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Throughout this series, you’ve heard guests say that PDFs pose a challenge to barrier-free document access. This is one of the greatest challenges our guests today see in their line of work, too. Before we sit down for a conversation about accessible publishing with experts, Kelly Dermody and Adam Chaboryk, let’s take a closer look at how and why accessible PDFs are a challenge, as well as what we can actively do to help create documents with fewer barriers. One of the reasons that PDFs are a challenge is due to the fact that accessibility starts at the beginning of the document design process, however the layout artist or person formatting the long document doesn’t always build this in. (I am just as guilty as anyone else for not doing this.) To create accessible PDFs, first you must build an InDesign document that maps paragraph styles to export tags. You should also anchor images within the content flow, assign alt-text to images, include internal document navigation through bookmarks and/or a table of contents and/or hyperlinks, define the content order, and add required metadata. Phew, no wonder barrier-free PDFs are a challenging... ...but it’s also important, so let’s figure some of this out. By building these tasks into our long document design workflow we are doing the work necessary now that our future selves (and others using the PDF who require barrier-free access) will thank us for later. All of this information comes from Adobe directly. Building Accessibility Into InDesign Files 1. Paragraph styles Do you remember that time that your lab instructor showed you how and why to use paragraph styles consistently throughout your document? There are many, many excellent reasons to take the time to set up an apply paragraph styles and here is another one: consistently using paragraph styles and basing your styles on a hierarchical structure (for example headings, subheadings etc.), you are building in the necessary hierarchy into the document that will make it more accessible as a PDF. 2. Establishing tag relationships Inside of the Paragraph Style Options dialogue box there is a section where you can assign each style to an export tag that builds a relationship between the style you have used and PDF tags when it’s exported as a PDF. For example these tags include paragraph (P), heading levels 1-6 (H1-H6) or Artifact. This saves lots of time later and just helps InDesign communicate necessary tagging information when it becomes a PDF file. 3. Anchoring images When there are images in a long document, sighted users are able to see the image, read the text and make the connection between the two. Alternatively, screen readers and assistive technologies require images to be placed as close as possible to the text that they’re related to (it reads linearly). InDesign makes it easy by dragging and dropping object anchoring in the right place, in a way that doesn’t affect the print layout. 4. Add alt-text You’ve heard this once, twice, probably six times by now but let’s remember to add alt-text to images. You can add alt-text within the Object Export Options in InDesign. 5. Include internal document navigation Remember that time your lab instructor showed you how to create an automated table of contents? OK, I promise to stop asking these questions but it is really important to incorporate cross references and hyperlinks and bookmarks that can act as navigation within a document itself. So build that table of contents that can help readers navigate the document using these internal links. 6. Content order The Articles panel in InDesign is really powerful for establishing a reading order. While excellent typographic practice, including balanced marking and spacing, will make a document more readable for sighted users, tagging content in InDesign makes a document more readable for visually impaired users who rely on assistive technologies. Dragging and dropping frames and objects into the Articles panel allows you to then rearrange them in the desired reading order without affecting the page layout. 7. Metadata An interesting titbit of information is that a PDF file requires a document title and description of its contents not only for accessibility, but also for search engine optimization. By adding this information to the InDesign File Information dialogue box, it automatically transfers to the PDF as metadata. 8. Export your accessible PDF When you are finished with your InDesign document and you are ready to export it as a PDF, use settings that optimize accessibility whether that is through print or interactive PDFs. All of the information that you have so diligently built into the file including tagging, organizing and establishing hierarchy translates into a more accessible PDF. This isn’t the end of the road for a perfectly accessible, barrier-free PDF but it’s going to get you almost all the way there. By understanding how to build this fundamental accessible functionality into an end design document you are miles ahead of most page layout artists when it comes to usable, functional PDFs for persons of all abilities. --- Today’s guests are Kelly Dermody (an e-Learning and Accessibility Services Librarian) and Adam Chaboryk (a digital accessibility consultant and front-end web developer). Both of our guests will introduce themselves and walk us through the current status of accessible publishing, including how technology has evolved in 15 years, as well as barriers that still exist and what the library is doing to make accessible documents more accessible. Finally, Kelly and Adam describe the ways in which technologies (including AI) will not remove all barriers to accessibility and why humans will remain at the forefront of inclusion efforts for the foreseeable future. Key Themes Discussed: There is a greater willingness on behalf of the publishers to share PDF files of textbooks The way in which technology has evolved in the last 15+ years (ex: faster scanning technology, OCR, etc.) Barriers that still exist for students in the form of library databases being inaccessible to screen readers Universal Design for Learning (UDL) The (surprising!) inaccessibility of eBooks Accessibility is playing catch-up with the speed and evolution of technology (accessibility is often an after-thought) The power of the Pressbooks platform What Kelly would like to see in the future from publishers and Adam describes what’s missing in the tools An exciting new accessibility “self-service” technology launching soon While AI can assist