Processes of Visual Design

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  • Present guidelines for designing and using visuals effectively
  • In the past teachers have too often used this valuable visual capability primarily to show pictures of … WORDS! Or verbal messages
  • Words don’t usually look or sound like the thing they stand for, but visuals are iconic, they have some resemblance to the thing they represent. As such, they serve as a more easily remembered link to the original idea.Visuals can also motivate learners …. by attracting their attention, holding their attention, and generating emotional responses.
  • Visuals can simplify information that is difficult to understand. Diagrams can make it easy to store and retrieve such information. They can also serve an organizing function by illustrating the relationships among elements, as in a flowchart or timeline.
  • ELEMENTS -- selecting the visual/verbal elements to be incorporated into display. The type of visual selected for a particular situation depends on the learning task.
  • Divided into 3 categories:Realistic – shows the actual object under studyAnalogic visuals convey a concept of topic by showing something else and implying a similarity. These visuals help learners interpret new information in light of prior knowledge and thereby facilitate learning. Organizational visuals include flowcharts, graphs, maps, schematics, and classification charts. This type can show relationships among main points or concepts, also helps communicate the organization of the content.
  • One might be inclined to conclude that effective communication is always best served by the most realistic visual available. There is ample research to show that under certain circumstances, realism can actually interfere with communication and learning.
  • The ability to sort out the relevant from the irrelevant in a pictorial representation grows with age and experience. So for younger children and for older learners who are encountering an idea for the first time, the wealth of detail found in a realistic visual may increase the likelihood that the learner will be distracted by irrelevant elements of the visual.
  • Your visual has no chance of having an effect unless it captures and holds the viewer’s attention. 3 devices for making displays more appealing.Surprise - What grabs attention? The unexpected, primarily. Think of an unusual metaphor, an incongruous combination of word and picture, an abrupt infusion of color, a dramatic change of size. People pay attention as long as they are getting novel stimuli or new information. They tune out when the message becomes monotonous.  Texture – Add a third dimension by using texture or actual materials. It can convey a clearer idea of the subject to the viewer by involving a sense of touch. Interaction – Viewers can be asked to respond to visual displays by manipulating materials on a display, perhaps to answer questions raised in the display.
  • Texture – Add a third dimension by using texture or actual materials. It can convey a clearer idea of the subject to the viewer by involving a sense of touch. Examples, touching samples of cereal grains. Or texture can simply invite involvement – for ex. Using cotton balls to represent clouds or showing book jackets to entice students to read a new book. Company products can be incorporated into a display. Components of equipment can be shown with drawings and captions. Interaction – Viewers can be asked to respond to visual displays by manipulating materials on a display, perhaps to answer questions raised in the display.
  • Interaction – Viewers can be asked to respond to visual displays by manipulating materials on a display, perhaps to answer questions raised in the display. Students can move answer cards to math facts into the correct position. Answers to geography questions can be hidden under movable flaps. The teacher or learners can move dials on a weather display to indicate the forecast fpr the day or the actual weather outside the classroom.
  • PATTERN– having made decisions about what elements to include in your visual display, you are ready to consider the overall look. The idea is to establish an underlying pattern to decide how the viewer’s eye will flow across your display.
  • When you position the primary elements within a display so that they have a clear visual relationship to each, viewers expend little effort making sense out of what they are seeing and are free to concentrate on understanding the message being conveyed. The most effective to establish such visual relationships is to use alignment.Viewers will perceive elements to be aligned when the edges of those elements are aligned on the same imaginary horizontal or vertical line. These imaginary lines should be parallel to the edges of the display. For an irregularly shaped element, surround it mentally with a rectangle and align that rectangle.
  • Arrange the visual and verbal elements into a shape that is already familiar to the viewers. Use a pattern that attracts and focuses attention as effortlessly as possible – geometric shapes and letters of the alphabet (e.g. a circle, triangle, or rectangle, Z, L, T, U)
  • Another principle that can guide the placement of elements is the rule of thirds. Elements arranged along any of the one-third dividing lines take on importance and liveliness. The most dominant and dynamic position is at any of the intersections of the horizontal and vertical one-third dividing lines, especially the upper left intersection. The most stable and least interesting point of the grid is the dead center. Items placed in the corners or at the edges tend to be ignored or to make the arrangement unbalanced.
  • A balance is achieved when the weight of the elements in a display is equally distributed in each side of the axis, either horizontally, vertically, or both. When the design is repeated on both sides, the balance is symmetrical, or formal. *Aim to achieve an asymmetrical, or informal balance. With asymmetrical balance there is enough rough equivalence of weight with different elements on each side (one large square on one side, three small dark circles on the other).Informal balance is preferred because it is more dynamic and more interesting than formal balance.In general try to avoid imbalance – using a distinctly disproportionate weight distribution.
  • Different audiences and different settings call for different design styles. Choice of lettering and type of pictures should be consistent with each other and with the preferences of the audience.
  • When choosing a color scheme for a display, consider the harmoniousness of the colors. Viewers are more likely to linger over and to remember a display having pleasant color harmony than they would a display done with clashing colors. Complementary colors often harmonize well in terms of an overall color scheme. Analogous colors may also form pleasing combinations when used together in a display.
  • 2 reasons:If the colors are of equal value, or darkness, the letters will not have good figure-ground contrast. When saturated (intense) complementary colors are place directly next to each other, the eye cannot focus on both at the same time, so there is an unpleasant vibrating effect. Pls view these suggestions as general guidelines, not as absolute rules, because in any situation there are many factors that will have an impact on whether particular colors will work well together. This is also in assumption that viewers have normal color vision.Colors on a computer screen may not be same from one computer to another. Projected colors may be different. Colors that look good on your computer may look different when projected. It is a good idea to Practice your presentation to determine if the projected colors are acceptable to you. Some colors fade in brightness.
  • When choosing colors for instructional materials, consider the emotional response you are seeking - an active, dynamic, warm feeling or a more contemplative, thoughtful, cool feeling, Also saturated reds and oranges appear to approach the viewer, whereas cool colors tend to recede. Cool – blue, green, violet – backgrounds Tend to RecedeWarm – Red, Orange – important cues Approaches the viewerResponse related to ageChildren prefer warm colors (red, pink, yellow, orange), brighter combinations of intense colorsAdults prefer cooler colros, subtler combinations
  • ARRANGEMENT – Once you have established the overall shape of the display, you will want to arrange the items within that pattern.
  • Viewers assume that elements close to each other are related and those that are far apart are unrelated. Use this principle by putting related elements close together and moving unrelated elements apart.
  • Viewers scan a display, with their attention moving from one part to another. The underlying pattern of the elements of the display will be the main determinant of the eye movement pattern. If you want to viewers to “read” the display in a particular sequence or focus on some particular element, use devices called directionals, to direct attention.ArrowFor verbal material, emphasize keywords by bold type, and use bullets to indicate items in a listColored elements –whether words or images – in a monochrome display will also draw the eye. -- a color repeated in different parts of a display tends to show a relationship between or among those parts.-- the more extreme the color is, the more likely it will attract attention.
  • Important elements, especially wording, should stand out in good contrast to the background.The simple rule of figure-ground contrast is that Dark figures show up best on light grounds and light figures show up best on dark grounds.
  • Be consistent in the arrangement of elements. As viewers go through the series of images they begin unconsciously to form a set of rules about where information will appear in your display. The more often the arrangement conforms to these rules, the more viewers trust the rules. Every time the arrangement breaks the rules, viewers have to expend mental energy deciding whether this is s deliberate exception or whether they need to desive the rules. You enhance consistency when you place similar elements in similar locations, use the same text treatment for headlines, and use the same colors scheme throughout the series of displays.

