree
Neutral
Disagree + Strongly Disagree
0%
100%
Easier to Find Easier to Understand More Memorable More Engaging More professional
3%
6%
91%
0% 0% 0%
13%
87%
0%
25%
56%
19%
100% 100%
Figure 5.
Participant opinion
regarding the ‘Existing’
Terror Threat Levels system
and two webpages (all
text dense).
NEW DESIGN – WEBPAGES
Strongly agree + Agree
Neutral
Disagree + Strongly Disagree
0%
100%
Easier to Find Easier to Understand More Memorable More Engaging More professional
94%
3% 0% 3% 0%
16%
6%
78%
3%3%
97% 97%
3%
97%
Figure 6.
Participant opinion
regarding the ‘New ’ Terror
Threat Levels system
infographic and two
redesigned webpages (to
include a balance between
text and visualized
information).
54 5 5
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Visible Language 53 . 2 .
MOTION GRAPHICS
Participants agreed that the Terror Threat Levels motion graphics helped:
to understand the information better (97%); to make the information more
engaging (97%); make the information more memorable (91%) (Figure
8). Participant comments emphasized that a motion graphics is easy and
accessible to everyone, and that the combination of visuals and voiceover
makes the information clearer and easier to remember. Moreover, a lot more
information can be communicated in a short space of time.
Participants’ opinion regarding the design of the motion
graphics, when asked to select three words, was positive: 65% described the
design as eective, and 50% as clear. Participants’ feelings during, and after
viewing the motion graphics, were also positive: 91% felt informed and 69%
felt engaged (top ve most chosen words are shown in Figure 7 above).
4.1.4. Summary and discussion
Overall, participants had very little knowledge about the Terror Threat Levels
prior to the test, which increased signicantly after exposure to the informa-
tion. Moreover, this increase was signicantly higher with the new design
that presented information combining good text layout with infographics
and with a companion motion graphics. A signicant improvement was also
found in performance, i.e. the time and accuracy of nding information and
answering the questions, when participants searched for information on the
webpages displaying a combination of text and visualization. These results
therefore provide evidence to suggest that design following research-based
principles of information design and visualization, optimize user knowledge
and performance.
4.2. Evaluation 2 – Terror Threat and
Emergency Action Plan
Evaluation 1 provided evidence on the superiority of communicating security
information through a combination of text, visuals and motion graphics.
Evaluation 2 went a step further to also identify whether (based on previous
research) communicating security information in a more visualized approach
is superior when using a motion graphics than it is via an infographic.
4.2.1. Participants
A total number of 64 participants (a dierent group from Evaluation 2)
completed the performance test, with participants being divided into two
groups: Group 1) A group of 32 participants to test the eectiveness of info-
graphics as a tool to communicate security information; Group 2) A group
Opinion on design
Time consuming
G1 | Existing design
Complex
Ordinary
Relevant
Hard to use
Opinion on design
Clear
G2 | New design
Eective
Accessible
Helpful
Easy to use
WEBPAGES
11
21
10
9
7
23
14
12
12
12
Feelings about design
Informed
Overwhelmed
Bored
Unimpressed
Discouraged
Feelings about design
Informed
Engaged
Clear
Satised
Reassured
16
16
13
13
10
30
25
13
5
5
Opinion on design
Eective
G2 | New Design
Clear
Helpful
Straightforward
Accessible
21
16
15
15
9
Feelings about design
Informed
Engaged
Reassured
Calm
Clear
29
22
10
8
6
MOTION GRAPHICS
Positive words
Negative words
Figure 7.
Participant choice of
three words to describe
their opinion and feelings
about the design of the
webpages and motion
graphics – top five chosen
words and number of
times chosen.
Figure 8.
Participant opinion
regarding the ‘New ’ Terror
Threat Levels system
motion graphics.
NEW
DESIGN – MOTION GRAPHICS
Strongly agree + Agree
Neutral
Disagree + Strongly Disagree
9%
0%
100%
Easier to Understand More Memorable More Engaging
0% 3%
91%
97%
0% 3%
97%
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of 32 participants to test the eectiveness of motion graphics as a tool to
communicate security information.
Group 1 (infographics) consisted of 17 females and 15 males;
between 18-65 years old (an average age of 37.3); 16 were British and English
native speakers and 16 were Non-British; 12 were educated to Postgraduate
level, 15 to Undergraduate level and 5 to Further Education level.
