Minggu, 19 Mei 2019

The Animation and Interactivity Principles in Multimedia Learning

The Animation and Interactivity Principles in Multimedia Learning


Mireille Betrancourt

TECFA, Geneva University, Chapter proposed to R.E. Mayer (Ed.) The Cambridge Handbook of Multimedia Learning.
Mireille.Betrancourt@tecfa.unige.ch , Phone: +41-22-379-93-71, Fax: +41-22-379-93-79
ABSTRACT
Computer animation has a tremendous potential to provide visualizations of dynamic phenomena that involve change over time (e.g., biological processes, physical phenomena, mechanical devices, historical development). However, the research reviewed in this chapter showed that learners did not systematically take advantage of animated graphics in terms of memorization and comprehension of the underlying causal or functional model. This chapter reviewed the literature about the interface and content features that affect the potential benefits of animation over static graphics. Finally, I proposed some guidelines that designers should consider when designing multimedia instruction including animation.


What Are the Animation Principle and the Interactivity Principle?

      In the last decade, with the rapid progression of computing capacities and the progress of graphic design technologies, multimedia learning environments have evolved from sequential static text and picture frames to increasing sophisticated visualizations. Two characteristics appear to be essential to instruction designers and practitioners: the use of animated graphics as soon as depiction of dynamic system. Baek and Layne (1988) defined animation as “the process of generating a series of frames containing an object or objects so that each frame appears as an alteration of the previous frame in order to show motion” (p. 132). Gonzales (1996) proposed a broader definition of animation as “a series of varying images presented dynamically according to user action in ways that help the user to perceive a continuous change over time and develop a more appropriate mental model of the task” (p. 27).
 
      This definition however contained the idea that the user interacts with the display (even minimally by hitting any key). In this chapter we do not restrict animation to interactive graphics, and choose Betrancourt and Tversky’s (2000) definition: “computer animation refers to any application which generates a series of frames, so that each frame appears as an alteration of the previous one, and where the sequence of frames is determined either by the designer or the user” (p 313). It does not stipulate what the animation is supposed to convey, and it separates the issue of animation from the issue of interaction.


Examples of scenario using animation and interactivity

      The main concern for instructional designers and educational practitioners can be summarized by the simple question: When and how should animation be used to improve learning? Three main uses of animations in learning situations can be distinguished.

Supporting the visualization and the mental representation process

      The first situation is not substantially different from the situations in which graphics are used: Animation provides a visualization of a dynamic phenomenon, when it is not easily observable in real space and time scales (e.g., plaques tectonics, circulatory system, or weather maps), when the real phenomenon is practically impossible to realize in a learning situation (too dangerous or too costly), or when it is not inherently visual (e.g., electrical circuit, expansion of writing over times, or representation of forces). In this perspective, animation is not opposed to static graphics but to the observation of the real phenomenon.


Conceptions of interactivity

      First of all, a clear distinction should be made between two kinds of interactivity: control and interactive behavior. Whereas control is the capacity of learner to act upon the pace and direction of the succession of frames (e.g., pause-play, rewind, forward, fast forward, fast rewind, step by step, and direct access to the desired frame), interactivity is defined as the capability to act on what will appear on the next frame by action on parameters. For purposes of this chapter, interactivity is meant as control over the pace of animation.


Implication for Cognitive Theory

      As Schnotz (2003) stated, three functions can be attributed to animations with regard to the elaboration of a mental model of a dynamic system: enabling, facilitating or inhibiting functions. When learners are novices or have poor imagery capabilities, animations enable learners to visualize the system that otherwise they would not be able to mentally simulate. Second, even when learners are capable of mentally simulating a dynamic system, providing animation can lower the cognitive cost of mental simulation thus saving cognitive resources for learning. The formation of a “runnable” mental model of the system (Mayer, 1989) is then facilitated. 

      However, as animation saves learners from mentally simulating the functioning of the system, it may induce a shallow processing of the animated content, and consequently leads to what can be called the “illusion of understanding”. Then the elaboration of a mental model is inhibited by animation. This obstacle can be avoided by designing carefully the instructional situation, in which learners are engaged in active processing while viewing the animated document.


Desain Grafis

Desain grafis dapat diartikan sebagai media penyampaian informasi kepada yang membutuhkan (masyarakat) yang disampaikan dalam bentuk gratis yang dapat didefinisikan sebagai aplikasi dari keterampilan seni dan komunikasi untuk kebutuhan bisnis, industri, pendidikan, budaya, dan sebagainya.



Definisi Desain Grafis Menurut Para Ahli :
  1. Menurut Suyanto, “Aplikasi dari keterampilan seni dan komunikasi untuk kebutuhan bisnis dan industri”.
  2. Danton Sihombing, “Mempekerjakan berbagai elemen seperti marka, simbol, uraian verbal yang di visualisasikan lewat tipografi dan gambar, baik dengan teknik fotografi ataupun ilustrasi”.
  3. Michael Kroeger, “Visual communication (komunikasi visual) adalah latihan teori dan konsep-konsep melalui terma-terma visual dengan menggunakan warna, bentuk, garis dan penjajaran”.

Terdapat dua cara untuk menyampaikan suatu informasi secara visual yaitu dengan menggunakan gratis yang disampaikan secara elektronik maupun non elektronik. Sebagai contoh, di dalam bidang perildanan, iklan deterjen Rinso yang dapat kita lihat di televisi maupun di media cetak keduanya sangat informatif, mempunyai desain yang sangat bagus tetapi cara penyampaiannya berbeda.

Prinsip desain terdiri atas 5 hal yaitu keseimbangan (balance), kesatuan (unity), ritme (rhytm), penekanan (emphasis), dan proporsi. Berikut penjelasan dan contohnya dalam bentuk media poster.


Kesatuan (unity)




Kesatuan dalam prinsip desain grafis adalah kohesi, konsistensi, ketunggalan atau keutuhan, yang merupakan isi pokok dari komposisi. Dengan prinsip kesatuan dapat membantu semua elemen menjadi sebuah kepaduan dan menghasilkan tema yang kuat, serta mengakibatkan sebuah hubungan yang saling mengikat


Keseimbangan (balance)


Keseluruhan komponen-komponen desain harus tampil seimbang. Tidak berat sebelah. Desainer harus memadukan keseimbangan antara tulisan, warna, atau pun gambar sehingga tidak muncul kesan berat sebelah.

Ritme (rhythm)
Ritme adalah pembuatan desain dengan prinsip yang menyatukan irama. Bisa juga berarti pengulangan atau variasi dari komponen-komponen desain grafis.

Penekanan (emphasis)


Setiap bentuk desain ada hal yang perlu ditonjolkan lebih dari yang lain. Tujuan utama dari penekanan ini adalah untuk mewujudkan hal itu sehingga dapat mengarahkan pandangan khalayak sehingga apa yang mau disampaikan tersalur.


Proporsi


Proporsi dapat diartikan pula sebagai perubuhan ukuran/size tanpa perubahan ukuran panjang, lebar, atau tinggi, sehingga gambar dengan perubahan proporsi sering terlihat distorsi.



https://z4nw4r.wordpress.com/2017/07/25/definisi-tujuan-dan-manfaat-desain-grafis/