Tag Archives: technology

The difference between Inclusive Design and Accessibility

If you’re familiar with what we do here at Eone, you probably know that we’re an inclusive design company, known for our feature product, the Bradley timepiece.

But what is inclusive design? And what’s the difference between inclusive design and accessibility? We’d love to tell you more about our design philosophy and why it’s important!

Two things we really care about are good design and inclusion for people with disabilities. What started as a simple problem shared between friends blossomed into Eone: a company with a social mission to create beautiful, functional products that meet the needs of as many people as possible. And that’s the core of inclusive design.

The Problem With Good Design: Why Good Design Isn’t Good Enough

The truth is that “good design” considers the best form and function for some people, but excludes many people on the basis of ability — and individuals with disabilities are often left out. We want to change that.

We’ve built Eone on our core conviction that design should be inclusive, bringing more people in instead of shutting them out. We believe that design shouldn’t discriminate or divide us up, but bring us together.

We believe that individuals with disabilities should have equal and integrated access to quality products, services, and structures — that everyone has a right to enjoy beautiful, functional design, and that we all benefit when we enjoy design together.

We believe inclusive design is a social justice issue.

Through inclusive design, we’re creating the change we wish to see in the world.

What is Inclusive Design?

Sometimes called universal design, inclusive design considers as many people’s needs and abilities as possible. Instead of assuming a one-size-fits-all user experience, inclusive design aims to please a diverse range of individuals and accommodate a variety of experiences and ways of interacting with the world.

Inclusive design recognizes that our needs shift with time and circumstance, so it anticipates different ways an individual might interact with the world as life goes on. Aging, permanent or temporary disability, carrying a load of grocery bags, pushing a stroller, or sitting in a business meeting are some examples of circumstances that impact how you interact with the world around you — circumstances that might change what you do or how you do things.

What’s the Difference Between Inclusive Design and Accessibility?

While inclusive design considers from the very beginning how something might be easily useful and enjoyable for as many individuals as possible, accessibility traditionally means making special considerations for people with disabilities. It’s the difference between designing a watch that can be read by touch or sight, and taking a standard analog watch and adding braille instead of numbers. The first example considers the functionality and beauty of a watch that doesn’t require sight, while the second example tries to take something designed for vision and make it work for touch without addressing some of the problems this modification creates.

Unlike assistive devices, inclusive design doesn’t specifically target people with disabilities. While assistive devices fill in the gaps left by exclusionary design practices, inclusive design aims to evolve products beyond their conventional definitions, changing our standards for products. Assistive devices aim to remove a barrier for people with disabilities. Inclusive design strives to fundamentally redesign a product so that the barrier does not exist in the first place. Assistive technology is reactive. Inclusive design is proactive.

How Eone Approaches Accessibility

At Eone, we utilize both approaches: building accessibility into what we do from the beginning, and addressing issues of access on platforms we use but do not own.

There are certain cases in which Eone cannot make something inclusive because we do not have control over design and user experience, such as social media platforms, retailer partner websites, and other properties we do not own. However, to the best of our ability, we aim to make accessible our use of platforms and third party sites — using the features available to us in ways that accommodate the most users.

From Eone website

Communication Design Educators Awards

Design Incubation Communication Design Educators Awards is a competition. We offer recognition in 4 academic categories in the field of Communication Design:

  • Scholarship: Published Research
  • Scholarship: Creative Works (design research, creative production, and/or professional practice)
  • Teaching
  • Service  (departmental, institutional, community)

The purpose of these awards is to showcase design excellence and ingenuity in the academic study of design.

Current deadline: May 31, 2018.


Eligible candidates must hold a teaching or research position (full-time faculty or teaching adjuncts) at an accredited college or university who offers education in communication design or related fields.

Individuals or teams may apply. Applicants may not receive more than one award in a given year, nor awards for two consecutive years within the same category.


Scholarship: Published Research This category is for published journal articles, books, monographs, and proceedings that demonstrates originality, rigor, impact, scope. The topic must be related to communication design and contribute to communication design’s theoretical, critical, historical and/or visionary foundations.

Scholarship: Creative Works This category is for creative projects that demonstrate originality, rigor, impact, scope. This includes communication design research, creative production and/or professional practice, exhibitions, competitions and other communication design investigations. Contributions to communication design’s theoretical, critical, historical and/or visionary foundations are considered necessary for this award. All media are available for entry.

Teaching: This category is for innovation in education, pedagogy, instruction, content delivery, and student learning outcomes. Visionary curricular development, outstanding instructional quality, novel teaching methods, successful assignments and projects, and impact on student and alumni success are germane to this distinction. Teaching is the facilitation of learning through various methods, inclusive of heuristics, apprenticeships, internships, mentoring and collaborating, whether in studios, lectures, labs, learning abroad or remotely, and in person or via distance learning technologies.

Service: This category is intentionally expansive. Service to the discipline of design can involve many areas: from service-learning projects involving on or off-campus clients, to curating exhibits, to organizing conferences, to reviewing colleagues for tenure and promotion, to institutional leadership, to faculty governance, to professional consulting, to creating pro bono work, to producing design journalism in any medium – anything that serves the discipline of communication design within an educational environment in a positive way.