with helping to remove barriers, it’s not 100% effective because accessibility is about the human experience and the variation of human experiences; the continued need for human intervention in accessible publishing solutions The importance of integrating accessibility into your company’s culture, getting everyone involved in thinking about it from the beginning and involving persons with disabilities in the conversations Links Discussed In Today's Episode: Creating Accessible PDFs: https://helpx.adobe.com/indesign/using/creating-accessible-pdfs.html Library Accessibility Services: https://library.ryerson.ca/services/disabilities/ Accessible Documents Resources: https://www.ryerson.ca/accessibility/guides-resources/accessible-documents/ SensusAccess: https://www.sensusaccess.com/ The Chang School’s Accessibility Resources: https://de.ryerson.ca/wa/ About Our Guests: Kelly Dermody is the e-Learning and Accessibility Services Librarian at Ryerson University Library. Kelly has been developing the library's accessibility services since 2005, including the implementation of the library’s accessible formats and captioning services. She has been the e-Learning Librarian since 2012. She is also the subject liaison librarian for Psychology, Philosophy and Music. Adam Chaboryk is a digital accessibility consultant and front-end web developer with a passion for building inclusive experiences. He is currently employed as an IT Accessibility Specialist at Ryerson University. Adam enables the Ryerson community with the resources and guidance to create a more inclusive digital environment for all learners, faculty, staff and the general public. Adam also led the development of Sa11y, an open source accessibility checker designed for content authors. Sa11y is featured on the World Wide Web Consortium's (W3C) Web Accessibility Evaluation Tools List, and is currently used by several hundred content authors across various organizations. Music (public domain via Free Music Archive): Lobo Loco - Deep Friendship Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash Episode Artwork: Canva (remixed by Diana Varma)

One of my absolute favourite accessible design resources is a homegrown document created by the Association of Registered Graphic Designers (RGD) in partnership with the Government of Ontario called Access Ability: A Practical Handbook on Accessible Graphic Design. In 2019, the RGD released a ‘revised and supersized second edition’ that contains 88 pages jam-packed full of practical tips for thinking about accessible design for print and digital spaces. The handbook covers planning and management (including how to start a conversation with a client about accessibility requirements), design fundamentals, typography, digital media and physical media (including print design and environmental graphic design). No discussion of designing accessible digital spaces would be complete without the inclusion of WCAG: ‘Web Content Accessibility Guidelines’. This is the global standard that contains a wide range of recommendations for making digital spaces more accessible. As described in Access Ability 2, the WCAG is organized around four principles of accessibility: perceivable, operable, understandable and robust. Perceivable: “Information and user interface components must be presentable to users in ways they can perceive.” (Specifically, no content can be communicated through visual or sound alone.) Operable: “User interface components and navigation must be operable.” (Regardless of the user's physical abilities and/or input devices; they should feel in control at all times in the digital space.) Understandable: “Information and the operation of user interface must be understandable.” (This includes ensuring content is as understandable as possible to individuals regardless of cognitive, perceptual, linguistic or cultural differences.) Robust: “Content must be robust enough that it can be interpreted by a wide variety of user agents, including assistive technologies.” (Thinking of both input devices and output devices, including displays, browsers and assistive technologies, a digital experience must consider and include such variables as older technology, display sizes and screen magnifiers, among others.) There’s a lot to learn about creating accessible and inclusive digital spaces, which is why I’m glad we have today’s guest. --- Meet Mel Sutjiadi, a QTPOC multi-disciplinary creative director, designer, illustrator, developer, and educator who loves to solve problems through design. They are a Registered Graphic Designer (RGD) and they were recently announced as a finalist for the RGD’s ULTRABOLD Awards, celebrating emerging designers under 35 who are making an impact on the design community and beyond. Mel is Founder of ArtOverMatter Creative (“a creative studio that gives a damn”) and one of the co-founders of Ripple of Change Magazine – a magazine built to inspire social action by giving a voice to stories that need to be heard. Mel specializes on projects with a focus on equity, inclusion, accessibility, and social justice. Mel has also been a guest instructor, speaker, and portfolio reviewer, with expertise on designing for diversity, cultural inclusion and social good. Let’s hear from Mel, specifically in regards to practical tips for how to think about and build more accessible digital experiences for as many people as possible. Key Themes Discussed: Best practises from access ability to from the RGD including how to write text and colour contrast specifics The way in which social media apps are helping to educate the general population about digital accessibility Mel provides tips for how to think about and build more accessible digital experiences for as many people as possible “You don’t know what you don’t know” - experiencing the world through different points of view will help us all better understand accessibility and the needs our end users Accessibility needs are not as removed as we might think they are Accessibility and customization features built into our devices under the umbrella of ‘accessibility’ can and do help every device user customize their device to their wants and needs Tips for getting started with accessibility as a designer and content creator; from colour to type size to select diverse images The's lots of ‘low hanging fruit’ when it comes to thinking about designing inclusively You command lots of power as a designer With restrictions, comes great design *Mel has compiled a list of tools & resources for listeners that they mentioned during the recording, along