Sharon Knight: R N., Ph.D. Department of Health, Physical Education,

Recreation and Safety East CarolilUl University Greenville, North Carolina 27858

and Claudia Probart, R.D., Ph.D Department of Health Science Education University of Florida Gainesville, Florida 32611

• Address for correspondence

How often have you heard nutrition educa­tors and other presenters say, "I know you probably can't read this, but ... ," when refer­ring to an important but almost imperceptible visual image projected as a 35mm slide or overhead transparency? Perhaps you've said it yourself a time or two. The distractions asso­ciated with imperceptible visuals do not have to plague your classroom or conference pre­sentations. The incorporation of the follOwing tips and guidelines for designing and using projected visuals will enable you to circum­vent many of the errors that result in audience frustration and inattention and diminish the impact of your presentation.

1. INCLUDE ONE KEY IDEA. Avoid attempting to include your entire message on one visual image. If you want to share a com­plex message, use several visuals. Allow each visual to do one job.

2. KEEP IT SHORT AND SIMPLE. As a general rule of thumb, visuals should include a maximum of six words per line and no more than six lines per visual. Less is best. Use a few key words to describe a concept rather than complete sentences.

The reproduction of tables and graphs from journal articles or books is rarely an effective means of capturing just the right visual to accompany your message (2). Such tables and graphs were meant to be studied at the read­er's leisure while being held at arm's length. They cannot be accurately interpreted in a few seconds during your presentation. More­over, copyright restrictions may require that permission be obtained for their use.

Offer your viewers simplified, boldly ren­dered, and qUickly decipherable images. When using overhead transparencies, con­sider incorpomting a series of overlays to add information sequentially to a basic visual. Try desigmng masks made from cardboard or ma­nila file folders that can be removed to reveal information one point at a time. You can also use a succession of slides as a means of pro­greSSively disclosing complex information. Consider distributing a handout to accompany a visual that contains (.~)\nplex information.

Be sure that what your audience sees is what you intended. Use the spell-check option for computer genemted work and carefully double check your original for errors prior to making a visual.

3. MAKE IT BIG AND BOLD. Be sure that the words and drawings in your visual images are large enough to be seen by those in the back of the room. Seveml techniquE'S are useful for mcreasing readability (1,3). Use big, moderately thick, plain lettering since small, thin, ornate lettering is difficult to read. Enlarged type from a printed page is particu-

larly problematic. Use a lettering color that contrasts with the background, preferably light lettering against a dark background. Use capItal letters only for short words and phrases since text written in all capital letters is more difficult to read thaI). text composed of both upper and lowercase letters. Leave a blank area around the border of a visual to help achieve an uncrowded appearance. As a gen­eral rule of thumb, a minimum letter height of'!. mch should be used for the original (3). When using a computer, a 24-point font provides an ideal lettering height. You should be able to read your non-projected transpar­ency easily at a distance of 10 feet.

4. BE SURE TO EMPHASIZE IM­PORTANT POINTS. To highlight signifi­cant words or parts of illustrations use bold lines, bullets, arrows, space, or the application of color. Use larger letters for titles, headings, or main points, and smaller letters for the remaining portions of the text. Remove any extraneous figures or words, since they only confuse or dIstract viewers.

5. USE ILLUSTRATIONS. In keeping with the old adage that a picture is sometimes worth a thousand words, incorporate illustra­tions into your visuals. Some computer soft­ware and copyright-free "Clip-Art" books contain useful illustrations that can help you create interestmg visuals and make important points. Illustrations need to be big and bold. Use thIck, black lines to draw your original deSIgns and, as a general rule, limit their num­ber to two per visual.

6. APPLY THE "RULE OF THIRDS" WHEN DESIGNING VISUALS. The prin­ciple of graphic and photographic composi­tion called the "rule of thirds" refers to the division of a visual into thirds both verticallv and horizontally, and the placement of dra~­ings or points of interest at or near the inter­secting hnes rather than directly in the center. Viewers from Western cultures tend to first look at the left side of a picture, particularly at the top left point of intersection of the imaginary lines that dhide it into thirds (3). If you place your key message elsewhere on a visual you may need to guide your viewer's eye to that point by using colors, lines, arrows, or other techniques.

7. DESIGN YOUR OVERHEAD TRANSPARENCIES IN A HORI­ZONTAL FORMAT. A 7-'12" height X 9-'12" width is a useful overhead desigu format that easily conforms to the 10" X 10" glass stage of most projectors and enables you to use frames for your transparencies (1, 3). The use of a horizontal design will prevent the com­monly experienced problem of projecting a portIon of your visual image onto the ceiling and having to move your acetate up and down on the projector stage so that all the infonna­tion on the transparency can be viewed. An alternative 6" X if height to width format enables you to create an original overhead transparency design that can also be photo­graphed to make a 35mm slide.

8. PACE YOUR VISUALS WITH YOUR VERBAL MESSAGES. When using visuab during a presentation, one of.your goals i~ to enahle your students or the mem­bers of your audience to comprehend the ~i-

sual images you project qUickly and accu­rately. Presentation problems occur when the audience/speaker pacing is broken, not only by projected visuals that are unreadable, con­fUSing, or too complex, but also by the use of visuals that do not relate to the particular point you are attempting to make. Design your visuals to match your verbal messages­one message at a time.

When you are using an overhead projector and want to talk at length about a point or make a point for which you have no accompa­nymg visual, redirect the audience's attention to you by simply turning off the projector. If you are using slides under these CIrcum­stances, insert a plain grey slide that is devoid of a visual image so the audience will be able to see you in the darkened room without the distraction of an irrelevant projected image or the glare of the projector bulb.

9. USE FRAMES FOR YOUR OVER­HEAD TRANSPARENCIES. Commer­cially available cardboard or plastic frames (mounts) to which acetate transparencies can be attached offer several advantages. They provide a rigid support around the acetate to make it easier to handle; allow you to write brief notes or key words along the margins of the frame, thus keeping your hands free, your presentation organized, and your notes avail­able with no one the wiser; lend a more pro­fessional appearance to your visual images and presentation; and enable you to disclose visual information progressively by means of attached acetate overlays or some type of mask.

10. "DOT" YOUR SLIDES. Mark your slides so you never have the problem of pro­jecting them upSIde-down or backward. First, hold each slide up to the light with your fin­gers so you are viewing the image as it should be seen on the screen. Second, use a felt tip pen or maker to place a dot on the lower left corner of the slide. Third, when you place your slides in the carousel, turn them upside down so all of the dots are located in the upper right corner. You will then be assured that all of your slides will project correctly.

The goal of any nutrition presentation is communication. The use oflegible visuals not only effectively and efficiently conveys the in­formation you want to share, but also says that you are concerned about your audience­concerned about their learning and con­cerned about them as people. They tend to tire quickly from the strain of trying to deci­pher poorly designed visuals. If you take the time to incorporate the above guidelines into the visuals that you produce, you'll never have to apolOgize for your visuals and your presen­tation will likely have an unprecede'lted im­pact on those you are tying to reach and teach.

REFERENCES

1 Kemp, J.E. and D.K. Dayton. Planning and prodUCing instructional media, 5th ed. New York: Harper and Row, 1985, pp. 173-190.

2 Knirk, F. and K.L. Gustafson, Instructional technology' A systemolic approach to edu­cation. New York: CBS College Publishing, 1986.

3 Heinich, R., M. Molenda, and J.D. Russell. Instructional media, 2nd ed. New York· John Wiley, 1985, pp. 118-143.

JOURNAL OF NUTRITION EDUCATION 24:948, 1992