The Principles & Processes of Interactive Design

Glossary

3D printing is an additive manufacturing process Feature phones are low-end mobile phones that Modding is a slang term for ‘modifying’, and usually
where a three-dimensional object is created from have capabilities beyond a basic mobile phone, such refers to the modifying of hardware and software – for
a digital model. The object is gradually built-up as limited web browsing, MP3 playback and camera. example, the building of user-generated game levels.
from the successive layering of new material.
Flow is a mental state where the task set is equally Parallax scrolling is a visual technique used to give
Affordance is a design principle, where the matched by the person’s skills, fully immersing them the illusion of images living in a three-dimensional
apparent and actual properties of an object give in the moment, making them feel energized and space. In web design, the illusion is perceived when
a visual clue as to how it can be used. absorbed. Mihály Csíkszentmihályi first proposed the user scrolls, causing layered foreground images
this psychological concept. to move faster than the background image.
Agile development is a fast and flexible software
development method that gives cross-disciplinary Frame rate is the frequency of sequential image Photo libraries supply stock images to designers
teams the autonomy to make timely decisions frames displayed every second. Cinema films and license them for specific uses. They are used as a
in response to change as part of an ongoing display images at 24 frames per second (fps), NTSC creative alternative to commissioning photographers
iterative design process. television at 29.97fps, PAL and SECAM at 25fps. or illustrators. Photo libraries can be accessed and
searched online. Popular photo libraries online
Animatics are storyboard images or more Gamification is the integration of game dynamics include: 123rf.com, corbisimages.com, gettyimages.
polished visuals sequenced in a video-editing or mechanics in non-game related businesses or com, istockphoto.com and shutterstock.com.
package with sample music to give a better sense content in order to increase participation and
of timing and creative intention. engagement. Pro formas are forms used to capture essential
information about a design project, or statements
Back channelling is the use of technology to HDTV is High Definition Television. There used to provide clients with an itemized bill of
provide a real-time web forum, live chat, tweeting are currently two resolutions: 1280x720 and design services.
or other messaging service alongside a primary 1920x1080. However, the lower resolution is being
activity, such, as a live TV show. phased out with the introduction of the latest Qualitative research is a method of inquiry
television sets. concerned with understanding why social
The cloud is a term used to refer to a personal or phenomena occur, rather than gather quantitative
shared online file space used for storing data. HTML5 is the latest iteration of Hypertext Mark-up statistical data about what has happened.
Language (HTML), which has better support for Qualitative researchers usually study things in their
A comp is short for ‘comprehensive layout’, multimedia content including audio, video, web apps own environment, and attempt to interpret meaning
which is presented to clients to give an idea of and advanced graphics. It also supports geolocation, given to social phenomena by people and understand
the proposed design prior to final images and which allows you to share your location with trusted behavioural patterns that occur because of them.
copy (written text) being supplied. websites to give you advanced services.
Quantitative research refers to the methodical
A comping image is a low-resolution placeholder An idea is an undiluted or unmoderated plan, proposal gathering of data about social phenomena
used in layout. or suggestion often generated during a brainstorming in numerical form. The data can be put into
session. See ‘concept’ for a linked definition. categories, or in rank order, or displayed in units of
A concept is an abstracted or refined idea that measurement and then used to construct graphs and
addresses the needs of a particular issue or Ident is a short animation or video revealing a tables for further analysis.
problem. See ‘idea’ for a linked definition. channel’s identity.
SDTV is Standard Definition Television. This is the
Copy is a term used to describe written material An information architect labels, organizes and common broadcast resolution received by television
used in a design layout. structures information to create interactive products without high-definition capability or reception (PAL
and experiences that are intuitive and usable. 720x576 and NTSC 720x486).
CSS3 (Cascading Style Sheets version 3) is
a language designed for the presentation or An interaction designer designs the behaviour of Smartphones are high-end mobile phones that have
formatting of HTML or XML content. This latest interactive systems. Interaction designers strive to advanced computing ability, allowing the user to
version contains more advanced features create meaningful relationships between people and browse the Internet, download games and use more
that enhance the look and feel of content; for the products and services that they use. complex applications (for example, word processors
example, increase the page elements on rollover and spreadsheets).
and round corner boxes. IPTV (Internet Protocol Television) is a system
through which services such as live TV, catch-up Sting is a short promotional advert for an individual
D1 is a digital video standard (PAL 720x576, and video on demand (VOD) are delivered over the programme, channel or season of programming
NTSC 720x486). When introduced in 1986, D1 Internet. Although it uses the Internet to stream usually lasting between 10–30 seconds.
referred to the large digital video cassette on media content, it differs from Internet television in
which uncompressed digital video was stored. that it is delivered through a set-top box attached to Seven mass media the phrase ‘seventh mass media
a television, and is usually a subscription service. channel’ was coined in 2006 by Tomi Ahonen,
DV is a later digital video format introduced in a telecommunications consultant and author, to
1995 and is the same resolution as D1 in PAL, Iterative design is a design methodology whereby draw attention to the unique benefits of the latest
and slightly different for NTSC – 720x480. every phase of design prototyping is tested, generation of mobile phones. The seven mass media
analysed and refined as part of a continual cycle in chronological order are:
Ethnography is the study of people and their of development. 1. Print – late fifteenth century, 2. Recordings (Audio)
cultures. Ethnographic research is qualitative – late nineteenth century, 3. Cinema – c.1900,
method that relies on observation and interaction Lossless encoding uses a data compression 4. Radio – c.1910, 5. Television – c.1950, 6. Internet –
with the person or people being studied over a algorithm that retains all original data when c.1990, 7. Mobile – c.2000.
long period of time. compressed so that no data is discarded.

