New Media Literacies — Learning in a Participatory Culture Practical Guidelines for Visual Design Practical Guidelines for Visual Design The following are some practical guidelines to follow in the design of instructional visuals. There are three major ways to represent objects: as pictorial symbols, graphic symbols, or verbal symbols. Being creative... Research on eye movement states that people from Western cultures tend to look at the upper left-hand area of a visual first. Keeping these two principles in mind it is important to place important information near the dividing lines and place the start of the main message where the eye first strikes the area. Changes in a visual image help keep attention directed on the visual. Too much detail in a visual image can detract from instruction. The layout of a visual needs to be clear and focus attention to the appropriate places in the image. The shapes of several letters are useful to guide layout patterns. Move labels close to the objects they refer to. Typography has to do with the size, shape, and placement of words.
What is NIMAS? NIMAS is a technical standard used by publishers to produce source files (in XML) that may be used to develop multiple specialized formats (such as Braille or audio books) for students with print disabilities. The source files are prepared using eXtensible Mark-up Language (XML) to mark up the structure of the original content and provide a means for presenting the content in a variety of ways and styles. For example, once a NIMAS fileset has been produced, the XML and image source files may be used not only for printed materials, but also to create Braille, large print, HTML, DAISY talking books using human voice or text-to-speech, audio files derived from text-to-speech transformations, and more. The separation of content from presentation is an important feature of the NIMAS approach. The various specialized formats created from NIMAS filesets may then be used to support a very diverse group of learners who qualify as students with print disabilities. See also the U.S. PDF format.
The Essential Psychopathology Of Creativity Andrea Kuszewski If we could identify a gene for creativity, let's call it the "creativity gene", you would be hard pressed to find very many people who would consider it a "negative gene" or a hazard to possess or carry. But what if, purely hypothetically, we could identify a gene for Schizophrenia? Or Bipolar Disorder? Or Depressive Disorder? The very traits that make someone creative, passionate, and likely to achieve a high degree of success in their domain, are the same traits that define psychological disorders such as Bipolar Disorder, Schizophrenia, and ADHD. An article in the NY Times titled, "Just Manic Enough: Seeking Perfect Entrepreneurs", described individuals that were unnaturally creative, passionate, energetic, charismatic, and those most sought-after by venture capitalists as "hypomanic". Now, I don't know how many of you creative-types out there began to panic when you started reading this list of defining criteria, but I know I did. The Essential Truth of Creativity
A Rare Peek At The Guidelines That Dictate Google's Graphic Design In April 2011, Larry Page took the reins as Google’s CEO. He didn’t waste any time getting down to business. On his very first day on the job, Page launched an incredibly ambitious effort to redesign the company’s main products, including search, maps, and mail. The rare glimpse into the company’s design process comes in the form of two documents--"Visual Assets guidelines"--freshly shared on Behance. The more exciting of the two covers product icons. Google encourages its designers to take a "reductive approach" to product icons. The next few parts deal with perspective. With the icon guidelines thus established, we move on to logo lockups, the icon and product name combos that serve as the "brand ambassadors" for the company’s products. The second document, in addition to showing examples of the flat, Charley Harper-esque illustrations Google’s been using in its product videos, covers iconography as it relates to UI design, spelling out details like proportion, sizing, and padding.
Critical Thinking Model 1 To Analyze Thinking We Must Identify and Question its Elemental Structures Standard: Clarityunderstandable, the meaning can be grasped Could you elaborate further? Standard: Accuracyfree from errors or distortions, true How could we check on that? Standard: Precisionexact to the necessary level of detail Could you be more specific? Standard: Relevancerelating to the matter at hand How does that relate to the problem? Standard: Depthcontaining complexities and multiple interrelationships What factors make this a difficult problem? Standard: Breadthencompassing multiple viewpoints Do we need to look at this from another perspective? Standard: Logicthe parts make sense together, no contradictions Does all this make sense together? Standard: Significancefocusing on the important, not trivial Is this the most important problem to consider? Standard: FairnessJustifiable, not self-serving or one-sided Do I have any vested interest in this issue? Why the Analysis of Thinking is Important Think About...
Visual Design Some foundational ideas are so thoroughly ingrained in modern life that we hardly see them for their ubiquity and familiarity. The concept of “module and program”—regular building blocks of repeating patterns that when joined together produce an organized whole—permeates our information-age lives even more thoroughly than it did the lives of our ancestors in the industrial revolution launched by manufacturing innovators like Eli Whitney. As the industrial world grew more complex, document designers in the mid-1800s began to adapt modular programs to newspaper, catalog, financial, and other publications, and modern page layout was born. In the early twentieth century the Bauhaus designers adopted the elements of visual logic discovered by the Gestalt perceptual psychologists, and those German and Swiss designers created modern graphic design (see Visual Design Principles sidebar, below). The primary purposes of graphic design are to: Consistency Contrast Color and contrast in typography Style
Cooperative Learning Definition Cooperative learning consists of instructional techniques that require positive interdependence between learners in order for learning to occur. Basic Elements Research shows that both competitive and cooperative interaction are a healthy part of a child’s repertoire of behavior. Research has also found an interesting racial implication in cooperative learning: Minority children are more likely to retain these cooperative strategies. Patterns for student interaction are called structures. It is up to the instructor to integrate the interactive exercises with the specific lesson content. Reading Spencer Kagan, Cooperative Learning, Resources for Teachers, 1992.
Clean Up Your Mess - A Guide to Visual Design for Everyone Socratic Questioning Techniques > Questioning > Socratic Questions Conceptual | Assumptions | Rationale | Viewpoint | Implications | Question | See also Socrates was one of the greatest educators who taught by asking questions and thus drawing out answers from his pupils ('ex duco', means to 'lead out', which is the root of 'education'). Sadly, he martyred himself by drinking hemlock rather than compromise his principles. Bold, but not a good survival strategy. But then he lived very frugally and was known for his eccentricity. Here are the six types of questions that Socrates asked his pupils. The overall purpose of Socratic questioning, is to challenge accuracy and completeness of thinking in a way that acts to move people towards their ultimate goal. Conceptual clarification questions Get them to think more about what exactly they are asking or thinking about. Why are you saying that? Probing assumptions What else could we assume? Probing rationale, reasons and evidence Why is that happening? See also