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| * Patterns for Wrapper: ''[[Scroll]], [[Annunciator Row]], [[Notifications]], [[Titles]], [[Revealable Menus]], [[Fixed Menu]], [[Home & Idle Screens]], [[Lock Screen]], [[Interstitial Screen]], and [[Advertising]]''. |
* Patterns for Wrapper: ''[[Scroll]], [[Annunciator Row]], [[Notifications]], [[Titles]], [[Revealable Menu]], [[Fixed Menu]], [[Home & Idle Screens]], [[Lock Screen]], [[Interstitial Screen]], and [[Advertising]]''. |
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| === Technology === While some devices are beginning to allow effectively unlimited type selection, support vector glyphs, and have large amount of storage and running memory, most mobile devices are still resource and technology constrained. General issues of storage on the device, running memory, download times and cost of network access, limit availability of type for mobile application design. As almost all devices require raster (bitmap) faces, each size is loaded as a complete, different typeface. Most products end up with the device's default type, or with a very limited set of choices for their application. |
== Digital Display Page Layout Principles == Using page layouts can provide a consistent user and brand experience that support content organization and layout, advertising requirements, navigation, and message display characteristics such as legibility and readability. |
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| While this challenge will slowly dissolve, it will always be present to some degree. Inexpensive devices, specialist devices (youth, elderly and ruggedized) and emerging markets needs, seem to indicate these issues will persist for another decade at least. | Mobile users have specific tasks and goals. They require the information to be quickly located and effectively organized. Therefore, the page layouts need to reflect the mental models and schemas understood by the users. If these are ignored, users will become frustrated, unsatisfied with their experience, create miscues and errors, and might even give up! |
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| === Usability === Mobiles are used differently from desktops, and even most print use of type. They are closest, perhaps, to signage in that they must be comprehended by all user populations, under the broadest possible range of environmental conditions (e.g. poor lighting) and at a glance. The typical mobile user is working with the device in a highly interruptible manner, glancing at the screen for much of their interaction. The type elements must be immediately findable, readable and comprehendible. |
Furthermore, using page layouts wisely, allows you to organize and place content effectively on valuable screen real estate where every pixel is important. |
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| This is different from the technical challenge in that it is inherent in the mobile device. Users will always interact with their devices in this manner, so it must always be addressed, regardless of the technical implementation. | == Page Layout Guidelines for Mobile Users == * Mobile screen real estate is valuable. Avoid uses of pointless banners, bars, useless images, and graphics that take up space. * Lay out elements with a design hierarchy. There are optional versions, and some interactive types insist time is another component, but for simplicity it's: Position > Size > Shape > Contrast > Color > Form. The most important items are larger, higher, brighter, and so on. * Consider Gestalt Laws of Closure, Continuity, Figure and Ground, Proximity, Relative Size, Similarity, and Symmetry. These laws were created based on how we visually recognize and process patterns. See Part II Components for more detailed information. * Use consistent and simple navigation elements. People have limits to the amount of information they can store in their short term memory. Therefore, they automatically filter information that is important and stands out. Information elements that are excessively displayed and irrelevant will be ignored and overlooked. * Wayfinding is really rooted in real-world navigation, like getting around town, or finding the right room in a building. Kevin Lynch, an environmental psychologist, established five wayfinding elements that people use to identify their position: Paths, Edges, Nodes, Landmarks, and Districts. These same environmental elements are also referenced when navigating digital content on websites or mobile devices. Page numbers, titles, headers and footers, tabs, links and more provide a lot of help that we've inherited almost as a whole for interactive design. * Consider how users will view your page when plotting content. Generally, users will look for high-priority information in the upper left of the content area (Nielsen: 2010). * Multi-column text is not to meet some design style, but to restrict line length. And line lengths are not based on fixed sizes, or even percentages of page width, but on character count. Long lines are harder to read. Anything over about 