Performance Load A.2

Provide 3 visual examples of products or artefacts (found in everyday surroundings) that satisfy the design principle of Performance Load. Upload them on your blog site with a brief explanation why the products satisfied the design principle.

Banking card

Banking card’s digits represents how cognitive load intertwine with design principles: the 16 numbers are ‘chunked’ into sets of four to make it easier to see it and read it out for payments and perhaps remember when they forget to bring their card to shopping centres.

Car Keys

An automatic car key reduces kinematic load as the buttons lock or unlock the car without having to physically insert the key into the key socket to do so.

GPS (Google map)

GPS, particularly Google map eliminates information not needed by specifically directing the user to a pathway, only addressing certain street names and directions. As a result, it reduces cognitive load and to an extent kinematic load (having to look for street names) as the GPS tells the approximate distance to turn down a street. Also Google Map uses colour contrasts to highlight certain streets and areas needed to navigate through or out of traffic, road blocks, detours and events. This is more evident when the ‘white space’ became dark grey when navigating in the night.

Performance Load A.1

Q1). In your own words, write a summary of the article and provide critical analysis/discussion on the topic of the article (150-200 words).

Performance load refers to the mental and physical activity required to achieved a goal. That means performance level increases when the load is low and light, resulting in higher probability of completing the task; decreases when the load becomes high and difficult.

There are two types of performance load: cognitive and kinematic.

Cognitive load is the amount of mental effort – perception, memory, problem solving- invested to achieve a goal (Ayres, Kalyuga & Sweller, 2011). Within cognitive load, there are three types: intrinsic, extraneous, and Germane cognitive load (Towers, 2010). In contrast

Kinematic load refers to “physical activity” used to complete a task which can be seen with a telegram as an example where letters such as E most used were given simplest codes (a dot) to reduce transmission rate and errors (Butler, Holden & Lidwell, 2010).

In wider context, general strategies such as eliminating noises, chunking information, using memory aids and automated procedures reducing cognitive load, are examples of reducing cognitive load thus maximising performance and task success. It is because “enhanced performance is paramount to education and training industries (cooper, 1998).

Q2). The authors mentioned a design technique of ‘chunking’ information to reduce cognitive load. Define and describe the chunking technique in relation to design and visual communication (250-300 words).

Chunking is “a technique of combing many units of information into a limited number of units or chunks, so that the information is easier to process and remember” (Butler, Holden & Lidwell, 2010). It if to help short-term memory retention. Chunking also describes associating elements with one another so the overall information is easier understood. This can include ‘chunking’ texts into blocks and present blocks of text over certain screens to convey contrast to increase readability (Kennedy & Kirk, 2001). Other ways are to categorise based on similar underlying meanings or logics in the group.

In relations to design and visual communication, chunking is instrumental as it predominates the designer’s purpose: to fit as much information while making sure it is appealing while making sure readers absorb information quickly as possible. It is so to improve readability and comprehension (Hamilton, 1970).

However despite chunking helps with short-term memory, it does negatively affect long-term memory by promoting lazy behaviour within the brain which consequently make them ‘unfit’ to solve complex challenges. Consequently, while graphic designers use chunking “provides the visual communication necessary to transmit a message in an attractive way”, it can negatively affect how readers interpret information (Phillips, 1996, p. 66).

Q3). The authors borrowed ideas traditionally studied by the psychology to discuss effective visual design. Why do you thin a study of psychology is necessary (or not necessary) in design (100-150 words)?

Psychology is highly necessary in design as it notifies designers the various patterns and interextual linkages that help convey information to the public mind in a certain manner. It also helps designers create visual experiments to test the public whether their product is a success or not and reason why. A good example is the study of colour. Reason is Withrow, 2003 explains “visual perceptions factor into the user experience because visual cues are often the basis for mental association” meaning colour defines what is appropriate and not which in turn represents psychology is needed to understand that delicate and complicated human behaviour.

With design, such as early computer systems, the number of commands the user had to remember in order to perform the task was the cognitive load; relying on user’s mental command and capacity to perform the task. However, as time went on, ‘graphical user interface’ allowed users to use a set of pre-determined commands rather having to recall memory. As a result, this idea is applied on a

Week 11: Performance Load

Question 1

Performance load is the mental and physical activity required to achieve a goal. The theory is when “performance load is high, performance time and error increases.”

Cognitive load is the amount of mental activity required to accomplish goals such as remember specific texts of a book while Kinematic load is the degree of the physical activity required to accomplish a goal. It is important to design – remove unnecessary material, provide memory aids and help accomplish certain tasks.

