imaging and design for online environment essay

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3 Design for the online environment

Introduction.

Designing for the online environment takes a different approach to what you might do in the face-to-face classroom. Decisions around assessments, activities and weekly tasks need to be made in advance, as it is much more challenging to change on the fly. Though ideal for any environment, explicitly outlining outcomes, expectations, timelines, assessment strategies are requirements for digital spaces, where time and space are experienced differently. In this chapter we will outline some suggested planning tools, and ways to think about time for both you and and your students as you then design your online space by selecting different strategies and tools to support them.

This section was inspired by a fantastic resource put together by Humber college – here is the link if you want to explore their 10-Step Design Process. 

We will be breaking this chapter into 2 parts:

There are a variety of steps in the planning phase, but first you need to gather the materials you will need. Starting with your course outline or syllabus, and as highlighted in the previous chapter, first evaluating your learning outcomes for the course. We often follow a backwards design approach for online where you start with outcomes, determine the assessments, and then build in the types of activities that will support your learners in being able to demonstrate how they have met those outcomes (through various formative and summative assessments). So in your first phase you will gather all the resources you typically use and then organize them into an overall planning document. The next three chapters provide more detail on how to create and curate resources and choose and build assessments, but the first step in planning is to bring these ideas together.

In Open Learning at TRU, as part of the online course development process we build what we term a blueprint. This blueprint contains our outcomes, assessments, assessment weightings, information about the students and target audience, and then a table where we outline the structure (by weeks, units, topics or modules) that links outcomes, activities and assessments.

Here are links to a few blueprint templates:

Blueprint-Template-Table Blueprint Template 1

Blueprint-template

Blueprint-Template-Table

Links to the Humber templates:

Online Course Design Tool – Fillable Form V5 (PDF)

Online Course Design Tool – ODF (Word)

Course Build Design Tool EXAMPLE – Fillable Form V1

Here are links to some exemplar blueprints for various online courses:

PSYC-3151_Blueprint_2Nov2012_JK BIOL-4141-Blueprint-_draft_shf_05Oct09_1

BIOL-4141-Blueprint-_draft_shf_05Oct09_1

As you are putting your blueprint together you will be making decisions about activities, technologies and assessments. A few key areas that we will explore further in the sections below include:

• Schedule and organization (student time)
• Real-time vs anytime (synchronicity)
• Building Community
• Maintaining connections
• Aligning Assessment and Activities

Time and Timing

Schedule and organization.

Ideally, each course decision will be aligned with:

• The intended learning outcomes
• Your intentions for the course, such as the learning experience you hope students will have
• Abilities: both yours and the students’

The following graphic depicts how the various elements can play out in a course. Please feel free to adapt and share with students. PDF version Quick start overview_TRU .

There are a variety of ways to organize your course, but chunking your course into weeks is often an easy structure for students to follow. They determine what activities and assignments are due, and when they can work independently vs. tasks that they will work with others. Flexibility in timing is something to consider as students juggle their technology and time needs with family and other commitments. As highlighted in the PDF above, you will be scheduling a variety of tasks and activities, and each type has its pros and cons.

Time on task

Emphasize time on task over “contact hours”. Design opportunities to engage deeply with learning in authentic contexts, rather than superficial approaches. Here is a useful calculator for estimating course time. The University of Windsor’s Office of Open Learning recommends that students should spend 6 – 9 hours per week on learning activities in a course, including lectures, watching videos, readings, working on assignments, independent research etc. You may want to read their Fundamentals of Effective Online Teaching Practice for other useful information.

Real Time (Synchronous) versus Anytime (asynchronous)

Ideally, the remote course will have a mixture of real time or synchronous and anytime or asynchronous learning options.

A purely synchronous remote course would involve live streaming lectures without recording them. Such as format is hard on learners, teaching assistants ( TAs ), and professors for many reasons:

• Technology limits access : students with poor/no wifi struggle to hear, see, and participate. Dropped connections mean missed information. Working in different time zones make attendance difficult.
• Many students will have a poor experience if they can’t connect efficiently. Long, live lectures are difficult to engage in. These issues can lead to poor student experiences and they will understandably complain. These issues could lead to problems of recruitment and retention down the road if courses gain bad reputations.
• A solely synchronous course creates obstacles to learning . Students’ cognitive loads can get too hig h with too many things to keep track of. You may find it helpful to review Vanderbilt University’s “ Effective educational videos ” guide. Problems with equity can grow larger. The online format imposes a fixed pace onto students, who may find it too fast or too slow.

