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Rochester Institute of Technology

RIT Scholar Works

Theses

Thesis/Dissertation Collections

2004

Practical Applications of Design Semiotics

Amy Bendall

Follow this and additional works at:

http://scholarworks.rit.edu/theses

This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion

in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact

ritscholarworks@rit.edu

.

Recommended Citation

(2)

Practical

Applications

of

Design Semiotics

A Thesis Submitted

to the

Faculty

of

The College

of

Imaging

Arts

and

Sciences

in

candidacy

for

the

degree

of

Master

of

Fine Arts

in

Computer Graphics Design

Amy

Bendall

(3)

A Thesis Submitted to the Faculty of

The College of Imaging Arts and Sciences

in candidacy for the degree of

Master of Fine Arts in Computer Graphics Design

Title:

Submitted by:

Date:

Practical Applications of Design Semiotics

Amy Bendall

October 28, 2004

Thesis Committee Approval

Chief Advisor: Chris Jackson, Assistant Professor, Computer Graphics Design

Signature

Date

Chief Advisor: Robert Keough, Professor, Computer Graphics Design

Signature

I f '

~

-

~r

Date

Chief Advisor: Nancy Ciolek, Associate Professor, Computer Graphics Design

Signature

101.ft

Chairperson: Patti Lachance, Associate Professor, School of Design

SignatLire

I, Amy Bendall hereby grant permission to the Wallace Memorial Library of RIT to reproduce

my thesis in whole or in part. Any reproduction will not be for commercial use or profit.

(4)

Abstract

This

thesis explores

instructional

design

and

how

it

can

be

implemented in

a

large lecture

course

in

orderto

improve

thecomprehension and retention oftheoretical

design

concepts.

My

thesiswas

inspired

by

the

difficulty

in

teaching

first

yearundergraduate students

design

theory

in

therequired undergraduate course

Design

Survey. One

consistent problem

is

thestudent's

inability

to understand

how

these abstract concepts

apply

to them

individually

and withintheiracademic

discipline.

Keywords

Instructional

Design

Design Semiotics

Design

Analysis

Online

Learning

Multiple Intelligences

Graphical

User

Interface

Flash

Usability

Information Design

Background

The

following

Semiotic

Design

Chart

is currently

used

in

theevaluation

lesson

of

Design

Survey

class

to

illustrate

theoretical principles and

vocabulary

relatedto

design

semiotics.

There is

a

lot

of valu able

information

withinthe chart

but

thestudents

have

a

hard

time

understanding

how

it is

relevantto their

learning

experience.

The

chart was

developed

specifically

for

the

Graphic Design

field;

therefore,

relevance seemsto

be

an even

bigger

problem

among

Industrial

Design,

Interior

Design

and

New Media

students.

In

additionthesize and

diversity

of

backgrounds

and

interests

of

Design

Survey

studentscre ates unique challengesto

effectively

and

efficiently explaining

theconcepts.

Relevance

of

Design Evaluation

The vocabulary

and theoreticalconcepts

introduced

in Design

Survey

provide studentswith thetools

for

school and theircareers.

These

concepts arethe

building

blocks

of

design

evaluation.

Without

an

understanding

ofthese concepts,students

lack

avaluabletoolto

develop,

critique and

defend

their
(5)

Design

Survey

Semiotic Design Model

Semantic

Syntactic

Form composition

Meaning

concept

I

content

\

message

\

hierarchy

\

copy symbols

Message/

Meaning

Aesthetic

hierarchy

colors

typography

shape preportion texture Perceptions aesthetics balance

Pragmatic

space system grid

harmony

Function/

infrastructure

gestalt

Usability

marginsnegative space

subjectivity contrast

feeling

emotion

like/dislike <Specification deadlines budget

Distribution posted

mailed

Communicationclarity format time-based

legibility

interactive

readablitity Production materials

language tools humanfactors

vocabulary fabrication ergonomics

targetaudience

SemioticModelofDesign

Semantic

Every

designed itemhasthreedistinctdimensions: semantic, syntactic,pragmatic.

