The cards are classified in a number of ways. The primary mapping schema is based on colour values and the spectrum. This meant subjectively reducing each of the cards to its ‘main’ colour and thus deciding where it would appear on the spectrum. Often black or white dominated, therefore I compensated by including ‘dark’ and ‘light’ pages. However, it was more difficult when the dominant colour was not clear, or where there were conflicting colours. In this case I considered the relationship of the cards to others in their potential colour zones. This meant looking at other elements of the cards such as shapes, line directions, angles, composition and content among other visual attributes. Generally this allowed for a second means of classification, and thus paved the way for the positioning rationale. So that the cards were not simply thrown together on their respective colour pages, I tried to devise a ‘path’ between the cards and their placement within the display grid. Cards with common colours or shapes are generally together or lead on to neighbouring cards by some appearance property or another. Therefore there is a logical relationship behind the positioning of the cards and how they relate with their respective surrounding cards.

There is also an attempt to produce a visually-continuous horizontal connection between the colour pages [for example: the cards placed at the right edge of the cyan page blend nicely with the cards on the left of the green page] therefore allowing an overall connection between the cards and staying true to the continuity of the spectrum.

As an alternative to the colour system, I provided two complimentary mapping schemas. One simply groups the cards by their type [café, debit, id, leisure, library, phone]; while the other allows the user to access the cards by each author set. This allows for a comprehensive understanding of the cards and their respective relationships between each other. [BLW]