COLORING YOURSELF TO SUCCESS VISUAL AESTHETICS AND USABILITY IN THE ACADEMIC LIBRARY SETH PORTER AND EMY DECKER, GEORGIA TECH LIBRARY
Welcome message from author
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
COLORING YOURSELF TO SUCCESS
V I S U A L A E S T H E T I C S A N D U S A B I L I T Y I N T H E A C A D E M I C L I B R A R Y
S E T H P O R T E R A N D E M Y D E C K E R , G E O R G I A T E C H L I B R A R Y
“
How Learning Works
Long-Term Memory
activatio
n
attentionencoding
Sensory Input
Long Term
Memory
Working Memory
Porter, Seth M
Education as atmosphere, as a feeling.
Porter, Seth M
Be concious of your design
Porter, Seth M
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.
Porter, Seth M
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.
Porter, Seth M
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.
Porter, Seth M
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.
Porter, Seth M
Balance creates the perception that there is equal distribution. This does not always imply that there is symmetry.
Porter, Seth M
Contrast focuses on making items stand out by emphasizing differences in size, color, direction, and other characteristics.
Porter, Seth M
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.
Porter, Seth M
Similarity refers to creating continuity throughout a design without direct duplication. Similarity is used to make pieces work together over an interface and help users learn the interface quicker.
Porter, Seth M
Bring it all together
Two extra slides
References• Alexander, T. M. (1998). The art of life: Dewey’s aesthetics. In L. A. Hickman (Eds.),Reading Dewey: Interpretations for a postmodern generation (pp. 1–22). Bloomington, IN: Indiana University Press• Alsudani, F., Casey, M. (2009). The Effect of Aesthetics On Web Credibility. British Computer Society: Retrieved From: http://www.bcs.org/upload/pdf/ewic_hci09_paper66.pdf • Aslam, N. (2012). Use of Colors in Web and graphic Design. Retrieved from: http://www.slideshare.net/nidaaslam/use-of-colors-in-web-and-graphic-design • Anderson, S. (2009). In Defense of Eye Candy.• http://alistapart.com/article/indefenseofeyecandy• Boulton, M. (2005). “Aesthetic-Usability Effect.” Retrieved from: http://www.markboulton.co.uk/journal/aesthetic-usability-effect• David, A., Glore, P. (2011). The Impact of Design and Aesthetics on Usability, Credibility, and Learning in an Online Environment. http://www.westga.edu/~distance/ojdla/winter134/david_glore134.html• David Robins and Jason Holmes. 2008. Aesthetics and credibility in web site design. Inf. Process. Manage. 44, 1 (January 2008), 386-399. DOI=http://dx.doi.org/10.1016/j.ipm.2007.02.003. Retrieved from: http://dl.acm.org/citation.cfm?id=1315064 • Dewey, J. (1916).Democracy and Education. New York: The Free Press • Dewey, J. (1934/1989). Art as experience. (Vol. 10). Carbondale: Southern Illinois University Press.• Dirksen, J. (2011). Design For How People Learn. New Riders; 1 edition (November 17, 2011)• Carroll, John (1963/1989). A Model of School Learning.• Eisner, E. W. (1982). Aesthetic Education. In H.E. Mitzel (Ed.),Encyclopedia of Educational Research(5thed). New York: The Free Press• Gailliot, M.T, et al. (2007). Self-Control relies on glucose as a limited energy sources: Willpower is more than a metaphor. Journal of Personality and Social Psychology. • Halsey, V. (2011). Brilliance By Design: Creating Learning Experiences that Connect, Inspire, and Engage. Barret Koehler Publishing.• Hancock, D. (2004). Improving the Environment in Distance Learning Courses through the Application of Aesthetic Principles. http://etd.fcla.edu/SF/SFE0000426/Thesis_Project_Hancock.pdf• Hassenzahl, M. (2004). Beautiful objects as an extension of the self: A reply.Human-Computer Interaction, 19(4), 377–386. doi: 10.1207/s15327051hci1904_7• Hekkert, P. (2006). Design aesthetics: principles of pleasure in design. Psychology Science, Volume 48, 2006 (2), p. 157 - 172. Retrieved from: http://www.pabst-publishers.de/psychology-science/2-2006/06_Hekkert.pdf• Kurosu, M., & Kashimura, K. (1995). Apparent usability vs inherent usability: Experimental analysis on the determinants of the apparent usability.• Leddy, Tom (2013). Dewey's Aesthetics. The Stanford Encyclopedia of Philosophy (Spring 2013 Edition), Edward N. Zalta (ed.), URL = <http://plato.stanford.edu/archives/spr2013/entries/dewey-aesthetics/>. • Mason, C. (1989). Towards A Philosophy of Education. Retrieved from: http://www.amblesideonline.org/CM/toc.html#6• Martin, Barbara L. (1986). Aesthetics and Media: Implications for the Design of Instruction. Educational Technology; 26(6)15-21 Jun.• Miller, M. (2014). Minds Online: teaching effectively with technology.• Miller, C. (2011). Aesthetics and e-assessment: the interplay of emotional design and learner performance. Distance Education, 32(3), 307-337. • Miller, C., Veletsianos, G. & Doering, A. (2008). Examining the interplay of aesthetics and the learner experience in an online assessment environment. In K. McFerrin, R. Weber, R. Carlsen & D. Willis (Eds.), Proceedings of Society for Information Technology &
Teacher Education International Conference 2008 (pp. 1208-1210). Chesapeake, VA: 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
Related Documents
