INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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1.5 THE PROBLEM Steve Curran notes that industry enthusiasm has “waxed and waned with every market test and technological advancement over the last fifteen years” (2003). Dale Herigstad, Creative Director of Schematic, Inc., and a respected iTV designer, notes that “In the early 1990s, I was involved in some of the big Time Warner tests that were taking place, and the attitude was ‘it’s coming.’ But here we are, twelve years later, and the attitude is still ‘it’s coming’” (quoted in Curran, 2003). Increasingly, however, many of the business and technological obstacles that have accounted in part for the slow development of iTV in the United States are fading. At the same time, television viewers are becoming more receptive to a more active mode of watching. However, business and technological constraints are not the only factors responsible for slow iTV development: “At the end of the day, success or failure for iTV rides on whether a consumer can pick up a remote control, instinctively understand where they can go and what they can do with interactive television, and, once there, find that value has been added to the passive experience” (Curran, 2003). To that end, good interaction design for this new interactive medium is arguably more directly critical to the success of iTV than any other factor. Today, the study of interaction design is emerging from the foundations of human-computer interaction (HCI) and industrial design – with a dedicated focus on user-centered design. Preece, Rogers, & Sharp define interaction design as “developing interactive products that are easy, effective, and enjoyable to use from the users’ perspective” (2002). Designing effective interactive television experiences is a challenge for interaction designers. In order to effectively approach the design challenges, I will be 23
using a combination of visual culture and usability methodologies. The visual culture aspect will address the experience of watching television as a cultural one, filled with models and metaphors that we have become familiar with. The visual culture perspective pertains primarily to the interface design of a system. The usability perspective is concerned with the navigation of the system. As previously mentioned, however, these factors do not operate discretely. Understanding how they work together to influence viewers can offer valuable insights into designing effective interactive experiences for television. The human-computer interaction community is becoming increasingly aware of user interface design issues in interactive television. The closing plenary for the 1995 CHI conference (the premier international conference for human-computer interaction), given by Scott McDonald of Time Warner Entertainment, focused on many of the general iTV challenges for the CHI community. Over the past decade or so, CHI participants have demonstrated a growing awareness of this new design space by presenting papers, tutorials, and workshops on subjects such as “When TVs are Computers are TVs” (Mountford, et al, 1992), “Interactive Television: A New Challenge for HCI” (Teasley, Lund, & Bennett, 1996), “Dual Device User Interface Design: PDAs and Interactive Television” (Robertson, et al, 1996), and “Interactive Television: Strategies for Designing Useful and Usable Services” (Daly-Jones & Carey, 2001). At the 1998 CHI conference, Dale Herigstad 2 and Anna Wichansky 3 conducted a workshop titled “Designing User Interfaces for Television,” in which they addressed the effective design of user interfaces for iTV and Web applications used on televisions. They identified 2 Executive Creative Director, Schematic, Inc., and prominent iTV designer 3 Senior Director, Advanced User Interfaces, Usability & Interface Design, Oracle Corporation 24
Page 1 and 2: INTERACTION DESIGN PRINCIPLES FOR I
Page 3 and 4: ACKNOWLEDGMENTS This thesis would n
Page 5 and 6: 2.3.3 Constraints 2.4 Electronic /
Page 7 and 8: 4.2 Designing for Television 4.2.1
Page 9 and 10: Table 1.1 Table 1.2 Table 1.3 Table
Page 11 and 12: Figure 2.6 Figure 2.7 Figure 2.8 Fi
Page 13 and 14: Figure 5.4 Figure 5.5 Figure 5.6 Fi
Page 15 and 16: Figure 5.36 Figure 5.37 Figure 5.38
Page 17 and 18: SUMMARY Interactive television (iTV
Page 19 and 20: However, it is clear that televisio
Page 21 and 22: looking closely at existing designs
Page 23 and 24: For viewers with analog television
Page 25 and 26: Figure 1.3 Percent of Households wi
Page 27 and 28: interact with television shows by u
Page 29 and 30: New Media usage is dominated by 18
Page 31 and 32: Figure 1.6 Winky Dink and You The o
Page 33 and 34: 1.4.1 BBC Interactive Figure 1.7 In
Page 35 and 36: 1.4.2 Additional Examples Many othe
Page 37 and 38: Table 1.6 (continued). Greece Local
Page 39: Table 1.6 (continued). New Zealand
Page 43 and 44: CHAPTER 2 BROAD CATEGORIES OF ITV P
Page 45 and 46: Table 2.1 Categorization of iTV by
Page 47 and 48: 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
Page 53 and 54: users to send email, chat, and surf
Page 55 and 56: 2.6 WEB-BASED SYNCHRONOUS (TWO-SCRE
Page 57 and 58: interactive or enhanced content on
Page 59 and 60: they allow for greater versatility,
Page 61 and 62: Networks have also used wireless de
Page 63 and 64: The American Film Institute’s enh
Page 65 and 66: game consoles with televisions and
Page 67 and 68: Interactivity must be tied to origi
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
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
Page 85 and 86: platforms. The navigation is timeli
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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CNN Crossfire, broadcast in front o
Page 93 and 94:
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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through the different elements offe
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y the wider context of the program
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History IQ focused on keeping the i
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een programs that were still in dev
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features of a DVD immediately after
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context where the learner is consci
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viewing experiences so that each vi
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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:
Page 213 and 214:
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
Page 219:
which a television and a personal c
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