Chapter 3

After reading this chapter, I found out that to increase the quality of my work, I should acquire and learn to use
professional design tools like tools for sketching (2 sketchbooks), graphic tablets, image editing software (Adobe
Photoshop, Adobe Photoshop Elements, GIMP and Microsoft PowerPoint), illustration software (Adobe Illustrator,
Corel Draw and Inkscape).
To start substantial design work, I first, should create a visual style guide to keep track of my design selections. It
simplifies my ideas and eliminates the desire to make rash or confused judgments under duress.
Like professional tools and style guides, templates are another technique I can use to improve the design and
production processes. A template is a master design that I may reuse in an eLearning course, PowerPoint
presentation, web page, or job assistance. I can create design templates for various sorts of displays to save effort,
enhance efficiency, reduce feelings of overload, allow for freedom of expression and ensure consistency. If I want to
work on an eLearning course, training slides, or presentation, I may design templates like title screen templates,
content templates, interaction templates, and text-only templates.
I think, for a designer, it is crucial to find design ideas and inspiration. Design ideas and inspiration may be found
through researching professional designs, establishing a personal library of appealing designs, and utilizing the
various online and offline resources available to me.
I also discovered that regardless of the graphics application I choose, I must understand a few fundamentals of
digital graphics like width, height, size, and resolution of a graphic which affect the file size, pixels, inches, dots, etc.
Different image formats have various characters, strengths, and drawbacks. For example, color information is stored
in pixels in bitmap images, such as pictures. When they are expanded, they lose quality like in JPG and PNG file
formats. Vector graphics, which include digital illustrations, are generated from mathematical descriptions. This
enables them to be enlarged without sacrificing quality.

Chapter 7
Color has traditionally been known to have powerful psychological and emotional impacts. Color reactions differ
depending on an individual's culture, prior history, psychophysiology, and personal preferences. It is an intriguing
feature of visual design as well as a potent means of communication. It serves both an aesthetic and a functional
purpose. Color sets the tone, draws attention, and gives a message. It may increase usability, provide visual appeal,
and facilitate learning. Therefore, we should choose your palette with caution.
I noticed that color may be used to boost motivation, comprehension, and usefulness. To make materials accessible
to all learners, I should not force them to discriminate or recognize crucial information just based on color. For
example, to satisfy the needs of persons with color vision deficits, users should never be expected to discern
between two colors as part of the learning process or as part of the user interface.
I found that to make the most use of color in my designs, I must first learn color theory so that I can discuss colors
and choose a harmonious palette. For instance, by using the color wheel, create a visually appealing palette based on
specified harmonic connections. I learned about the terms like hue, saturation, value, warm, neutral, and cool colors,
the color wheel, primary, secondary, tertiary, and complementary colors, shades and tints, etc.
I found out that a color pallet should encourage a pleasurable experience, avoid generating eye strain, be relevant to
the audience and material, and project the proper attitude or personality. We can choose a palette in eight ways:
branding, based on audience and photos, symbolism, psychological impact, industrial conventions, borrowing from
nature, and using color harmonies. Colors from an image, logo colors, industry colors, and color harmonies are all
examples of how to pick a color palette.
Lastly, colors are not viewed in isolation since they are influenced by the colors around them.

Chapter 8
My role as a designer is to establish a clear route for the viewer's eyes to follow. This can be achieved by establishing
a hierarchical framework of dominant and subdominant types. In this chapter, I learned how to create a visual
hierarchy. I noticed that a design falls flat without a visual hierarchy. A visual hierarchy allows me to traverse
material and choose the order in which visual items should be presented.
When I build a clear visual hierarchy, I am teaching the audience two things: what to look at first, second, and third,
and how to move the eye from one point to the next. A hierarchy allows me to regulate the order in which users
perceive information. This can have an impact on how well the audience understands what I am saying.
For the first time, I learned about eye-movement patterns. The F-pattern and the Z-pattern are two popular eye-
movement patterns used by humans to scan a screen or page.
To create a visual hierarchy, first, I should define the objective of the screen and then decide what the viewer should
glance at first, second, and third to deliver the message.
To create a dominant to subordinate visual hierarchy, position, color, image utilization, scale, isolation, density,
motion, visual cues, numbering, and the use of brief sentences can all be used.
During the design process, the most important feature will become the focal point or center of attention in my
arrangement. It is the first thing that a viewer notices, whether it be a fascinating image, a vibrant form, or a huge
title. Then, from the most dominating feature to the next subordinate element, I create an intended visual low.
Lastly, I want to add that some text-specific approaches for establishing prominence include employing a contrasting
typeface, dividing the content with rules (horizontal lines), utilizing pull quotes, and so on.