"You will find a number of definitions and points-of-view on what constitutes an interactive documentary. At this point in the development of this fast-moving field we feel that it is important to have an expansive definition that can embrace the many different kinds of work that are emerging. The i-Docs site includes coverage of projects that you may find elsewhere described as web-docs, transmedia documentaries, serious games, cross-platform docs, locative docs, docu-games, pervasive media. For us any project that starts with an intention to document the 'real' and that does so by using digital interactive technology can be considered an i-doc. What unites all these projects is this intersection between digital interactive technology and documentary practice. Where these two things come together, the audience become active agents within documentary – making the work unfold through their interaction and often contributing content. If documentary is about telling stories about our shared world; we are interested in what happens as the audience get more closely involved in this way. At the heart of i-Docs is the question; what opportunities emerge as documentary becomes something that is co-created?"
(Digital Cultures Research Centre at University of the West of England)
Fig.1 "Illuminating North Korea", photographs and video by David Guttenfelder, 10 June 2015, The New York Times.
"I undertook the interaction design of the project on behalf of 100 Shapes. I worked with the visual designer to develop and refine the concept over several months, informed by feedback from the clients, producer and developers. In designing this piece we overcame unique creative challenges, including revealing the wealth of supporting content and archive material within the context of the linear drama to allow viewers to follow a a different journey to explore the deeper human narrative."
(Suzie Blackman, November 2014)
[A discussion about he design process of creating BBC History's interactive drama entitled Footballers United (2014), which was produced by Somethin' Else and 100 Shapes (who produced the website and interactive features). ]
"The @font–face rule allows for linking to fonts that are automatically fetched and activated when needed. This allows authors to select a font that closely matches the design goals for a given page rather than limiting the font choice to a set of fonts available on a given platform. A set of font descriptors define the location of a font resource, either locally or externally, along with the style characteristics of an individual face. Multiple @font–face rules can be used to construct font families with a variety of faces. Using CSS font matching rules, a user agent can selectively download only those faces that are needed for a given piece of text."
(World Wide Web Consortium, 3 October 2013)
"Several layout patterns are often recommended to take advantage of how people scan or read through a design. 3 of the more common are the Gutenberg diagram, the z–pattern layout, and the f–pattern layout. ... While patterns like the Gutenberg diagram, the z–pattern, and the f–pattern layout suggest that there is a natural path the eye will take through a design, the reality is they refer only to designs dominated by large blocks of text with little to no hierarchy. ... Instead of trying to force your design into one of the patterns described, decide instead what information you want the viewer to see and through a series of focal points and design flow lead their eyes through your hierarchy of information. That's really the only pattern you need to use."
(Steven Bradley, 7 February 2011)