60-65 characters (averaged) is the maximum length you want to use. Too short depends on how many long words you have. * Titles describe pages, elements within a page, and content sections. Use them consistently and appropriately. * ANNUNCIATOR ROWS * The term false bottom, or false top, is interactive design specific, and refers to users thinking they are at the end of the content and not continuing to scroll. If text flows from one column to the next, or one page to the next, it must be designed so the relationship between them is clear. "Continued on page 86" is all but a hyperlink from the past, which has been inherited by interactive; "read the rest of this blog post" is basically the same thing. * Interactive systems have an additional challenge in that the page might be larger than the screen (or viewport as we often call it). * PARALLAX == Message Display Characteristics == Mobiles are used differently from desktops, and even most print use of type. They are closest, perhaps, to signage in that they must be comprehended by all user populations, under the broadest possible range of environmental conditions (e.g. poor lighting) and at a glance. The typical mobile user is working with the device in a highly interruptible manner, glancing at the screen for much of their interaction. |
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== Message Display Characteristics == === User needs === Looking and Finding: Detection and Discrimination Detection: Determining the presence of an object, target or symbol. ''Descrimination'': Determining that differences exists; discriminating between target objects and non-target objects is determining differences on the basis of which identifications can be made. Identifying: Identification ''Identification'': Attributing a name or meaning to some object target or signal. Discrimination and identification are often parallel processes, but in psychological terms they make different demands of the presented information. Recognizing: Recognition ''Recognition'': Determining whether objects in the display have been seen before. Identification often accompanies recognition. == Legibility == Refers to the ease with which the elements (letters, numbers, symbols, etc.) can be detected and discriminated from one another. === Font design === '''Font vs. Typeface''' Typeface is a collection of characters-letters, numbers, symbols, punctuation marks, etc. In contrast, a font is a physical thing, the description of the typeface-in computer code, photographic film, or metal-used to image the type (Felici: 2003). When choosing the appropriate display font, we must understand the difference between anti-aliased and bitmapped letters because these affect legibility. Ant-aliasing renders some of pixels shades of gray along the edges of the letter. This helps users to perceive the letter as being smooth. Anti-aliased text is more legible when using larger font sizes for Titles and headings; however, using anti-aliasing text in small font sizes tends to create a blurry image. === Baselines and Measurements === |
The message display elements must be immediately detected, discriminated, identified, readable and comprehendible. In essence, they must be legible. In order to create effective message displays that are legible for mobile displays, understanding the basic elements of type is important. This information will assist you when choosing the appropriate typeface for your design. == Typographical Features, Baselines, and Measurements == * '''Font''' – A font is a physical character or characters that is produced and displayed. * '''Typeface'''- Typeface is a collection of characters-letters, numbers, symbols, punctuation marks, etc. * '''Glyph'''- The smallest shape of a character that still conveys its meaning. |
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| === Letterforms and their parts === * '''Serifs''' - are finishing flourishes at the ends of a character’s main stroke. They extend outward. They are not solely decorative. They also help with our ability to discriminate other characters that make up lines of text. Serif faces are more readable for large blocks of type than sans serif faces. If your application is one filled with news articles, or something similar, consider if a serif face might work. * '''San-Serifs''' - For mobile type, sans-serif is often the default choice as it works well enough for all uses, at all sizes. * '''Square Serifs''' - Square serifs may be a good compromise, to assure the serifs display at the rendered sizes. === Letter height === Measure, Point Size, and Leading |