200 Lossy is an encoding method that compresses files
by discarding data.

Glossary p Bibliography

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202

Bibliography p Useful resources

Useful resources

Interactive design is an interdisciplinary subject Grids and layout UI design patterns
drawing on a wide variety of knowledge and 960.gs graffletopia.com
expertise, so the design and development resources bbc.co.uk/gel konigi.com
are plentiful. The bibliography section provides a list cssgrid.net patternry.com
of useful books and articles for further reading on designinfluences.com/fluid960gs patterntap.com
interactive design allowing this section to focus on semantic.gs ui-patterns.com
useful tools and online resources: thegridsystem.org welie.com

App prototyping tools Illustrators and photographers User experience
appinseconds.com agencyrush.com boxesandarrows.com
balsamiq.com contactacreative.com iainstitute.org
justinmind.com eyemade.com nngroup.com
invisionapp.com handsomefrank.com usability.gov
popapp.in horton-stephens.com uxbooth.com
proto.io magnumphotos.com uxmatters.com

Bookmarking tools Image libraries Web authoring tools
delicious.com 123rf.com Adobe Dreamweaver: adobe.com/dreamweaver
digg.com corbisimages.com Coda2: panic.com/coda
pintrest.com fotolia.com Expression Web: microsoft.com/expression/
reddit.com gettyimages.com HTML Editor: coffeecup.com/html-editor
stumbleupon.com istockphoto.com Komodo Edit: activestate.com/komodo-edit
twitter.com shutterstock.com TextEdit: apple.com

Card sorting and tools Motion graphics Web design
optimalworkshop.com/optimalsort.htm artofthetitle.com 24ways.org
simplecardsort.com/ awn.com alistapart.com
sixrevisions.com/usabilityaccessibility/card-sorting/ motionographer.com netmagazine.com
userzoom.com/products/card-sorting motionserved.com smashingmagazine.com
uxpunk.com/websort/ motionspire.com thenextweb.com
xsortapp.com/ videocopilot.net w3schools.com

Colour Popular analytics tools Wireframing tools
colorschemedesigner.com alexa.com/toolbar Adobe InDesign: adobe.com/indesign
colorsontheweb.com clicky.com Adobe Illustrator: adobe.com/illustrator
colourlovers.com crazyegg.com axure.com
kuler.adobe.com google.com/analytics balsamiq.com
pictaculous.com haveamint.com Microsoft PowerPoint: office.microsoft.com
web.colorotate.org woopra.com protoshare.com

Communal websites Template-based content management systems Guidelines
behance.net blogger.com Android design guidelines for app development:
carbonmade.com cargocollective.com
designrelated.com drupal.org developer.android.com/design/index.html
deviantart.com indexhibit.org Apple’s human interface guidelines for iOS app
dribbble.com joomla.co.uk
hunie.co vbulletin.com development:
developer.apple.com/library/
Design inspiration Typography ios/#documentation/UserExperience/
artofthetitle.com ilovetypography.com Conceptual/MobileHIG/Introduction/
awwwards.com tdc.org Introduction.html
designarchives.aiga.org typographica.org BBC’s Global Experience Language design
dribbble.com typophile.com guidelines for television and web: bbc.co.uk/
stumbleupon.com webtypography.net gel/
thefwa.com welovetypography.com Internet Advertising Bureau provides guidelines
and supports creative standards: iab.net
Design portfolios Type foundries and web fonts Microsoft’s usability guidelines: msdn.microsoft.
behance.net fonts.com com/en-us/library/bb158578.aspx
carbonmade.com fontfont.com
cargocollective.com google.com/webfonts The World Wide Web Consortium governs web
deviantart.com playtype.com standards and provides guidelines and resources
sohosoho.tv processtypefoundry.com for web design and development: w3.org
topinteractiveagencies.com typekit.com
203