Thismodel serves asan objectivebasisforevaluating boththefavorable attributes andunfavorableattributesofadesign.

Refersto therelationshipofavisualimagetoameaning.Howwelldoesthe designrepresent and message?Dopeoplefail tounderstandthemessagethe design denotes?dopeoplefromvariousculturesmisunderstandthe design?

Syntactic Referstorelationshipofonevisualimagetoanother. Howdoesthedesign

look? Howwelldothepartsofthe designrelatetoeach other?Isthe

constructionofthedesignconsistentinitsuse of

figure/ground,

solid, outline, overlapping,transparency,orientation,

format,

scale, color,andtexture?
(6)

Research

After

selecting

this topic

I began

research on

both

traditional educationaltheories and more current

documentation

on approaches to

instructional

design. Instructional

design

providesthe

opportunity

to

reach more educational goals

by

integrating

a multimedia approachto

learning. This

is

especially

perti nent

in

a

large

lecture

course

like Design

Survey

where

individual

students would not

traditionally

have

accessto the

lessons

content as thequarter progressed.

Through

research

it

became

clearthat the

combinationof

instructional

design

and

Internet

delivery

would providethe

opportunity

toovercome several

difficulties

inherent

toa

large lecture

course:

Addressing

students with

different

learning

styles

Reinforcement

ofconcepts

introduced

tostudents

in

class

Making

information

relevanttostudents

from

various programs

Illustrating

complextheoretical concepts

visually

Information

should

be

accessibletostudents at alltimes

After

gathering

a

base

of

information it

was

necessary

toassemble a

focus

group

from

the

Design

Sur

vey Class

and assestheircomfort

level

withtheconcepts thatare covered within the

Design Evaluation

lesson. The

questions on the

survey

were presented with a scale of oneto

five,

one

being

the

least

and

five

the mostcomfortable.

Thesis

Survey

I: DesignSemiotics

Readeach statement carefully.Fillin boxonethroughfive

depending

onhow stronglyyou agree withthecontentof each statement.One

being

theleastandfive

being

themost.

least .most

1 2 3 4 5

1wouldfeelconfidentin

defining

each ofthe

threecomponentsin the designmodel.

D

D

D

D

o

i 2 3 4 5

Iunderstandtherelationship between Semantic I If

]

[

)

I If

]

(Message/Meaning),Syntactic

(Aesthetic)

and

Pragmatic(Function/Usability),

Icouldanalyzethemessage andmeaningof a

D

71

G

D

D

product ordesign.

Icould analyzethe

functionality

andusabilityof

O

O

CD

CD

O

a product ordesign.

Icould analyzethe designand aesthetic of a

CD

CD

CD

CD

CD

product ordesign,

" ~ "

After studying the Semiotic DesignModel, I

O

D

O

O

O

understandhowthedefinitionof a project's

"success"

maychange

depending

on whichof
(7)

Initial

Survey

Analysis

25

-u

3

tIS

-E o

u

0

-? Seriesl

Questions

This

graph showsthe results ofthe

focus group

surveys.

The

x-axis representsthequestions andthe y-axis representsthecumulative score

indicating

the participant's

level

of confidence withthatquestion.

The

results ofthis

survey

showthatstudents were

least

comfortable

in

two

areas;

(

I

)

defining

the three componentsofthe

design

model;

(2)

understanding

how

theanalysis of a

design

or projectcould change

depending

on which ofthe threeaspects of

design

were emphasized.

In

additionto thesur veyed

issues,

it

also

became

clear

that,

(3)

Students

viewed and

understanding

ofthe

Semiotic

Model

as at

least

unrelatedtoor at

worst,

irrelevant

to theireducation and

future

career.

This data helped

to

focus my

thesisproject on

developing

an

instructional

tool thataddressedtheseparticular

issues.