* '''Counter forms'''- Counter forms are the negative spaces formed inside characters and also between characters, known as kerning. * '''Stress''' - Stress is adding curvature to the straight shapes of a letterform. This is generally not desired for mobile faces. At best, the small rendered size will simply blur out these subtleties. It could also make it impossible to render sharp letters at small sizes. * '''Stems'''- Stems are main vertical or diagonal elements of a character. CONSIDER? * '''BOWLS'''- === Letterforms and Their Parts === * '''Serifs''' - are finishing details at the ends of a character’s main stroke. They extend outward. They are not solely decorative. They also help with our ability to discriminate other characters that make up lines of text. Serif faces are more readable for large blocks of type than sans-serif faces. However, in small mobile type, these may become undetectable, blurry, and decrease legibility due to the limits of screen pixel technologies. * '''San-Serifs''' – Are characters without serifs. For mobile type, sans-serif is often the default choice as it works well enough for all uses, at all sizes. For users that have poor vision, you may need to use san-serifs that include more visually distinct characters in certain cases. * '''Square Serifs''' - Square serifs use block serifs. Using these may be a good compromise, to assure the serifs display at the rendered sizes. Appropriate kerning is important to use for letter discrimination and legibility. === Letter Height === During the letterpressing era of movable type, letters were created from cast sorts. These sorts were arranged together to form words and sentences. Each metal sort was designed to have a specific measurement. The letter’s height was measured from the top to the bottom of the sort, not the actual letter. This standard measurement became known as the type’s point size. On the sort, letter heights varied across typefaces, even though they may have shared the same sort height. Therefore, different typefaces may have the same point size, but the actual letter height may differ. |
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| Measure refers to the width of the column that type is set in. | Today, we commonly use the point size system. We have also standardized type using ''picas'', and ''ems''. * '''Point'''. One point equals 1/72 of an inch or .35 millimeters. * '''Pica'''. 12 points equal one pica. A pica is the unit usually used to measure the width of columns. * '''Em'''. In digital type, an em defines the proportion of the letter width and height with respect to the point size of the current font. So, a typeface of 12 points will have an Em of 1, where 1 em is equal to 12pts. === Letter Width === Letter Width is known as set width. Set width measures the width of the letter and a small cushion. |
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| '''Letter Height:''' | NEED MORE === Letter Spacing === * '''Kerning.''' Kerning (or tracking) is the space between letters. Ideally, this is automatically generated and follows well-established principles laid out by the type designer. * '''Leading'''. Larger leading can often increase readability in poor conditions, such as low light or in motion, but too much can make it impossible to understand that two lines are related to each other. === Alignment === Alignment of type is used as a design tool, and to make the text fit appropriately. And "alignment" is the right word. We use left-align, right-align, and center. |
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| Points-One point equals 1/72 of an inch or .35 milimeters. Pica-12 points equal one pica. A pica is the unit usually used to measure the width of columns. Em-During the letterpressing era, letters were created from cast sorts. In metal type, the height from the top to the bottom of the metal sort was known as its point size. In digital type, the Em Letter Width: Letter Width is known as set width. Set width measures the width of the letter and a small cushion. During the 18th century, standardizing the measuring of type began. When === Upper/lower case === === Stroke width/weight === === Letter/line spacing === == Legibility Guidelines for Mobile Devices == * Avoid using all caps for text. Users read paragraphs in all caps about 10% slower than mixed cases. (Nielsen, 2000). * Try and use plain-color backgrounds with text because graphical or pattern backgrounds interfere with the eye’s ability to discriminate the difference. * Sans-serif is often the default choice as it works well enough for all uses, at all sizes. Consider using Helvetica (iPhone’s default typeface), Verdana is also good while it has a larger x-height and simpler curves than Helvetica. * Almost all text should be left justified. * Strong counters (or "counter-forms") – often, using squared-off shapes for small counters is a good idea * Use typefaces with un-stressed forms – straight, even-width lines. == Conspicuity == Conspicuity, while involving legibility, also implies other display characteristics. It describes how well an object can be detected while it captures a user’s attention amongst other noise or other competing information. According to the National Cooperative Highway Research Program, there are two types: attention conspicuity and search conspicuity. Color can be used both to classify and emphasize information displayed on a screen. When using color for these things, you need to understand that we have limits in our processing abilities that affect our signal detection. In 18xx, A German psychologist Ewald Hering theorized that