Index

Page numbers in italics denote BBC, educational games for children in technical detail 70–1 deconstruction theory 121
illustration captions 170–3 for television 73 demonstrations, hands-on 183
using colour systems 74–5 denotation, concept of 78
Ableton website 58 behaviours, exploring key 61 for websites 73 Derrida, Jacques 121
About Face 3: The Essentials of Berg 9 working with 72–3 Desafio Champions 159
Bibliothèque Design 7, 84 workshop/sense of taste 88–9 design community sites 189
Interaction Design 46 bit.code 102, 103 Blythe, Mark 36 Design Council, UK 8
abstract images 89 blackletter typefaces 95 design development 32–65
Actelion 67 Blacknegative 149 colour blindness 73
action safe area 136 blooming 100 communal websites 189, 206 conceptual thinking 34–7
adaptive design 133 bookmarking sites 24 communication creating prototypes/wireframes
Adobe Dreamweaver 189 bookmarking tools 206
Adobe Illustrator 54, 57, 74 Boolean logic 45 experiential/event driven 166 50–5
advertising, online 150–1 Boondoggle 150 presenting your ideas/presentations designing learnable interfaces
Box 2D physics engine 171
workshop 174–5 brainstorming 34, 82 see presentations 46–9
affordance 47, 154, 200 brand association, colour 69 competitor analysis, market research feedback/user-testing 58–9
agile development 200 brand behaviours/characters 10 industry perspectives 60–3
Ahonen, Tomi 152 brand cues 49 18 navigation systems 44–5
AKQA 160, 167 brand definition 20 comping image, term 200 organizing information 38–41
Alexa Toolbar 19 brand experience, workshop 13 complementary schemes, colour 74 site maps/task flows 42–3
alignment, typefaces 99 brand identity systems 48 comp, term 200 storyboarding/animatics 56–7
All of Us 145 brand matrices 17 concept presentation pitches 196 workshop/The Cube 64–5
Amazon Kindle Fire see Kindle brand narratives, defining 21 concept, term 200 De Stijl movement 118, 119
analogous schemes, colour 74 breadcrumb trails 45 conceptual thinking 34–7 magazine 118
analogue portfolios 191 break bumpers 162 development work, presenting 184
analytic tools 19 break points 133 brainstorming 34 diegetic games 157
animatics 50, 57, 200 broadcast standards 72, 136, 137 exercises/methods 34 diegetic user interface 156
anologies 77 browsing aids 45 making connections 36–7 Die neue Typographie 119
Anthill 158 Burj Khalifa, Dubai 64–5 mind maps 35 digital advertising campaigns 174
App in Seconds 54 What If? 35 digital age 8
Apple 81 calligrammes 118 concrete poetry 118, 121 digital and multimedia work 8
Apple iPad see iPad call to action (CTA) 130, 150 Connected Home 72 digital portfolios 186
Apple Keynote 183 card sorting Connected Life Concept 30 digital presentations 182–3
apps connections, making/conceptual digital revolution 8
interactive design 40–1 thinking 36–7 digital typography 11, 90–115
4oD 164, 165 tools 206 connotation, concept of 78 classification/selection 94–7
app prototyping tools 206 cascading style sheets (CSS) 73, 106, constructivism, Russian 119 fundamentals 92–3
CBH 38–9 109, 126 content management systems (CMS), industry perspectives 110–13
Event staff 153 CSS3 132, 133, 149, 200 website creation 189 for information 104–5
Hitman 111 casual games 158 context, of projects 14 legibility/readability 98–9
interface 49 CBH app 38–9 context reviews 16 small/dedicated devices 108–9
metaphors in design of 47 Cervélo brand 122–3 contexts of use, mapping key 60 and television 100–1
Namedropper 152 Channel 4, on-demand service (4oD) Cooperative Bulk Handling (CBH) app using type as image 102–3
navigation systems 153 164, 165 38–9 on the web 106–7
Oatbook 22 children’s games 154–5, 170–3 Copperplate Gothic, typeface 118 workshop/Semi-precious 114–15
Red Bull Music Academy 134–5 CIID Consulting 26, 40 copyright laws 25 digital video 8
Revel 182–3 Cleaton, Rob 22 copy, term 200 digital video standard, D1 200
Skoodle 154 clickable areas, smartphones 153 Cranbrook Graduate Design 121 digital wireframes 51
StarPlayer football 160, 161 closed texts 78 Creative Helmet 76 direction pad (D-pad) 153
TrueView 138 Cloud Experience 20 creativity, and technology 12 Display Advertising Guidelines 151
typefaces 94, 96 cloud, term 200 Crystal Goblet 119 display typefaces 95
Usefull 196 CMYK subtractive colour model 71, 73 CSS3 (Cascading Style Sheets DOG (Digital on-screen Graphic/bug)
Zeebox 160 codes theory 121 version 3) 133, 149, 200 see also 162
Ardent 13 colorschemedesigner.com 74 cascading style sheets (CSS) download times 81
Art and Crafts movement 118 colour see also colour and image cultural probes, user research 21 drawing 23
artist’s model, colour 71 and contrast/composition of layouts culture Dribbble 24
assets, optimizing 61 and colour 68–9, 89 dual screen viewing 160–1
Atticmedia 170 123, 124 and metaphors 47 Dubai, Burj Khalifa 64–5
Audanika 46 and culture 68–9 culture hunts, visual research 22 Dunkfish 57
Audi City cyberstore 199 and immersive games 157 customer journeys 21 DV 200
Axion Banner Concerts 150 colour and image 66–89 custom-made websites 189 dynamic pages 42
see also colour CX brand development workshops 20 Dynamic Visualisation 28
back channelling 160, 200 colour scheme creation 74 CX identity 70
balance, composition of layouts Colour Wheel (Farbkreis) 71 EA Digital Illusions Creative
and culture 69, 89 D1 200 Entertainment (DICE) 157
122, 123 encoding/decoding images 76–9 dadaism 119
204 banners format 150–1 harmonies 74 Dare 33 eBooks see also Kindle
image libraries see also Dead Space 3 156, 157 myFry 33
Barbour website 69 Death of the Author 78 typography 109
Barthes, Roland 78, 121 photo libraries decision-making, and market research workshop/magazine design 114–15
basic model of colour 71 industry perspectives 84–7
Bauhaus school 71, 118, 119 meaning/psychology 68–9 16 Edenspiekermann 46, 58, 98, 134–5,
BBC2 identity 56 preparing images 80–1 Deck, Barry 120, 121 187
deconstructed graphic design 120
E Ink technology 109