The survey

was effective

but

the traditional paper

format

was

difficult

to

distribute

and receive.

At

theend of

my

thesis project

I

would

have

even

less

accessto

my focus

group,

so

I decided

to

design

an online

survey

thatwould connectto a

database

tocollect

data from

the

final

survey.

I

tookan

indepen

dent study

in ColdFusion in

orderto

learn how

to

develop

this

survey

application.

Brainstorming

Since

relevance was one oftheareas students were

having

trouble

with,

the

first step

wastoset

up

meetingswitha professor

from

the

New

Media,

Industrial

Design,

Interior Design

and

Graphic Design

departments. The

intent

of

involving

this

many

individuals

wasto make surethat thecontent

included

(8)

could

be

usedasthe example piece.

In

orderto maketheconcepts moreapplicabletothestudents chosen

field,

examples ofstudentwork and

information

from

withintheirmajorwould

be

utilized to

illustrate

the theoretical concepts.

This way

it

takes theconcepts outofthe theoreticalarena and

appliesthemto concrete workthat

has been designed

by

someoneofsimilar experienceto solve a problem assigned

by

a

familiar

professor.

At

this point

I had developed

the

initial

flow

chart sothat theconcept could

be

presented toeachof

the professorsas a

starting

point

for

the project.

Therese

Hannigan

from

the

New Media Department

is

the

first

professor with whom

I

met.

She

was

interested

in

the project and supportiveofthe

idea

of

using

work

from

astudentwithinthe

New

Me

dia

Department

to

illustrate

the conceptsofthe

lesson.

At

this time

I

was not sure

how

thiswas

going

towork

but

she was excited aboutthepossibilities.

Main

Page

General

Instructions

Technical

Specs

New Media

Industrial

Design

Interior

I

Design

Graphic

Design

Animation

Overlay

>H

Analysis Message meanig Analyst; Aesthestic Analysis Function/ Usability Object Movie ofProduct QTVR click through

Zoom in on

print piece

H

Analysis Message/ meanig Analysis Aesthestic Analysis Function/ Usability

..,.&*

(9)

I

met with

Nancy

Chwiecko from

the

Interior

Design,

Stan Rickel from Industrial Design

and

Deborah

Beardslee from

Graphic Design. Between

the student

survey

and

the

meetings with

professors,

I

con

cludedthatthecontent ofthewebsite should

be broken

up

by

department. This

would enable students

to

first

explore content

in

relationtoa

field

in

which

they

felt

comfortable,

andthen to

build

on that

understanding

by

seeing how

those

theoretical

concepts are applied

in

other

fields.

Some individuals

were more

interested

than

others,

but

what

became

clear wasthat therewere too

many

people

involved

in

a projectthat

I had

too

little

time to complete.

After

a

meeting

with

my

com

mittee

I

decided

the

best way

tonarrow

my

content was to pickoneprogram and

follow

thatpar

ticularprogram through tocompletion.

This

would solvethe problems of

my

proposal and

keep

the

projectwithin a reasonable scope.

I

selected

New Media

for

three reasons:

(l)The

professor was

interested in

theproject and

willing

to

participate.

(2)

New Media

is

the newestofthe

design fields

andthere are not a

lot

of support mate

rialsthataddress

design

theory

in

direct

relationto

New Media.

(3)

New

Media is

alsothe

field

that

most

closely

reflects

my interests.

I

metwith

Therese in

ordertogo overthe

flowchart

and

discuss

studentwork

for

the

New Media de

signevaluation example.

I

initially

thoughtthat the new media piece would

be

aweb site.

Therese

sug

gested an animation sothatwe could

deal

with elementsthatare uniqueto

New Media

suchastime

and motion.

I

thought that thiswas an excellent

idea

but had

a

difficult

time

visualizing

themechanics

of

designing

an

interactive

evaluation ofan animation.