with links to EDI resources. **The Indiegogo campaign for the second issue of Ripple of Change magazine is on now! Pre-order at https://igg.me/at/startaripple. About Our Guest: Mel Sutjiadi (they/them) is a QTPOC multi-disciplinary creative director, designer, illustrator, developer, and educator who loves to solve problems through design. Founder of ArtOverMatter Creative and one of the co-founders of Ripple of Change Magazine – a magazine built to inspire social action by giving a voice to stories that need to be heard. Mel specializes in projects with a focus on equity, inclusion, accessibility, and social justice. Mel has also been a guest instructor, speaker, and portfolio reviewer, with expertise on designing for diversity, cultural inclusion and social good. https://artovermatter.com/ @artovermatter (Instagram and Twitter) https://www.linkedin.com/in/artovermatter/ Music (public domain via Free Music Archive): Crowander - Humbug Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash Episode Artwork: Canva (remixed by Diana Varma)

A couple of episodes ago, I mentioned that the topics of accessibility and inclusion are near and dear to my heart. Here’s why: My uncle is a hard working, independent member of society who happens to have been born with physical and cognitive disabilities. He participated in a school for children with disabilities until the age of 21, where he was surrounded by a supportive community who taught him life skills, including how to read and write, how to understand practical math, and most importantly, how to be independent after completing school. Before the pandemic in March 2020, my uncle volunteered at the same primary school for more than 23 years, having been celebrated by both his school and the city in which he lives for his work. He helped teachers with tasks like photocopying, reading with Kindergarteners, and maintaining the staff room. In addition, he owns his own home and cooks and cleans for himself. This is only possible because he’s treated like an equal, feels valued, and is included by his community. I couldn’t be more proud of everything he’s accomplished and I am so grateful to the ways that inclusivity legislation continues to remove barriers for so many. --- Today’s guest is Josh Skinner. Josh is a fellow Registered Graphic Designer, post-secondary instructor and senior product designer with ten years of experience in the industry. Having worked in a variety of sectors, from creative agencies to major financial institutions like the Bank of Montreal, Josh has expertise in creating effective design solutions for complex problems. He is passionate about equity and accessibility, and continually educates himself on these topics to advocate for inclusive design. He is a proponent of always asking “why” in his work, and he will never settle for solutions just because they are easy. Take it away Josh, please tell us a little more about yourself and how you came to be an accessible design advocate. About Our Guest: I am a senior product designer with ten years of experience in the design industry. Having worked in a variety of sectors, from creative agencies to major financial institutions like the Bank of Montreal, I have expertise in creating effective design solutions for complex problems. I am passionate about equity and accessibility, and continually educate myself on these topics to advocate for inclusive design. I am a proponent of always asking “why” in my work, and will never settle for solutions just because they are easy. I am also an educator and have taught graphic design principles and digital imaging at the post-secondary level for four years. I have won design awards from Registered Graphic Designers (RGD) and Centennial College, and I was an Ontario College Premier’s Award nominee. https://joshskinner.design/ https://www.linkedin.com/in/josh-skinner-rgd/ Music (public domain via freesound.org): Kesta - Aced It Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash Episode Artwork: Canva (remixed by Diana Varma)

The AODA is the Accessibility for Ontarians with Disabilities Act and it is groundbreaking legislation, enacted in 2005, with the goal of enabling a fully-accessible Ontario by January 1, 2025. This is now less than 4 years away. There are five standards contained within the act: customer service, information and communications, employment, transportation, and design of public spaces. Specifically, “accessible Information and Communications standards address the removal of barriers in access to information and include information being provided in person, through print, telephone, websites, and other means.” The AODA applies to companies of all sizes with potential fines, bad PR, lawsuits and/or erosion of brand trust resulting from non-compliance. While the AODA mandates the bare minimum, many companies are choosing to go above and beyond to help their clients access their products and services. Some accessibility advocates don’t see the standards as going far enough, as the AODA allows companies to rely on manual accommodations (for example, providing a screen-reader friendly version of a property tax bill when requested), versus accessibility (designing all property tax bills to be read by a screen reader through good hierarchical design and document tagging, for example). There’s lots to consider to becoming AODA-compliant and while we won’t get into the particulars in this conversation, we’ll explore developments as we creep closer and closer to the January 1, 2025 deadline. --- Today’s guest is Lee Eldrdige, who I’ve known for many years, teaching alongside one another at the university and I’ve spent my fair share of time picking his brain on various design and printing-related topics. Lee will introduce himself in just a minute, but I will share that his long history in the communications industry, becoming an expert in both the digital and print mediums, as well as his warm and welcoming personality makes him a fantastic resource for big-picture solutions. After he and I finished our conversation that you’re about to hear, he made a clever insight about accessibility in web design that I’ll share now. Lee shared that he designed his first website in 1996 and in the 1990’s alt-tags (you’ll learn more about this in an upcoming episode), served a different purpose; they were the first thing viewers would see before the image would load in the days of slow dial-up Internet. Alt-tag image descriptions helped a viewer determine whether or not the image was worth the wait to download. Lee said