Index p Picture credits

Eastman Tritan™ 57 globalization indents, television 100, 162 ligatures, examples of 93
element sheets 146–7 and colour 69 indent, term 200 line length, typefaces 98, 99
elevator control system 64–5 and imagery 102 InDesign 54, 57 literal images 89
Elfaki, Husam 188 index, the 78 literal signs 77
El Lissitsky 119 global navigation 44 information literature reviews 16
Emotional Design: Why We Love glyphs 92, 106 Little Printer, Berg 9
goals, presentations 178 organizing/design development local navigation 44
(or Hate) Everyday Things 46 Golden Section 125 38–41 logos, interactive 7, 84–7
end board/end credit promotion 162 Google Analytics 18 lossless 201
ethnography 200 Gottlieb Paludan Architects, website typography for 104–5 lossy 201
e-Types 11, 110–13 information age 32 Lost & Found, Disney Fairies 154
evaluation, heuristic 58–9 112, 113 information architects 38, 200 low-fidelity prototypes 50, 52, 54
Event staff app 153 grain harvesting 38–9 information architecture 43
experiential design 166 graphics components, television 162–3 Information Is Beautiful 68 Madefire 48, 49
Eye-Bee-M Poster 120 Greiman, April 120 Intel Power Up 169 magazine design, eBooks 114–15
grids and layout 116–43 interaction designer 200 Maritime Museum of Denmark
Facebook 153, 167 interaction, principles of 65
Farbkreis (Colour Wheel) 71 fluid/responsive/adaptive layouts interactions, exploring key 61 website 112
feature phones 153, 200 132–5 Interactive Advertising Bureau (IAB) market research 16–19
feedback, design development 58–9
Fibonacci sequence 125 grids 126–7 150–1 brand matrices 17
Field IO 86 history 118–21 interactive demos 171 competitor analysis 18
file size, online advertising/banners industry perspectives 138–41 interactive design 144 context/literature review 16
laying out web content 130–1 defined 16
formats 150 principles of composition 122–5 designing learnable interfaces 46–9 diabetes 26–9
fixed layouts 132 screen-based interaction 11 interactive logos 84–7 questionnaires/surveys 17
FlashForward 79 screen size and layout 128–9 Interactive Music Installations 168 web analytics 18
Fling, Brian 152 television layout/standards 136–7 navigation systems 44–5 mastheads 115
flow 158, 200 workshop 142–3 site maps/task flows 42–3 McCoy, Katherine 120, 121
flow diagrams 64 Gropius, Walter 119 sorting/card sorting 40–1 menu, television 162
fluid grids 133 Guestlist, Facebook 153 term 8 metaphorical images 89
fluid layouts 132–3 guidelines 207 interactive formats 144–75 metaphorical search engine 45
focus groups, user research 20 enhanced web experience 148–9 metaphors 77
focus, of projects 15 HDTV 137, 200 games 154–9 in app design 47
Fontbook 2.0 96–7 heads-up-display (HUD) interfaces mobile 152–3 visual 63
Fontfont’s website 98 online advertising/banners formats Metro 47
font hinting 106 156, 157 mind maps, conceptual thinking 35
FontLab 111 Herman Miller 80 150–1 Mindnode 35
fonts 92 ‘Hero’ pitch box 178 web publishing 146–7 Mirror’s Edge 157
Foto-Qualität, IX.1.2 119 heuristic evaluation 58–9 interactive logos 84–7 Mobile Design and Development 152
4oD interface 165 hexadecimal values 73 Interbrand 67 mobile devices
frame rate 200 High Definition Television (HDTV) interface design, and idioms 47 interactive design 152–3
Franklin Gothic, typeface 118 interfaces and layout 128
Freemind 35 137, 200 attractive 47 Mobile Rising Stars Ad Units 150–1
F-shape layouts 130–1 high-fidelity prototypes 50–1, 53 designing learnable 46–9 modding 201
functionality development, Hitachi 60, 63 International Typographic Style 121 modernism 120–1
Hitman project 111 Internet Advertising Bureau (IAB) 151 modular grids 126
interface design 48 Homeless banners 151 Internet Protocol Television (IPTV) Moholy-Nagy, László 119
How to be a Graphic Designer without 164, 201 monochromatic interfaces,
GameBuilder 170, 172–3 iPad 26, 28–9, 128 small screens 108
games Losing Your Soul 186 IPTV 163, 201 monochromatic schemes, colour 74
How We Built Britain 102 iterative design 201 moodboard desktops 25
casual games 158 HTML5 132, 149, 200 Ittens, Johannes 71 mood boards 63
children’s 154–5, 170–3 Hue, Saturation and Brightness (HSB) Moodstream brainstorming tool 82
diegetic/non-diegetic 157 Jazz House 11, 106–7 Morris, William 118
immersive 157 colour model 71 justified text 99 Moving Brands 10, 20, 48, 60, 63,
industry perspectives 170–3 hyphenation 99 70, 178–9
interactive formats 154–9 kerning, letter spacing 93 Müller-Brockman, Josef 120
gamification 154, 200 IBM 120 Kindle 109, 128 see also eBooks Multinet 84–5
gamut ranges, colour systems 73 iconography, interface design 49 Kinetic 11, 117 music, Interactive Music
Garbergs 151 icons 77, 78, 153 Komodo Design 81, 146, 152 Installations 168
Gardiner-Richardson 185 idea, term 200 Komodo Digital 50, 129, 132, 180–1 myFry 33
Generative Design 67 identity guidelines 163 Kotoc 159
generative typography 105 idioms, and interface design 47 Namedropper app 152 205
Gestalt Law of Symmetry 122 images see also colour and image Law of Closure 122 Nappula project 14
Gestalt Laws of Closure and Similarity Law of Proximity 124 Nation 69, 117, 127
122 encoding/decoding 76–9 Law of Similarity 122 navigation systems, interactive
gesture/interface taxonomies, format selection 81 layout and grids see grids and layout
mapping 60 image libraries 82–3, 206 LCD screens 109 design 44–5
Get Into Newcastle website 50–1, literal/metaphorical/abstract 89 leading, letter spacing 89, 93, 99 negative space 122
146–7 preparing 80–1 learnable interfaces, designing 46–9 network mapping exercise 29
Get Real 80 for television 80 Les Bleus de Ramville 101, 102 Neue Helvetica typeface 94
Getty Images 82, 83 type as 101–3 letter spacing 89, 93, 99 Newcastle Science City 129
for web 81 libraries, image 82–3, 206
Imaginary Forces 80
immersive experiences 166 see also photo libraries
immersive games 157
Immersive Living 27
immersive pseudo 3D 154