there are six elementary colors that are arranged perceptually as opponent pairs along three axes. These pairs are: black-white, red-green, and yellow-blue. Each color either is positive (excitatory) or negative (inhibitor). These opponent colors are never perceived at the same time because the visual system cannot be simultaneously excited and inhibited. Our modern color theory stems off of this. Today, we know that the input from the cones is processed intro three distinct channels: The luminance channel (black-white) is based on input from all of the cones. We have two chromatic channels. The red-green channel is based on the difference of long and middle-wavelength cone signals. The yellow-blue channel is based on the difference between the short-wavelength cons and the sum of the other two (Ware, 2000). In 1986, Post and Green created an experiment to test how subjects could effectively name 210 colors on a computer screen. The results of that test that are worth noting are: * The pure monitor red was actually named orange most of the time. * A true red color required the addition of a blue monitor primary. * Eight colors out of the 210 were consistently named, suggesting that only a small number of colors should be used to label categories. Color for Labeling, or more technically – nominal information coding, is used to because color can be an effective way to make objects easy to remember and visually classify. Perceptual factors to be considered in choosing a set of color labels: 1. '''Distinctness''': 2. '''Unique hues''': Based on the Opponent Theory, they are: Red, Green, Yellow, Blue, Black, and White. 3. '''Contrast with background''': Our eyes are edge detectors. When we have objects that must be in front of a variety of backgrounds, it may be beneficial to have a thin white or black border around the color-coded object. Consider the reasons why alert street signs, have the border, too. 4. '''Color blindness''': About 7% of males and only 0.5% of females are color blind in some way. The most common is being red-green colorblind. 5. '''Number''': We are limited in the number of color-codes we can rapidly perceive. Studies recommend use between five and ten codes. 6. '''Field Size''': Object size affects how you should color code. Small color-coded objects less than half a degree of visual angle and in the yellow-blue direction range should not be used to avoid the small-field colorblindness. 7. '''Conventions''': When using color-naming conventions, be cautious of cultural differences. Common conventions are: red =hot, danger, blue=cold, green=life, environmental, go. In China, red =life, good fortune, green =death. == Conspicuity Guidelines For Mobile Devices == * Use colors with high contrast between the text and the background. Optimal legibility requires black text on a white background, and White text on black background is effective as well. * For text contrast, the International Standards Organization (ISO 9241, part 3) recommends a minimum of 3:1 luminance ratio of text and background. Though a ratio of 10:1 is preferred (Ware, 2000). * When having text on background, purely chromatic differences are not suitable for displaying any kind of fine detail. You must have a considerable luminance contrast in addition to color contrast. * When large areas of color-coding are needed, like with map regions, use colors with low saturation. * Small objects that are color-coded should use high-saturation. * The majority of colorblind people cannot distinguish colors that differ in the red-green direction. * Recommended colors for color-coding: 1. Red, 2. Green, 3. Yellow, 4. Blue, 5. Black, 6. White, 7. Pink, 8. Cyan, 9. Gray, 10. Orange, 11. Brown, 12. Purple (Ware, 2000). |
=== Justified === Justification is a single entity with type adjusted to be straight on both the left and right sides. This is more readable on small columns, but less readable on longer columns, where "ragged right" or left-aligned type is better. When you justify type there will be changes to the kerning, between words and between letters, and if this is poorly done then the type becomes difficult to read. Fix this with wider columns, or tweaking the hyphenation rules. |
A Page is the area that occupies the entire viewport of the mobile screen during its current state. Based on cultural norms of reading conventions and how people process information, we must design and layout page information accordingly. We also want to create information that is easily accessed, and easy to locate. Our users are not stationary, or focused entirely on the screen. They’re everywhere and they want information quickly and easy to manipulate.
The Page that will be discussed here is subdivided into the following chapter:
Chapter 2, Wrapper
Wrapper
A wrapper is a template that is used to organize page information consistently across the OS. Using a wrapper allows information to be organized hierarchically on a page. This organization will relate to the user’s mental model of page structure to quickly increase learnability and satisfaction while decreasing performance errors.