Design

It

was

important

to methat this

information

could

be

accessed

by

individual

students

in

a

large lecture

course as well as

by

aprofessor

in

need of apresentationtool.

Taking

both

ofthese considerations

into

accountthemost sensible

delivery

is

the

Internet. These

factors

also

helped

to

determine

that

thewebsite neededto

be

designed

sothat

it

could

be

viewed

from

a

laptop

or a projector.

Therefore

800

x

600

wasthe maximum screen resolution

I

would

be

working

with.

Since

thiswebsite would

be

accessed

by

students

from

a

variety

of computers and

browsers,

the

initial

page

is HTML

and

has

all of

theplug-ins and

browser

requirementsthatare

necessary for

them toviewthe

information. The RIT

Online

Learning

sitewasused as aguide

for

my

requirements.

In

orderto allow

for

maximum

interac

tionand

flexibility

of

content,

the restofthewebsitewould

be

produced

in

Flash.

I

initially

chosethe colors

below

asthe palette

for

the

interface

because

they

were

complimentary

and

did

not

detract from

theworkthatwould

be

housed

withinthe

interface.

After

selecting

thesecolors

I

designed

the

initial

HTML

pageto

introduce

thewebsite content and pro

vide

plug

-

in

information.

In

thenavigational structure

I

wantedto showthe

departments

withinthe

website;

New

Media,

Industrial

Design,

Interior Design

and

Graphic

Design,

andtheir

direct

relationship

(10)

designsemiotics

newmedia industrial design interiordesign graphicdesign technical requirments

Practical ApplicationsoftheSemiotic Design Model

This Instructionalpiececanbeusedas apresentationtoolor

bythestudentfor Individualstudy. Hakesure youhavethe applicationslistedunder technicalrequirements.

Use thenavigation abovetolearn learn how theSemiotic Design Modelcanbeused toevaluate work withinthese

existing fields.

Project Goal

This toolis intendedto accompany existing informationon

designsemiotics andhelptheuseetoapply thetheoryIna practical way.

Exploringthissite

Ifthisis yourfirstlimeuseing thissitebeginbyclickingon the

designsemioticsbuttonatthetopofthepage.

Windows Software

AdobefterobatReaderB

Microsoft InternetE plorei

Netscape71

Flash PlayerB

Macintosh Software

ftdobe Acrobat Reader6

InternetExplorer5.2 3

Netscape?I

Flash PlayerB

My

committee

helped

me

identify

revisionsthatwould get mecloserto

my

final design.

At

this

point,

I

revisedthe

copy

by

moving

the

instructions

from

the

top

ofthepageto the

bottom. The

color scheme

was modified sothat

it is based

off ofthesame

RGB

model that the

Semiotics

Chart

uses

for

its

anal

ogy.

This

way

the colors make sense not

only aesthetically but

alsotie

in

to the project on another

level.

My

committee also advisedto reduce

"Technology

Requirements" to

"Requirements"

and

delete

it

from

themain navigation.

This

was an

important

change

because my

initial

concept puttoomuch em

phasison

"Technology

Requirements."

By

pulling

thatout ofthemain navigation

it helped

reach

my

goal
(11)

designsemiotics

Practical

Applications of

Semiotics

newmedia industrialdesign interiordesign graphicdesign

Exploring

this site ::

If thisis yourfirsttime usemg thissitebegin

by

clickingonthe designsemioticsbuttonaLthetopofthepage.

Practical Applicationsofthe Semiotic Design Model

This instructionalpiece canbeusedas a presentationtoolor

by

thestudentforindividual study. Hakesureyouhavethe

applications listedundertechnical requirements.

Usethenavigationaboveto learnlearn howtheSemiotic Design Modelcanbeusedtoevaluatework withinthese existing fields.