New Star of India, movie 166–7 products, analysis of competitors 18 script typefaces 95 tablets

Nike+ FuelStation 166–7 pro formas 201 SDTV 201 interactive design 152–3

960.gs Grid System 126–7 design brief 14 search engines 45 typefaces 108–9

Nissan 79 progressive enhancement 133, 142 searching aids 45 task flows, interactive design 42–3

non-diegetic games 157 project context 14 ‘See Read’ poster 121 taste after taste, workshop 88–9

non-Western/non-Latin typefaces project focus 15 semiotics 76–7, 78 technology, and creativity 12

95, 106 project process 15 serifs, typefaces 95, 104 television

Nordkapp 14, 43, 52, 54 Projeqt 183 service definition 14 colour for 72, 73

Norman-Nielsen Group 130 Proto.io 54 seven mass media 152, 201 future of 52

Novo Nordisk 26–9 prototypes Shadow Cities 43 graphics components 162–3

NTSC broadcast standard 72, 137 creating 50–5 shape/space, composition of layouts images for 80

polished 55 122, 123 indents 161, 162

Oatbook app 22 tools 54 sharing functionality, interface design 48 interactive 164–5

observation, interactive design 39 video 63 signifiers/signified 77–8 screen layout/standards 136–7

Oily Film Company Inc. 101 Proud Creative 163 signs, encoding/decoding 76–8 Standard Definition Television 201

Ollo interactive logo 7, 84–7 Prozone soccer analysis website 44 site mapping, tools/resources 42 and type 100–1

on-demand services, and social Psyop 72 site maps 202 Telstra ‘Connected Home’ commercial

media 145 interactive design 42–3 72

onedotzero 166 qualitative data, focus groups 20 size/scale template-based sites, portfolio

Onformative 10, 67, 104–5 qualitative/quantitative research 201 composition of layouts 122–3 websites 189

online dating 138 questionnaires, market research 17 online advertising/banners formats Template Gothic 121

online portfolios 189 questions, categories of 35 150 Ten Usability Heuristics 59

online questionnaires 17 quick paper prototyping 61 sketchbooks 22 term, depicting a 88

open texts 78 sketchbooks/blogs, visual research 23 text hinting 106

optimizing assets 61 Rand, Paul 120 skeuomorphic design 47, 201 text, smartphones 153

outdoor print advertising 162 Razorfish 192, 199 slab serifs, typefaces 95 texts, open/closed 78

oxymorons 114 rbmaradio.com 134–5 smart Interaction features 165 The End, Channel 4 154–5