This chapter will discuss the following topics:
- Templates.
- The Concept of a Wrapper.
- Context is Key.
- Scenario: Yearbook Application.
Patterns for Wrapper: Scroll, Annunciator Row, Notifications, Titles, Revealable Menu, Fixed Menu, Home & Idle Screens, Lock Screen, Interstitial Screen, and Advertising.
Digital Display Page Layout Principles
Using page layouts can provide a consistent user and brand experience that support content organization and layout, advertising requirements, navigation, and message display characteristics such as legibility and readability.
Mobile users have specific tasks and goals. They require the information to be quickly located and effectively organized. Therefore, the page layouts need to reflect the mental models and schemas understood by the users. If these are ignored, users will become frustrated, unsatisfied with their experience, create miscues and errors, and might even give up!
Furthermore, using page layouts wisely, allows you to organize and place content effectively on valuable screen real estate where every pixel is important.
Page Layout Guidelines for Mobile Users
- Mobile screen real estate is valuable. Avoid uses of pointless banners, bars, useless images, and graphics that take up space.
Lay out elements with a design hierarchy. There are optional versions, and some interactive types insist time is another component, but for simplicity it's: Position > Size > Shape > Contrast > Color > Form. The most important items are larger, higher, brighter, and so on.
- Consider Gestalt Laws of Closure, Continuity, Figure and Ground, Proximity, Relative Size, Similarity, and Symmetry. These laws were created based on how we visually recognize and process patterns. See Part II Components for more detailed information.
- Use consistent and simple navigation elements. People have limits to the amount of information they can store in their short term memory. Therefore, they automatically filter information that is important and stands out. Information elements that are excessively displayed and irrelevant will be ignored and overlooked.
- Wayfinding is really rooted in real-world navigation, like getting around town, or finding the right room in a building. Kevin Lynch, an environmental psychologist, established five wayfinding elements that people use to identify their position: Paths, Edges, Nodes, Landmarks, and Districts. These same environmental elements are also referenced when navigating digital content on websites or mobile devices. Page numbers, titles, headers and footers, tabs, links and more provide a lot of help that we've inherited almost as a whole for interactive design.
- Consider how users will view your page when plotting content. Generally, users will look for high-priority information in the upper left of the content area (Nielsen: 2010).
- Multi-column text is not to meet some design style, but to restrict line length. And line lengths are not based on fixed sizes, or even percentages of page width, but on character count. Long lines are harder to read. Anything over about 60-65 characters (averaged) is the maximum length you want to use. Too short depends on how many long words you have.
- Titles describe pages, elements within a page, and content sections. Use them consistently and appropriately.
- ANNUNCIATOR ROWS
- The term false bottom, or false top, is interactive design specific, and refers to users thinking they are at the end of the content and not continuing to scroll. If text flows from one column to the next, or one page to the next, it must be designed so the relationship between them is clear. "Continued on page 86" is all but a hyperlink from the past, which has been inherited by interactive; "read the rest of this blog post" is basically the same thing.
- Interactive systems have an additional challenge in that the page might be larger than the screen (or viewport as we often call it).
- PARALLAX
Message Display Characteristics
Mobiles are used differently from desktops, and even most print use of type. They are closest, perhaps, to signage in that they must be comprehended by all user populations, under the broadest possible range of environmental conditions (e.g. poor lighting) and at a glance. The typical mobile user is working with the device in a highly interruptible manner, glancing at the screen for much of their interaction.
The message display elements must be immediately detected, discriminated, identified, readable and comprehendible. In essence, they must be legible. In order to create effective message displays that are legible for mobile displays, understanding the basic elements of type is important. This information will assist you when choosing the appropriate typeface for your design.
Typographical Features, Baselines, and Measurements
Font – A font is a physical character or characters that is produced and displayed.