Requirements

WindowsSoftware

Adobe Acrobat F:eaderS

Microsoft Internet Explorer

Netscape 7.1 Flash Player 8

Macintosh Software

Adobe AcrobatReader6 InternetExplore r5.2 3 Netscape 7 1

Flash PlayerS

ProjectGoal

Thistoolis intendedtoaccompany existinginformationon

designsemioticsandhelptheusertoapplythe

theory

Ina

practicalway.

Now

thatthecolor schemeand navigational conventions wereestablished,

I

could move on and

begin

workonthe

secondary level

ofthewebsite.

The secondary level is

wherethe student

interacts

with theanimation and viewsthe

overlaying

analysis.

I

wantedto

keep

thenavigationvisible at alltimessothat thestudent could continueto reinforcetheir

understanding

of

how

all oftheconceptsrelatetoeachother.

This

is

also where

color-coding

really

came

into

play.

Each

ofthe typesofevaluation; aesthetic,

meaning

and

usability

have

a colorassignedto them which also

directly

relatesto thesemiotic chart atthe

bottom

ofthepage.

The

chart atthe

bot

tomthepagechanges

depending

on whichtypeof evaluation

is

selected.

For

example

if

"Aesthetic"

is

selected

in

the navigation, the

"Syntactic"

(12)

Practical Applications

of

Semiotics

interiordesign graphic design requirments

Area foranimation evaluation.

All copy inrelationtoaestheticwillusethiscolor.

|

All copy inrelationto meaningwill usethiscolor.

AH C0PVinrelationto usabilitywillusethiscolor.

semantic syntactic

J

Refersto therelationshipof one visualimagetoanoner.

At

this point

in

the

design

process

I

receivedthestudent animationtowhich

I

would

be

applying

the

different

stages ofanalysis.

This

lead

to

many

revisions,

theanimation

itself

was smallerthan

I

antici

patedat

550

by

400

pixels.

The

smaller size

freed up

morespaceto the right oftheevaluation area and allowed meto movethechart

up

and tothe rightofwheretheanimationwould

be

playing.

This

is

much

better from

a

usability

standpoint

because

we read

from left

to right and

it

makes

it

easier

for

the

individual using

thewebsiteto

look

atthechartthan

if

they

had

to

continuously

referto the

bottom

of

thepage.

When

thechart was movedtotherightthecircles within the chart were alsore-ordered so

that

they

mirroredthe navigation.

This

type of

consistency

is

crucialto the explanation ofthetheoreti

cal concepts.

Repetition

and

consistency

help

students

learn

the

information

without

making

them

memorizea

list.

As I

prepared

Brian Emling's

workto

be loaded

withinthe

instructional

interface I discovered

thatani

mation was

designed

sothat

it

playedthrough

different

scenes.

This

made

it impossible

tocontrol the

playbackthrough

my

interface.

After

some exploration and

testing

I

discovered

that

in

order

for

meto

be

ableto controlthesound and animation with video style

controls,

I

would needtorestructurethe

animation sothat

it

wasall on onetimelinewithout

altering

thestudents animation.

Once

the animation was

in

asequential

format

I

wasabletostart

coding

the

Fast

Forward,

Rewind,

Play,

Pause,

Zoom

In

and

Zoom Out buttons. I designed

the

icons

for

thevideo control

buttons in

Il

(13)

instance

with a

different

icon.

This

saves on

file

size and

keep

thegraphics consistent.

After

all ofthese

modificationswere madethesecond

level

interface had

reached

its

final

version.

designsemiotics

Practical

Applications of

Semiotics

new media industrial design interiordesign graphicdesign

_}

aesthetic

f

meaning

f

usability

newmedia|

Introduction:

