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- Herausgeber: John Wiley & Sons
- Kategorie: Fachliteratur
- Sprache: Englisch
Enhance learners' interest and understanding with visual design for instructional and information products
No matter what medium you use to deliver content, if the visual design fails, the experience falls flat. Meaningful graphics and a compelling visual design supercharge instruction, training, and presentations, but this isn't easy to accomplish. Now you can conquer your design fears and knowledge gaps with Visual Design Solutions: a resource for learning professionals seeking to raise the bar on their graphics and visual design skills. This informal and friendly book guides you through the process and principles used by professional graphic designers. It also presents creative solutions and examples that you can start using right away. Anyone who envisions, designs, or creates instructional or informational graphics will benefit from the design strategies laid out in this comprehensive resource.
Written by Connie Malamed, an art educator and instructional designer, this book will help you tap into your creativity, design with intention, and produce polished work. Whereas most graphic design books focus on logos, packaging, and brochures, Visual Design Solutions focuses on eLearning, presentations, and performance support. Visual Design Solutions includes practical guidelines for making smart design choices, ways to create professional-looking products, and principles for successful graphics that facilitate learning. Ideal for instructional designers, trainers, presenters, and professors who want to advance from haphazard to intentional design, this book will help them realize their design potential.
- Gain the knowledge and confidence to design impressive, effective visuals for learning
- Increase learner comprehension and retention with visual strategies offered by an expert author
- Serves as a reference and a resource, with a wealth of examples for inspiration and ideas
- Addresses an intimidating topic in an informal, friendly style
In four parts, the book provides a thorough overview of the design process and design concepts; explores space, image, and typography; and presents workable solutions for your most persistent and puzzling design problems. Get started and begin creating captivating graphics for your learners.
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Seitenzahl: 367
Veröffentlichungsjahr: 2015
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Table of Contents
Title Page
Copyright
List of Figures and Tables
Figures
Tables
Dedication
Preface
Introduction
Part 1: The Big Ideas
Chapter 1: Like a Hand in Glove
The Visual Brain
Benefits to Learning
The Picture Superiority Effect
Visual Design Impacts Emotions
Aesthetic Pleasure and Motivation
Chapter 2: Think Like a Designer; You Are One
Visual Design Versus Fine Art
The Purpose of Design
The Role of the Visual Designer
A Visual Design Process
The Mindset of the Visual Designer
Chapter 3: Work Like a Designer
Build a Graphic Design Toolbox
Write a Visual Style Guide
Design with Templates
Where to Find Visual Inspiration
Know the Technical Terms
Part 2: Building Blocks Of Design
Chapter 4: Organizing Graphic Space
Graphic Space
Positive and Negative Space
How to Activate White Space
Layout
Using Grids for Layout
The Rule of Thirds
Alignment
Balance and Visual Weight
Symmetry and Asymmetry
Depicting Depth in Graphic Space
Chapter 5: Selecting and Creating Images
So Many Choices
Choosing Images for Learning
Creating Images
Make Every Graphic Your Own
Use a Consistent Image Style
Chapter 6: Working with Type
Difference Between Typeface and Font
Type Has Personality
How to Tell Typefaces Apart
Display Type Versus Body Text
Know Four Type Categories
How to Select a Typeface
Using One Type Family
Using More Than One Family
Legibility and Readability
Arranging Type for Good Readability
Placing Text on Backgrounds
Part 3: Power Principles
Chapter 7: Use Color with Purpose
Color and Emotion
Use Color to Enhance Learning
Designing for Color Vision Deficiency
Three Properties of Color
Do Colors Have Temperature?
The Color Wheel
Choosing a Color Palette
Color Harmonies
Color Interactions
Chapter 8: Establish a Visual Hierarchy
What Is a Visual Hierarchy?