There are three types of Cognitive load: Intrinsic Cognitive load, extraneous cognitive load, and Germane Cognitive Load. Intrinsic Cognitive load is the “inherent complexity of the task in hand”. (Towers, 2010). To make it easier is to simplify the information into smaller units that can be dealt easier. Before re-integrating the information back as a whole. Extraneous cognitive load is the way information is presented and structured.  Both the intrinsic and extraneous load are addictive, combined to form a load of a task (Towers, 2010). Germane Cognitive load is the load we want to maximise it. It is the capacity available to perform the mental work that leads to understandings. “The success of cognitive load theory in developing strategies and techniques which result in both reduced training times and enhanced performance is of paramount importance to the education and training industries” (Cooper, 1998).

Question 2

Cooper stated that it is beneficial to combine elements to form a smaller number of groups, which is referred as a “chunk” of information (1998). In terms of visual and design communication, Gestalt’s Law of Proximity one of the theories for “chunking” information. According to Debbie Jenson, Paul Martin Lester wrote: “the law of Proximity states that the brain more closely associates objects close to each other than it does [when] two objects are far apart” (2005). The way it is categorize is based on the underlying meanings, or logics that can be defined within a group.  For example is a shopping list contains many different elements By categorising products by their structure, it enables us to remember a pattern rather individually. By having a group containing only fruits: apples, oranges, lemon and cherries, it is easier to remember an unstructured group such as one with organs, grapes, toothpaste and beef. It reduces the need to memorise individual information on its own.

Question 3

Psychology is necessary as it notifies designers the various patterns and intertextual links it conveys in the public mind.  Become aware of the various things. Colour is important because “ visual perceptions also factors inbto the user experience because visual cues are often the basis for mental association.” (Withrow, 2003).

End-text References

Cooper, G. (December, 1998). Research in to Cognitive Load Theory and Instructional Design at UNSW. School of Education Studies, the University of New South Wales, Sydney, NSW 2052, Australia

A, Towers. (2010 Novemeber 22), Cognitive Load Retrieved from: http://usabilityfriction.com/2010/11/22/cognitive-load/

Withrow, J. [2003]. Cognitive Psychology & IA: From Theory to Practice. Retrieved October 2009, from the Boxes and Arrows Web site:

“Cognitive Load Theory” (n.d.) Retrieved from : http://www.southalabama.edu/oll/mobile/theory_workbook/cognitive_load_theory.htm

Figure 1

Figure 1. A remote control reduces the  cognitive load by allowing the person to have control over the television features. It also involves kinematic load by the pressing of the buttons.

Figure 2

Figure 2. The calculator is a device that requires cognitive concentration when it is used. However the it reduces the load by solving equations instantly.

Figure 3

Figure 3.  A pen is cognitive and kinematic.  A ball point pen reduces the Kinematic load as it has a constant supply of ink applied to the ball-point therfore does not need to be dipped in ink before it can used for writing.

Week 10: Consistency

Question 1.

Consistency is vital in systems such as multi-chips and dual cores as it follows a specific layout that is universal to all computer technicians while it is flexible to incorporate new elements.  This notion allows people to apply their own knowledge to new aspects of learning quickly while focusing on the relevant aspects of the topic. It is so the learnability is maximised to benefit the person. There are different types of consistency that are applied to systems.  Aesthetic consistency refers to the similar (or identical) appearance an object has with another object to enhance recognition, communication and sets an emotional expectation. For example are the Mercedes Benz vehicles Mercedes Benz vehicles which are instantly recognizable because the logo feature is distinctive, in that it has associations to quality, prestige, respect and admired; fine craftsmanship and reliable (Gelbs, 2008). Functional consistency is  action of a design. For example, the remote control improves useability and learnability by showing which button does what. Internal and external consistency is the elements within and around the system.

Consistency can be applied to everyday thinking. Classification models for example that has consistency to categories and classify subjects, or objects based on our perceptive thinking; our prejudice, common sense, rational and empirical thinking, help with our memory behaviour (Sorin, Hill, & Wood, 2011). It allows people to have a sense of direction and expectation of what is to come, while exposing new elements. Therefore Consistency is an absolute key if a company wants to recognise them (Gaines, 2011). Recognition works to create a placement in a person’s thought of patterns, so when a company produces a new product, a element can be recognised. Prototype theory is where we attempt to apply an unknown subject to something we think is similar (Resmini  & Rosati, 2011).  This idea is seen in many facets of society, from the colours of the signs, to the definitions of words. (Sorin, Hill, & Wood, 2011).

End-text References

Lidwell, W., Holden, K., & Butler, J. (2003). Aesthetic‐Usability Effect. In Universal Principles of Design (pp. 46). Massachusetts: Rockport.

Resmini, A., & Rosati, L. ( 2011).  Pervasive Information Architecture: Designing Cross-Channel User Experiences . Morgan Kaufmam Publishers.

