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SETH PORTER, MA, MLIS Connecting with online learners through beautiful design

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Page 1: USG teaching & Learning Conference

SETH PORTER , MA , ML IS

Connecting with online learners through beautiful design

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How Learning Works

Long-Term Memory

activatio

n

attentionencoding

Sensory Input

Long Term

Memory

Working Memory

Poproski, Ruth-CTL

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Porter, Seth M
Create the atmosphere that will connect with the learner
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Aesthetic design is a bridge to more effective design through decreasing Extranous cogntive load.
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So you can always add in apicture of my home to improve your student learning, or design with a lot of windows.
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Be concious of your design
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online

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has to do with all elements on a page visually or conceptually appearing to belong together. Visual design must strike a balance between unity and variety to avoid a dull or overwhelming design.
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in visual design, helps users perceive the overall design as opposed to individual elements. If the design elements are arranged properly, the Gestalt of the overall design will be very clear.
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Space is “defined when something is placed in it”, according to Alex White in his book, The Elements of Graphic Design. Incorporating space into a design helps reduce noise, increase readability, and/or create illusion. White space is an important part of your layout strategy.
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Hierarchy shows the difference in significance between items. Designers often create hierarchies through different font sizes, colors, and placement on the page. Usually, items at the top are perceived as most important.
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Balance creates the perception that there is equal distribution. This does not always imply that there is symmetry.
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Contrast focuses on making items stand out by emphasizing differences in size, color, direction, and other characteristics.
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Scale identifies a range of sizes; it creates interest and depth by demonstrating how each item relates to each other based on size.
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Dominance focuses on having one element as the focal point and others being subordinate. This is often done through scaling and contrasting based on size, color, position, shape, etc.
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• PowerPoint, GoogleSlides, Prezi, etc.

• Digital Learning Objects

• LMS design (I wish)

• Websites

• Handouts

• Posters

• Data visualization-Infographics

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Association for the Advancement of Computing in Education (AACE). Retrieved March 16, 2016 from https://www.learntechlib.org/p/27353.• Mintzer, M. Z., & Snodgrass, J. G. (1999). The picture superiority effect: Support for the distinctiveness model. The American Journal of Psychology, 112-146. • Muraven, M,. Tice, Dianne, Baumeister, R. (1998).Self-Control as Limited Resource: Regulatory Depletion Patterns. Retrieved from: http://persweb.wabash.edu/facstaff/hortonr/articles%20for%20class/Muraven%20self-regulatoin.pdf• Nielsen, J. (2012). Usability 101: Introduction to Usability. http://www.nngroup.com/articles/usability-101-introduction-to-usability/• Norman, D. A. (2002). The design of everyday things. New York: Basic Books. (The re-issue, with a new preface, of the psychology of everyday things.) Published in Italian as “La caffettiera del masochista.”• Norman, D. A. (2004). Emotional Design: Why We Love (or Hate) Everyday Things. New York: Basic Books.• Norman, D. A. (2004). Designers and Users: Two perspective on Emotion and Design. Northwestern University: http://projectsfinal.interactionivrea.org/2004-2005/SYMPOSIUM%202005/communication%20material/DESIGNERS%20AND%20USERS_Norman.pdf• O’Nolan, J. (2009). The Difference Between Art and Design. Web Design Depot. Retrieved From: http://www.webdesignerdepot.com/2009/09/the-difference-between-art-and-design/• Parrish, P. (2009). Aesthetic principles for instructional design. Educational Technology Research & Development, 57(4), 511-528. doi:10.1007/s11423-007-9060-7• Thornhill, Randy,(2003). Darwinian Aesthetics Informs Traditional Aesthetics. in Voland, Eckart and Karl Grammer (editors), Evolutionary Aesthetics, Heidelberg: Springer Verlag• Tractinsky, Noam (2014): Visual Aesthetics. In: Soegaard, Mads and Dam, Rikke Friis (eds.). The Encyclopedia of Human-Computer Interaction, 2nd Ed.. Aarhus, Denmark: The Interaction Design Foundation. Available online at https://www.interaction-design.org/encyclopedia/visual_aesthetics.html• Song, Hyunjin and Norbert Schwartz. (2009). If its difficult to pronounce, it must be risky. Psychological Science 20 (2).• Ulrich, K. (2008). Aesthetics in Design. Retrieved from: http://opim.wharton.upenn.edu/~ulrich/documents/ulrich-aesthetics.pdf• Williams, R. (1994). The Non-Designers Design Book: Design and Typographic Principles for the Visual Novice. Berkeley, CA: Peachpit Press.• Williams, R. (1998). The Non-Designers Type Book: Insights and Techniques for Creating Professional - level type. Berkeley, CA: Peachpit Press• Wilson, B. (2005). Broadening our foundation for instructional design: four pillars of practice. Educational technology, 45(2). 10-15• Zhang, P. (2009). Theorizing the relationship between affect and aesthetics in the ICT design and use context. Proceedings of the 2009 International Conference on Information Resources Management, (pp 1-15). Dubai, United Arab Emirates