that he can almost tell who became a web designer when, because those early to the game do it instinctively (for the aforementioned image loading purposes). For those who earned their credentials in the era when high speed Internet was the norm and for those who didn’t yet have accessibility top-of-mind don’t instinctively add alt-tags. And finally today’s web designers are acutely aware of alt-tagging images for accessibility reasons. Let’s hear from Lee, specifically in regards to what’s happening with accessibility legislation. About Our Guest: Lee is a leading expert in workflow automation and systems integration in the Canadian graphic arts industry. He began his career writing custom software for testing Y2K systems compliance for one of Canada’s largest banks in the 90s and developing websites in the early days of the web for clients such as Sheridan College. From there he worked at various early web development companies in Canada’s tech-sector, before shifting focus to new challenges in the graphic communication industry, graduating Ryerson University’s Graphic Communication Management program. For the last decade, Lee has been the Director of Interactive Solutions at the highly awarded CJ Graphics Inc., managing a team of designers, developers, technologists and more to create custom solutions for marketing, design and workflow challenges faced by national and international brands. He also served as Associate editor of Designedge Canada, the country's premier trade magazine for graphic designers for seven years. A natural innovator with a keen ability to connect real-life business needs with scalable, systematized solutions, Lee has spoken at international conferences and forward-thinking universities around the world on emerging technologies in the communications industry. Equally comfortable dealing with executive management as he is with IT staff, Lee connects clients and partners with functional, efficient solutions to their most pressing business challenges. Music (public domain via freesound.org): Scott Holmes Music - Never Miss a Moment Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash Episode Artwork: Canva (remixed by Diana Varma)

You’ve heard the term ‘alternative text’ (or ‘alt-text’, for short) in several of the episodes so far... and this episode is no different. You will soon hear from our incredible guest, Theresa Mabe, who will speak about all things accessibility for social media, including reasons why and how to be strategic in writing alt-text in your posts to social media. Theresa is both a visually impaired content creator, as well as a marketing professional, so she comes at accessible content creation from two very important and valuable angles. She is incredibly knowledgeable and articulate about digital accessibility. I am so excited for you to learn from her lived experiences and from her deep knowledge on the technical aspects of accessibility within social media platforms. (Also, she also hosts a podcast so she sounds like a dream!) Just before we hear from Theresa, I’d like to start this episode by describing some of the technical aspects of writing alt-text. This information is outlined in further detail in the Association for Registered Graphic Designers’ AccessAbility 2: A Practical Handbook on Accessible Graphic Design. I highly recommend that you check it out if you’re just learning how to write effective alt-text. Remember that alt-text is necessary for any non-text content (like images) on the web so that assistive technologies can translate the descriptions of what’s visible on screen into a format specific to the readers’ needs (like Braille or speech). There are 10 tips for writing effective alt-text outlined in the handbook: Alt-text should be functional, meaning that it should communicate something specific to the reader; the same message that the image is meant to convey. Alt-text should also be functional in the sense that if the image links the reader somewhere, the alt-text should tell them where the link will take them. Alt-text should be relevant and consider the audience. This could mean describing an image (ex: alt-text for a company’s logo might describe in detail what the logo looks like, including colours or specific fonts used) or it could mean describing the communication intent less specifically (ex: alt-text for the same company’s logo might simply state the name of the company). Think about relevancy for the intended audience. If there is embedded text inside of an image, the alt-text should include this embedded text. (Ex: If there is an image of a movie poster, the alt-text should include the name of the movie, which is undoubtedly featured in the image of the movie poster.) The length of alt-text should be one or two sentences long and the sentences can (and should) be concise. Structure alt-text so that it starts with a short description that can help the user decide whether or not they want to read the long description. In other words, don’t bury the lead and mention the most important information first. Sometimes digital platforms (like Educational Learning Management Systems or LMS) ask content creators to provide both short and longer-form alt-text and readers can decide which is most relevant to them. Objectivity (versus subjectivity) is important in alt-text. Do your best to describe the image in a way that reserves your judgements and opinions. Users should be given the opportunity to make up their own minds about the content. As with most writing, do your best to reduce redundancy when writing alt-text, keeping in mind the content that is presented to users in the main body of the text and/or social media post. Don’t include specific information that is communicated elsewhere. Do not include unnecessary words. This includes starting alt-text with “image of” or “link to”, which simply adds clutter and doesn’t add to the users’ experience. Maintain necessary words. If additional text will help clarify meaning and provide context, then yes, include them. The example that RGD provides drives home this point beautifully. For example a “Drawing of the Loch Ness Monster emerging from the water in daylight” is much different from a “Photograph of the Loch Ness Monster emerging from the water in daylight”. Add or keep text if it helps establish meaning. Finally, finish your alt-text with a period. Don’t leave the reader hanging. Inserting appropriate punctuation helps provide a pause between elements on the page. There you have it! 10 tips for writing effective alt-text. Now on with the show! Theresa, please