Appendix 1 Intervention (Inclusive Practices)
Appendix 2 ARP Interview Questions
Appendix 3
Appendix 4 Irlen Syndrome
Irlen Filters that are worn as glasses or contact lenses and are designed to reduce stress on the brain as it tries to process light and visual stimuli.
Coloured overlays for reading are not a solution for all reading problems, only those that are caused by the brain’s inability to process light efficiently.
Colored overlays are not a solution for dyslexia. Colored overlays are a solution for a specific type of visual processing problem. Dyslexia is a language processing problem, not a visual processing problem, so colored overlays are not an appropriate solution for dyslexia.
People with Irlen Syndrome and Visual Stress have a hyperactive visual cortex. The part of their brain that processes visual information works too hard to try and make sense of the visual signals it receives. Symptoms of Irlen Syndrome and Visual Stress are visual distortions like words moving or blurring when trying to read, and physical discomfort like eye-strain or headaches.
People who suffer from visual processing problems like Visual Stress and Irlen Syndrome have brains that are hyper-reactive to visual stimuli, high contrast, and bright lights. Looking at black print on a white page causes excessive activity in the visual cortex, and this over-activity causes a variety of physical and perceptual symptoms that can lead to reading difficulties, and even affect reading speed and comprehension.
Colored overlays reduce the amount of contrast on the page, making it less stressful for the brain to look at. By reducing over-activity in the brain, colored overlays can reduce or eliminate visual distortions like moving or blurry print and improve comfort, reading speed, comprehension, and ability for sustained attention when reading.
Key facts: Irlen Syndrome Affects:
55% with head injury, concussion or whiplash
12-14% of the general population
46% of individuals with reading and learning difficulties
33% with ADHD
33% with autism
Appendix 5 The 7 Principles of Universal Design
The 7 Principles of Universal Design
Principle 1: Equitable Use
The design is useful and marketable to people with diverse abilities.
Principle 1 Guidelines
The following guidelines underpin Principle 1:
- 1a. Provide the same means of use for all users: identical whenever possible; equivalent when not.
- 1b. Avoid segregating or stigmatizing any users.
- 1c. Provisions for privacy, security, and safety should be equally available to all users.
- 1d. Make the design appealing to all users.
Principle 2: Flexibility in Use
The design accommodates a wide range of individual preferences and abilities.
Principle 2 Guidelines
The following guidelines underpin Principle 2:
- 2a. Provide choice in methods of use.
- 2b. Accommodate right- or left-handed access and use.
- 2c. Facilitate the user’s accuracy and precision.
- 2d. Provide adaptability to the user’s pace.
Principle 3: Simple and Intuitive Use
Use of the design is easy to understand, regardless of the user’s experience, knowledge, language skills, or current concentration level.
Principle 3 Guidelines
The following guidelines underpin Principle 3:
- 3a. Eliminate unnecessary complexity.
- 3b. Be consistent with user expectations and intuition.
- 3c. Accommodate a wide range of literacy and language skills.
- 3d. Arrange information consistent with its importance.
- 3e. Provide effective prompting and feedback during and after task completion.
Principle 4: Perceptible Information
The design communicates necessary information effectively to the user, regardless of ambient conditions or the user’s sensory abilities.
Principle 4 Guidelines
The following guidelines underpin Principle 4:
- 4a. Use different modes (pictorial, verbal, tactile) for redundant presentation of essential information.
- 4b. Provide adequate contrast between essential information and its surroundings.
- 4c. Maximize “legibility” of essential information.
- 4d. Differentiate elements in ways that can be described (i.e., make it easy to give instructions or directions).
- 4e. Provide compatibility with a variety of techniques or devices used by people with sensory limitations.
Principle 5: Tolerance for Error
The design minimizes hazards and the adverse consequences of accidental or unintended actions.
Principle 5 Guidelines
The following guidelines underpin Principle 5:
- 5a. Arrange elements to minimize hazards and errors: most used elements, most accessible; hazardous elements eliminated, isolated, or shielded.
- 5b. Provide warnings of hazards and errors.
- 5c. Provide fail safe features.
- 5d. Discourage unconscious action in tasks that require vigilance.
Principle 6: Low Physical Effort
The design can be used efficiently and comfortably and with a minimum of fatigue.
Principle 6 Guidelines
The following guidelines underpin Principle 6:
- 6a. Allow user to maintain a neutral body position.
- 6b. Use reasonable operating forces.
- 6c. Minimize repetitive actions.
- 6d. Minimize sustained physical effort.
Principle 7: Size and Space for Approach and Use
Appropriate size and space is provided for approach, reach, manipulation, and use regardless of user’s body size, posture, or mobility.