Transcript

  • 1. VISUALMEDIA
  • 2.  Return Address Inside Address Salutation Body Closing Signature
  • 3. Roles in Education
  • 4. Referent for IdeasMotivation
  • 5. Comprehension
  • 6. PROCESSES OF VISUAL DESIGN
  • 7. ELEMENTS VerbalVisual
  • 8. Visual Elements Analogic Visuals Realistic Visuals Organizational Visuals
  • 9. Verbal Graphic Pictorial Symbols Symbols Symbols  A wagon with a bowed top Covered supported by wagon bowed strips of wood or metal. abstract realistic
  • 10. Verbal Graphic Pictorial Symbols Symbols Symbols  A wagon with a bowed top Covered supported by wagon bowed strips of wood or metal. abstract realistic
  • 11. Elements ThatAdd AppealSurprise!
  • 12. Elements ThatAdd Appeal Texture
  • 13. Elements ThatAdd Appeal Interaction
  • 14. PATTERN • Alignment of Elements • Shape • Balance • Style • Color Scheme • Color Appeal
  • 15. Alignment of Elements “An apple a day keeps the doctor away”…but why? Do you really know what makes an apple so special? Why is it that we never hear an orange or a banana a day keeps the doctor away? Orange is a tropical to semitropical, evergreen, small flowering tree growing to about 5 to 8 m tall and bears seasonal fruits
  • 16. ShapeCircles, triangle, rectangle Shapes of letters Z, L, T U
  • 17. Rule of Thirds
  • 18. Balance
  • 19. Style simple complex
  • 20. Color SchemeComplementaryColors for overallschemeAnalogous colorsmay also formpleasingcombination
  • 21. For Computer Display Foreground images BACKGROUND HIGHLIGHTS and textI. White 1. Dark blue i. Red, orangeII. Light grey 2. Blue, green, black ii. RedIII. Blue 3. Light yellow, white iii. Yellow, redIV. Light blue 4. Dark blue, dark green iv. Red-orangeV. Light yellow 5. Violet, brown v. red
  • 22. Reminders Do not directly juxtapose complementary colors! Projected colors may be different
  • 23. Color Appeal •Active •Dynamic •Children •Contemplative •Thoughtful •Adults
  • 24. ARRANGEMENT •Proximity •Directionals •Figure-Ground Contrast •Consistency
  • 25. ProximityPut relatedelements closetogether andmovingunrelatedelements apart
  • 26. Directionals •Arrow •Bold type fonts •Colored elements
  • 27. Figure-Ground Contrast Legible LegibleDark figuresshow up best onlight groundsand light figures Legible Legibleshow up best ondark grounds Legible
  • 28. ConsistencyBe consistent inthe arrangementof elements