Typeface- Typeface is a collection of characters-letters, numbers, symbols, punctuation marks, etc.
Glyph- The smallest shape of a character that still conveys its meaning.
Baseline- is the axis where the main body of text sits. Some letters may slightly extend below the baseline
X-height- is the height of the main lowercase body from the baseline. It is the size of the lower case letter x. It excludes ascenders and descenders. For Mobile and Small-Screen Devices, the x-height must be between 65 and 80% of the cap height.
Cap height- is the distance from the baseline to the height of the capital letter and the ascender. When figuring a font’s point size, the cap height is used.
Descender Line-The descender is the part of a letter that extends below the baseline. The descender line is the axis in which all descenders within the font family rest against. For Mobile and Small-Screen Devices, do not use excessive descenders – avoid exceeding 15 - 20% of the cap-height, to avoid excessive leading.
Ascender- An ascender is part of the letter that extends above the x-height. For Mobile and Small-Screen Devices, do not have ascenders above the cap height – critical for non-English languages
Counter forms- Counter forms are the negative spaces formed inside characters and also between characters, known as kerning.
Stress - Stress is adding curvature to the straight shapes of a letterform. This is generally not desired for mobile faces. At best, the small rendered size will simply blur out these subtleties. It could also make it impossible to render sharp letters at small sizes.
Stems- Stems are main vertical or diagonal elements of a character. CONSIDER?
BOWLS-
Letterforms and Their Parts
Serifs - are finishing details at the ends of a character’s main stroke. They extend outward. They are not solely decorative. They also help with our ability to discriminate other characters that make up lines of text. Serif faces are more readable for large blocks of type than sans-serif faces. However, in small mobile type, these may become undetectable, blurry, and decrease legibility due to the limits of screen pixel technologies.
San-Serifs – Are characters without serifs. For mobile type, sans-serif is often the default choice as it works well enough for all uses, at all sizes. For users that have poor vision, you may need to use san-serifs that include more visually distinct characters in certain cases.
Square Serifs - Square serifs use block serifs. Using these may be a good compromise, to assure the serifs display at the rendered sizes. Appropriate kerning is important to use for letter discrimination and legibility.
Letter Height
During the letterpressing era of movable type, letters were created from cast sorts. These sorts were arranged together to form words and sentences. Each metal sort was designed to have a specific measurement. The letter’s height was measured from the top to the bottom of the sort, not the actual letter. This standard measurement became known as the type’s point size. On the sort, letter heights varied across typefaces, even though they may have shared the same sort height. Therefore, different typefaces may have the same point size, but the actual letter height may differ.
Today, we commonly use the point size system. We have also standardized type using picas, and ems.
Point. One point equals 1/72 of an inch or .35 millimeters.
Pica. 12 points equal one pica. A pica is the unit usually used to measure the width of columns.
Em. In digital type, an em defines the proportion of the letter width and height with respect to the point size of the current font. So, a typeface of 12 points will have an Em of 1, where 1 em is equal to 12pts.
Letter Width
Letter Width is known as set width. Set width measures the width of the letter and a small cushion.
NEED MORE
Letter Spacing
Kerning. Kerning (or tracking) is the space between letters. Ideally, this is automatically generated and follows well-established principles laid out by the type designer.
Leading. Larger leading can often increase readability in poor conditions, such as low light or in motion, but too much can make it impossible to understand that two lines are related to each other.
Alignment
Alignment of type is used as a design tool, and to make the text fit appropriately. And "alignment" is the right word. We use left-align, right-align, and center.
=== Justified === Justification is a single entity with type adjusted to be straight on both the left and right sides. This is more readable on small columns, but less readable on longer columns, where "ragged right" or left-aligned type is better. When you justify type there will be changes to the kerning, between words and between letters, and if this is poorly done then the type becomes difficult to read. Fix this with wider columns, or tweaking the hyphenation rules.