Group 2 (motion graphics) consisted of 18 females and 14
males; between 18-72 years old (an average age of 40.2); 16 were British and
English native speakers and 16 Non-British; 19 were educated to Postgraduate
Level, 6 to Undergraduate level and 7 to Further Education level.
4.2.2. Procedure and materials
In Group 1 (Infographics) all 32 participants were presented with two info-
graphics: one for the UK Terror Threat Level system, and another one for the
Emergency Action Plan (i.e. how to react in the event of a bombing terrorist
attack). In Group 2 (motion graphics) all 32 participants were exposed to the
same information as Group 1, but presented via a motion graphics video.
All 64 participants were tested individually and completed an
experimental study that was divided into 5 sections. In Section 1 partici-
pants were asked to write and explain their current knowledge of the
existing UK Terror Threat levels. In Section 2 participants were then asked to
look at the infographics (Group 1) and motion graphics (Group 2) to learn
the information that fully answered the questions in Section 1. Figure 9.1
shows the infographics and Figure 9.2 shows static frames of the motion
graphics for the Terror Threat Levels. Figure 10.1 shows the infographics and
Figure 10.2 shows static frames of the motion graphics for the Emergency
Action Plan. In Section 3 participants were asked to answer the questions in
section 1 again, but this time based on the information that they saw on the
infographics (Group 1) or motion graphics (Group 2).
After the performance test, a recorded interview was con-
ducted where participants were asked their opinion on the design of the
infographics (Group 1) and motion graphics (Group 2) in comparison to
similar information provided on the MI5 website. Statements were read out
and participants were asked to agree or disagree based on a 5-point Likert
scale, as well as explain their choice.
Figure 9.2.
New motion graphics for
the Terror Threat Levels –
static frames
Figure 10.1.
New infographic design for
the Emergency Action Plan.
Figure 10.2.
New motion graphics for
the Emergency Action Plan
– static frames.
Figure 9.1.
New infographic design for
the Terror Threat Levels.
EXIT
SHOPPING
CENTER
EMERGENCY
ACTION
PLAN
ANTI TERRORIST HOTLINE
0800 789 321
999
999
EMERGENCY HOTLINE
INFORM
ESCAPE
HELP
What to do in the event of a
Terrorist Bombing Attack ?
1
2
3
Cover your
nose & mouth
Shout as a
last resort
Use a flashlight Make noise
2B. If Injured/trapped
To help locate you
If you notice anything unusual like unattended items,
suspicious behaviour and vehicles, immediately
report it to the authorities by calling
999
3A. Help/Run to saftey
Help others around you
1C. Suspicious behaviour
Unusual actions
Call
999
to help inform the police with all the necessary details
until they arrive on site if you notice any of the following events:
Evacuate the building as fast as possible by always
looking for the nearest
EXIT.
If trapped or injured
please follow the instructions below
When you have ensured your own safety
Help
others until all help arrives to the scene
Unattended items
1A. Suspicious items
2A. Run to the nearest EXIT
Evacuate the area
Do NOT
use the elevator but escape using the
stairs
Seek shelter and
Stay Away
from broken glass
windows or any potentially hazardous areas
EXIT
Inform
others whom may not be aware
Help
anyone injured get to safety until help arrives
999
NO
ENTRY
EXIT
Keep an eye on the following:
Someone nervous/repetitive movement
Someone trying to enter a restricted area
Someone avoiding being seen
Someone wearing unusual clothing
1B. Suspicious vehicles
Parked in an odd location
EXIT
The current threat
level in Northern
SEVERE
SEVERE The current threat
level in the UK
SEVERE
LOW
SUBSTANTIAL
MODERATE
SECURITY MEASURES UNDER EACH LEVEL
THREAT LEVELS
The army may be
added to ensure the
safety of special sites.
The police will patrol
the streets and keep
security checking in
some public areas.
Armed police may
be set as well.
Since 2006, the level has never been
lower than substantial.
No Specied Measures
MODERATE SUBSTANTIAL SEVERE CRITICAL
LOW
Threat levels are designed to give a broad indication of the likeihood of a terrorist attack.
CURRENT THREAT LEVEL
International Terrorism
The threat level for Northern Ireland-related terrorism is set separately for Northern Ireland and Great Britain
(England, Wales and Scotland).
Northern Ireland-related Terrorism
An attack is
unlikely
An attack is
possible, but not likely
An attack is
a strong possibility
An attack is
highly likely
An attack is
expected imminently
The current threat
level in Britain
MODERATE
CRITICAL
58 5 9
Lonsdale et al Visualizing the terror threat.
Visible Language 53 . 2 .
