INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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4.1.3 Color Donald Norman, author of Emotional Design: Why We Love (or Hate) Everyday Things, notes that “positive affect makes people more tolerant of minor difficulties and more flexible and creative in finding solutions. Products designed for more relaxed, pleasant occasions can enhance their usability through pleasant, aesthetic design. Aesthetics matter: attractive things work better” (2002). Colors play an important role in both aesthetics and functionality; in addition to playing a role in orientation, structure, and clarifying differences between visual elements, they can also facilitate access to information. Colors are frequently perceived unconsciously, and they always trigger emotions. There are three primary influences on our subjective perception of color: biological (e.g., we have more sensory cells for the colors red and green than for blue), cultural (e.g., black embodies death and evil in western culture, rebirth and resurrection in Egypt, and understanding in Hebrew culture), and individual (e.g., we all have our preferences and aversions for specific colors). So- called cold colors (e.g., green, blue) have an unobtrusive and low-key effect. They are very suitable as background colors and provide a quiet and unobtrusive framework. Warm colors (e.g., red, orange) have a cheerful and activating effect. They are quite dominant and loud, and should be used selectively (Thissen, 2004). In addition, literature in the field indicates that extroversion is predominantly associated with high color contrasts, saturated hues, and bold or sharp-edged shapes. By contrast, introversion is often related to de-saturated colors, green hues, and thin or round shapes (Karsvall, 1992). Interaction designers should keep these types of color perception in mind when designing iTV applications. Using colors selectively not only help to make an interface 83
more visually pleasing, but can help to orient users and provide better structure to the application. 4.1.4 Viewing Patterns Effective page design maps a viewer’s route through information with visual cues. Our left-to-right, top-to-bottom reading culture influences how viewers perceive a screen in terms of what they look at first and subsequent eye movements. For example, as illustrated by Figure 4.1, when viewing Web pages on a computer monitor, viewers’ eye movements begin in the upper left-hand corner and gradually move to the lower- and upper-right hand corner of the screen; as illustrated by Figure 4.1, this typical page- scanning pattern form a “Z” shape (Ruel & Outing, 2004; Sevilla, 2002). Similarly, research indicates that viewers scan television screens from the upper left-hand corner down to the lower right-hand side. Due to reading habits, this behavior is stronger with text heavy iTV applications than with conventional broadcast television (British Broadcasting Corporation, 2002). Figure 4.2 depicts the basic layout of a standard BBC interactive application interface; the arrow indicates how the page directs the viewer’s eye. Figure 4.1 Typical Page Scanning “Z” Pattern 84
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INTERACTION DESIGN PRINCIPLES FOR I
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ACKNOWLEDGMENTS This thesis would n
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2.3.3 Constraints 2.4 Electronic /
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4.2 Designing for Television 4.2.1
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Table 1.1 Table 1.2 Table 1.3 Table
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Figure 2.6 Figure 2.7 Figure 2.8 Fi
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Figure 5.4 Figure 5.5 Figure 5.6 Fi
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Figure 5.36 Figure 5.37 Figure 5.38
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SUMMARY Interactive television (iTV
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However, it is clear that televisio
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looking closely at existing designs
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For viewers with analog television
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Figure 1.3 Percent of Households wi
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interact with television shows by u
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New Media usage is dominated by 18
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Figure 1.6 Winky Dink and You The o
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1.4.1 BBC Interactive Figure 1.7 In
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1.4.2 Additional Examples Many othe
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Table 1.6 (continued). Greece Local
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Table 1.6 (continued). New Zealand
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using a combination of visual cultu
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CHAPTER 2 BROAD CATEGORIES OF ITV P
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Table 2.1 Categorization of iTV by
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capable of storing an enormous amou
Page 49 and 50: (c) Figure 2.2 Examples of Comcast
Page 51 and 52: (c) (d) Figure 2.3 Examples of Gems
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Page 55 and 56: 2.6 WEB-BASED SYNCHRONOUS (TWO-SCRE
Page 57 and 58: interactive or enhanced content on
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Page 61 and 62: Networks have also used wireless de
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Page 69 and 70: CHAPTER 3 BROAD CATEGORIES OF ITV P
Page 71 and 72: information about the topic at hand
Page 73 and 74: said they would do so again in the
Page 75 and 76: 3.2.1 Representative Example in Spo
Page 77 and 78: (a) (b) Figure 3.3 Test the Nation
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Page 87 and 88: 3.7 SHOPPING Shopping, or purchasin
Page 89 and 90: - and as close to the regular exper
Page 91 and 92: CNN Crossfire, broadcast in front o
Page 93 and 94: Dramas may need to operate under a
Page 95 and 96: The participatory aspect of many pr
Page 97 and 98: 4.1.1 Grid-Based Design Grid-based
Page 99: The Law of Similarity. Elements tha
Page 103 and 104: Figure 4.3 TV Aspect Ratios Althoug
Page 105 and 106: and graphics-safe areas for designi
Page 107 and 108: 4.2.4 Line Width The image on a tel
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Page 113 and 114: pages. Web applications that exceed
Page 115 and 116: Source: Human Factors International
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Page 119 and 120: media, among others. Figure 4.9 pro
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Page 125 and 126: Table 4.2 outlines some of the diff
Page 127 and 128: should be designed with the televis
Page 129 and 130: Pages that appear in series, one af
Page 131 and 132: CHAPTER 5 PRINCIPLES OF INTERACTION
Page 133 and 134: through… The computer’s spatial
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Page 137 and 138: through the different elements offe
Page 139 and 140: y the wider context of the program
Page 141 and 142: History IQ focused on keeping the i
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(a) (b) Figure 5.10 TiVo WishList (
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e voted off the island. In both cas
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them so conducive to iTV programmin
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own content in ways similar to this
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In the first of a series of on-air
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Jakob Nielsen notes that users are
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(a) (b) Figure 5.22 TV411 Interface
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Figure 5.25 Life 360 Competing Elem
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(a) (b) (c) (d) Figure 5.28 Example
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epresentative of the red button tha
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Lamont brings up compelling advanta
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lower right-hand areas are privileg
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5.4 NAVIGATION Navigation pertains
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Figure 5.35 New Americans Orientati
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Figure 5.37 Test the Nation User In
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applications based on the televisio
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esearchers, “In many ways, the pa
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In Robert Miller’s classic user r
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ecycling bin from Windows, that sta
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importance (see chapter three). In
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Figure 5.46 Examples of Mobile Inte
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CHAPTER 6 CONCLUSIONS AND FUTURE DI
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Figure 6.2 Convergence of Entertain
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(a) Figure 6.3 Examples of MTV Hija
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television producers to create show
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user-centered design, incorporates
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Sheri Lamont, who has practiced and
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ecognition of outstanding achieveme
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REFERENCES Adams, M., Anand, P. & F
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Halle, T. (2003). Standards for int
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Norman, D. (2004) Emotional design:
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Thurrott, P. (2004, October 12). Wi
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BROADBAND A network capable of deli
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MEDIA CENTER Media centers, or PC T
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which a television and a personal c
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