Reactive 79 smartphones 3D printing 201

page construction 125 readibility 99 clickable areas 153 3 Dreams of Black 148–9

PageRank, Google 19 Red Bull Music Academy Radio 134–5 and cultural probes 21 title safe area 136

page tagging 18 representation 89 interactive formats 152 title sequences

PAL broadcast standard 72, 136 research 12 term 201 television 162

Pantone colour gamet 73 immersion 85 typefaces 108–9 term 201

paper prototyping 50, 52, 61 industry perspectives 26–9, 85 Smart Urban Spaces 14 Tommy portfolio site 75

parallax scrolling 201 for interaction 10 Smith, Nathan 126 tracking, letter spacing 93

PDF presentations 181 market research 16–19 Soap Creative 174 tracking, typeface 98, 99

personas, user research 20 methods for designers 13 social media, and on-demand Trend Bible rebrand 185

photo libraries 201 qualitative/quantitative 201 services 145 triadic schemes, colour 74

see also image libraries recording 29 social networking TrueView 138

and moodboards 25 tools 26, 28–9 industry perspective 138–41 Tschichold, Jan 119, 125

and persona creation 20 understanding the brief 14–15 and television 166 TVE 159

Photoshop 54 user research 20–1 Solutionism 36 type

phototyping, video 54 video research 193 Sony Reader 108 as image 101–3

physical portfolios 191 visual research 22–5 Soundprism 46 and television 100–1

pixel shapes, television 137 workshop 30–1 spaces, positive/negative 122 typefaces 92

Playspent.org 104 resources, for interactive design 206–7 split complementary schemes, colour 74 Arts and Crafts 118

Playtype foundry 91, 110–13 responsive web design 133 Spotify 8 categories of 95

Plump Digital 13, 17, 44, 131,154 respresentations 78 square/non-square pixels 137 leading/tracking/line length/

points, typeface 92 Retina 113 Stadsmission 151 alignment 98–9

Popp, Julius 102, 103 Revel app 182–3 Standard Definition Television 201 legibility/readability 98–9

portfolios, creating/presentations RFID tags 14 StarPlayer football app 160, 161 measuring 92

186–91 RFID tags/user interfaces 15 static pages 42 Neue Helvetica 94

portfolio sites 24 RGB additive colour model 71 status indicators 156 sans serifs/serifs 95, 104

position/placement, composition RGB system, colour 72, 73 Sticky Wisdom 35 selection 98

of layouts 123, 124 rich media enhancements 149 sting, television 162, 201 stresses 93

positive space 122 Rising Stars banner ads 151 Stop Noise Polution poster 120 Syfy Sans 163

post-modernism 120, 121 Royal Society of Portrait Painters’ storyboards/storyboarding 50, 56–7, styles/weight 94

PowerPoint 183 website 117, 127 170 Template Gothic 121

Precedent 38 Rule of Thirds 124, 125 storytelling workshop 192–5 typographic abstraction 103

Preloaded 155 runner vision 157 stresses, typeface 93 Typographic Process, Nr 4. 120

presentations 176–97 Sunderland College website 132–3 Typographic Signs 120

creating portfolios 186–91 safety areas, working with 136 SuomiTV 52 typographic textures 101

digital 182–3 Sam Stern cookery website 131 super families, typefaces 94 typography, digital

206 industry perspectives 192–5 sans serifs, typefaces 95, 104 SurveyMonkey 17 see digital typography
surveys, market research 17
physical presentations 184–5 scenarios

preparing for 178–81, 193, 196–7 interactive design 39 Syfy Channel 163 Uber Digital 57

workshop/Perfect Pitch 196–7 user research 21 Syfy Sans, typeface 163 Udesign Studio website 81

Prezi 183 Schrank, Lukas 190–1 symbols, typefaces 95 Universal Ad Package (UAP) units 150

printing, 3D 201 screen-based design, colour 71 symbol, the 78 Urban Flow 54, 55

print publishing, colour 71 screen resolution, and layout 128 system flow, flow diagrams 64, 65 Urbanscale 54