4.2.3. Results
4.2.3.1. Pre-knowledge vs post-knowledge
A paired samples t-test was used to compare pre-knowledge and post-
knowledge of the UK Terror Threat Levels and Emergency Action Plan in the
event of a bombing terrorist attack. Results show that there was a signicant
dierence between pre-knowledge and post-knowledge when measured by
accuracy, i.e. the number of correct answers, for both Group 1 and Group 2.
In Group 1, knowledge before seeing the Terror Threat Levels
infographic was signicantly lower (M=0.5, SD=0.91) than knowledge after
looking at the infographic (M=5.66, SD=2.1); t(31) = - 13.430, p<0.001.
Knowledge before seeing the Emergency Action Plan infographic was also
signicantly lower (M=1.91, SD=1.77) than knowledge after looking at the
infographic (M=7.31, SD=1.7); t(31) = - 14.010, p<0.001 (Figure 11).
In Group 2, knowledge before watching the Terror Threat
Levels motion graphics was signicantly lower (M=0.47, SD=0.80) than
knowledge after looking at the motion graphics (M=5.47, SD=2.36); t(31)
= - 11.673, p<0.001. Knowledge before watching the Emergency Action Plan
motion graphics was also signicantly lower (M=1.78, SD=2.03) than knowl-
edge after watching the motion graphics (M=6.72, SD=1.6); t(31) = - 11.407,
p<0.001 (Figure 11).
This evidence further supports our hypothesis that the UK
public has very little knowledge of the Terror Threat Levels and of the cur-
rent Threat Level that is in place.
Figure 11.
Mean accuracy (number
of correct answers):
comparison between
‘Infographic’ and ‘Motion
Graphics’, as well as ‘Pre-
knowledge’ and ‘Post-
knowledge’.
4.2.3.2. Infographic vs Motion Graphics
An Independent two samples t-test was used to compare performance
between Group 1 (infographic) and Group 2 (motion graphics). Performance
was measured by accuracy (i.e. the number of correct answers).
Results show that there were no signicant dierences
between the two groups. For the Terror Threat Levels information, accuracy
was not signicantly dierent between Group 1 (infographic) (M=5.66,
SD=2.1) and Group 2 (motion graphics) (M=5.47, SD=2.36); t(62) = 0.338,
p=0.736. Results further show that for the Emergency Action Plan, accu-
racy was not signicantly dierent either between Group 1 (infographic)
(M=7.31, SD=1.7) and Group 2 (motion graphics) (M=6.72, SD=1.6); t(62) =
1.437, p=0.156 (Figure 11). That is, a motion graphics video was not superior
to an infographic when communicating security information to the public.
They were both equally benecial.
4.2.3.3. Opinion
INFOGRAPHIC
After the performance test, participants were asked whether, when com-
paring the information on the existing website, the new and visualized
information was more ecient at communicating to the public, i.e. easier to
understand, clearer, more legible and more attractive than the information
on the MI5 website.
For the new Terror Threat levels infographic, the majority of
participants gave a positive response: Participants agreed that the Terror
Threat Levels were easy to understand (100%); were clear and legible (97%);
and were attractive (97%) (Figure 12). Further comments emphasized that
the existing design is very bland, boring, text dense and does not convey
the importance of the information, while visuals and color help to enhance
that importance. Moreover, it was also noted that simplied information
aids understanding of said information at the time of looking at it, but it also
helps to remember the information at a later stage.
For the Emergency Action Plan Infographic, the majority of
participants also gave a positive response. Participants agreed that the three
main actions the public must follow in the event of a bombing terrorist
attack were easy to understand (100%). The majority of participants also
agreed that the importance of informing the police (84%), how to escape
(91%) and how to help others (84%) were also easy to understand. Moreover,
participants agreed that the infographics was clear and legible (100%); and
attractive (100%) (Figure 13). Further comments highlighted that relying on
pictures is easier than relying on text, that visuals are very self-explanatory
and easy to understand, and that it is easy to follow information when it is
broken down into steps.
MOTION GRAPHICS
The same opinion questions were asked in relation to the motion graph-
ics. For the new Terror Threat Levels motion graphics, again, the majority of
participants gave a positive response. Participants agreed that the Threat
levels were easy to understand (94%); the security measures were also easy
to understand (97%); the infographics was clear and legible (100%); and was
attractive (97%) (Figure 14). Further comments pointed out that the motion
graphics was interesting, short and easy to follow. Moreover, that the cor-
relation/progression between each level was clear.