Planning the Hierarchy
Designing the Visual Hierarchy
A Hierarchy of Type
Chapter 9: Unify the Design
Unity and Wholeness
A Unified Design Supports Learning
Repetition
Create Visual Connections
Unity Needs Some Variety
Chapter 10: Create Contrast
Contrast and the Brain
The Effects of Contrast
How to Achieve Contrast
Color Contrast
How to Show Emphasis with Text
Chapter 11: Group for Meaning
Importance of Grouping in Learning
Grouping and Proximity
Grouping and Similarity
Grouping and Uniform Connectedness
Grouping and Enclosure
Part 4: Practicing Design
Chapter 12: Show Them Where to Look
Visual Cues Are Perceptual Signals
Visual Cues and Learning
Putting Visual Cues to Use
Directional Cues
Color Cues
Eye Gaze
Other Approaches
Chapter 13: Add Some Excitement
Bullet Points to Graphics
Beyond the Box
Ribbons, Stickers, and Tags
The Joy of Dingbats
Textures and Patterns
Vignette Effect
Chapter 14: Enhance Meaning
Start with Cultural Conventions
Visual Metaphors
Break It Down
Visualize with Diagrams
Semantic Coherence
Chapter 15: Tell Stories with Visuals
Visual Storytelling
Benefits of Visual Storytelling
What Visual Stories Can Convey
Visual Story Formats for Learning
The Visual Language of Stories
Designing the Visual Story
Camera Shots and Angles
Chapter 16: Make Numbers Interesting
Typography of Numbers
Thinking About Numbers
Design of Statistical Facts
Visualizing Data
Making Comparisons with Bar Graphs
Making Comparisons with Pictographs
Finding Trends
Showing Parts to Wholes
Graph Design Guidelines
Data Tables
References
About the Author
Index
End User License Agreement
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Guide
Cover
Table of Contents
Preface
Introduction
The Big Ideas
Begin Reading
List of Illustrations
Figure 1.1
Figure 2.1
Figure 2.2
Figure 3.1
Figure 3.2
Figure 3.3
Figure 3.4
Figure 3.5
Figure 3.6
Figure 4.1
Figure 4.2
Figure 4.3
Figure 4.4
Figure 4.5
Figure 4.6
Figure 4.7
Figure 4.8
Figure 4.9
Figure 4.10
Figure 4.11
Figure 5.1
Figure 5.2
Figure 5.3
Figure 5.4
Figure 5.5
Figure 5.6
Figure 5.7
Figure 5.8
Figure 5.9
Figure 5.10
Figure 5.11
Figure 5.12
Figure 5.13
Figure 5.14
Figure 5.15
Figure 5.16
Figure 5.17
Figure 5.18
Figure 5.19
Figure 5.20
Figure 5.21
Figure 6.1
Figure 6.2
Figure 6.3
Figure 6.4
Figure 6.5
Figure 6.6
Figure 6.7
Figure 6.8
Figure 6.9
Figure 6.10
Figure 6.11
Figure 6.12
Figure 6.13
Figure 6.14
Figure 7.1
Figure 7.2
Figure 7.3
Figure 7.4
Figure 7.5
Figure 7.6
Figure 7.7
Figure 7.8
Figure 7.9
Figure 7.10
Figure 7.11
Figure 8.1
Figure 8.2
Figure 8.3
Figure 8.4
Figure 8.5
Figure 8.6
Figure 8.7
Figure 9.1
Figure 9.2
Figure 9.3
Figure 9.4
Figure 9.5
Figure 10.1
Figure 10.2
Figure 10.3
Figure 10.4
Figure 10.5
Figure 10.6
Figure 10.7
Figure 11.1
Figure 11.2
Figure 11.3
Figure 11.4
Figure 11.5
Figure 11.6
Figure 11.7
Figure 11.8
Figure 11.9
Figure 11.10
Figure 12.1
Figure 12.2
Figure 12.3
Figure 12.4
Figure 12.5
Figure 12.6
Figure 12.7
Figure 12.8
Figure 12.9
Figure 12.10
Figure 12.11
Figure 13.1
Figure 13.2
Figure 13.4
Figure 13.5
Figure 13.6
Figure 13.7
Figure 13.8
Figure 13.9
Figure 13.10
Figure 13.11
Figure 13.12
Figure 13.13
Figure 13.14
Figure 13.15
Figure 13.16
Figure 13.17
Figure 13.18
Figure 13.19
Figure 14.1
Figure 14.2
Figure 14.3
Figure 14.4
Figure 14.5
Figure 14.6
Figure 14.7
Figure 14.8
Figure 14.9
Figure 14.10
Figure 14.11
Figure 14.12
Figure 14.13
Figure 14.14
Figure 14.15
Figure 14.16
Figure 14.17
Figure 14.18
Figure 14.19
Figure 15.1
Figure 15.2
Figure 15.3
Figure 15.4
Figure 15.5
Figure 15.6
Figure 15.7
Figure 15.8
Figure 15.9
Figure 15.10
Figure 15.11
Figure 15.12
Figure 15.13
Figure 15.14
Figure 15.15
Figure 15.16
Figure 16.1
Figure 16.2
Figure 16.3
Figure 16.4
Figure 16.5
Figure 16.6
Figure 16.7
Figure 16.8
Figure 16.9
Figure 16.10
Figure 16.11
Figure 16.12
Figure 16.13
Figure 16.14
Figure 16.15
Figure 16.16
List of Tables
Table 3.1
Table 3.2
Table 3.3
Table 5.1
Table 10.1
VISUAL DESIGN SOLUTIONS
Principles and Creative Inspiration for Learning Professionals
CONNIE MALAMED
Cover design and typography: Michael J. Freeland
This book is printed on acid-free paper.
