Presentation tools like PowerPoint are used extensively (Park & Feigenson, 2013), but they are regularly criticised because poor application obfuscates the message (Schoeneborn, 2013). The project introduced in this paper focussed on developing a Unified Design Model (UDM) and an integrated set of research-based design principles, which would help users overcome identified weaknesses in the use of presentation aids. As a bi-product of the research, this project also addressed issues related to other computer-based visualisations. The first step taken to achieve this objective was to review research in neuroscience, biopsychology, and cognitive science. Collected information was used to develop an integrated understanding of the way the human brain processes information, and particularly visual content. This knowledge was then integrated with guidance and results from psychophysics and design related publications, to create a set of draft principles that holistically covered the key aspects of visual design. In all, the information from 1640 publications was used to develop these draft design principles. The validity of these draft principles was tested through an experimental program, which is explained in the PhD thesis at Hilliard (2016). In the interests of brevity, this paper only introduces the UDM framework. However, even this short introduction to the UDM gives important insights into the design of presentations, and other forms of computer-based visualisations, including web pages and e-learning material.
Este estudio trata sobre un elemento clave de diseño, relacionado con el nivel de complejidad del material visual, y su efecto sobre la comprensión e impresiones sobre la audiencia. Para cuantificar este efecto, se ha desarrollado un modelo indicativo de la curva de complejidad, basándose en investigaciones previas sobre este tema. Esta curva de complejidad ha mostrado que una complejidad moderada, tiende a producir resultadosóptimos de aprendizaje. Para probar este modelo, se crearon una serie de presentaciones control, con la aplicación de complejidad moderada. Después, se desarrollaron variaciones de estas presentaciones. Laúnica diferencia entre las presentaciones control y las variaciones fue la aplicación de cambios específicos en la complejidad de los elementos visuales. Los cambios incluyeron el uso de imágenes incongruentes, que tenían contenido de muy baja complejidad y se fue aumentando la complejidad con la adición de animaciones superfluas. Los datos sobre la comprensión y las impresiones fue recopilada a través de un proceso experimental formal. Los datos recogidos indican que la curva de complejidad desarrollada a partir de estos datos, es válida. Estos resultados tienen implicaciones importantes para el diseño del aprendizaje y todas las formas de diseño visual basado en ordenador. This paper addresses a key element of design, which relates to the level of complexity in the visual material, and its effect on viewer comprehension and impressions. To help quantify this effect, an indicative Complexity Curve model was developed from previous research on the topic. This Complexity Curve showed that moderate complexity was most likely to produce optimal learning outcomes. To test this model, a series of Control Presentations were created, which applied moderate complexity. Variants of these presentations were then developed, so the only difference between the control and variant presentations was the application of specific changes in the complexity of the visualisation. These included the use of incongruent pictures, providing very low complexity content, and increasing the complexity by adding extraneous animations. Comprehension and impressions data was then collected through a formal experimental process. This collected data indicated that the developed Complexity Curve appeared to have validity. These results hold important implications for learning design and all forms of computer-based visual design.
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