10
Infographic
PRE-knowledge | Accuracy
POST-knowledge | Accuracy
Motion Graphics
1.78
1.91
7.31
6.72
60 6 1
Lonsdale et al Visualizing the terror threat.
Visible Language 53 . 2 .
For the Emergency Action Plan motion graphics, again, the
majority of participants also gave a positive response. Participants agreed
that the three main actions the public must follow in the event of a bombing
terrorist attack were easy to understand (100%). The majority of participants
also agreed that the importance of informing the police (88%), how to
escape (91%) and how to help others (88%) were also easy to understand.
Furthermore, participants also agreed that the infographics was clear and
legible (100%); and attractive (100%) (Figure 15). Further comments high-
lighted that visuals enable them to see what to do in an actual/real situation,
which is better.
4.2.4. Summary and discussion
Once again, these results provide evidence that the new design following
research-based principles of information design and visualization of infor-
mation, has a signicantly more positive impact in accessing and under-
standing information, than the existing text-dense design.
However, it was interesting to discover that, contrary to
previous studies and the researchers’ hypothesis, infographics and motion
graphics are equally ecient at communicating security information, i.e. one
form of visualized information is not superior to the other. In fact, if we look
closely at the mean values, participants performed slightly better with the
infographic than with the motion graphics.
Easy to Understand
‘Help’
Easy to Understand
‘Escape’
EMERGENCY ACTION PLAN – INFOGRAPHIC
Strongly agree + Agree
Neutral
Disagree + Strongly Disagree
Easy to Understand Easy to Understand
‘Inform’
100%
0% 0%
84%
13%
91%
9%
0%
100%
Clear and Legible Attractive
84%
16%
0% 0%0%
100%
3% 0% 0%
100%
Figure 12.
Participant opinion
regarding the ‘New ’ Terror
Threat Levels system
infographic.
Figure 13.
Participant opinion
regarding the ‘New ’
Emergency Action Plan
infographic.
Figure 14.
Participant opinion
regarding the ‘New ’ Terror
Threat Levels system
motion graphics.
Figure 15.
Participant opinion
regarding the ‘New ’
Emergency Action Plan
motion graphics.
TERROR THREAT – MOTION GRAPHICS
Strongly agree + Agree
Neutral
Disagree + Strongly Disagree
100%
Easy to Understand
‘Threat Levels’
Easy to Understand
‘Security Measures’
Clear and Legible Engaging
96%
0%
100%
0%
97%
0%
3% 3% 0%
97%
3% 3%
Easy to Understand
‘Help’
Easy to Understand
‘Escape’
EMERGENCY ACTION PLAN – MOTION GRAPHICS
Strongly agree + Agree
Neutral
Disagree + Strongly Disagree
Easy to Understand Easy to Understand
‘Inform’
100%
0% 0%
87%
13%
91%
9%
0%
100%
Clear and Legible Engaging
0% 0%
100%
0%
87%
13%
0% 0% 3%
97%
TERROR THREAT – INFOGRAPHIC
Strongly agree + Agree
Neutral
Disagree + Strongly Disagree
100%
Easy to Understand
‘Threat Levels’
Easy to Understand
‘Security Measures’
Clear and Legible Attractive
100%
0% 0% 0% 0%0%
100% 97%
3%
97%
0% 3%
62 6 3
Lonsdale et al Visualizing the terror threat.
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5. Overall discussion and conclusion
The present empirical study is the rst in the world to examine the impact
of an information design approach on the public’s knowledge and access to
information on national security related to terrorism. Specically, the study
identied whether static infographics and motion graphics have a positive
impact on the UK public’s ability to nd information on, and their knowl-
edge of: a) the UK Terror Threat Level system; b) other additional national
security information such as how to be vigilant regarding terror threat; and
c) how to react in the event of a bombing terror attack. In addition, this
study is an example of the importance of following a user-centered design
approach during the research and design process by: 1) dening the design
problem and user needs through literature review that is complemented by
observation, interviews and testing of existing designs; 2) identifying inno-
vative information design solutions and design principles through literature
review, that are user-centered and research-based, to ensure their success; 3)
conducting several usability tests and iterations during the design develop-
ment, to ensure the design’s quality and suitability for the user; 4) conduct-
ing experimental performance tests and comparison (to the original) tests
with statistical analysis to validate the nal design solutions. All these steps
ensure that representative users (in this case members of the UK public) are
the ones involved throughout the research and design process.