Often, explaining basic concepts works well asynchronously (e.g., recorded videos).

Synchronous time (e.g., videoconference) can be used for students to practice in groups and receive immediate feedback. Videoconferences can be very useful in courses, but require high bandwidth and immediacy .

You may want to check out the webinar From Real Time to Anytime Learning by Dr. Michelle Harrison and Marie Bartlett from the Learning Design team at TRU. This webinar addresses how to decide which elements of a course should be in real-time (synchronous) and which can be done anytime (asynchronous), as well as the importance of providing clear instructions, curating resources, course alignment and assessment, and leveraging communication tools.

Considering bandwidth and immediacy

Bandwidth limitations will cause students (or you!) to lose access to the livestream intermittently or for a long time. Bandwidth problems are likely to arise for any number of reasons. Students (or you) will be working from locations that may be subject to wireless interference, remote, or they may not have access to high speed connections. Bandwidth problems can interfere with every part of synchronous teaching, like posing questions for students to discuss in a breakout room (like in BigBlueButton ). Students with bandwidth problems may need extra time to download materials before they can use them.

Challenges with immediacy can create or exacerbate equity issues . Immediacy refers to how quickly we expect responses from each other when interacting. For example, when present in person, we anticipate an immediate response when asking someone else a direct question (high immediacy); when we email, a delay is normal (low immediacy).

Immediacy requirements can present challenges. If students must work remotely, they may be working in an environment that is not particularly effective for studying at all times, or one in which there are many distractions or obligations; child care is one example. These issues apply both to students and professors.

We recommend against extensive use of high immediacy/synchronous approaches. Ideally, students will have choices in when to attend to course obligations so that they can also balance their current life obligations.

We created a series of examples that suggest ways to find reasonable tradeoffs between immediacy and bandwidth. Our intent here is to take some of the pressure off both students, TAs , and professors.

Each example that follows is a learning outcome followed by teaching decisions that reflect a specific compromise between high and low immediacy, and between high and low bandwidth requirements.

Developing and establishing community

Building a safe and welcoming space for your learners and developing relationships that will help support an active learning environment takes effort and intention. Building this community in an online space may take different approaches in an online environment. The following resources will help give you some ideas, but building and then maintaining a community of learners will take some careful planning. There is an entire chapter on community building later in this book, but here is a short introduction and links to resources.

Building community online

This resource from KPU “ Building Online Commuinty” provides useful tips on questions and respectful communication in online spaces.

Melissa Jakubec, Carol Sparkes, and Michelle Harrison delivered the following webinar that provides some strategies for activities and approaches for setting a welcoming tone and making connections in “ That Crucial First Week”.

Maintaining Connections

There are a variety of models for facilitation in online learning environments and promising practices for both synchronous and asynchronous modalities. From a design perspective thinking about everyone’s roles and clearly communicating (and negotiating) expectations for presence and levels of contribution is really important. Maintaining momentum and connection means ensuring respectful and open communication, and as will be discussed further in the learning activities section, there are a myriad of ways to organize the ways that everyone can interact and engage with different kinds of content within the course space.

One well-documented model is the Community of Inquiry Framework, as it highlights the interplay between the different ways everyone can interact within a course. It was designed to allow for deep engagement and interaction between students, instructors and knowledge.

The following chapter  “Step eight: communicate, communicate, communicate” in Tony Bates’ book “Teaching in a Digital Age” highlights ways to develop instructor presence, manage online discussions and set expectations.

Aligning Assessments and Activities

Though this is an essential part of the design process, designing activities and aligning these with assessments are chapters within themselves. One word you often hear from instructional designers is “ scaffolding” , and here we are trying to describe a process to help students take their past experience and knowledge to continue to create meaningful connections to build their conceptual understanding and frameworks. Based on designing opportunities for learners to engage and interact it is hoped that they can build new knowledge and skills by the end of a learning experience. Ensuring that the activities included in a course build toward a final assessment is an important design strategy which is often termed “ backwards design”.

If you would like further reading here is a chapter by Wiggins and McTighe called “Understanding by Design”.

Further Resources

The University of Ottawa’s Teaching and Learning Support Service has created tools to design a blended course that works well for a remote course, too, including how to further analyze the learning environment .

The next chapter will focus on choosing and designing learning activities, as well as online learning strategies.

Course alignment refers to the connection between intended learning outcomes, learning activities, assessment, and the course environment.