1

he

animation you arc about

to

view

wascreated

to

solve the problem

below.

~~~~

/<*~~r~T>>\

Read the

problem

before

continuing.

Problem:

1

syntactic semantic

:|

To

create an animated

design using

type

.

-V^ .

and vector graphics

only

to

j

pragmatic

j

communicate

the meaning

ofa

\

/

typographic

term.

Nv^

y

Directions:

View

the animation

in its entirety

by

clicking

the

play

button

below.

0.

GL

<\

l>

\>

\P)

After

viewing

theanimation within the

interface

I

decided

that theusershould

have

thesame control

for

the aesthetic,

meaning

and

usability

analysissections.

Initially

I had

planned

for

it

to

be

more of a

self-timed animation with comments.

This

approach would not

have been

effective.

The

website need

edtowork

for

peoplethatread at

different

rates and

for both

studentsand professors.

Therefore

user

- centered

design

was

going

to

be very

important.

Copy

These

concernsover usercontrol

lead

metoprepare eachanalysis section as a separate

SWF file. This

also gave methe

freedom

to

intersperse instructional

textparticularto that

file. Therefore

the

instruc

tionscould

be

specificand

brief.

I

did

not wanttooverwhelmtheuserwithtoomuch

information

at

any

onetime.

This

approachwasalso

important

because it

included information

at

different

points

in

thepresentation so that

if

someone wentthrough

in

anonlinear

fashion

they

would not get

lost.

During

the

interface

design

process

I

had

alsostartedto receivetheevaluativestatements

from Profes

sor

Hannigan

that were

going

to

be

inserted

as

pop

-ups onthe

different

analysis sections.

I

began

the

editing

processwiththeaesthetic evaluative statements

by

assembling

a chartwith

Therese's

original

commentsonthe

left

and the revised commentsontheright.

I

wentthrough this process

in

order

tomakethecomments appropriate

for

their

delivery

format.

They

neededto

be

edited

down

with

out

loosing

their meaning.

After revising

thecomments

I

sentthem

back

to

Therese

for her

approval.
(14)

statements.

It

was

very important

toget all ofthestatements approved

before

including

them

into

the

SWF files. This

process made

it

possible

for

metoavoid

making

numeroustextchanges within

Flash.

Syntactic

-

Aesthetic /

Form

Revised

Copy

Original

Copy

The

margins are well

defined.

-

the

aspect ratio

is

well

designed (gives

room

left

to

right

and

top

to

bottom for animation)

A

longer

pause on

the

white space would

have

set

up the

animation

better.

-

there

should

be

a

slightly longer

pause

before

the

animation

begins

'

i

'

- give

the

viewer a chance

to

see

the

blank

white

area

before

the

"i-beam"

enters

the

scene

Animation

building

from

left to

right

builds

on established

typing

convention.

-

the text

coming

in

on

the

top

left

works

because

that's

how

we

traditionally

start

typing

It

alsoallows

the

character

to

enter at

the

center of

the

composition.

-

it

also

leaves

room

for

the

character

to

come

in

toward

center

The

contrast of

black

and white

helps recog

nitionof

moving

characters.

-

the black

works well

for

the

dingbats because

of

the

contrast

(recognize moving characters)

Yellow

color choice

helps

establish main

character's

dominance.

-

it

also makes

the

yellow

pop

out more so

that

our

character

has dominance

The

leading

needs

to

be

adjusted

because

of

the

capital

letters.

-

the

leading

needs

to

be

adjusted

in

the

first

text

block because

of

the

capital

letters

There

should

be

a

better

"grouping

and

nesting"

of

type

for

this

sequence.

-there

should

be

a

better

"grouping

and

nesting"

of

type

for

that

sequence

This font

is

very legible because

of

the

large

counterreform.

-

font

selectionworks well on screen

because

of

the

large

counterforms

(legibility)

Sans

serif

typeface

lends

itself

to

the

animation'smood without

hurting

legibility.

-

the

sans serif