In Part 1 of the study – Terror Threat Level system and Online
Information – the results were clear in showing that performance in ac-
cessing and nding the information (measured by time and accuracy) was
signicantly better using the new design (a combination of visuals and
text, plus a motion graphics) than with the old design (text dense informa-
tion). Participant comments were also strongly in support of the positive
impact of the new design. Results also showed that knowledge on Terror
Threat levels is very low among the UK public, and that being exposed to
the information signicantly increased their post-knowledge. Moreover,
when comparing post-knowledge between the existing design and the new
design, an increase in post-knowledge was signicantly higher with the new
design than with the existing design. (This is true in both Part 1 and Part 2 of
the study, discussed next). Such ndings support previous research showing
that learning scores are higher when participants are exposed to a combina-
tion of static and motion visuals (Arguel and Jamet, 2009).
However, literature also shows that motion graphics might
have greater learning benets and engage users more than static graphics
(Höer and Leutner, 2007; Berney and Bétrancourt, 2016; Siricharoen and
Vinh, 2017). Therefore, Part 2 of the study – Terror Threat Level system and
Emergency Action Plan – was designed to test whether a motion graph-
ics is superior in delivering the same information than a static infographic.
Contrary to existing research, our study shows no superiority of a motion
graphics over a static infographic, which also dismisses one of our initial
hypotheses. In the particular case of Terror Threat Levels and how to react
in the event of a terrorist attack, perhaps seeing information that displays
dierent levels (Terror Threat) and dierent steps to take (Emergency Action
Plan) is easier to make sense of if the information is presented all together,
in a chunk.
According to the chunking principle, as addressed by various
authors (Bettman et al., 1986; Sweller, 1994; Few, 2004 and 2012; Le et al.,
2013; Patterson et al., 2014; Lyra et al., 2016; Tetlan and Marschalek, 2016;
Coyle et al., 2017; Majooni, 2017; Lonsdale and Lonsdale, 2019) cognitive
load can be reduced if visualizations are presented in chunks. Although each
chunk can contain a good amount of information, there is a limit to how
many chunks of information can be stored at any one time in our working
memory. As the working memory is temporary and has limited storage ca-
pacity, three to four chunks are suggested as the optimum number. Any new
information or chunk of information to be included in our working memory
will require pre-existing information to be forgotten or sent to the long-term
memory. Therefore, when acquiring new information, if presented in more
than three or four chunks, learning will be aected and cognitive processing
will be ineective. For example, as illustrated by Few (2012) in terms of infor-
mation visualization, a legend for a chart that contains a color or symbol for
ten dierent sets of data will force users to go back and forth between the
chart, because the user’s working memory will not be able to take in more
than three or four chunks of information at a time.
If we consider the Terror Threat levels, and Emergency Action
Plan, the same theory applies. In the Terror Threat levels infographic and
Emergency Action Plan infographic all levels are presented as one chunk.
In contrast, for the Terror Threat level motion graphics each individual
level is presented as a chunk of information (Chunk 1 –Low; Chunk 2 –
Moderate; Chunk 3 –Substantial; Chunk 4 –Severe; Chunk 5 –Critical). The
same applies to the Emergency Action Plan motion graphics, where each
individual step is also presented as a separate chunk of information (Chunk
1 –Inform; Chunk 2 – Escape, Chunk 3 – Help), with additional sub-steps
in each one of them, increasing the cognitive load further. If we apply the
chunking theory, chunking all levels together and all steps together in a
single infographic is a superior method, because it supports the user in
understanding and assimilating them eectively. This is because all of the
information is gathered together in meaningful chunks in the working
memory, and thus the user can make comparisons, establish a crescendo in
severity (Terror Threat Levels) and a sequence of actions (Emergency Action
Plan) in a more logical and connected way. Moreover, communicating threat
levels and action steps separately may have diminished the advantage that
motion graphics have over static infographics. Normally, communicating
information across auditory and visual channels (as is the case in motion
graphics) will reduce cognitive load (Mayer, 2012; Mayer and Moreno, 2003).
Thus, from this study the following theory emerges. When
communicating levels of risk or several steps to follow in a situation of emer-
gency, static infographics (if designed according to information visualisation
research-based principles) can reduce cognitive load and support under-
standing of information.
In reference to motion graphics, and based on existing
evidence that a combination of infographics and motion graphics may be
64 6 5
Lonsdale et al Visualizing the terror threat.
Visible Language 53 . 2 .
even more benecial than each item presented individually (Arguel and
Jamet, 2009), in these same situations motion graphics could be used as a
companion output to infographics. This is because, if designed according to
information visualisation research-based principles, they are more inclusive
in that they communicate through various channels (visuals, music/sound
and narration) and provide a more detailed explanation of the content.