During synchronous instruction, the professor and students are online at the same time. Synchronous modes can include videoconferencing, discussion boards, etc.

Participants access and work on course materials at different times. Examples include email, discussion forums/chats, and assignments.

Teaching assistants

Temporary storage and processing of information occurs in working memory, which has very limited capacity.

Bandwidth describes the maximum data transfer rate of a network or Internet connection. More info: https://techterms.com/definition/bandwidth

Immediacy refers to how quickly we expect responses from each other when interacting  (e.g., professor expects an answer from a student or student expects an answer from a professor). For example, when present in person, we anticipate an immediate response when asking someone else a direct question (high immediacy). In online (and pandemic!) environments, immediate responses can be more difficult when many learners may be taking care of family members, in a different time zone, etc. We can use low immediacy methods to take off some of that pressure, such as email or discussion forums and occasional high immediacy methods such as videoconferencing.

Design for the online environment Copyright © 2020 by Authors is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License , except where otherwise noted.

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Empowerment Technologies Quarter 1 – Module 5: Imaging and Design for the Online Environment

This module will help you more understand, appreciate, and unveil your creativity on the use of the proper graphic and layout designing for more effective communication. You will also learn the core components of graphic design.

The module mainly focuses on one lesson:

• Lesson 1 – Basic Principles of Graphics and Layout
• Learning Competencies and Codes

Evaluate existing websites and online resources based on the principles of layout, graphic, and visual message design. CS_ICT11/12-ICTPT-Ie-f-6

After going through this module, you are expected to:

1. identify and explain the Basic Principles of Graphics and Layout;

2. explain the vital use of the Basic Principles of Graphics and Layout in communication and industry;

3. assess the effectiveness of the graphic design in a given layout example; and

4. evaluate existing websites and online resources based on the principles of layout, graphic, and visual message design.

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The Art of Space: Exploring the impact of interior design on environments

From the meticulously designed tombs of ancient Egypt to the thoughtfully planned office spaces of today, interior design has always been a versatile discipline. Throughout its history, the core purpose has remained constant: to shape functional and comfortable spaces that cater to the occupants' needs.

While aesthetics has undoubtedly played a role, humans have always strategically arranged furniture and utilized natural light sources to optimize their living areas. The placement of hearths and sleeping areas within homes reflected a deep understanding of spatial flow and the need for warmth and safety. This focus on functionality, even in the most basic sense, laid the foundation for developing interior design into the complex and influential field it is today.

Today, however, advancements in materials, construction methods, and integrated technology are propelling interior design, also referred to as interior architecture, forward into incredible new avenues of problem-solving. High-performance fabrics, sustainable materials, and innovative furniture designs are allowing for the creation of spaces that are not only beautiful but also environmentally responsible and adaptable to evolving needs.

Let's delve into some aspects of interior design that play a vital role in shaping the experience of a space.

The psychology of space:

Effective interior design involves having an understanding of psychological principles that can greatly influence the way people experience and interact with their surroundings. By considering factors such as human behavior, emotions, and cognitive processes, designers can create spaces that are not only visually appealing but also conducive to well-being.

One key psychological principle that informs interior design is the concept of environmental psychology, which studies how our physical environment affects our thoughts, feelings, and behaviors. For example, the use of natural elements like wood or plants can evoke a sense of tranquility and connection to nature, while incorporating bright colors can stimulate energy and creativity.

The principle of spatial perception also plays a crucial role in design. The arrangement of furniture and architectural elements can influence how people navigate and interact within a space, as well as how someone perceives its size and proportions. By strategically placing objects and creating clear pathways, designers can enhance flow and functionality while also creating a sense of balance and harmony.  

Color psychology:

A fascinating aspect of interior design, color psychology delves into how different colors can impact emotions and moods. Each color has its own psychological associations, with warm tones like red and orange often evoking feelings of energy, passion, and warmth, while cool tones like blue and green are known for their calming and soothing effects.

For example, a room painted in a soft blue hue may promote relaxation and tranquility, making it an ideal choice for a bedroom or meditation space. On the other hand, a vibrant yellow accent wall can inject a sense of joy and optimism into a living room or workspace.

By strategically incorporating various colors into a space, designers can create atmospheres that cater to specific emotions and activities. Whether it's using earthy tones for a grounded and nurturing feel or bold pops of color for a dynamic and stimulating environment, the possibilities are endless when it comes to harnessing the power of color in interior design.