Principle 7 Guidelines
The following guidelines underpin Principle 7:
- 7a. Provide a clear line of sight to important elements for any seated or standing user.
- 7b. Make reach to all components comfortable for any seated or standing user.
- 7c. Accommodate variations in hand and grip size.
- 7d. Provide adequate space for the use of assistive devices or personal assistance.
Appendix 6 ARP Action Plan
- Ethics form – DONE
- Draft activity plan/brief – SURVEY LAYOUT DONE
- Run pilot with PGCert classmates – DONE
- Get feedback – DONE
- Refine activity – DONE
- Draft in colleagues to observe – DONE
- Run activity – DONE
- Capture outputs – DONE
- Reflect on ARP – DONE
- Collate feedback – DONE
- Plan next steps – DONE
- Presentation slides – DONE
Appendix 7 Key Primary Research Findings (survey)
Over 80% of respondents were female.
Over 50% of respondents were between 18 and 25yrs old.
24% of respondents consider themselves to be neurodiverse, dyslexic or autistic, with 27% preferring not to say or disclose their neurodiversity or neurotypicality. 45% identified themselves as neurotypical.
69.5% of respondents stated that screen colour was somewhat or extremely important.
82.6% of respondents stated that ease of reading was somewhat or extremely important.
Bullet point format and interesting imagery were also key in terms of importance.
A white background screen was preferred by 39.1% of respondents, with the second preference being blue, preferred by 21.7% of respondents.
For text colour the overwhelming preference was for black.
Respondents indicated that their preferred colours made the content easier to read (29%), and made it easier to concentrate (29%), whilst some indicated that their preferred colour made it easier to retain information (12%). Fewer respondents indicated that their preferred colour reduced their level of anxiety, minimised headaches or increased energy levels.
Highlights individual nature of preference – in delivering inclusive content all preferences need to be taken into consideration.
Other potential improvements to on screen lecture content captured in comments:
“If I need to listen to the person speaking -> don’t put text I need to read behind them (even if it’s the same words) because its distracting. Preferably there would be diagrams or images without text behind the lecturer whilst they speak so I can listen to them and pay attention fully.”
“Making PowerPoint presentations more accessible, less small text, less on screen text in general if possible. Which depends on context – live presentations sshould have less text and be more driven by what is said by the presenter. If the PowerPoint is for personal viewing then the opposite as there is no audio. The Golden Rule: Ask yourself: “Does this slide help my students learn, or am I using it out of habit?” If it doesn’t add value, skip it! Less is more”
“Depends who writes the content but generally more pages with less content on each page rather than trying to have loads of text on a single page”
“Good layout/design of the screens, focused more on the visual and minimal text. Also bright coloured backgrounds are very jarring and difficult to take in, so presenter should keep the on-screen visual design clear, uncluttered, minimal, with text only for impact/necessity, with considered visuals/images/graphics and colours that are less jarring (e.g., red, yellow, orange is difficult whereas cooler colours such as blue or grey seems easier to take in).”
“Important information or key words in a different colour to emphasise it”
81% of respondents felt that black text on a white background was easy or very easy when reading books, journals and articles, however, 18% found this challenging.
81% of respondents felt that the availability of tools such as coloured perspex overlays, printing on coloured paper, tinted glasses, etc would (24%) or may (57%) improve their work/college or university experience.
Other comments captured:
“Colour is useful to highlight key information. It can help change the pace of slide content to make it a bit more interesting and stimulating. A lot of colour can make slides look messy and hard to read – so colour needs to be used judiciously.”
