CHAPTER 5: VISUAL PRINCIPLES

CHAPTER 5: VISUAL PRINCIPLES

A.  THE ROLES OF VISUALS IN INSTRUCTION

Attempts to make broad generalizations about the role of visuals in learning invariably fail to yield simple answers. For erample, a major synthesis of research studies comparing visual-based lessons (those using photographs, overhead transparencies, video, and the like) with conventional instruction indicated a small overall superiority in achievement for students who ex pcrienced the visual treatment (Cohen, Ebeling, & Kulik, 1981). However, on closer examination it was found that the degree of superiority depended on many factors, including the subject matter and the utilization practices of the teacher.

One role that visuals definitely play is to provide a concrete referent for ideas. Words don't look or sound (usually) like the thing they stand for, but visuals are iconic that is, they have some resemblance to the thin they represent.

B. VISUAL LITERACY

Consider the sorts of visuals that are used every day for important communication purposes, such as the emergency information cards in airplanes or highway signs that warn of dangerous curves or obstruction. Today, we use visual literacy to refer to the learned ability to interpret visual message accurately and to create such message. Visual literacy can be developed through two major approaches:

-Input strategies. Helping learners to decode, or "read," visuals proficiently by practicing visual analysis skills

-Output strategies.

Helping learners to encode, or "write," visuals-to express themselves and communicate with others (e.g., through planning and produing photo and video r sentations).

1. Decoding: Interpreting Visuals Seeing a visual does not automatically ensure that one will learn from it. Learners must be gui rect decoding of visuals. One aspect of visual literacy, then, is the skill of interpreting and creating meaning from surrounding stimuli.

a. Developmental Effects.

Many variables affect wh how learner decodes a visual. Prior to the age of 12, children tend to interpret visuals section by section rather than as a whole. In reporting what they see in a diso picture, they are likely to single out specific elements within the scene.

b. Cultural Effects

In teaching, we must keep in mind that the act of decoding visuals may be affected by the viewer's cultural background. Different cultural groups may perccive visual materials in different ways.

c. Visual Preferences

In selecting visuals, teachers have to make appropriate choices between the sorts of visuals that are preferred and those that are most effective. People do not necessarily arm best from the kinds of pictures they prefer to look at.

2.  Encoding: Creating Visuals

 Another route to visual literacy is through student cre ation of visual presentations. Just as writing can spur reading, producing media can be a highly effective way of understanding media. Most older students have access to a camera.

For example, you could encourage students to present reports to the class by carefully selecting sets of 35mm slides, which can help them to develop their aesthetic talents. The video camcorder is anothar convenient tool for students to practice creating and presenting ideas and events pictorially. Or, students can photos or drawing into a computer agen erat ed presentation using software such as power point.

C. GOALS OF VISUAL DESIGN

 For purposes of information and instruction, good visual design try to achieve at least four basic goals in terms of improving communications.

 1. Ensure Legibility

A visual cannot even begin to do the job unless you can see the words and images. It's surprising how simple this rule is broken. Think of how many times you have heard a presenter say, "you mav not be able to scc what is this transparency, or let me read it to you."

2. Reduce Effort

As a designer you want to convey, your message is a way of making sense out of what they are secing and are free to use the most of their mental coffers for understanding the message itself. You may use several simple processes to help reduce the effort required to interpret your visuals.

3. Increase Active Engagement

 Your mesage doesn't stand a cahnce unless people pay attention to it. So a major goal is to make your design as pealing as posible to get viewer's attention and to entice them into thinking about your message.

4. Focus Attention

Having enticed viewers into your display, you then face the challenge of directing their attention to the most important parts of your message.

D. PROCESS OF VISUAL DESIGN

1. Elements

Designing a visual display begins by gathering or producing the individual pictorial and text elements that you expect to use in the display. This assumes, of course, that you have already determined students' needs and interests regarding the topic and decided what objective you might achieve through the visual you are planning- be it a bulletin board, an overhead transparency, printed cs handouts, or computer screen display.

a.   Visual Elements

The type of visual sclected for a particular situation depends on the learning task.  Realistic visuals show the actual object under study. Analogic visuals convey a concept or topic by showing something else and implying similarity. Organizational visuals include flowcharts, grapgs, maps, schematics, and classification charts.

b. Verbal Elements.

1)  Letter style. The style of lettering should be consistent and should harmonize with the other elements of the visual.

2) Number of Lettering Styles. A display or a serie of related visuals, such as a slide scrics-should use more than two different type styles, and these should har monize with each other.

3) Capitals. For best legibility, use lowercase letters adding capitals only where normally required.

4) Color of Lettering. As discussed later in the section "Figure- Ground Contrast," the color of the lettering should contrast with the background color.

5) Size of Lettering. Displays such as bulletin boards and posters are often meant to be viewed by people sit- uated at a distance of 30 or 40 fect or more.

6) Spacing Between Letters. The distance between the letters of individual words must be judged by experience rather than on a mechanical basis.

7) Spacing Between Lines. The vertical spacing between lines of printed material is also important for legibility.

c. Elements That Add Appeal

1) Surprise.  Think of an unusual metaphor, an incongruous combination of word and picture, an abrupt infusion of color, a dramatic change pf size.

2) Texture. Most visuals are two dimensional. However, you can add a third dimension by using texture or actual side materials.

3) Interaction. The R of the ASSURE model ("Resual quire learner participation") applies to all forms of media. Viewers can be asked to respond to visual displays by manipulating materials on a display.

2. Pattern

a. Alignment. Viewers will perceive elements to be aligned when the edges of those elements are aligned on the same imaginary horizontal or vertical line.

b.   Shape. Your aim should be to use a pattern that attracts and focuses attention as effortlessly as possible.

c. Balance. With asymmetrical balance there is rough equivalence of weight, but different elements on each side.

d. Style. Different audiences and settings call for different design style.

e. Color Scheme. When choosing a color scheme for a display, consider the harmoniousness of the colors.

f. Color Appeal. 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.

3. Arrangement

a. Proximity. Teachers can use this principle of proximity by putting related elements close together and moving unrelated elements apart.

b. Direcriobals. Viewers scan a display, with their attention moving from one part to another.

c. Figure-Ground Contrast. Important elements, especially wording, should stand out in good contrast to the background.

d. Consistency. If you are planning a series of dispalys, such as a set of overhead transparencies, a multipage handout, you should be consistent in your arrangement of the elements.

E. VISUAL PLANNING TOOLS

1. Story board. This technique allows you to creatively arrange and rearrange a whole sequence of thumbnail sketches.

2. Types of Letters. A variety of lettering techniques for visuals exists. The simplest is freehand lettering with markers and felt tip pens, which come in an array of colors and sizes.

3. Drawing, Sketching, and Cartooning. Simple drawings can enchance chalk-board presentations, class handouts, bulletin boards, and overhead transparencies.

F. DIGITAL IMAGES

Digital imaging allows users to capture, edit, display, share, and network still and video images.

1. Digital Cameras

Digital cameras are small and lightweight with fewer moving parts than traditional cameras.

2. Scanners                                                           

Scanners work with computers to transfer existing visual images, such as drawings or photograps, into digitized computer graphic files.