Index p Picture credits

Picture credits

usability principles 59 wireframes Images courtesy of: © 2013 with express permission from Adobe Systems
Usefull app 196 creating 50–5 Incorporated: 74 | AKQA: 161, 166, 167 | Amazon: 109 | artqu/123RF Stock
User Behaviour Concept 52 elevator wireframe interface 65 Photo: 82 | Audi AG: 199 | AllofUs/Yota Play: 145 | Timo Arnall, BERG
user contexts, mapping key 60 interactive design 39 (bergcloud.com): 9 | bagiuiani/123RF Stock Photo: 82 | Bibliothèque Design:
user experience designers 202 wireframing tools 54, 207 6, 84, 85, 86, 87 | Blacknegative: 149 | Boondoggle : 150 | Bridgeman: 119 |
user experience (UX) 12, 61, 63, 141 Mark Blythe: 36 | British Broadcasting Corporation (BBC): 56, 73, 100, 102,
workshops 170, 171, 172, 173 | © 2013 CIID 213: 26, 27, 28, 29, 40, 41 | Jason Bishop, ©
design patterns 128, 202 and brand matrices 17 Sony Electronics Corp.: 108 | Cienpies/123RF Stock Photo: 82 | Rob Cleaton :
simplification 61 brand/user experience 13 22, 23 | Courtesy of Carte Blanche Films: 101 | Ryan Coupe, Luke Emmerson,
term 202 connected life 30–1 David Ingledow: 176, 182, 183 | © Channel Four Television Corporation:
workshop 13 The Cube 64–5 164, 165 | Matt Chea, 2009: 121 | cokemomo/123RF Stock Photo: 88 | ©
user interface designers 202 day-care centre 14 ColorSchemeDesigner.com: 74 | Image Copyright Arno van Dulmen, 2013
user interface design (UI) 61 It’s all news to me/accessing news Used under license from Shutterstock.com: 77 | Dare: 33 | Dribbble LLC: 24 |
games 157, 159 142–3 Edenspiekermann: 46, 47, 58, 98, 134, 135, 186, 187 | Dead Space 3 images
patterns 54 Semi-precious (eBook magazine) used with permission of Electronic Arts, Inc.: 156 | Mirror’s Edge images used
Trueview 140 114–15 with permission of Electronic Arts, Inc.: 157 | Luke Emmerson: 84, 85 | Husam
UI pattern 202 system flow/wireframe interface Elfaki: 176, 188 | elisanth/123RF Stock Photo: 82 | e-Types/Playtype: 11, 91,
UI toolkit 62 64–5 106, 107, 110, 111, 112, 113 | Fairly Painless Advertising and Imaginary Forces:
user journeys 63 Taste after taste 88–9 80 | FontShop AG: 94, 95, 96 | Lise Gagne/123RF Stock Photo: 78 | Garbergs:
user research 20–1 151 | Gardiner-Richardson: 184, 185 | Getty Images: 83, 118 | Zara Gonzalez
see also user-testing World Wide Web Consortium (W3C) 124 Hoang: 34 | Google and the Google logo are registered trademarks of Google
users WSIWYG editors 189 Inc., used with permission: 18 | Maylin Gouldie/Red Bee, maylingouldie.co.uk:
individual 10 56 | Max Holford: 175 | Max Holford, David Ingledow, Ella Rasmussen: 30, 31
understanding user needs 64 Yossarianlives.com 45 | hypermania2/123RF Stock Photo: 88 | © Hattula Moholy Nagy/DACS 2013:
Yota Play 145 119 | © Image & Form: 158 | ©iStockphoto.com/ilbusca: 77 | ©iStockphoto.
see also user research YouView 202 com/RypeArts: 77 | David Ingledow: 143 | © Kinetic Design & Advertising Pte
user-testing 58–9, 172 You vs. John Paulson 104–5 Limited: 11, 117 | Komodo Digital: 50, 51, 81, 129, 132, 133, 146, 147, 152,
153, 180, 181 | Kotoc: 159 | Igor Mitin: 76 | McKinney and Urban Ministries
see also user research Zeebox 160 of Durham: 104 | Mahifx.com: 105 | David McCandless and Always With
ustwo 164 Z-layouts 130–1 Honor, InformationisBeautiful.net: 68 | © Katherine McCoy/ Photography by
Robert Hensleigh and Tim Thayer: 120 | James Medcraft/onedotzero: 168,
Van Doesburg, Theo 118, 119 169 | A Milk+Koblin Project, copyright: Chris Milk, and Aaron Koblin, Google:
vector graphics, smartphones 153 Cover, 148 | Moving Brands: 10, 20, 21, 48, 49, 60, 61, 62, 63, 70, 178, 179 |
video jukebox 136 Müller-Brockmann, Josef (b. 1914): Weniger Lärm (Less Noise), 10 x 12 (1)
video prototyping 54–5, 63 (A) 1960. New York, Museum of Modern Art (MoMA). Offset lithograph, printed
video research 193 in colour, 50 1/4 x 35 1/2’ (127.6 x 90.1 cm). Acquired by exchange. 513.1983
viewports 133, 202 © 2013. Digital image, The Museum of Modern Art, New York/Scala, Florence:
Visceral Games 156 120 | Nation London Ltd.: 69, 117, 127 | Nordkapp: 13, 14, 43, 52, 53, 54, 55 |
visible colour gamet 73 oksun70/123RF Stock Photo: 88 | Onformative: 105 | Onformative/Interbrand:
visual metaphors, user interface 63 10, 67 | Plump Digital: 13, 17, 19, 44, 131, 154 | Julius Popp: 103 | Precedent: 38,
visual research 22–5, 63 39 | Preloaded: 155 | Proud Creative Limited: 162, 163 | Psyop: 72 | Paul Rand
visual tone of voice 63 Revocable Trust: 120 | Razorfish: 192, 193, 194, 195 | Reactive: 79, 122, 123,
Visual Vocabulary 42 124 | Santosh Rudra: 115 | Santosh Rudra , Dustin Roxborough: 196, 197 | Lukas
Schrank: 177, 190, 191 | Spotify: 8 | Jamie Steane: 16, 18, 25, 35, 64, 65, 131,
Warde, Beatrice 119 136 | SurveyMonkey: 17 | Tschichold, Jan (1902-1974): Die Frau ohne Name (The
web Woman Without Digitale (1)(A) a Name), 1927. New York, Museum of Modern Art
(MoMA). Offset lithograph, 48 3/4 x 34’ (123.8 x 86.4 cm). Peter Stone Poster
colours 89 Fund. Acc. n.: 225.1978.© 2013. Digital image, The Museum of Modern Art, New
images for 81 York/Scala, Florence: 119 | TrueView: 138, 139, 140, 141 | Will Tunstall, Chris
type on the 106–7 Edwards and Marcus Foley: 75 | Uber Digital: 57 | Designed by April Greiman
web 2.0 technologies 82, 132, 202 & Jayme Odgers; Photography by Guy Webster; Art Direction by Leonard Koren.
web analytics, market research 18–19 Copyright © 1979 Wet Magazine (Leonard Koren): 120 | Weingart, Wolfgang
web authoring tools 207 (b. 1941): Typographic Process, Nr 4. Digitale 93 (1)(A) Typographic Signs,
web content, laying out 130–1 1971-72.. New York, Museum of Modern Art (MoMA). Lithograph, 34 1/2 x 24 1/4’
web experience, enhanced 148–9 (87.6 x 61.6 cm). Printer: G. Gissler Basle. Juerg Zumtobel Purchase Fund. Acc.
web fonts 106, 132, 149, 202 n.: 264.2002.4.© 2013. Digital image, The Museum of Modern Art, New York/
web metrics 18 Scala, Florence: 120 | YossarianLives!: 45 | © Zeebox: 160
webpages
industry perspectives 110–13 All reasonable attempts have been made to trace, clear and credit the copyright
ranking competitors 19 holders of the images reproduced in this book. However, if any credits have
web publishing 146–7 been inadvertently omitted, the publisher will endeavour to incorporate
website design 132 amendments in future editions.
websites
colour for 73 207
content of/portfolios 186–7
effectiveness of 18–19
mapping of 42–3
Weingart, Wolfgang 120
Weniger Lärm Poster 120
Wet Magazine 120
What If?, conceptual thinking 35
What If? Innovation Partners 35
Widows/Orphans 99
Windows 8 47