Copyright © 2015 by Connie Malamed. All rights reserved
Published by John Wiley & Sons, Inc., Hoboken, New Jersey
Published simultaneously in Canada
No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at www.wiley.com/go/permissions.
Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with the respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor the author shall be liable for damages arising herefrom.
For general information about our other products and services, please contact our Customer Care Department within the United States at (800) 762-2974, outside the United States at (317) 572-3993 or fax (317) 572-4002.
Wiley publishes in a variety of print and electronic formats and by print-on-demand. Some material included with standard print versions of this book may not be included in e-books or in print-on-demand. If this book refers to media such as a CD or DVD that is not included in the version you purchased, you may download this material at http://booksupport.wiley.com. For more information about Wiley products, visit www.wiley.com.
Library of Congress Cataloging-in-Publication Data has been applied for and is on file with the Library of Congress.
ISBN 978-1-118-86356-5 (pbk)
ISBN 978-1-118-86348-0 (ebk)
ISBN 978-1-118-86404-3 (ebk)
List of Figures and Tables
Figures
1.1
How we process visual information
2.1
A design process that takes you from idea to implementation
2.2
Small thumbnail sketches help you visualize ideas. Illustration by Kevin Thorn, NuggetHead Studioz
3.1
In most cases, a digital tablet provides more control and greater accuracy than a mouse when working with graphics
3.2
Design title screen templates to grab attention. Templates designed by the eLearning Brothers
3.3
Content template for providing expert opinions in text or audio. Cutout people from the eLearning Brothers
3.4
Example of a template for a drag-and-drop interaction. Template design by the eLearning Brothers
3.5
Sample template for a quote screen
3.6
Transparency information stored in an alpha channel allows graphics to appear non-rectangular
4.1
Properties of graphic space
4.2
Space conveys meaning. In this graphic, it creates a sense of loneliness
4.3
Notice the shape of the white space between elements
4.4
What catches your eye first? A three-level visual hierarchy
4.5
Random small areas of white space look unplanned (left). Try to move the space to the outside (right)
4.6
Parts of a grid
4.7
Types of grids: columnar (upper left), modular (upper right), and hierarchical (bottom)
4.8
Comparison of a photo using a central focal point, on the left, with one that uses the rule of thirds, on the right. Viewers typically find the off-center placement more interesting
4.9
A symmetrical design conveys equilibrium. Cutout person courtesy of eLearning Art
4.10
An asymmetrical design is dynamic. Cutout person courtesy of eLearning Art
4.11
Use a stock photo with a linear perspective as a background to add realism to a story or scenario. Cutout people courtesy of eLearning Art
5.1
Photographs are versatile. They can represent something concrete, tell a story, or convey an abstract concept
5.2
Illustrations are compelling because they often have a unique and distinctive style
5.3
You can break apart vector-based clip art and modify it to meet your requirements. Here, the business suit in the upper right is placed on the two characters in military garb. Illustrations from the Microsoft Office® clip art collection
5.4
3-D graphics are rendered from a wireframe model
5.5
Silhouettes are a subtle communication device. They are suggestive rather than literal
5.6
Icons are a minimalist and powerful way to communicate
5.7
Dingbats are a source of icon-like drawings and symbols
5.8
Information graphics are a way to make abstract concepts concrete
5.9
One use of shapes is to structure a screen or slide
5.10
Designing with found art can enhance your message
5.11
A tree seen on the continuum from realistic to more abstract
5.12
Simple visuals like the one on the right are often easier to understand than photographs, as shown on the left, because unnecessary information is filtered out
5.13
This scene was formed from simple geometric shapes in PowerPoint
5.14
Before and after cropping. Notice how the cropped photo on the right is more dramatic and focused than the uncropped photo on the left
5.15
Use a narrow but recognizable slice of several different photos to convey your message in an unusual way
5.16
Break a full-screen image into three separate vertical pieces for an eye-catching effect
5.17
Change the background of conventional photographs to add meaning and a touch of surprise
5.18
Comparison of an image cliché to represent teamwork on the left and a more original approach on the right
5.19
Use one consistent style of illustration, as shown in this job aid teaching HIV/AIDS patients how to care for themselves. Illustrations by Alexey Terekov and Cris Wysong, Kwikpoint