tell us about yourself and help us better understand the world of digital accessibility, specifically what’s happening with accessibility on social media. Discussion of Spiderman Movie Trailer (from the episode): https://www.instagram.com/spidermanmovie/ - Watch trailer via Instagram in highlights to see dynamic captioning. About Our Guest: Theresa Mabe, CPACC (she/her) is a Baltimore-based, visually impaired higher ed marketing professional with a degree in digital media and web technology and is certified through the International Association of Accessibility Professionals. She works at the University of Maryland, Baltimore County, where she is a member of the UMBC Inclusion Council as well as the UMBC Digital Strategy team. Theresa is also the owner of Accessible Influence, where she provides resources and guides for content creators looking to improve accessibility in their work by reducing digital barriers to maximize their impact. Website: www.accessibleinfluence.com Instagram: @AccessibleInfluence Music (public domain via Free Music Archive): Marcos H. Bolanos - Good Feeling Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash Episode Artwork: Canva (remixed by Diana Varma)

In the previous episode, we met Sarah Wright who shared the name of her business (Yes and Studio) that also encapsulates her creative philosophy, the power of constraint in breeding creativity and her proclamation of the deep love she feels for Post-it Notes. She also discussed her desire to balance different parts of her creative practice and today’s guest agrees. Allow me to officially introduce you to today’s guest: Sarah Dennis. Sarah Dennis is a paper artist and illustrator whose work combines traditional paper-cutting techniques with collage. Sarah worked with a range of clients including, BBC Four, Tatler, The Guardian and Gosh Arts. Sarah has also illustrated and authored a selection of books, including Papercut Woodland and Paper Plants published by Carlton Books. Sarah loves to share her craft, teaching workshops throughout the UK. Paper cutting is creative and therapeutic, focusing the mind and steadying the hand while bringing about a serene sense of achievement. Sarah loves to see others find the same level of joy in the craft as she does. In our conversation, Sarah and I discuss how she creates her paper cut masterpieces by focusing on negative space, the ways that she works with simple tools and simple materials to make extraordinary creations, as well as the importance of setting time goals in creative work. Key Ideas Discussed: Lives in Bristol, UK Illustrator and artist, teaches workshops, author Fluidity - sea creatures, the way that they flow together The more you look the more you see; playing with negative and positive space Sometimes forget that your projects exist in the world, especially with books but then you're reminded that they're out in the world - books have a little life of their own where they exist in people's houses A keen eye for composition and shape - mapping out the shapes and what's going to work together and what's going to flow together; figuring out how to create a continuous form; drawing skills are key She uses the knife as her pen Animal camouflage book - research, drawing in sketchbook, becoming familiar, creating mood board of environment; day or two doing the cutting If it's personal work, it tends to take a lot longer The importance of setting yourself time goals When you're in the work and doing it, time doesn't exist in the same way; you're in your own world She works with medium weight paper so ripping is not a huge issue Experimenting in linocut designs and print work Removing shapes to reveal a design She's designing for linocut similar to paper where her brain thinks that everything has to be connected (which it doesn't in lino); more freedom One of the neatest projects she worked on was for a children's hospital - rewarding, sitting down with the children who would be using the final product for a children's charity, commissioning a writer, being in charge of the publishing aspect of the book; so different than other publishing projects she's worked on; this project invited her to play in a more childlike way A new dinosaur book! She loves teaching, she's been doing more of it; craving that connection with other people 3 parts to her business: illustration in publishing, artwork (fine art - creating without any limitations), teaching - ideal world to get a balance of all 3 Among many insights gained, Sarah Dennis reminds us about the way in which projects that involve a level of freedom allow for play. In the next episode we meet Kate, a LEGO artist who shares Sarah’s feelings about the power of play in her work. Stay tuned… About Our Guest: Sarah Dennis is a paper artist and illustrator whose work combines traditional paper-cutting techniques with collage. Sarah worked with a range of clients including, BBC Four, Tatler, The Guardian and Gosh Arts. Sarah has also illustrated and authored a selection of books, including Papercut Woodland and Paper Plants published by Carlton Books. Sarah loves to share her craft, teaching workshops throughout the UK. Paper cutting is creative and therapeutic, focusing the mind and steadying the hand while bringing about a serene sense of achievement. Sarah loves to see others find the same level of joy in the craft as she does. http://www.sarah-dennis.co.uk/paper-art-sarah Music (public domain via Free Music Archive): Chad Crouch - Rainbow Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo byAlex on Unsplash

Accessibility. Equity. Diversity. Inclusion. In 2018 I was granted the opportunity to be a part of developing our schools first accessibility for graphic communications course. I jumped into the project with vigour, learning all that I can and tapping into resources and specialists from around my university and beyond. The opportunity was a really special one and something I did not take for granted. Accessibility and inclusion hold a very special place to me (for reasons I’ll explore in another episode) but I felt that this was my opportunity to help others understand the importance of this often-overlooked piece of the communication puzzle. As I have continued to develop other courses, lessons and assessments, accessibility has remained a common thread throughout. While I have made a concerted effort to continuously learn about accessibility in our industry and I felt it was time to really brush up on my understanding of where we’re at in 2021. So I reached out to a few people that I have