INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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(a) (b) Figure 5.29 Examples of BBCi Branding (a) and (b) As evidenced by Figure 5.30, the text on the consistent navigational bars used by the BBC can be adapted for each program as appropriate, but the colors are mandatory and are purposefully color coded: red is meant to provide a relevant link to whatever content is on screen; green is thought of as providing customization or access to communication tools; yellow can be flexible and fills in for controls that are difficult for the viewer to access; and blue is meant to provide access to fixed textual information or to sections of a service (British Broadcasting Corporation, 2002). Figure 5.30 BBCi Navigation Bar Color Scheme In early 2005, the BBC updated the look of BBCi and its brand logo. User- centered design is clearly the driving force behind this evolution. As evidenced by Figure 5.31, “Gone is the chunky white i block of the original logo and in comes a little red i dot, 151
epresentative of the red button that digital viewers are encouraged to press in order to go interactive” (quoted in May, 2005). Figure 5.31 New BBCi logo Accordingly, the BBCi service itself has also been re-designed to reflect the same black, red, and white colors of the new logo. According to Rahul Chakkara, BBC Controller of BBCi 24/7 interactive television services, BBCi’s new look is “the second stage of our continuing journey to make the interactive experience easier for BBC viewers... We also wanted to create a visual identity for our interactive TV services that would help raise awareness amongst those people who have not yet pressed red” (quoted in May, 2005). While we do not have a comparable system in place to standardize iTV interfaces in the U.S, it is nevertheless a good idea for networks to build a visual identity that is consistent so that over time, users become familiar with the model of interactivity and come to know what to expect. Principle: Create an effective screen structure In chapter four, I discussed the importance of leveraging grids, colors, and grouping principles such as the Gestalt Laws in order to create effective layouts that direct a viewer’s visual attention and help to script the interaction. Thissen provides additional detail about how this process operates: 152
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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
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3.2.1 Representative Example in Spo
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(a) (b) Figure 3.3 Test the Nation
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interactive TV betting service tota
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application was also available on t
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the ABC telecast throughout the eve
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platforms. The navigation is timeli
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3.7 SHOPPING Shopping, or purchasin
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- and as close to the regular exper
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CNN Crossfire, broadcast in front o
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Dramas may need to operate under a
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The participatory aspect of many pr
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4.1.1 Grid-Based Design Grid-based
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The Law of Similarity. Elements tha
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more visually pleasing, but can hel
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Figure 4.3 TV Aspect Ratios Althoug
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and graphics-safe areas for designi
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4.2.4 Line Width The image on a tel
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shapes, to make similar letters dis
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specification. OCAP is intended to
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pages. Web applications that exceed
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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
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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 139 and 140: y the wider context of the program
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Page 159 and 160: In the first of a series of on-air
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Page 165 and 166: Figure 5.25 Life 360 Competing Elem
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Page 175 and 176: 5.4 NAVIGATION Navigation pertains
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Page 191 and 192: Figure 5.46 Examples of Mobile Inte
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Page 195 and 196: Figure 6.2 Convergence of Entertain
Page 197 and 198: (a) Figure 6.3 Examples of MTV Hija
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Page 203 and 204: Sheri Lamont, who has practiced and
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Page 207 and 208: REFERENCES Adams, M., Anand, P. & F
Page 209 and 210: Halle, T. (2003). Standards for int
Page 211 and 212: Norman, D. (2004) Emotional design:
Page 213 and 214: Thurrott, P. (2004, October 12). Wi
Page 215 and 216: BROADBAND A network capable of deli
Page 217 and 218: MEDIA CENTER Media centers, or PC T
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which a television and a personal c
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