INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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with a mouse than with a remote control, where users must often click through numerous elements before reaching the desired link. As we have seen from the case study, the primary usability concern for MSN TV 2 remains the difficulty of Web browsing, including legibility issues and excessive scrolling, a convention that users are used to on the computer but find annoying on television. According to Mark Gawlinski, the solution for layout and readability problems with the Internet on television is to ask Web site operators to design alternate, television-friendly versions of their sites (2003). Of course, most companies today are not yet prepared to spend the time or money to go through this effort. As evidenced by Table 4.2, there appear to be fewer issues with the adoption of iTV on the computer platform. This platform seems to be more conducive to successful iTV adoption because users are already accustomed to the active, “lean forward” model of interaction. Navigational concerns are negligible because the mouse affords relative ease of movement. More importantly, while television must struggle with the adoption of Web-like elements, the majority of Internet users are already accustomed to accessing video content on the Web. Streaming video has been available on the Web for a long time, and this model is not an alien one to most users. From the case study, it does appear that the MCE 2005 is more user-friendly, and more readily adopted by consumers, than the MSN TV 2 service. 4.7 CONCLUSIONS In this chapter I have surveyed the existing standards for designing for the television and for the Web, and explored some of the challenges arising from convergent iTV design. In general, for iTV applications that are targeted at TV output, interaction 109
should be designed with the television experience in mind, while applications targeted at computer output should be designed with the Web experience in mind. Summarizing the analysis from this chapter, some key points and design recommendations include: TVs and computers have many display differences. When designing for either medium, pay attention to canvas size, aspect ratio, action or graphic safe areas, resolution, cropping, pixel shape, and scan rate. The NTSC TV display is different from standard computer VGA, requiring different color palettes and use of different fonts. Avoid highly saturated and very bright colors. In a graphics program, use NTSC safe settings and Web-safe palettes. Large, clearly defined regions of cool, desaturated colors work best for television. Choose appropriate fonts and type sizes for television and the Web. For example, on the television, avoid light weights or fonts with very narrow and broad strokes. Use simply constructed sans-serif fonts and use anti-aliasing to increase readability. If an application may be shrunk from a 16:9 ratio to fit a 4:3 ratio, use text that is still large enough to be legible after shrinking. Use design elements such as color, typography, and layout to guide users’ attention and script their interactions appropriately. To compensate for the distortion that occurs when the same image appears horizontally stretched on an NTSC compared to a computer screen due to the difference in pixel size, design work on a computer should be done on a file that is 768 x 576 pixels. 110
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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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interactive or enhanced content on
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they allow for greater versatility,
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Networks have also used wireless de
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The American Film Institute’s enh
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game consoles with televisions and
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Interactivity must be tied to origi
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CHAPTER 3 BROAD CATEGORIES OF ITV P
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information about the topic at hand
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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
Page 79 and 80: interactive TV betting service tota
Page 81 and 82: application was also available on t
Page 83 and 84: the ABC telecast throughout the eve
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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 and 100: The Law of Similarity. Elements tha
Page 101 and 102: more visually pleasing, but can hel
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
Page 109 and 110: shapes, to make similar letters dis
Page 111 and 112: specification. OCAP is intended to
Page 113 and 114: pages. Web applications that exceed
Page 115 and 116: Source: Human Factors International
Page 117 and 118: working on a computer is not a soli
Page 119 and 120: media, among others. Figure 4.9 pro
Page 121 and 122: MSN TV 2, which Microsoft rolled ou
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Page 125: Table 4.2 outlines some of the diff
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
Page 135 and 136: medium. The current state of this e
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
Page 143 and 144: een programs that were still in dev
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Page 147 and 148: context where the learner is consci
Page 149 and 150: viewing experiences so that each vi
Page 151 and 152: (a) (b) Figure 5.10 TiVo WishList (
Page 153 and 154: e voted off the island. In both cas
Page 155 and 156: them so conducive to iTV programmin
Page 157 and 158: own content in ways similar to this
Page 159 and 160: In the first of a series of on-air
Page 161 and 162: Jakob Nielsen notes that users are
Page 163 and 164: (a) (b) Figure 5.22 TV411 Interface
Page 165 and 166: Figure 5.25 Life 360 Competing Elem
Page 167 and 168: (a) (b) (c) (d) Figure 5.28 Example
Page 169 and 170: epresentative of the red button tha
Page 171 and 172: Lamont brings up compelling advanta
Page 173 and 174: lower right-hand areas are privileg
Page 175 and 176: 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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