5.20
Use the style number to find clip art with the same look
5.21
Placing varied icons (top) on a similar background (bottom) can improve the consistency of a design
6.1
Typographic terms associated with height
6.2
Characteristics that distinguish serifs
6.3
Inside and outside of letterforms
6.4
Drawing a stress line through the thinnest parts of the letter $o$ helps you see the stroke variation in letterforms
6.5
A collection of serif typefaces, which have small feet at the end of the strokes
6.6
A collection of sans serif typefaces, which are without little feet
6.7
A varied collection of script typefaces
6.8
A collection of decorative typefaces, which include everything from grunge to retro
6.9
Some of the styles you will find in an extended type family
6.10
A superfamily, such as Museo Slab, Museo, and Museo Sans, includes both serif and sans serif typefaces
6.11
Some examples of typefaces that complement each other
6.12
How kerning improves text
6.13
Comparison of placing text on different gradients
6.14
One approach for overlaying text on a photograph
7.1
The three properties used to describe color: hue, saturation, and value
7.2
Warm colors (red, orange, yellow) appear to come to the foreground, and cool colors (violet, blue, green) appear to recede
7.3
The color wheel showing the hues, tints, and shades
7.4
The primary, secondary, tertiary, and complementary colors of the color wheel
7.5
Online tools can generate a palette from a photograph. This one was generated using Adobe Kuler
7.6
An analogous palette uses three adjacent colors
7.7
A complementary palette and a split complementary
7.8
The colors in the triadic palette are equidistant from each other
7.9
A monochromatic palette uses tints and shades of one color
7.10
Notice how the same color appears to vary when placed on a different background
7.11
The same color looks lighter on a dark background and darker on a light background
8.1
Comparison of a graphic with no visual hierarchy (on the left) and one with an established visual hierarchy (on the right)
8.2
Two common eye-scanning patterns are the F- and Z-patterns
8.3
A visual hierarchy at three levels—large title in the center, five smaller entities, and then explanatory text
8.4
Use bright or warm colors to create dominance over other elements
8.5
Isolating an object or person is a way to give an element dominance
8.6
Adding horizontal lines or rules adds emphasis to the text in that space
8.7
A drop capital gives prominence to a block of text
9.1
In a graphic, people perceive the whole before seeing the parts. This is also true for an entire design
9.2
A confusing message from a fragmented design for a job aid (left) versus a strong message from a unified design (right)
9.3
Repetition of shape, user interface elements, and colors are some ways to create a unified design. eLearning screen designs by Kevin Thorn, NuggetHead Studioz, and Trina Rimmer, Rimmer Creative Group
9.4
Similarity refers to repeating visual elements with variation, as in this course design about engineering careers
9.5
To create unity, align elements to the implied lines that are created through the layout process
10.1
The greater the contrast, the easier it is to detect a form
10.2
In this employee web portal design, contrast creates emphasis and attracts the eye, conveying an immediate message that the orientation video is most important
10.3
Contrast is effective for demonstrating comparisons
10.4
Use contrasts in scale to show importance
10.5
Two different patterns express two different emotions
10.6
When it will help convey meaning, use an expressive typeface for screen titles that contrasts with the body text
10.7
Using scale, weight, and color to create typographic contrast
11.1
People see groups before seeing individual elements—under certain conditions
11.2
Proximity shows what is related and what is not
11.3
You can use the grouping principle to convey a message in eLearning scenarios
11.4
Unintended proximity can cause incorrect groupings. Here, it is difficult to tell which label is associated with which group
11.5
Because we perceive similar items as a group, we tend to see vertical or horizontal groups on the left and only horizontal groups on the right, where the shapes are similar in color
11.6
Objects of the same color or shape are perceived as a group
11.7
Using similar styles in user interface design shows which elements are related. Here, the drag objects (bottom) are all similar, as are the targets (top)
11.8
Placing a line between objects creates a condition for perceiving the connected shapes as a group
11.9
Using a ribbon for a connecting line
11.10
The dashed boundary line around the houses suggests they are a group
12.1
Four types of visual cues that guide the eye
12.2
An unintentional visual cue, like this colorful border, could be interpreted as a highlight