typeface

lends itself

to the

mood of

the

animation without

hurting legibility

-

the larger

size of

the text

is

appropriate

for

"on

screen"

and

is

good

for

quick

scanning

Orange

text is

legible

andgrabs attention. -

the

orange color works

for the text because it's

legible

and grabs attention

The

color

is

consistentwith

the

theme

without

competing

with

the

main character.

-

it

sets

the

rightmood without

competing

too

much

with

the

maincharacter

Negative

space

helps focus

the

on

the text

and

the

main character.

-

there

is

an appropriate amount of negative space

to let

you

follow the text

and character

There isn't

a

strong

presenceof a grid struc

ture,

however the

floor

and

ceiling

create a

loose

infrastructure.

-

there

isn't

a

strong

presence of a grid structure

V: "

'

''

' -1

7"

-

however

-a

gray

area appears

for

a

lower

and

upper plane

(floor/ceiling

are

the

same)

Space is

usedwell,

the

animation

looks

continuous.

-

the

frames

areusedwell-

it is

notallself contained

-

things

look to

be

continuous

There is

repetition of contentwithoutredun

dancy.

-there

is

a

lot

of repetition

throughout the

piece

without

any

aspect

becoming

redundant

-

the

gray

area, the type

size and

color, the

use of

caps

for

emphasis

-

the

use of a

dingbat both in

a visual

form

(humor)

(15)

Once

the

statements were placed

into

their

pop

-ups and addedto theanimation

I had

another com mittee meeting.

After viewing

the

aesthetic comments withinthe

interface

they

made a suggestionto

add some typeof visual cueto tell the usertoclick

play

after

they

have

readthe statement.

I

revised

themovies sothatafter

every

statement pops

up,

the

play button

pulsesthecolorthat

is

associated

with thatsection until

it is

pressed.

It

is

a

helpful

indicator

thatmovesthe

lesson

along.

Final

Survey

Once

thewebsite was completed

it

was time to test

it

with

my

original

focus

group.

I

usedthesame students asthe

first survey

in

orderto reducethe number of variables

involved

withthe results.

The

onlineversion ofthe

survey

turned outto

be

worththeextra work.

I

received the

survey

results

in

amatter of

days instead

of weeks.

I

also

like

thecomplete

anonymity

that

Internet

delivery

provides

the

focus

group.

Overall

I

am

happy

withthe

results,

there

is

a marked

improvement in

both

compre

hension

of

vocabulary

and

understanding how

the type of evaluation you are

performing

can affectthe

outcomeoftheanalysis.

Final

Survey

Results

Si20

-ra

u

%

<

S

lo "

L.

E

5

-0

-1

DSerlesl

2 3 4

(16)

Further

Development

Time

was a

limiting

factor

in

determining

how

much of

my

thesis project was

developed

through to

completion.

Therefore,

I

would

like

to

include in

my documentation how I

envisionedthisproject

being

carried out.

In

the

fully

developed final

version,

each ofthe

design departments

would

have

a student example.

That

example would

be

representative oftheunique challenges

designers face

specifictothat

field.

For

New

Media

theseweretimeand motion.

For Industrial

design

they

may

be

usability

and

form. The

design

issues

would

be defined

by

the professor

representing

that

department.

Each

department's

evaluation exampleon thewebsite would

be

executed

in

the mediathatallowed

for

themost

immersive

design

evaluation simulation possible.

Industrial

Design: A

three-dimensionalobjectorproduct.

The

objectcould either

be

photographed,

or

if it

were aprototype

developed

asa

three-dimensional

model

it

would

be

exportedasa series of

images.

Either

way,

the

images

would

be

assembled

in

toa

QTVR

objectmovie.

The

object would

be

the

basis

for

the

analysis

Depending

on what section ofthewebsitetheuser

is

in,

thatsection's evaluative

statementswould

become

visible as

they

rotatedtheobject movie.

Interior Design:

An

interior

space.

The

interior

design

spacecouldalso

be

either photographed orathree-dimensional