known for a while now, as well as some new friendly faces who I hadn’t met before sitting down to chat in the series. I feel incredibly lucky to be able to capture these conversations and share them with you here in this format because I think we can all learn from the incredible work being done by so many diverse individuals to make accessibility a priority and a proactive forethought in the design process. In this series you’ll hear from persons with disabilities, as well as allies and advocates for persons with disabilities, all of whom are working to make the world a more inclusive place through their creative leadership. — I first met today’s guest in 2018 when I reached out and asked if he could be a guest lecturer in the accessibility in graphic communications class. Kevin will introduce himself in just a minute, but I will share that he is kind and smart and an incredible resource for learning more about accessibility and inclusion. I am excited for you to hear from Kevin and learn from his lived experience. Where to Find Kevin Shaw Online: MenuVox: www.menuvox.com Personal Site: www.kevin-shaw.com Twitter: @KevinShawPro About Our Guest: Kevin Shaw is an entrepreneur with the mission: Build. Lead. Inspire. Despite losing his sight at 19, Kevin has earned-a reputation among colleagues and clients for being a visionary, inspirational disruptor and leader with a proven track record of process improvement and product development in accessibility, broadcasting, digital media and technology. Kevin’s unique circumstances and over two decades of experience have given him the unmatched ability to solve complex problems, chart unexplored territory into the future and inspire talented people to join him at the cutting edge to build “ahead of their time” experiences. Upon completing a Master of Arts degree in media production, Kevin founded TellMe TV—a “Netflix for the blind” described video on-demand service featuring movies and TV shows with audio description. In 2017, the CNIB Foundation invited Kevin to join them in creating a new cross-Canada entrepreneurship program as part of CNIB’s strategic plan to boost participation in the world of work for Canadians with sight loss. This included launching The Venture Zone Game—an accessible business simulation game for iPhone. He also laid the groundwork for CNIB Market, a philanthropic shopping destination for donors to purchase high-quality handmade goods from talented entrepreneurs with sight loss. In 2018, Kevin founded MenuVox—a location-based app and service that pushes an accessible restaurant menu to a mobile phone. Kevin has given many talks and has been featured in numerous media including AMI, the Toronto Star, The Globe and Mail, CTV News and CBC. In November 2014, Kevin delivered a TEDx Talk in which he demonstrated described video and challenged delegates to design inclusive experiences. Music (public domain via freesound.org): Scott Holmes Music - Upbeat Party Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash Episode Artwork: Canva (remixed by Diana Varma)

I was recently brushing up on my typographic news (as one is ought to do), and I came across a really excellent podcast called The Weekly Typographic. In this podcast, cohosts Micha and Olivia, give a rundown of helpful typographic resources, weekly type news and deep dives into type history and type trends. It’s good, nerdy fun. I reached out to one half of the weekly typographic team, Olivia, after hearing one of her segments all about the huge impact that the industrial revolution had on the world of typography as we know it today. It was a super interesting conversation and, not being one to shy away from an opportunity, I emailed her to see if she would chat with me and share this information with Talk Paper Scissors listeners. So just like your favourite crossover episode on TV (think the Jetsons and Flintstones or New Girl and Brooklyn Nine Nine or The Simpsons and 24), THIS is a crossover episode… as it pertains to geeky typography-focused podcasts. But I’m here for it! In just a minute you’ll meet Olivia who is awesome. In this conversation we talk about the industrial revolution’s impact on typography, as well as an exciting modern type revolution we’re in right now. She is joining us from New York and as soon as she and I met via Zoom, I knew we were kindred spirits who both yearn to kern. Please tell us about yourself, Olivia… Salvaje - one of Olivia’s favourite typefaces (inspired by birds of paradise) Cooper Black - Olivia’s desert island typeface The Weekly Typographic Podcast - the podcast Olivia co-hosts The League of Moveable Type - an open-source font foundry About Our Guest: Olivia Kane is an NYC-based graphic designer and podcaster with a deep-seated love of letterforms. During the day she's a designer at Jones Knowles Ritchie, a creative studio that develops brand identities and packaging design, and at night she helps run the open-source foundry The League of Moveable Type. She co-hosts their podcast, The Weekly Typographic, and on it she discusses the latest in type and design news, chats to designers and educators innovating the typographic field, and deep-dives into obscure type & design topics. Music (public domain via freesound.org): Kesta - IOverjoy Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash The Weekly Typographic Logo: Olivia Kane and Micah Rich

Deep breath in and deep breath out. It was a warm and humid summer evening. Twenty or so individuals gathered on the grass, wedged neatly between a farmers field and a small patch of forest. The birds were chirping. The sky was a gentle shade of light blue, brushed with moving clouds overhead. The hum of the busy road on the other side of the trees resonated to my left. The mosquitos nibbled my ankles. The night before recording this episode I attended a live music outdoor yoga class. In part because I simply had the opportunity to do so but also as a much-needed refresher and a warm up for my brain for the forthcoming conversation. Our guide for the evening was KIND Yoga studio owner, Ellen Ressor, long loose blonde braids falling on either shoulder, warm smile radiating from her face. As an aside, my two daughters are as Frozen obsessed as most other kids their age, so it delights them when I say that Elsa teaches my yoga class… Elsa wearing atheleisure. Like the former Queen of Arendelle herself, Ellen’s love of nature has led her to establish her yoga studio in a tranquil greenhouse space and she now teaches other soon-to-be yoga instructors through the lens of nature-based