Application Process

Details, deadlines, jurors list, and recent announcements can be found in the Awards section of our Publications here.

All application materials must be in English. Materials for categories other than the Published Scholarly Work category may be in another language if accompanied by supporting materials in English to allow the jury to adequately assess the work.

Proposal Submission

  1. Complete the online entry form that requires the following information:
  • Name/s of applicant with title and institutional affiliation
    Contact information (address, phone, email)
  • Title of Project
  • Category (Scholarship:Published Research, Scholarship: Creative Work, Teaching, or Service)
  • Description of project and outcomes (not to exceed 500 words)
  • Supporting Materials: limited to 5-page medium resolution pdf of artwork; web links to websites, videos, other online resources; published documents or visual documents;
  • Bio of applicant/s (150 words per applicant)
  • A current Curriculum Vitae

2. Pay the $30 entry fee.

Award Process

A committee consisting of communication design educators of national standing and Design Incubation will serve as jury. Design Incubation reserves the right to award multiple awards and also the right to award none. The decision of the jury is final.

Award Competition FAQs

From the always amazing

Makers Making Change

“We connect makers to people with disabilities who need assistive technologies.”

Our new site connects Makers, People with Disabilities and Disability Professionals to one another with the goal of providing people with disabilities with access to affordable open source assistive technologies.

Over the past year, hundreds of passionate volunteers in communities across Canada and the US joined our network to volunteer their time, skills, and tools to make a difference. Now it’s time to bring our project to the next level. By Nov 30, we will have a built a network of 500 volunteer makers and 500 people with disabilities.

Our new site features:
Events listings, a geolocation “maker matching service”, and open source library of free, tested open source assistive devices – including the ability to add your projects or ideas. We will have resources for teachers, librarians or makerspaces to get involved in Makers Making Change by exploring real life applications of design, simple electronics and 3d printing.

If you can help us with this critical aspect of the project, we will be super grateful! If you have projects or ideas you’d like to submit, now is the time! We are taking this next week to pre-populate our site with projects and test it out before the public gets to see it.

Process to be involved in MMC site testing:

* Please reply to this email to let me know you want to participate

* Sign up/Login to the MMC beta site here:

Sign up for several accounts if you like (using different emails) and see how each type of account reacts.
For example:

* As a Maker – try out features as a maker, click “submit a build” if you have a project, click connect and type in your postal code to see if there are any people with disabilities looking for devices in your area

* As a Person with a Disability – request a build, submit an idea

* As a Disability Professional – review a device

Note: Under 3)Complete your Profile, you may want to use different names under each created account to differentiate between them

Please supply feedback here:


by April 23rd if at all possible.

Free Design Educators Workshop – HUMANISM vs POSTHUMANISM


a Workshop Project design educators workshop
July 12–15, 2018
California College of the Arts
San Francisco, California

Workshop Project AGAIN invites sixteen educators from a broad range of institutions to explore the radical potential of the artifacts and platforms of design education (tools, projects, syllabi, resource lists and the like) as spaces for new forms of critical writing, making, and discourse.
This annual workshop and the outcomes we make are meant to articulate, respond to and disrupt an urgent issue in contemporary graphic design education. Participants will generate a collection of pedagogical artifacts, platforms and other unforeseen outcomes that will be published on Workshop Project Wiki as a set of FREE resources for educators, students and practitioners. The workshop will culminate in a FREE, informal, public presentation where participants present, debate and discuss their outcomes, beliefs, values, and interests.

This year FREE 2018 challenges you to dive into two intertwined currents and take an ideological position in the unresolvable dichotomy:
HUMANISM vs POSTHUMANISM in graphic design education
As humans we are chameleons; we speak in many tongues and take on many guises. In HUMANISM lies authorship, personal voice, agenda and authenticity. Beneath its surface lies a complex, intricately constructed, and often unexpected interior. POSTHUMANISM reflects our images back at us in hyper-real, high definition: harder, better, faster, stronger. It makes us at once bottomless / hollow / void AND prolific / plural / simultaneous. Our collective desires manifest in its material, sonic, visual and temporal presence.

CHOOSE A SIDE and imagine, debate, and test drive the impractical, the extreme and the impossible in a space that is FREE from the constraints of institution, convention and expectation.
For more information, please visit www.workshopproject.org
To apply email Yasmin and Jessica at info@workshopproject.org

The application deadline is May 4, 2018.

July 12–15, 2018

FREE for accepted participants
Contact us for information about discounted hotel rates

Yasmin Khan, Special Faculty, Program in Graphic Design, CalArts
Jessica Wexler, Chair, Undergraduate Communications Design, Pratt Institute

Jon Sueda, Chair, Program in Design, California College of the Arts

About Workshop Project
Workshop Project is a space to examine and rethink the relationship of the educator to the institution. We approach the artifacts of design education as forms of critical writing and making. Workshop Project is Yasmin Khan and Jessica Wexler. We are design educators and practitioners with over two decades of combined experience teaching, designing curricula and coordinating faculty within diverse public, private and for-profit institutions.