EDLS 618. PRODUCTION & EVALUATION OF EDUCATIONAL MEDIA

EDLS 618. PRODUCTION & EVALUATION OF EDUCATIONAL MEDIA Fall 2009

Unit 1. Design Module 3: Selection Principle: Figure and Ground

Introduction • Previous modules have addressed the importance of visual literacy, theories related to learning and visual literacy, and suggestions for creating effective and efficient instructional visuals. • Module 3 is the first of three principles related to visual design and development for instruction: selection. • Selection refers to the tendency of the mind to pay attention to what is dominant in an image. • Figure-ground distinctions are important in this regard because whatever the mind is attending to is the figure, and whatever the mind is ignoring is the ground. Module 3. Selection Principle: Figure & Ground

Characteristics of Effective Instructional Visuals Mayer identified seven characteristics of effective visuals (the “7 C’s”): • Concentrated • Concise • Correspondent • Concrete • Coherent • Comprehensible • Codable • Three of these principles have immediate implications for the principle of selection: • Concentrated – emphasizes key points or concepts in both graphic and textual elements • Concise – visual information is reduced to only that which is essential • Concrete – elements that facilitate the ability of the viewer to visualize Module 3. Selection Principle: Figure & Ground

Characteristics of Effective Instructional Visuals • One strategy to use in responding to the 3 C’s is to improve the figure-ground. • The principle of figure/ground is one of the most basic laws of perception and one that is used extensively to help us design instructional visuals. • The principle was first introduced by the Danish phenomenologist Edgar Rubin (1886-1951). • In its basic sense, it refers to our ability to separate elements based upon contrast: that is, dark and light, black and white. • In this discussion, we'll expand this definition from one of simple biological perception to one that includes abstract concepts such as subject/background and positive/negative space. Module 3. Selection Principle: Figure & Ground

Figure-Ground • You'll have trouble seeing this albino elk during a recent snow storm... Module 3. Selection Principle: Figure & Ground

Figure-Ground • ...but you can see him now, because there is sufficient contrast for your eye to perceive him against the background. • This is a simple use of the principle of figure/ground. Module 3. Selection Principle: Figure & Ground

Figure-Ground • Often our identification of the figure is helped by its position within the image. • Most often, the figure is in the foreground—like this boy fishing. Module 3. Selection Principle: Figure & Ground

Figure-Ground • Sometimes the figure/ground distinction is blurred on purpose. • What do you see in the image on the right? • Faces? • Or a chalice? • When the figure and ground are equally balanced, we can be confused by the result. • Basically, we seem to have an innate tendency to perceive one aspect of an event as the figure or foreground and the other as the ground or background. • There is only one image here, and yet, by changing nothing but our attitude, we can see two different things. • Notice how the image fluctuates between the two possibilities even though the image on your retina remains constant. • It is difficult to perceive both meaningful images simultaneously. Module 3. Selection Principle: Figure & Ground

Figure-Ground • This ambiguity can become a "figure/ground flip." • Sometimes, we can deliberately create an image in which the most obvious choice for the figure (it's readily recognizable in the foreground) is not really the subject. • In this picture, the subject of the photo is the light and clouds--not the father and child fishing. Module 3. Selection Principle: Figure & Ground

Figure-Ground • Again, “figure-ground is a perception principle that explains how the limited information-processing capacity of the human mind forces people to focus on one stimulus at a time rather than several.” (Lohr, p. 102) • Two forms of attention are evident relative to figure-ground: • What the learner is paying attention to, or selecting (the figure) and • What the learner is not paying attention to (the ground) • Thus, what we seek to do in designing instructional visuals is implement figure-ground relationships that improve instruction by simply making the most important elements stand out. • Using the 3 C’s (concentrated, concise, concrete) effectively will help achieve optimal figure-ground relationships. • Eliminating some non-essential elements reduces cognitive load, or the demands placed upon short-term memory. • This makes instruction easier and more efficient. • Conserve “data ink” (anything that is not white space) to enhance figure-ground. Module 3. Selection Principle: Figure & Ground