Trends and innovations:  

Current trends in interior design focus on well-being by applying sustainability practices, biophilic design, and smart technology. Sustainable design practices, such as using eco-friendly materials and incorporating energy-efficient systems, are gaining popularity as people become more environmentally conscious. Biophilic design, which integrates natural elements like plants and natural light into indoor spaces, is also on the rise due to its proven benefits for mental and physical well-being.

Smart technology is another trend that is revolutionizing interior design, with features like smart lighting, automated blinds, and voice-controlled assistants becoming increasingly common in homes and commercial spaces. These innovations not only enhance convenience and efficiency but also contribute to creating a more connected and functional environment.

In terms of emerging innovations, virtual reality (VR) and augmented reality (AR) are poised to revolutionize the way designers conceptualize and present their ideas. With VR technology, clients can experience a space in 3D before it is even built, allowing for better decision-making and visualization. AR, on the other hand, enables designers to overlay digital elements onto the physical environment, offering endless possibilities for customization and personalization.

The power of design in different environments

While it is true most associate interior design with homes, skilled designers do play a vital role in shaping a wide range of environments, each with its unique set of considerations.

• Healthcare facilities:  Interior design plays a crucial role in promoting patient well-being and recovery in healthcare settings. Designers create calming and healing environments by incorporating elements like natural light, biophilic design (incorporating nature), and layouts that promote patient privacy and dignity.
• Educational institutions:  Well-designed classrooms can significantly enhance the learning experience. Interior designers incorporate elements that promote focus and collaboration, such as flexible furniture layouts, proper lighting for reading, and designated areas for group work. 
• Workplaces:  A thoughtfully designed office fosters employee productivity, well-being, and collaboration. Designers create workspaces that cater to different work styles by incorporating areas for focused work, collaborative brainstorming sessions, and relaxation breaks.

An interior design case study: The Musée d'Orsay in Paris, France

  The Musée d'Orsay (Orsay Museum) in Paris, France is an incredible example of the power of interior design! Originally constructed in 1900 as a train station and hotel in the center of Paris, called the Gare d'Orsay (Orsay Train Station), the impressive building wasn't immediately suitable to house an impressive collection of the finest art in the world.

When it was converted into a museum in the 1970s, the interior had to be completely reimagined. Here's how interior design played a key role in this transformation:

• Preserving the grandeur: Rather than segmenting the entire space into enclosed exhibition rooms, the station's impressive expansive main hall was preserved. This grand space provided an awe-inspiring backdrop for displaying large-scale artwork.
• Creating functional galleries: Exhibition spaces were created on multiple floors alongside the main hall. Italian designer Gae Aulenti used similar stone flooring and walls throughout, creating a sense of unity and allowing the artwork to take center stage providing an enriching experience for visitors.
• Integrating natural light: Aulenti also ensured natural light played a significant role by incorporating skylights and strategically placing the galleries to maximize the use of the existing glass roof. Artificial lighting was carefully designed to complement the natural light and showcase the artwork effectively.

The traditional approach to earning an interior design degree

What degree do you need to be an interior designer? One option involves obtaining a degree from an interior design school on a university campus. These programs typically last four years and provide a foundation in design principles, space planning, building codes, materials and finishes, color theory, and computer-aided design (CAD) software.

This might not be ideal for everyone with busy work and life schedules. An online option might offer more flexibility.

Design your future with OHIO Online

The growing popularity of online education has opened new opportunities for those looking to learn how to become an interior designer.

OHIO Online’s Interior Architecture degree leverages technology and the virtual studio concept to prepare future designers for success in the 21st century in residential and non-residential settings. You'll develop an understanding of how architectural elements interact, enabling you to design spaces that cater to the physical, psychological, social, and intellectual well-being of people in a variety of contexts.

Whether you're a working professional seeking a career change or a high school student thriving in online environments, OHIO Online offers a compelling alternative to the traditional on-campus experience. This fully online program provides exceptional flexibility:

• Tailored pace: Choose full or part-time enrollment with terms starting three times a year (Fall, Spring, Summer).
• Accelerated options: Graduate sooner by enrolling in a full summer course schedule.
• Immersive learning: Most classes are offered in intensive 7-week sessions, allowing you to focus deeply on a smaller course load.

If you are looking for a career that offers a unique blend of creativity, problem-solving, and technical knowledge, the interior design field presents a rewarding career path. Learn more about how OHIO’s online interior design degree program can help you turn your design dreams into reality.