U.S. Banknote Universal Design

Students were assigned to create a project that changes lives. I selected the area of inclusive design to investigate. During research, US currency (specifically bank notes) were identified as a culturally significant object and system that lacked universal access. Current US banknotes offer little accommodation for those without sight or severe visual impairment. This new design for the currency seeks to address this problem. It targets all users, US and international, sighted or not.

Extensive research was conducted to see how (and if) other nations addressed the same problem and their methods for doing so. A variety of options presented themselves as well as the variables that need to be considered when designing bank notes. US currency design is typically devoted to outmaneuvering fraud and counterfeiting. And public sentiment is conservative with regard towards coloration, which is one of the first methods of note differentiation for low-sight.

The bank notes were designed to combine, color change, high-contrast numerals, size variation and tactile elements to differentiate denomination. First, the colors are informed by current US design that features "color shifting" inks. The colors shift in printing to increase difficulty for fraud. The colors selected correspond to precious metals. Copper, Silver, Gold, Platinum and the traditional Green are used. Current portraits remain in addition to engraving patterns.

The size variations begin with the one dollar bill. It remains the size it is now. All other sizes refer to one of it's dimensions. Ones, Fives and Tens complete a set that keeps the same width, but becomes progressively smaller in length. They can be told apart quickly and a person with low vision or that is blind can ask for this set during transactions. They can still be used in existing ATM and vending with less retooling of the mechanical processes and they are the primary bills currently used in these machines today. The Twenties, Fifties and Hundreds complete the second set that are begin with the One's length (the Twenty) but are wider and gradually become smaller in length. The Hundred and Ten are the same length (but the Hundred is wider) and the same for the Fifty and Ten respectively. The Twenty is the same length as the One for continuity. Ones and Twenties are the two most common bills in circulation.

High-contrast numerals are placed on the front and back of the notes. They are devoid of decoration and comprise simplified forms. On the back of the note, the numerals appear in bright purple (a recent change incorporated into the latest printing of the US Fives) which stand out from the green on the back.

Tactile epoxy-bumps are incorporated into the design. Of the many tactile devices under development, research has shown that high-durability epoxy elements can withstand the printing and circulation. They are placed into patterns that differ between notes. The top, right bump on each note has an infrared scan-pattern commonly used by advertisers in Asia. More cellphones are being produced that can read the pattern, taking the user to a website on the phone. These are designed to help identify and could be used with readers (that the blind or vision-impaired sometimes carry) or with cellphones that can be programmed to speak the name of the bill. The pattern is also deters fraud.

The bank notes are designed with other considerations for counterfeiting already in place by the Federal Reserve. The traditional engraved lettering remains (shown here as the typeface, Federal by URW), watermarks, serial numbers, seals and signatures are replicated as well.

The production of the notes would be by the Federal Reserve, using their state-of-the-art engraving, special fibers and micro-printing.

Hailing from Montgomery, Alabama, by way of Northern Virginia, Chris Rogers counts two distinct regions as her home. Mid-Atlantic pluralism compliments her Southern charm, as she sees no conflict in balancing the traditional with the contemporary. Her work in graphic design reveals sophisticated attention to detail and thorough conceptual thinking.

Chris currently resides in the Washington, D.C. area where she is a graphic designer at Level 5 Advertising. She recently completed her Master of Fine Arts in Graphic Design at the Savannah College of Art and Design. She received her Bachelor of Fine Arts in Studio Art with a concentration in Graphic Design from James Madison University in Harrisonburg, Virginia.

Before coming to Savannah, Chris work for three years in the D.C. metro area in advertising with an internship at R.O.I. Advertising, a studio position at Merrick-Towle Communications and freelancing through One Design LLC. This past summer she worked in a graphic design internship at Cartoon Network. She is also a member of the AIGA, S{o}TA and Type Directors Club.

Working at R.O.I., Merrick-Towle and Cartoon Network has allowed Chris to experience different levels of graphic design structure, from studio, to firm to national broadcasting company. She has worked on projects ranging from small-scale advertising and collateral to large, outdoor displays. She is proficient in concept ideation through delivery while balancing multiple projects with a variety of Account Executives.

These opportunities have also given Chris a strong foundation of production knowledge as well as the ability to work in teams (large and small), manage and organize materials and time as well as communicate effectively about her work and the client's needs. Additionally, her time as a lab operations manager and research assistant has given Chris valuable experience in client service, office management, database retrieval and research methodology.

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