12.3
The printer's finger has worked as a visual cue for centuries
12.4
When using directional cues, take advantage of the wide variety of arrow types to make the most effective communication
12.5
Simple geometric shapes, such as triangles and point callouts, are also effective for pointing
12.6
Use a change in color to focus attention on an element that is selected
12.7
The colored highlight is another way to focus attention. Add numbers when the viewing order is important
12.8
A spotlight effect focuses attention
12.9
Eye gaze works as a directional signal to guide the viewer to relevant information
12.10
Radiating lines signal importance
12.11
A stamp effect is another type of visual cue that attracts attention
13.1
Using varied shapes with an expressive typeface is one way to replace bullet points and convey a mood
13.2
Place text on a flat area of color in a photo (left) or on a slightly transparent shape that overlays the graphic (right)
13.3
Use word balloons instead of bullet points. People cutouts courtesy of eLearning Art
13.4
Place text on a panel and replace bullet points with vertical lines
13.5
Ditch the bullets by giving text a more graphical treatment. Here, things to avoid are lightly crossed out and displayed in a distressed typeface
13.6
Wrapping text around a silhouette is an alternative to the bullet list
13.7
Example of a non-hierarchical diagram replacing text bullets
13.8
When information can be categorized, use a table format instead of a list of bullets
13.9
Add visual interest by breaking through the boundary lines of a box. Cutout people courtesy of eLearning Art
13.10
Break the boxy look by cutting out only a portion of the photograph. Leaving the large gavel conveys the heavy hand of the law
13.11
Cropping photographs into circles or placing them in non-rectangular shapes avoids the typical boxy look. Website design by d'Vinci Interactive
13.12
Using a ribbon on a title graphic or web page can liven up a design
13.13
Use ornaments, like these tags, to focus attention on important information
13.14
Dingbats make excellent icons. Create a unified look by placing each one on the same background shape
13.15
Example of using a very large dingbat character (the bird) as an illustration
13.16
Comparison of textures (on the left) with patterns (on the right)
13.17
A textured background is an excellent way to convey a mood. Cutout person courtesy of eLearning Art
13.18
Fill large type with a texture to add appeal
13.19
The vignette effect creates a softly filtered edge
14.1
When an object or person is obscured, you know it is hidden because of how you interpret depictions of three-dimensional space
14.2
Use familiar and distinct symbols that won't interfere with learning
14.3
A visual metaphor makes an idea memorable
14.4
Information processing compared to a funnel clarifies the concept that more information enters our senses than is permanently stored in long-term memory. Graphic courtesy of Get My Graphic
14.5
Metaphors can express the degree or extent of an emotion
14.6
Using a cigarette as a corpse is a persuasive metaphor. Slide design by Empowered Presentations
14.7
Visual metaphors can act as a memory aid. Graphic courtesy of Get My Graphic
14.8
“Going through the roof” metaphor works for concepts like sales, prices, and inflation
14.9
The text table is a way to chunk content. It breaks down information into simple units
14.10
A sequencing technique, such as a timeline, is effective for chunking and ordering information
14.11
Use layers to chunk information in the depth dimension to create overlap
14.12
A simplified parts and structure diagram enhances meaning
14.13
Use diagrams to depict an overview of a system, showing how the components fit together
14.14
Arrows depict the flow of information or energy
14.15
Dashed or dotted lines are another way to convey movement. Illustration by Eleanor Underhill
14.16
Use step-by-step visual explanations to demonstrate how to do something. Adding the number of each step makes the progression clear
14.17
Use diagrams to represent abstract concepts. Diagram courtesy of Get My Graphic
14.18
The food pyramid lacks coherence because the least healthy foods are placed at the top
14.19
Negative amounts represented above the zero line (shown on the left) are inconsistent with how we interpret negative numbers, whereas the graph on the right is compatible with its meaning
15.1
Visual storytelling is a compelling way to present new information and to establish problem-solving scenarios. Design by d'Vinci Interactive
15.2
Visuals convey emotions through facial expressions, gestures, and pose
15.3
Visuals can create suspense or intrigue in a story
15.4
Example of realistic illustrations with an imaginary character in instructional materials for adult learners. Illustration by Robert Schoolcraft
15.5