Three Types of Figure-Ground Problems 1. Competing Figure and Ground • When the figure and ground compete with each other, the viewer is forced to decide which element is the most important. 2. Reversal of Figure and Ground • Reversal of figure and ground are confusing and misleading for the viewer. • Unnecessary embellishments “junk up” a visual. 3. Figure, Ground, and Optical Illusion • The Danish psychologist Edgar Rubin popularized optical illusions with the famous vase/profile illusion shown earlier. • Such illusions also create confusion and can be misleading for the viewer. • Some notable examples of optical illusions follow. Module 3. Selection Principle: Figure & Ground

Figure, Ground, and Optical Illusions Module 3. Selection Principle: Figure & Ground

Figure, Ground, and OpticalIllusions: The 1+1=3 Phenomenon Two figures may combine to form a third, often unanticipated and misleading image. I love Paris in the the Spring- time! Module 3. Selection Principle: Figure & Ground

Figure, Ground, and Optical Illusions: The 1+1=3 Phenomenon • Poorly designed visuals often create this effect by utilizing too many different, competing signals for the viewer: visual, auditory, motion. • Another common error occurs when the “container” for information becomes the figure rather than the ground. Module 3. Selection Principle: Figure & Ground

Figure/Ground Yellow text on a white background or Some color combinations, such as blue and red, cause illusions when positioned together Blue text on a black background, is difficult to read because of the low level of contrast between figure and ground • When we create visuals that are intended to be read, offering the viewer enough contrast between the background (paper or screen) and the text is important. • Text presentations ideally offer at least an 80% contrast between figure and ground. (Black text on a white background is ideal.) • If there is not enough contrast between figure and ground, a viewer will squint to view the text, causing eye fatigue.

Figure-Ground and the Novelty Effect • Novel images may create confusion and impede understanding. • The viewer utilizes cognitive energies in focusing on irrelevant information. • These cognitive resources might be expended trying to translate what an image, especially a novel image, means. • Collect and use novel images judiciously with a clear understanding of the visual abilities of the learners for whom the image is intended. Module 3. Selection Principle: Figure & Ground

Figure/Ground

Actions and Tools • The preceding was intended to sensitize you to the challenges presented in creating a good balance between figure and ground. • There are no simple rules or formulas to guide you, other than what we just discussed. • Tools and actions discussed thus far can be of immeasurable value in helping you maximize the instructional potential for your visuals. • Contrast is the primary technique you will apply in this regard. • Tools that will help achieve contrast include: • Type – size and density • Shape – draw the eye to important elements • Color – make elements more noticeable • Dimensions – images that are larger or seem to advance attract attention • White space – “There is no sin in white space.” Module 3. Selection Principle: Figure & Ground

Generative Strategies • Thus far, we have focused on how the teacher/designer develops visuals for instruction. • The focus has been on identifying and utilizing strategies and principles that will improve learner perception and understanding. • As the designer, you are doing some of the work for the learners by organizing the information up front, so to speak. • Thus, they do not have to expend much mental energy in interpretation. • On some occasions, it is desirable to have the learners do the organizing and development. • Thus, it is important to utilize generative strategies that require learners to generate their own meaning by: • Outlining content • Creating organizational charts, mental images and analogies • Summarizing information in their own words • These approaches will help learners think deeply about the information and, consequently, learn more thoroughly. • The use of generative strategies will require that learners utilize principles of figure-ground (see Figure 5-11, p. 115). Module 3. Selection Principle: Figure & Ground

Lesson Follow-Up • Find a research article that deals with figure-ground theory. • As you are searching for this article, keep in mind that the word "figure-ground" may not help you locate research. • Instead, look for articles that emphasize "attention," "motivation," "clarity," "information access," "multiple channel processing," "effectiveness of headings," and other terms that deal with the concept of figure-ground. • You can be creative with this search. • The idea is to find research that deals with helping people perceive what is important in an image. • Discuss (share) this article with your classmates in the discussion in WebCt. • Include this article in your portfolio. Module 3. Selection Principle: Figure & Ground

EDLS 618. PRODUCTION & EVALUATION OF EDUCATIONAL MEDIA