“Havent really thought of these things before. But I do find highlighters or using different coloured feltpens useful when taking notes and categorising my ideas”
“Colour theory is very important. In creating learning resources it’s important to consider how considered background colour can be complimented with colour of text. And generally how complimentary colours affect mood and attention”
Appendix 8 Key Primary Research Findings (interview transcripts)
Colour Coding Key and Corresponding Comments
White text on black slide
“It feels rather formal, doesn’t allude to it being anything related to a creative source”
“bit boring, doesn’t make me super excited”
“quite like it, good for a summary, where using bullet points, not too much text”
“feels a little like the darkness is preparing my eyes for the next slide”
“it doesn’t have a visual impact”
“the white is too bright”
White text on colour slide
“It’s much more engaging, but a bit too busy in terms of where my eyes are trying to go”
“More relevant to the course, as part of a creative industry”
“More playful, it grabs my attention”
“is a bit much, if the image was relevant to what the lecture was about I think it would be more interesting”
“I can read the text but I’m looking at, paying more attention to, the background”
Black text on white background (underlined)
“I saw it and I yawned”
“I’m so tired, and looking at the white screen makes it quite alarming how hard it is to concentrate”
“Everything blends into itself, there’s no excitement around the content”
“I don’t really feel it’s playful in any way to engage me in the content”
“there’s no emotional response [to this colour combination]”
“I do feel, sometimes, that these screens are just so bright, my eyes hurt from just looking at them”
“easy to read and understand, but for long periods, 3hr lectures, it impacts my attention”
“Emotionless, flat”
“Perceive as giving information, but it doesn’t trigger any other response”
“I’d read the text but would probably struggle”
“I’d be bored, would lose focus”
Black text on light blue background
“This has softened it, it feels more comfortable, I feel more willing to read the prompts”
“My eyes feel a little bit more relaxed already, the black text feels easier to read”
“The blue makes the content feel a little more important”
“I like that better, I feel that it’s almost clearer”
“It feels more comfortable, just easier to absorb”
“Slightly luminous tone to it, so it hurts my eyes, it’s not a warm blue”
“Colour is very specific, [people] see different hues in colour, someone else might see it as calming, or [another person] as a trigger”
Black text on yellow background
“The yellow brings a bit more vibrancy, is not as comfortable to read as the blue, although better than the white”
“Yellow is also good”
“We associate yellow with happiness”
“Too overpowering for me”
Black text on purple background
“Purple is good, makes it easier to separate each bullet point”
“Again a fluorescent undertone, I’m squinting to try and read the words”
“Just like the blue, has a slightly cool undertone to it, making it easier to read, improving clarity”
“The colour is more positive, joyful”
Black text on a cream background
“Better than the fully stark white background, but still quite bright on your eyes”
“softer, more approachable and a lot calmer”
“the beige undertone is a lot easier, more welcoming, brings me into the writing”
“In comparison to the previous three colours, this feels like it has lost a little bit of energy”
White text on a darker blue background
“OK, but a little less clear than white text on a black background”
“The blue, like the cream, has a more calming effect on my eyes”
“It looks corporate, although I feel the colour isn’t as complementary, it feels less energised”
White text on a dark grey background
“it’s not my favourite, but good, easy to read”
“similar to blue & cream, it has a positive impact on me”
“feels a bit drab, dull, dry”
General comments bold black text
“don’t really fully understand what the terms neurodiverse and neurotypical mean”
“from the lectures that you’ve been showing us recently, I really like it [colour], it reduces eye strain”
“if staring at my laptop screen for so long, I always put my own laptop on night mode so that it gives it an orange tint”
“I’m normally exhausted [after a lecture], but I don’t know if that’s necessarily to do with the colour of the screen, or just concentration generally”
“I’m more on the neurodiverse side of things, I need to see things infographically, in shape or diagram form”
Transcript 1
Transcript 2
Transcript 3
Appendix 9 Neurodiversity Design System
Appendix 10
Excerpt from Meliksetyan, G. The Psychological Meaning of Colour in Design: A Semantic Review
Contextual Perspectives: Recognizing the limitations of universal associations, thesetheories emphasize the situation-dependent nature of color meaning.○Color-in-Context Theory: Proposed by Elliot and Maier (2012), this influential theoryintegrates biological predispositions and social learning but adds a crucial layer: context. It arguesthat the psychological meaning and subsequent effect of a color are fundamentally dependent on thephysical and psychological context in which it is perceived. The same color can evoke vastlydifferent, even opposite, responses depending on the situation. For example, red might enhanceattractiveness in a romantic context but impair performance in an achievement context where itsignals failure or danger. Similarly, blue might signal trustworthiness on a corporate logo butindicate spoilage on food (Elliot et al., 2007).The evolution of these theoretical frameworks reveals a clear trajectory away from simplistic,universal claims about color meaning towards more sophisticated models. These newer modelsacknowledge the complex interplay between innate biological factors, extensive learning throughcultural and personal experience, and, most critically for design, the specific context of perception.The Color-in-Context theory appears particularly pertinent, offering a framework to understand theoften-contradictory findings in the literature and aligning well with the inherently contextual natureof design practice, where the function, audience, and surrounding elements drastically alter how acolor is deployed and interpreted (Design Studio UI/UX, 2024)
(PDF) THE PSYCHOLOGICAL MEANING OF COLOR IN DESIGN: A SEMANTIC REVIEW. Available from: https://www.researchgate.net/publication/391197119_THE_PSYCHOLOGICAL_MEANING_OF_COLOR_IN_DESIGN_A_SEMANTIC_REVIEW [accessed Jan 13 2026].
Appendix 11
UAL Equity, Diversity & Inclusion Report https://efaidnbmnnnibpcajpcglclefindmkaj/https://www.arts.ac.uk/__data/assets/pdf_file/0030/472836/PS24559-EDI-data-report-2024-20250731.pdf