Cartoon illustrations are drawn with simplistic features
15.6
eLearning characters use one model in varied poses. Cutout person courtesy of the eLearning Brothers
15.7
Screen from a custom photo shoot using captions to enhance the storyline
15.8
A quiet panel with a silhouette slows down the pace of a story. Illustrations courtesy of DIY eLearning
15.9
You can make word balloons expressive of the storyline by modifying the line type and shape
15.10
Example of an illustrated story narrated in captions. Illustrations by Stuart McMillen from the book
St. Matthew Island
15.11
Action lines and quiver lines represent different types of movement
15.12
Some well-known pictorial devices for storytelling that amplify actions and emotions. Illustrations by Kevin Thorn, NuggetHead Studioz
15.13
More pictorial devices for storytelling that amplify actions and emotions. Illustrations by Kevin Thorn, NuggetHead Studioz
15.14
Varying the size of panels in each row helps readers move from left to right before top to bottom
15.15
You can borrow camera shots from film to make a visual narrative more powerful
15.16
A bird's-eye view creates a striking overview of a scene. Illustration by Robert Schoolcraft
16.1
The symbols of proportional fonts have varied widths. Monospaced fonts have the same fixed width and are best for aligning columns and for programming code
16.2
Unlike oldstyle figures, lining figures sit on the baseline
16.3
Emphasize the number through contrasting size, color, and typeface
16.4
Use a visual to express the story behind the numbers
16.5
Represent a statistic with a compatible symbol
16.6
Representing a statistic with a metaphor. Graphic courtesy of Get My Graphic
16.7
A simple technique for making percentages concrete
16.8
Four common types of graphs for visualizing data: bar graph, pictograph, line graph, and pie chart
16.9
A continuum of graphical forms that lead to the most and the least reliable judgments in graphs. Perceptual accuracy of features in the same box are equivalent. Based on Cleveland and McGill, 1984
16.10
Use bar graphs for comparing and contrasting specific values
16.11
Grouped bar graphs allow for comparison of more than one variable in a category
16.12
Use a stacked bar graph to show a part-to-whole relationship and to illustrate the total sum of the subgroups
16.13
Pictographs make quantities concrete
16.14
Line graphs show the movement of numerical data
16.15
Pie charts have limited value and are best used to convey an impression
16.16
A well-designed data table provides quick access to specific values
Tables
3.1
Sample of what to specify in a visual style guide for an eLearning course
3.2
Common bitmap image formats
3.3
Common vector image formats
5.1
Graphic types to use for varied goals
10.1
Opposing features that can create contrast
This book is dedicatedto the hard-working creative learning professionalswho want to make a difference.
Preface
Unlike most graphic and visual design books, this one is intended to serve learning professionals. Conventional graphic design books are brimming with insights and examples, but their lessons are focused on designing ads, brochures, logos, and posters. There are excellent principles in these books and I highly recommend starting a design book collection. But the application of commercial graphic design knowledge to learning materials only goes so far. After that, you may feel that you are on your own, flying solo.
The visual design of learning materials has a unique set of requirements compared to that of most other designed products. Although we all share the goal of content clarity, designers of learning experiences are overly concerned that their content be understood, retained, and applied to new situations while also being motivating and engaging.
Furthermore, the materials we design may be quite extensive, such as for a substantial eLearning course, an online learning portal, or a slide set for a full day of training. Our materials might also be interactive, which presents a new set of design issues. Unlike many graphic design studios involved in branding and advertising, we may not have the latitude to innovate as much as we would like. We must ensure that we are true to our highest priority, which is clear communication.
If you are like most learning designers, you have little to no background in visual design. Yet you wear many hats and are often responsible for the visual communication aspect of your materials—whether you create them yourself or collaborate with others. Without the appropriate foundation knowledge, it can be difficult to make the best visual design choices. This book presents a rationale for why you should intensely care about visual design. It presents core principles that will give your work the greatest impact in the least amount of time and provides practical ideas and inspiration for solving visual design challenges.