practice. While I don’t get to yoga classes as often as I’d like, when I do, especially in this outdoor setting, they are a real treat. An opportunity to move with my breath, stretch my constricted muscles and spend a generous hour of my day focused on quieting my ever-buzzing mind. But, it’s not always easy. If I’m being honest, it’s never easy. Practising mindfulness, trying to stay in the here and the now, is one of the most challenging things about my day. With my head in a book or in front of a computer or directed toward a myriad of other devices, my attention is often scattered and my thoughts just as equally so. Our days make up our weeks which make up our months or years in our lives. So this is a big deal. The way I choose to spend my days and the ways in which I choose to focus my attention, mindfully or not, is how I’m spending my life. Mindfulness must be top of mind. Friend and colleague, Mark Corrigan, is a multidisciplinary technology specialist with a passion for psychology, including mindfulness. After graduating from his undergraduate degree in 2013, he went on to work for a few different companies, both large and small, in technology roles. As a side interest, he decided to pursue a night-school certificate in psychology that has been many years in the making. His passion for psychology has led him to now, where he finds himself on a new adventure, heading eastward at the end of the summer to spend two years studying for a master of science degree in psychology at Memorial University in Newfoundland. I am so excited for Mark and this next chapter of his education and career. Mark is observant and smart and a calming presence; just the kind of person I want to spend a couple of hours with, chatting about mindfulness. Specifically, episodes 067 and 068 explore the intersection of mindfulness and creativity. Mark is our guest host for this special 2-part series and he will be leading the show. He will begin and end each of the episodes with an exercise that he will be walking me through and I encourage you to give them a try. In this first episode, Mark will be taking us through some of the foundational principles of mindfulness as a practice, attitudes of mindfulness and then more specifically how mindfulness practice can benefit various types of professionals in different parts of the economy and then more specifically on individuals whose jobs rely on creative problem solving. In the second installment of this two-part series he will then unpack mindfulness for creatives. Mark and I will go back-and-forth discussing throughout, bringing our personal experiences, thoughts and challenges to the conversation. A special thank you to UK artist, Daniel Birch, who's recent album ColorFields: A Gallery of Dances, is layered behind this episode to provide some awesome ambiance to our topic today. Mark, the floor is yours. Key Takeaways from our Conversation: Mindfulness has been practiced for centuries in several cultures around the world, most notably in Buddhism - it’s a very old concept “Mindfulness is awareness that arises through paying attention, on purpose, in the present moment, non-judgmentally” (JKZ) Core attitudes of mindfulness (JKZ; 7–9) Non-judgement (your brain produces them) Acceptance (notice things as they are, not pushing things away; being truly honest) Patience (notice when the mind tries to rush) Beginner’s mind (as if experiencing for the first time) Trust (in our ability to find our own way) Non-striving (opposite of our normal tendencies) Letting go (not clinging or ruminating, just receiving things as they are) Visualize: ——— - ——-— + ————> Benefits of mindfulness to professionals in any industry: Tight deadlines (instilling calm) High workloads (present moment, avoid tendency to think of everything that needs to be done) Frustrating or lengthy feedback from clients Coworker interactions (non-judgement, beginner’s mind) Physical and cognitive ergonomics (postures/stretching, technostress, interruptions) Uncertainties as freelancers/precarious workers (trust) Reminding yourself of self-efficacy (pause and reflect on accomplishments/update checklists frequently) About Our Guest Host: Mark Corrigan is an information and communications technology consultant, sessional lecturer at Ryerson University, and mindfulness enthusiast. After a decade in a variety of communications, software development, and management roles, Mark is now pursuing a career in neuroscience, with interests spanning mental health and well-being research, translational science, health technology development, and mindfulness integration. In September, he is returning to school for his MSc in experimental psychology at Memorial University of Newfoundland. Since 2018, Mark has been developing his mindfulness practice through a variety of workshops, community organizations, and self-directed practices. He is a proponent of the mindfulness-in-education and mindfulness-in-the-workplace movements, and has facilitated introductory sessions on mindfulness theory and mindful breathing exercises for his students and colleagues. You can connect with him on LinkedIn and learn more about integrating mindfulness into school, work, and home through organizations such as RU Mindful, Mindfulness Toronto, or Mindfulness Everyday. Music (public domain via freesound.org): Daniel Birch - ColorFields: A Gallery of Dances [Album] Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash Episode Artwork: Canva (remixed by Diana Varma)

Today's episode features Toronto-based graphic designer and lettering artist, Christopher Rouleau. He's back on the podcast one year after his first appearance, this time chatting about his newest project called The New Pop! Here's a primer from Christopher about the collection: "Packaged consumer goods are an ideal subject to explore socio-economic systems. "These carefully manufactured and immaculately finished cartons allude to the powerful (yet invisible) force behind the production and marketing of the products themselves... they are symbols of the complicated network of demand and supply essential to the formation of a consumerist culture" (MoMA). Product branding — the sophisticated visual language that manipulates our relationship with products — is essentially just strategic placement of colour and text. Despite consumer's best efforts" to "support local", many of Canada's favourite companies are in fact owned by US mega-corporations. Even wholly-owned Canadian brands only offer the illusion of choice (including Real Canadian Superstore, No Frills, Valu-mart