Wanting to translate the infographic into the virtual tour was a large part of my design approach as design elements. I knew that I wanted to keep the images of the kids, that they would essentially ‘guide’ the students through the different points of interest. In keeping with that theme, I kept the same ‘child’ with the same point of interest from the infographic. This way the students experience continuity of their learning experience. First, they have the with the poster, something they have been looking at and talking about (in theory) for months waiting for the virtual tour to be available. As this information continues to be repeated it is also expanded upon with the arrival of the virtual tour which is then able to be referred to repeatedly and will (hopefully) begin additional discussions, expanding yet again (Educational Research Techniques, 2014). I also chose to use the graphic of the book from the poster in addition to the ‘forward’ navigation arrow. This was two-fold; first, it provided additional continuity between the virtual tour and the poster. Second, the graphic of a book became an ideogram, symbolizing gaining additional knowledge that can be used across any culture or language (Nordquist, 2019).

With the primary audience being fourth graders, the aesthetic-usability effect was different than it would have been for an audience of adults. It was necessary to maintain a level of playfulness and relatability so they would find the interface to be appealing, ultimately having a positive experience (Peters, 2014). That positive experience directly translates to increased learning “as emotions and visual information are processed in the same part of the human brain” (Jandhyala, 2017). To put it simply, individuals learn better when they like what they see and are happy. Not only do they ‘learn’ better, they actually engage with the material in a vital way because their creativity has been stimulated. “Emotions and cognition are supported by interdependent neural processes. The very large interdependence [overlap] between emotion and cognition is termed ‘emotional thought’ and encompasses processes of learning, memory, decision‐making, and creativity” (Immordino‐Yang & Damasico, 2007). Successful instructional designers, marketers and other ‘influencers’ understand this link and utilize it to communicate with their audience in unparalleled ways.

The skills and principles I have learned so far in the program, surprisingly enough go back to the first Mastery class. I know that I work better with a deadline and that if I want to get something done early then I need to create a sense of urgency to mimic that focus and intensity. I have a much better understanding of the different types of learning and how to present information for each one. From this class specifically, I am more aware of all the design elements around me that previously never registered. Gaining and practicing using that knowledge, from the nuances of stroke width to the use of color and space to the over-reaching interactive program, has been a concrete way to practice the theories the previous class taught us. I was grateful during this class to have a much more ‘hands on’ learning experience to solidify concepts and theories. Having the knowledge benefits no one if you don’t have the skills to utilize that knowledge and turn it into a cohesive image/message/experience/product.


Educational Research Techniques. (2014, June 16) Continuity and Curriculum. Retrieved from https://educationalresearchtechniques.com/2014/06/16/continuity-and-curriculum/

Immordino-Yang, M.H. & Damasio, A.R. (2007) We feel, therefore we learn: The relevance of affective and social neuroscience to education. Mind, Brain, and Education 1(1), pp. 3-10.

Jandhyala, D. (2017, December 8). Visual learning: 6 reasons why visuals are the most powerful aspect of elearning. Retrieved from https://elearningindustry.com/visual-learning-6-reasons-visuals-powerful-aspect-elearning

Jnd.org. (2008, November 17). Signifiers, not affordances. Retrieved from https://jnd.org/signifiers_not_affordances/

Nordquist, R. (2019, May 25). Ideogram: Glossary of grammatical and rhetorical terms. Retrieved from https://www.thoughtco.com/what-is-an-ideogram-1691050

Peters, D. (2013). Interface design for learning: Design strategies for learning experiences. San Francisco, CA: New Riders. Retrieved from https://ce.safaribooksonline.com/book/web-design-and-development/9780133365481?uicode=fullsail


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