This book does not teach you how to produce graphics, nor does it promote a particular software package. Many of the suggestions and approaches can be performed with the graphics or slide creation program of your choice. Start with one that is easy to learn and move on to a program with advanced functionality when you need more power. You can make great improvements by applying the foundation principles of visual design, regardless of what program you use.
Introduction
If I could be anything right at this moment, it would be a good fairy whispering encouraging thoughts in your ear. I'd be hovering over your shoulder every time you embarked on a visual design task. “You'll find a good solution,” I would whisper. “Play with your design and see what you discover.”
I would snuff out that little discouraging voice in your head. You know the one. It's the voice that replays the disparaging comment from an insensitive adult long ago, “Is that a tree or a person?” It's the voice of that relative who proclaimed that no one in the family is creative. It's the story you tell yourself as you compare your talents to those of accomplished artists.
Now is the time to reject those defeating ideas. Why let them follow you through adulthood like an anchor around your neck? When you toss away those negative thoughts, you make room for the pure creativity that pulsed through you as a child. It's still there—somewhere inside.
Don't make the mistake of confusing drawing skills for design skills. The truth is, visual design has little to do with the ability to render. To improve at design, you need to know some basic principles of visual communication. You need to make a commitment to explore and practice so you will develop competence. And you need a heightened sensitivity to seeing design in the world around you—to fine-tune your perceptions.
The fact that you are reading this book is a statement about yourself. You are hoping to gain proficiency in visual design and you have started on the path. Even if you are reading this for a required course, you will appreciate gaining competence in this realm. Who wouldn't? In today's multimedia world, the ability to visually communicate is a necessary and powerful skill.
Think of reading this book as one step in the right direction. This is only a part of your remarkable journey. You will need to continue to learn, practice, and discover. Improving your design skills and abilities is a lifelong endeavor.
May you find enjoyment and success on your path.
Connie Malamed
Part 1
The Big Ideas
Growing into the role of a designer means seeing, thinking, and working like one. This section describes the impact of visual design and how to embrace the role of the designer.
Chapter 1Like a Hand in Glove
“The need for clear and imaginative communication has never been greater.”
— Phillip B. Meggs
The Framework
THIS CHAPTERanswers these questions:
Why do visuals benefit learning?
How can I use visuals to improve learning?
What is the impact of visual design on learning?
Learning design and visual design go together like a hand in glove. They are a perfect fit for each other, yet it's rare to hear the terms spoken in the same breath. Even those who acknowledge that graphics are essential for learning may not be aware of the reverberations that visual design has throughout a learning experience. Visual design affects the quality of learning, the value of the communication, and the motivation of the audience members. It leverages the brain's innate capabilities, improves engagement, and satisfies the audience's aesthetic sensibilities.
In this chapter, you'll gain a better understanding of why graphics benefit learning and how design affects the overall user experience.
The Visual Brain
There's something special about vision. Together the eye and brain work in ways that are no less than wondrous. Consider this. Our eyes are in nearly constant movement, but we rarely notice it. We rapidly recognize objects in complex scenes regardless of their size, color, position, and rotation.
We perceive depth precisely because a different image is registered with each eye. In normal vision, we see six million different colors and lots of detail, both close up and at a distance. We see with different acuity levels depending on the task we are performing (Kosslyn, 1994). We adapt to a wide range of light intensities, so we can see at dusk and also in bright light. And all of this occurs with little to no conscious awareness.
Scientists estimate that over 50 percent of the brain's cortex (the outside layer) is involved in visual processing (Snowden & Thompson, 2012), whereas auditory processing uses around 10 percent and the other senses use even less. Thus, our brains devote more resources to vision than to any other sense.
The pure physiological power of our visual system is a compelling argument for ensuring that you take advantage of the audience's visual intelligence as you design learning experiences.
Benefits to Learning
What happens when you look at a picture? (See Figure 1.1.) The process starts when your eyes pick up sensory data and send signals to a sensory register (also known as sensory or iconic memory). The information lasts here for less than a second and is sent to working memory. Through perceptual processes you select what to pay attention to, based on the features that catch your eye (during pre-attentive processing) and the visual patterns that are meaningful to your goals (during attentive processing).
Figure 1.1How we process visual information.
As you scan the picture, visual chunks are held in working memory for a few seconds. With help from your past experience and knowledge stored in long-term memory, you decode these marks on the screen or page. If the picture is easy to understand, this process happens rapidly. Visual perception is faster than thinking.