representationof a space.

This department's

evaluation section would

be illustrated

by

a

QTVR

walkthrough ofthe

interior

space.

As

theuser progressedthrough the

space,

the

evaluative statementswould appear.

This

would

be

amuch more

interactive

representa

tionofan

interior

spacethan

is

possible with traditional media.

Graphic

Design: Information

architecture

in

a printed piece.

The

Graphic design

example would

employ

the

"magnifying

glass"

effectthat

is

created

in

Flash. This

would make

it

possibletosee more ofthe representative piece eventhough

there

is

not a

lot

ofscreen real estatetoworkwith.

It

wouldalso allowthe userto

zoom

in

on evaluative statements andthe

design

choices

they

are

referring

to.

Conclusion

Instructional

design

is

still a

fairly

new

field

that

is

finding

its

place

in

theacademic

landscape.

My

thesis

project exploresone

way

instructional design

could

be

used

in

the

future

to

help

professors

deliver

and

students retain theoretical

information

that

is

sometimes

difficult

toget across

in

a

large lecture

class
(17)

Resources

Online

Documentation

Getting

Started

with

e-Learning Standards:

Macromedia,

Inc.

<http://www.macromedia.com/resources/elearning/>

This document

is

a concise

listing

of

important e-Learning

organizations and standards.

It

also gives a

quick explanation of

why

the

technologies

thatare

listed

arethecurrent standards.

Instructional Design

&

Learning

Theory: Educational Communications

and

Technology:

Brenda Mergel.

May,

1

998:

University

of

Saskatchewan, <http://www.usask.ca/education/coursework/802papers/mergel/

brenda.htm>.

The Basics

ofthe

Learning

Theories

including

Behaviorism,

Cognitivism

and

Constructivism.

This

article

alsogoes

into

a

brief

history

of

learning

theories

in

Instructional Design. It

is

a useful

study

of what

has

worked

in

thepast and

how

that

information

can

be

integrated

withthe

technology

oftoday.

Macromedia

MX

Strategies

and

Architectures for

e-Learning

Content:

Tanya

Heins

and

Frances Himes. September 2002:

Macromedia,

Inc.

<

http://

www.macromedia.com/resources/elearning/>.

This document describes development

strategies andthe respective

Macromedia

technology.

It

also

goes through a

learning

object

demo

applicationthatcan

be

used as a

developer

model.

Efficiency

and

flexibility

ofcontent

viewing

arethe

focus

throughout thisarticle.

Using

the

Web for Interactive

Learning

and

Teaching

The Imperative for

the

New Millennium: Pat

Bro-gan. <

http://www.macromedia.com/resources/elearning/>

This

article

begins

with an

interesting

analysis oftoday's

economy

and

how

instructional

media can

be

usedto meetthe needs of a

changing

society.

Instructional design's

flexibility

and

capability

of

incor

porating

a

variety

ofmedia are also

discussed.

Learning

theoriesand

how

they

relateto the

future

of

Interactive

Teaching

and

learning

arealso explored.

Books

Jeffrey

Bardzell.

Macromedia

MX

e-Learning Advanced

Training

From

the

Source.

Macromedia

Press,

2003.

A step

by

step

guide

for

building

interactive

learning

applications

using Dreamweaver

MX,

Flash MX

and

Coldfusion MX.

Patricia L

Rogers.

Designing

Instruction

for

Technology-Enhanced Learning.

Idea

Group

Publishing,

2002.

This book

has

a nice case

study

approach

to

technology-enhanced

learning. It

goesthrough the

theory

and

background

ofthesubject

but

is

also

illustrated

with actual examples of each stageofan

instruc

tional

design

project.

It

also

divides

designing

for

Primary

and

Higher

education

in

to twoseparate
(18)

Useful Sites

Macromedia

http://www.macromedia.com/

Instructional

Design

http://www.instructionaldesign.com/

Interaction

Design: Beyond Human Computer Interaction

(19)

Pracca/

Appl

,caons

of

o

es'9n

Semiotics

^terofF/neArts

\ \

Theses Thesis/Dissertation Collections

References

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