and Shoppers Drug Mart — all subsidiaries of the Loblaw Companies conglomerate). Brands under the same corporate umbrella sell us the same items at drastically different prices. Corporations benefit from consumer complacency, and furthermore, profit from this type of misaligned brand loyalty and product nationalism. Christopher uses traditional sign painting techniques to create a false screen print overlay with acrylic paint, which in itself is a critique of the medium (real vs. imposter). Through careful juxtaposition, wordplay, and exaggerated scale, he subverts familiar legacy packaging to make us look closer. The New Pop urges us to think more critically about branding, the Canadian identity, and our everyday consumption." During our conversation, we also chat about his other recent hand lettering and art projects, his creative process, as well as a very special source of inspiration from the home of his Grandmother. Let's listen in... About Our Guest: Christopher Rouleau is an independent graphic designer and lettering artist in Toronto. Along with his full-time freelance work, he is also a public speaker, lettering instructor, and published author, and his work has been featured in Spacing Magazine, Uppercase Magazine & Flare Magazine. He attended the Alberta College of Art & Design, and holds a Bachelor of Fine Arts from the University of Calgary. He recently received a Communication Arts Award of Excellence in Typography. Music (public domain via freesound.org): Kesta - IOverjoy Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo byAlex onUnsplash

In the final episode of this summer magazine miniseries, we are exploring the world of production, both in printed and digital mediums. I am very excited about today’s conversation with someone I met more than 10 years ago and I’ve stayed in touch with ever since. Dan Thompson is the founder of Italic, a visual communications company that specializes in digitally printed products. The company operates their facility in the heart of downtown Toronto and the company has grown, shifted and evolved over the past 18 years into its current identity, keeping pace with the rate of change of digital printing technology and digital communications. Dan brings a wealth of knowledge about the world of digital print production and creating valuable communication pieces that get noticed. Dan has a special ability to see opportunities beyond the obvious, creating unique experiences, one-of-a-kind products and huge value for his clients. Today’s conversation with Dan centres on the world of publications and short-run magazine production. We discuss the importance of “choosing your [communication] channel wisely”, the opportunities abound for crafting printed pieces for an audience of one, as well as the power of digital print to be flexible and create powerful just-in-time communication pieces that show audiences you care. Dan reveals what he believes is the new value proposition of magazines in a world with so many information sources, as well as the power of print to provide sensory inputs that are unmatched through digital mediums. We also chat about the potential to harness young subscribers for printed publications in a world dominated by subscription models and the fact that print and digital have more than just a reciprocal relationship; instead they have the power to act in a circular relationship, one feeding the other feeding the other. Let’s listen in... About Our Guest: Dan Thompson, is the founder and CEO of Italic, a visual communications manufacturing company located in downtown Toronto, Canada. “We have the privilege to create customized and highly innovative print communication pieces for some of the world’s most recognizable brands. Every day is an amazing adventure.” Music (public domain via freesound.org): Scott Holmes Music - Catch Up, Sally Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash Episode Cover Art: Canva (remixed by Diana Varma)

In the second episode of this second magazine miniseries we’re talking all about design with Nicola Hamilton. Nicola is an independent creative based in Toronto, Canada. She began her career at the beloved, city-weekly The Grid (2011-2014). She’s spent time as Chatelaine’s Deputy Art Director (2015-2017) where she helped lead the team through a redesign of both their print and digital properties and as Studio Wyse's Art Director (2017-2020) where she helped redesign, reposition and produce publications for clients such as Xtra, The University of Toronto Magazine, and Ryerson University Magazine. Today, Nicola is the Art Director at Best Health, a part-time design educator, President of The Association of Registered Graphic Designers (RGD) and she maintains an artistic practice via The Scaries, exploring the emotional realities of being creative. As you can see, Nicola has lots of experience in the world of magazines, designing for various types of magazines of various frequencies for various audiences. In this conversation, she and I cover a lot of ground as we chat about digital versus printed magazine strategy, including the fundamental importance of storytelling. Nicola speaks to the puzzle that is each issue of a magazine, her process as an Art Director, as well as how The Scaries got started and how it has evolved. She offers great advice to anyone hoping to pursue a career in the magazine industry. We also learn what’s in Nicola’s magazine stack right now and she reveals her favourite magazine on the planet. Let’s listen in… https://www.thescariesproject.com/ https://www.instagram.com/the.scaries/ Examples of Nicola's Work: About Our Guest: Nicola Hamilton (she/her) is an independent creative based in Toronto, Canada. She began her career at the beloved, city-weekly The Grid (2011-2014). She’s spent time as Chatelaine’s Deputy Art Director (2015-2017) where she helped lead the team through a redesign of both their print and digital properties and as Studio Wyse's Art Director (2017-2020) where she helped redesign, reposition and produce publications for clients such as Xtra, The University of Toronto Magazine, and Ryerson University Magazine. Today, Nicola is the Art Director at Best Health, a part-time design educator, President of The Association of Registered Graphic Designers (RGD) and she maintains an artistic practice via The Scaries, exploring the emotional realities of being creative. Music (public domain via freesound.org): Marcos H. Bolanos - A Simple Life Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash Episode Cover Art: Canva (remixed by Diana Varma)