INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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Thissen outlines the characteristics of suitable metaphors (2004): The metaphor should fit the topic and the content of the product The metaphor should be simple but, at the same time, not have a boring or trivial effect The metaphor should be familiar to the users. They should not have to put forth a lot of effort to work the metaphor initially The more realistic the representation of the metaphor, the greater the acceptance by the user The visual representation of the metaphor should not dominate the actual contents; rather, it should transport them The metaphor should be multifaceted enough to be used in various situations The metaphor should be used uniformly and consistently in the product. Mixing of several metaphors causes confusion and destroys their effect An effective metaphor can serve to orient the user and script the interaction, to a great degree. Metaphors that are either too literal or too abstract, however, can actually be detrimental to the usability of the application and detract from the depth and meaning of the interactive experience. 5.5 CONCLUSIONS The interaction design principles I have presented here suggest directions but do not provide hard-and-fast recipes. Technological opportunities continue to evolve, and the set of options available to designers continue to evolve as well. Design principles should provide more stable guidelines than platform-specific design practice (see chapter two). Of course, the respective genre and content of each individual program is also of 171
importance (see chapter three). In this chapter, I have deliberately discussed design implications at a level that will require designers and others to choose how they apply the principles according to the different settings, technologies, and needs that characterize each design challenge. 5.5.1 Function versus Aesthetics Usability and graphic design have a symbiotic relationship to one another: “An iTV application designed purely for usability may allow viewers to perform tasks, but risks leaving them feeling disconnected, uninvolved and without a sense of allegiance. On the other hand, an application built only with graphic design in mind may look fantastic but may be difficult and frustrating to use” (Gawlinski, 2003). Nielsen speaks to the relationship between graphic design and usability in the overall design process: Graphic design in the user interface business is not just a matter of aesthetics. There is much more at stake than simply pretty pictures, and good graphic design can significantly improve the communicative value of the interface, leading to increased usability. System usability has many components, including ease of learning, efficiency of use, memorability, reduced number of user errors, and subjective satisfaction. Good graphic design can improve all these quality attributes, though of course graphic design is only one element of overall user interface design (Nielsen, 1995). However, Norman emphasizes that there is no need to sacrifice beauty for usability or vice versa: “It is possible to create things that are both creative and usable, both pleasurable and completely workable. Art and beauty play essential roles in our lives. Good designs will have it all – aesthetic pleasure, art, creativity – and at the same time be usable, workable, and enjoyable” (2002). Effective iTV designs should integrate function and aesthetics to leverage and maximize the affordances of the digital medium in order to provide users with compelling and engaging interactive experiences. 172
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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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working on a computer is not a soli
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media, among others. Figure 4.9 pro
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MSN TV 2, which Microsoft rolled ou
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with a handheld remote control from
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Table 4.2 outlines some of the diff
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should be designed with the televis
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Pages that appear in series, one af
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CHAPTER 5 PRINCIPLES OF INTERACTION
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through… The computer’s spatial
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medium. The current state of this e
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Page 153 and 154: e voted off the island. In both cas
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Page 159 and 160: In the first of a series of on-air
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Page 175 and 176: 5.4 NAVIGATION Navigation pertains
Page 177 and 178: Figure 5.35 New Americans Orientati
Page 179 and 180: Figure 5.37 Test the Nation User In
Page 181 and 182: applications based on the televisio
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Page 185 and 186: In Robert Miller’s classic user r
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Page 191 and 192: Figure 5.46 Examples of Mobile Inte
Page 193 and 194: CHAPTER 6 CONCLUSIONS AND FUTURE DI
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
Page 205 and 206: ecognition of outstanding achieveme
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
Page 219: which a television and a personal c
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