Designing Interfaces (T-DI)
TIDWELL, J.
Location In Research
A pretty much defacto manual of how to design an interface according to the present prevailing model. The book takes the stance of familiar or 'learned' behaviour as best and uses a good number of Gestalt prinicpals to back this up (which is interesting). In this way the book takes a similar approach to begining to look at interface design as does this body of research. The difference is that Tidwell seeks to re-use existing concepts and artefacts within the current space rather than to redefine the space in light of another media which may exploit the theorectical foundation more extensively.
Notes
| Page | Type | Details | Notes On || Quotes On || Synopsis On |
|---|---|---|---|
| xiii | Quote |
One could say 'the applications that are easy to use are designed to be intuative'. Well, yes. That's almost a tautology. Except that the word 'intuative' is a little bit deceptive. Jeff Ruskin once pointed out that when we say 'intuative' in the context of software, we really mean 'familiar'. Computer mice arn't 'intuative' to someone who's never seen once (although a grizzly bear would be). There's nothing innate or instinctive in the human brain to account for it. But once you've taken 10 seconds to learn how to use a mouse, it's familiar, and you'll never forget it." |
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| 3 | Synopsis |
A designer should 'script' the conversation between interface and participant. A rather old fashioned notion which dissalows the human any option than to follow a ridgid sequence of steps. |
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| 55-56 | Synopsis |
Leave signposts. Hyperlinks do this by default - they take you to where more information exists on the topic you have selected. |
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| 8 | Synopsis |
Never implement too much, as it's baffeling, or too little, as it's claustraphobic. |
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| 14 | Synopsis |
Good creative tool support leads to the absorbsion of the user in the activity. Time distorts - other distractions fall away. Much like in an embodied interaction. |
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| 22 | Synopsis |
Idioms: Term and meaning borrowed from Scott McCloud. Most aps are organised by information structure idioms such as a list of objects, a list of actions, a list of subject categories and a list of tools. |
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| 94 | Synopsis |
Page organisation. Tidwell discusses Gestalt properties of similarity, proximity, continuity and closure. |
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| 135 | Synopsis |
Control Affordance. (Norman) A control 'speaks' of the manner in which it should be manipulated. In this Tidwell advocates following excepted convention wherever possible. She asserts that re-using concepts like sliders, buttons or windows is appropriate. Tidwell also suggests using pseudo 3D visual effects to make controls appear 'raised' and so affordant. And that the mouse pointer change to something appropriate in such situations where it passes over such a control. Also that a tool-tip be displayed. |
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| 211 | Synopsis |
Against Iconic controls (by this she means pictographic rather than textual) - the meaning generated may be cryptic. |
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| 228 | Synopsis |
Dexterity: Don't use small fiddly controls as not all users can manage them. |
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| 228 | Synopsis |
Knowledge in the world is better than knowledge in the head. Present options rather than making the user remember information. |
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| 244 | Synopsis |
Direct manipulation: As discussed by Dourish. Acting on the artefact as well as through it. |
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| N/A | Synopsis |
Prospective Memory: The ability to so organise data to make it easy to find again. |
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| 19 | Notes |
Maybe the feedback form of this application should be a bulletin board. Well..... if I get time. |
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| 82 | Notes |
Advocation of colour coded areas. Hmmmm. The W3C accessability people don't like them and with good reason. I did initially think this would be useful for the ap. provide a third colour to sit with the black and white. I'm glad I didn't use one now. Just the blue for the hyperlinks which is not the only visual indicator of it's control status. |
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| 84 | Notes |
Animated transitions. Although I initially dissagreed with Tidwell about these as they are over-used and gimmicky in present interface design, the Gestalt Film project has demonstrated that these actually do aid perception and understanding. As qa result the flash interface uses these. |
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| 103 | Notes |
Center stage is the most important focal point. A lot of comic book artists would dissagree, this is discussed in Artists on Comic Art. But this maybe a practice based media consideration. I guess we'll see. |
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| 135 | Notes |
I think all that is fine, but only in bits and where appropriate. I'll be using my own sense of intuition and design to decide where that may be. |
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| 167 | Notes |
Scrollbars. I've not thought of them as a navigational device for the area mapping section of the interface |
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| 174 | Notes |
Affordant controls - zooming offers overview plus detail all in context. |
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| 181 | Notes |
Data brushing: Or filtering as we otherwise know it - helpful when drilling down into a lot of data, like there is on this page. |
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| 189 | Notes |
Sortable tables: Essential!. |
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| 211 | Notes |
Well that's true until it's used. After that learned experience *should* (as in I need to test it properly or find someone who has already done so empirically) kick in and make the image based control easier to use, that is if I'm reading closure right. |
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| xiii | Notes |
'Familiar' and 'intuative' as is being discussed here sit very well with both Norman and Dourish. |
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Book / Article Details
| Title: | Designing Interfaces |
|---|---|
| Author: | Jenifer Tidwell |
| Publishers: | USA: O'Reilly Media Inc |
| First Published: | 2005 |
| ISBN: | 0-596-00803-1 |
| Research Ref: | T-DI |