INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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Tom Buehler provides a helpful tutorial on making computer graphics NTSC compliant, and addresses issues related to luma values, color values, lines and edges, as well as safe zones (2003). 4.2.6 Typography Text poses difficult challenges on television screens, as viewers are not accustomed to reading static blocks of text on screen. Other contributing factors include poor display quality of still images, the difficulty of rendering detail at low screen resolutions, color bleeding, and interlacing flicker. At the same time, the relatively large text size required for legibility on a television screen makes it difficult for designers to create effective screen layouts. As a general rule, fonts must be used with care. Very light weights or fonts with very narrow and broad strokes should be avoided. It is a good idea to use simply constructed sans-serif fonts and use anti-aliasing to increase readability (Quesenbery & Reichart, 1996). Anti-aliasing, also known as smoothing, is a technique of blending bitmap-based images and text to reduce the jagged appearance of aliased text. The process of anti-aliasing blends the edge pixels in areas of transition to give the text a smoother looking appearance. BBC interactive television services use Tiresias, a typeface specifically developed for television in conjunction with the Royal National Institute of the Blind, and adopted as a standard by the UK Digital Television Group as the resident font for interactive television (http://www.tiresias.org/fonts/design_report_sf.htm). This alphabet displays well at small sizes, and functions when stretched or squashed by televisions attempting to compensate for 4:3 or 16:9 ratios. Careful attention has also been paid to character 91
shapes, to make similar letters distinctive and to help with the characters most commonly misread by the visually impaired (British Broadcasting Corporation, 2002). The following helpful guidelines for typography are from the BBCi Style Guide: Body text should not generally be smaller than 24 point No text should ever be smaller than 18 point in any circumstance Light text on a dark background is slightly easier to read on screen Text on screen needs looser leading (greater line spacing) than in print When technically possible, tracking should be increased by up to 30% A full screen of text should contain a rough maximum of 90 words Text should be broken into small chunks that can be read almost instantaneously Minimum text sizes still apply to graphical text. 24 point should be the general standard; 18 point the absolute minimum No more than two typefaces should ever be used at once on screen. 4.2.7 Digital Television Making digital television a reality requires the cooperation of a variety of industries and companies, along with the development of many new technical and production standards. A wide variety of international organizations have contributed to the standardization of digital TV. Most standards organizations create formal standards by using specific processes: organizing ideas, discussing the approach, developing draft standards, voting on all or certain aspects of the standards, and then formally releasing the completed standard to the general public (O’Driscoll, 5). Some of the best-known international organizations that are contributing to the standardization of digital television include: Advanced Television Systems Committee [ATSC] (http://www.atsc.org/) 92
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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
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(c) Figure 2.2 Examples of Comcast
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(c) (d) Figure 2.3 Examples of Gems
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users to send email, chat, and surf
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2.6 WEB-BASED SYNCHRONOUS (TWO-SCRE
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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
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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
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Page 93 and 94: Dramas may need to operate under a
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Page 97 and 98: 4.1.1 Grid-Based Design Grid-based
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Page 103 and 104: Figure 4.3 TV Aspect Ratios Althoug
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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
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Page 131 and 132: CHAPTER 5 PRINCIPLES OF INTERACTION
Page 133 and 134: through… The computer’s spatial
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Page 153 and 154: e voted off the island. In both cas
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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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