Research shows that text accompanied by relevant visuals is better for learning than text alone in many situations and under many conditions (Mayer, 2009). Pictures can strengthen visual discrimination by emphasizing important details. Visuals improve retention and aid in problem solving. Abstract visuals help people comprehend complex information and assist in building mental models. In fact, if you break the learning process down into smaller cognitive actions, you'll see that visuals can be valuable nearly every step of the way.
Pictures Capture Attention
Pictures are magnets for attention regardless of the medium. People usually look at the graphics of a web page before they read the text (Lin, Yeh, & Wei, 2013). The same is true for newspaper advertisements. Consumer research shows that pictorial ads are better at capturing attention than text ads, and this is true regardless of picture size (Goodrich, 2010; Pieters & Wedel, 2004).
In learning and information dissemination, pictures also draw attention. For example, in a study that explored the best way to convey messages about health risks, pictures attracted and held attention for a longer period of time than the same information produced in text alone (Smerecnik, Mesters, Kessels, Ruiter, De Vries, & De Vries, 2010).
Pictures of people and particularly pictures of faces summon our visual attention. Also, certain attributes capture attention without conscious awareness. Vivid colors, striking shapes, and motion capture pre-attentive attention.
Visuals Aid Recall
Encoding information in long-term memory is an essential activity of learning, and this is one more place where visuals shine. Relevant pictures help people remember corresponding text. By relevant, psychologists mean pictures that represent the objects or concepts presented in the text (Levie, 1987).
This may be due to the fact that our memory is typically better for concrete things than for abstractions. Pictures provide a concreteness—an association with a sensory experience—that has advantages over words, which are more symbolic.
Visuals Improve Comprehension
Pictures help learners understand complex text or narration because they convey information about spatial structure. We rely on the spatial structure of visuals to provide meaning. In a diagram or chart, designers use techniques that show relationships, such as placing related elements together in a group. This quickly communicates what is associated in a way that may be more difficult through text alone. The structural organization of a picture is thought to have a scaffolding effect that helps in the construction of new mental models (Eitel, 2013).
Because graphics hold attention for a longer period of time than text, researchers believe the additional attention plus the ease with which graphical information is extracted is another benefit to comprehension (Smerecnik, Mesters, Kessels, Ruiter, De Vries, & De Vries, 2010). Also, pictures can be rendered with extreme specificity. They can emphasize or exaggerate details to reduce ambiguity. This precision improves understanding.
Making Inferences
Certain types of graphics, such as information graphics, facilitate making inferences and solving problems. They function as an external memory aid by using arrangements that organize information in meaningful ways (Larkin & Simon, 1987). It is easier to make use of massive data when it is expressed as a graph. It is easier to work with a complex network of ideas when they are illustrated in a diagram.
Acquiring Skills
In terms of learning procedures, the combination of pictures and text is ideal. One study showed that line drawings and text were as effective as video when the drawings used arrows to show the actions involved in performing a simple medical procedure (Michas & Berry, 2000).
Looking at the range of cognitive tasks that adults perform, it becomes obvious that graphics support and facilitate thinking, problem solving, and learning. Regardless of whether the graphic is a simple icon, an elaborate illustration, or a complex data visualization, visuals provide a rich and textured language for expressing ideas.
The Picture Superiority Effect
The value of visual design becomes clear when you consider the picture superiority effect. Several decades of research have established that in most recall and recognition memory tasks, concepts that are learned by viewing pictures are remembered better than their counterparts in words (Hockley & Bancroft, 2011). This phenomenon is known as the picture superiority effect.
Possible Reasons for Picture Superiority
Dual coding. Why do visuals add an element of memorability to information? One theory, known as dual coding, states that people process information through two distinct systems, one for verbal information (written and spoken words) and one for nonverbal information (images). According to this theory, pictures have an advantage over words by being encoded into long-term memory through both the visual and verbal channels. That is, pictures are encoded as an image as well as spontaneously given a verbal label. In contrast, words are encoded with just one verbal code (Paivio, 2006). Two codes written to memory increases the chance of retrieving the information compared to information that is coded in only one way (Paivio, 1986).
This theory would also explain why the picture superiority effect improves with chronological age. If a person does not have the inner language available to formulate a name for a picture, then dual coding does not seem to occur (Whitehouse et al., 2006).
Perceptual distinctiveness