However, this is yet to be tested.
Therefore, based on this hypothesis, the following research
question is suggested for future research: Is the communication of infor-
mation via a combination of infographics and motion graphics superior to
either presenting the information only via an infographic or only via a mo-
tion graphics? Our suggestion is that combining infographics and motion
graphics allow for a more ecient, eective, accessible, comprehensive and
inclusive approach. This suggestion is also based on participant comments
stating that infographic and motion graphics together contributed to the
information being easier to nd and understand, as well as being more
memorable and more engaging. Moreover, that a combination of visuals
and sound maximize understanding (also argued by Baer, 2010) and that
motion graphics are more inclusive of people with low literacy and some
kinds of visual impairment. Prior literature also states that multimedia can
improve engagement with online information (Garett et al., 2016).
Another question for future research is: Does communicating
security information via the combination of infographics and motion graph-
ics have a positive impact on long-term memory? As shown by previous
studies (e.g. Brady et al., 2008) long-term memory is extremely important to
visual perception because it is where our ability to recognize visuals is held.
Therefore, the inclusion of visualized information may increase long-term re-
call of security information, which is very important to empower the public
to remember what to do in the face of suspicious behavior and in the event
of a terrorist attack.
This pioneering study, which brings together Information
Design and Security Studies, provides evidence that motion graphics and
infographics can be of great benet to the public in the contemporary se-
curity environment. By extolling the virtues of enhanced communication of
important security information, this study would ensure that the public are
better informed, reassured, and hence have a greater sense of control over
their response to the terror threat. Additionally, by empowering them in this
way, the public could be more vigilant and thereby able to better contribute
to the security of their communities and nation. Furthermore, the ndings of
the study have direct practical implications for security agencies in the UK,
as well as those in countries around the world.
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Authors
Dr Maria dos Santos Lonsdale, PhD, is an Associate Professor in Design at
the School of Design, University of Leeds, UK. She received her PhD in 2006
from the Department of Typography and Graphic Communication, University
of Reading, UK. Her main areas of research are Information, Instructional,
Typographic and Graphic Design, with specic interest in Design for Reading,
Design for Learning, Design for Security and Design for Healthcare. Her
research is notable in the eld of Design, as it involves user-centered research
methods and experimental studies to test, evaluate and validate design
solutions to particular problems encountered in real-life contexts (further sup-
ported by qualitative methods).
Dr David J. Lonsdale, PhD, is a Lecturer in War and Security Studies and the
Director of the Centre for Security Studies at the University of Hull, UK. He
served on the Foreign and Commonwealth Oce’s Academic Network on
Future Conict and Cyber Security. He has taught Intelligence Studies for 13
years. His publications include ‘Understanding Contemporary Strategy’ and
‘Intelligence Reform: Adapting to the Changing Security Environment’.
Matthew Baxter, MA, is a Graphic Designer specialising in information design.
He received a Bachelor of Science degree in Zoology from the University of
Sheeld and a Master’s degree in Design at the University of Leeds (UK),
having graduated with Distinction. His passion for the subject of information
design has led to the undertaking of a PhD within the same department at the
University of Leeds.
Ryan Graham, MA, is a Graphic Designer. He received a First-Class Honors
Bachelor degree in Fashion Product and Promotion from the University
of Sunderland and a Master’s degree in Design (Graphic and Visual
Communication) at the University of Leeds (UK), having graduated with
Distinction. He is now following a career in Graphic Design.
Aya Kanafani, MA, is an Interior and Graphic Designer. She received her Bachelor
degree in Interior Design from the American University of Sharjah (AUS), UAE
in 2017 and a Master’s degree in Design, from the School of Design, University
of Leeds Leeds (UK), having graduated with Distinction. Her interests include
Information Design, Instructional Design, Branding and Graphic Design.
Anqi Li, MA, is a Graphic Designer. She received a Bachelor degree in Visual
Communication Design in Hainan University (China) and a Master’s degree in
Design (Information Design), from the School of Design, University of Leeds
Leeds (UK), having graduated with Distinction. Her research interests include
Information and Instructional Design, Interactive Design and Service Design.
Chunxinzi Peng, MA, is a Graphic Designer and Illustrator. She received a
Bachelor degree in Visual Communication Design from the Southwest Jiaotong
University (China), and a Master’s degree in Design from the University of Leeds
(UK). Her main interests are graphic design, illustration and motion graphics.
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