Sorin, D., Hill, M., & Wood, D. (2011). A primer on Memory Consistency and Cache Coherence. Morgan & Claypool Publishers

Gaines, K. (23 November 2011), Branding and the importance of  Consistent design, [Blogpost]. Retrieved from http://www.webdesignerdepot.com/2011/11/branding-and-the-importance-of-consistent-design/

Gelb, D. (January 8, 2008). Design Principles. Retrieved from http://www.slideshare.net/gelvan/design-principles

Question 2

Figure 1

Figure 1 is the logo for Mercedes-Benz. The logo  is an example of aesthetic consistency.The logo is distinctive, separate from other car logos giving its own unique identity by its three pointers. The use of the symmetry adds sophistication, perfection and classicism which conveys a sense of natural beauty, only suited to the elite who have the power (money) to obtain only the best quality.

Figure 2

Figure 2 features Universal Serial Bus which are examples of both external and aesthetic consistency. the external consistency is the body which protects the fragile micro-chip.  Aesthetically is the USB pinout. USB pinout are consistent throughout. This prevents Computers and other other elctronic systems needing to install key portholes to facilitate different types of pinouts. The simplistic design enables it be durable and easy to insert into portholes.

Figure 3

Figure 3 is a screen shot of a webpage. It is an example of internal consistency. Internal consistency is the consistency within a system. Inside the webpage are smaller sub-boxes that  have the same line shadows as the larger box. The consistency within the boxes allows the user to identify the  sub-headings are sub-divisons of the webpage, merely to identify a webpage can open multiple webpages from one box. It is also to avoid unwanted detail so it remains clean.

Week 9: Aesthetic-Useability Effect

Question One

Aesthetic Useability effect is where  “more-aesthetic” designs are easier to use or access than “less-aesthetic” designs (Lidwell, Holden, & Butler, 2003). Construction plays an important role in the way a design is used. Aesthetic designs can foster positive or negative attitudes. For example, the names of some cars indoctrinate notions of wealth, power and dominance, which are directed to men.  Lidwell suggest “Such personal and positive relationships with a design evoke feelings of affection, loyalty, and patience” ( p. 18).   Designs can promote creative thinking, and problem solving by the attitudes of the aesthetics of colour, font, and texture. Lyas cites Croce’s view that “ aesthetics… [need] power to produce representations,” (Lyas, 1997, p. 68). However, power must be sourced from a reference in order to produce the effect. Budd argues that a person recognises an aesthetic, from a particular context in order for an items aesthetic properties to be manifested (Budd, 1998). Therefore, aesthetic-useability effects must have elements that people easily recognised. If it does not have a point of reference, the element is rendered useless.  For instance is newspapers are recognised by their distinctive long column, complemented by a large image that supports a story.

Edward Bullough believed there were different types of attitude, which would generate differing spectra of aesthetics. People who “over-distance” were those who merely look at the technicalities and craftwork of a production, rather the emotional sentiment, which would be picked up “under-distance” (Slater, 2005).

“[Therfore] To produce something new is thus also to ‘produce’ something old, namely, what was new before and is now outdated.” (Thyssen, 2010).  The design must have elements that are pre-founded but their relationship, conveyed by the time period of the style, allows a new modern style to develop that is culturally accepted.

By creating aesthetic designs, the information will be easier to extract, accepted and used over time. It is how they foster new relationships, making problems easier to solve. ( lidwell & et al, 2003).

End-text References

Thyssen, O. (2010) Aesthetic Communication. (R. Dees, Trans.). New York, NY.

Lidwell, W., Holden, K., & Butler, J. (2003). Aesthetic‐Usability Effect. In Universal Principles of Design (pp. 18‐19). Massachusetts: Rockport.

BUDD, MALCOLM (1998). Aesthetics. In E. Craig (Ed.), Routledge Encyclopedia of Philosophy. London: Routledge. Retrieved June 02, 2012, from http://www.rep.routledge.com/article/M046

B, H, Slater. (2005). Aesethetics. Retrieved from: http://www.iep.utm.edu/aestheti/

Question 2

Figure 1

Figure 1: Teapots found in Kitchen are aesthetically designed to generate a sense of   generosity and warmth, conveyed by it voluptuous spherical body, which also has a low surface area to volume ratio which means heat is retained to the maximum efficiency. The knob attached to the lid allows a person to pick up the lid to refill while not touching the conducted heat around the knob. The opening at the spout is small suggesting tea drinkers that the drink is ready to be poured and drunk. The thin-delicate looking handle adds elegance and sophisticated implying tea must be handled with delicate dexterity.

Figure 2

Figure two: A martini glass is designed to make beverages have a sense sophistication and quality which are associated with the ideas of wealth, youth, indulgence and seduction. The clearness of the glass is to flaunt the colour of drink. The height of the stem is aesthetically delicate and evokes a sense of pride . It is usually suitable for colourful drinks such as midori.  The glass is designed to attract other drinkers such s potential dates.

Figure 3

Figure 3.  Art trowels. The small trowel heads is intended for works that require quality over quantity. The heavy vanish wood and the polished metal suggest it has been manufactured immaculately to give the consumer a sense of pride and quality. The different shapes and size of the trowels allows people have feeling of choice, increasing freedom on how to use it.

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