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Graphics for Learning.



Graphics for Learning, Book, 2004, Pfeiffer Pfeiffer is the surname of several notable people:
  • Carl Pfeiffer (1908 – 1988), one of the founders of orthomolecular psychiatry
  • Dedee Pfeiffer, American actress
  • Ehrenfried Pfeiffer, biochemist active in the development of biodynamic agriculture
 & Company, $51.

Support: CD-ROM CD-ROM: see compact disc.
CD-ROM
 in full compact disc read-only memory

Type of computer storage medium that is read optically (e.g., by a laser).
.

Time spent in art, photography, and Photoshop A popular high-end image editor for the Macintosh and Windows from Adobe. The original Mac versions were the first to bring affordable image editing down to the personal computer level in the late 1980s. Since then, Photoshop has become the de facto standard in image editing.  classes gave me a greater appreciation for graphic artists, but it left me yearning to find a clearer explanation between visuals and instructional strategy.

I finally found "Finally Found" was the debut single from the Honeyz. This was their most successful single in the UK and worldwide, securing a number 4 position in the UK singles chart and achieved platinum status in Australia [1] Tracklisting

# Title Length
 a graphics design reference book that speaks my language as an instructional designer. Graphics for Learning: Proven Guidelines guidelines,
n.pl a set of standards, criteria, or specifications to be used or followed in the performance of certain tasks.
 for Planning, Designing, and Evaluating Visuals in Training Materials provides an explanation of the visual design process in the context of familiar themes in the instructional design Instructional design is the practice of arranging media (communication technology) and content to help learners and teachers transfer knowledge most effectively. The process consists broadly of determining the current state of learner understanding, defining the end goal of  process.

This does not mean that instructional designers are the only target readers. For example, the book also addresses how graphic arts graphic arts: see aquatint; drawing; drypoint; engraving; etching; illustration; linoleum block printing; lithography; mezzotint; niello; pastel; poster; silk-screen printing; silhouette; silverpoint; sketch; stencil; woodcut and wood engraving.  professionals can enhance their skills to support learning and job performance goals.

Readers who are more involved in the selection instead of the production of instructional materials will also benefit. For this last group, learning more about the visual design process will help to make better decisions about the investment of production time (and its financial cost) to promote better learning.

However, the promise to help readers that have no graphics talent prompted me to dive into the book further.

Easy entrance

The authors set a comfortable, inviting environment for instructional designers in the first section of the book by defining the visual model process in an instructional model framework. After all, we learn best in a realistic work setting, right?

The model appropriately begins with defining instructional goals and works through the analysis phases so that the end result is a harmonious blend of psychological learning guidelines that support visual design decisions.

In the second section, the authors provide a convincing case, based on research, of the best use of graphics. They focus on the experience of the learner. Once again, this approach fits with the best examples in instructional design.

For example, instructional events such as gaining attention, recalling prior knowledge, minimizing cognitive load Cognitive Load is a term (used in Educational psychology and other fields of study) that refers to the load on working memory during problem solving, thinking and reasoning (including perception, memory, language, etc.). , and supporting motivation are everyday decisions in an instructional designer's life.

I especially appreciated how the book shows the interrelationship in·ter·re·late  
tr. & intr.v. in·ter·re·lat·ed, in·ter·re·lat·ing, in·ter·re·lates
To place in or come into mutual relationship.



in
 between content types and graphical types in the third section. The goal of both of these classification groups is to help learners build mental models. This allows learners to apply the concepts to perform tasks, solve problems, and make decisions.

In section three, the book describes five instructional content types: procedures, concepts, facts, processes, and principles. Guidelines for designing visuals for each content type are provided. The visuals are identified as explanatory ex·plan·a·to·ry  
adj.
Serving or intended to explain: an explanatory paragraph.



ex·plan
 graphic types. The four types of explanatory graphics are organizational visuals, relational visuals, transformational visuals, and interpretive in·ter·pre·tive   also in·ter·pre·ta·tive
adj.
Relating to or marked by interpretation; explanatory.



in·terpre·tive·ly adv.
 visuals.

Each chapter in this section provides a guideline guideline Medtalk A series of recommendations by a body of experts in a particular discipline. See Cancer screening guidelines, Cardiac profile guidelines, Gatekeeper guidelines, Harvard guidelines, Transfusion guidelines.  of how the content type and explanatory graphic type complement each other. The guidelines include a basic if-then premise. For example, if the instruction fits with a process content type, then use transformational visuals and interpretive visuals.

The fourth and final section provides practical advice on how to plan and implement a successful learning program with the defined guidelines. Although I maintained the perspective of an instructional designer in the first three sections, I can easily see how this section would be beneficial to anyone in the learning design process.

Knowing the right question

All project team members need to ask questions. Usually, the biggest challenge is knowing the right questions to ask. This section eliminates the guesswork. It helps all team members to identify production elements that they may not have considered. The checklists and reference charts will help you to confidently prepare for your next production meeting.

Throughout the book, the authors provide examples to illustrate the guidelines. The content of examples vary, which helps to demonstrate how the principles can be applied in different situations. I was grateful for the case studies that are provided at the end of the book. They helped to pull all of the ideas together by conceptualizing a specific project.

The book comes with a CD with color copies of the reference materials. I found the navigation of the CD awkward and not as useful as I anticipated. I would have preferred another alternative to the CD for support materials, such as an online discussion board or perhaps a website that would continue to supplement the visual design guidelines with new examples.

Practical, easy to use

Overall, the book is a valuable resource with practical advice and direction. It is well organized, making it easy to follow the guidelines. Each guideline is reinforced with examples and user-friendly user-friendly - Programmer-hostile. Generally used by hackers in a critical tone, to describe systems that hold the user's hand so obsessively that they make it painful for the more experienced and knowledgeable to get any work done.  reference materials. The illustrations include best practice examples as well as non-examples.

My only suggestion for the non-examples is that it may be helpful to provide before and after treatments as well.

Recommendation

I recommend Graphics for Learning, and I plan to refer to it often for my instructional design projects. This type of publication is intended to be lived, not read and forgotten. The book's efficient organization makes it easy to find reference material that addresses the specific component of a training project.

At a very reasonable cost, it provides a solid approach to visual design projects and will certainly strengthen your expertise and widen wid·en  
tr. & intr.v. wid·ened, wid·en·ing, wid·ens
To make or become wide or wider.



widen·er n.
 your perspective, regardless of your role or responsibility.

Review by Diane DIANE Diversified Information and Assistance Network (Tennessee Valley Authority)
DIANE Direct Information Access Network for Europe
DIANE Digital Integrated Attack and Navigation Equipment
 Sidwell Jones
Product Ratings

Graphics for Learning

Holds user interest  ***
Value of Content     *** 1/2
Self-Study Value     ***
Instructional Value  *** 1/2
Value for the money  *** 1/2
Overall rating       *** 1/2
COPYRIGHT 2007 TMR Publications
No portion of this article can be reproduced without the express written permission from the copyright holder.
Copyright 2007, Gale Group. All rights reserved. Gale Group is a Thomson Corporation Company.

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Author:Jones, Diane Sidwell
Publication:Training Media Review
Date:Jan 1, 2007
Words:888
Previous Article:The Thalheimer blog.
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