Acknowledgements and credits

This book is based on 20 years’ worth of There are a number of contributors to whom
professional procrastination and a year of intense I owe particular thanks:
research and writing activity. It would not have
been possible without the encouragement Dan Baker, Precedent, Perth
and gentle prodding of Trevor Duncan, Janine Charles Batho, London
Munslow and Joyce Yee at Northumbria Tim Beard, Bibliothèque, London
University or the professional perspective of Jason Bishop, Los Angeles
Dan Edwards. This book would certainly have James Bull, Moving Brands, Los Angeles
been impossible without the love and support Paul Canty, Preloaded, London
of J.O.V.E. – Jamie, Ollie, Vashti and Esme xxx. James Chorley, AKQA, London
Rob Cleaton, London
At Bloomsbury, I owe thanks to Georgia Rob Colley, Plump Digital, York
Kennedy for commissioning the book in the first Steven Cook, Edenspiekermann, Berlin
place, a huge debt to Colette Meacher and Lucy Lizzie Dewhurst, AKQA, London
Tipton for their patience and tireless help in Eilidh Dickson, CIID Consulting, Copenhagen
getting this book written, and finally to Roger Vanessa Diéguez, Kotoc Productions, Barcelona
Fawcett-Tang who has had to work with my Rebecca Duddridge, Uber Digital, London
innumerable design suggestions. Husam Elfaki, AKQA, London
Karin Fong, Imaginary Forces, New York
Daniel Foster-Smith, Yossarian Lives!, London
Andy Greener, Komodo Digital, Newcastle-upon-Tyne
Tom Kile Hartshorn, Nation, London
Emma Jefferies, Newcastle-upon-Tyne
Mathias Jespersen, e-Types, Copenhagen
Panu Korhonen, Nordkapp, Helsinki
John Lau, Preloaded, London
Julia Laub, Onformative, Berlin
William Lidstone, Razorfish, London
Christian Meldgaard, e-Types, Copenhagen
Georgina Milne, Moving Brands, London
Sami Niemelä, Nordkapp, Helsinki
Campbell Orme, Moving Brands, London
Adam Quickfall, Peg Digital, Newcastle-upon-Tyne
Darren Richardson, Gardiner-Richardson,
Newcastle-upon-Tyne
Paul Robinson, Uber Digital, London
Helle Rohde Andersen, CIID Consulting, Copenhagen
Lukas Schrank, Sydney
Katrina Scott, Reactive, New York
Mark Sherwin, Precedent, London
Jürgen Siebert, Fontshop, Berlin
Matt Verity, TrueView, London
Dunja Vitolic, Imaginary Forces, Los Angeles
Shane Walter, onedotzero, London

Finally, additional thanks to some of my graduating
and continuing students at Northumbria University
for their individual contributions: Ana Breso-Gonzalez,
Oscar Chui, Ryan Coupe, Luke Emmerson, Max
Holford, David Ingledow, Dustin Roxborough and
Santosh Rudra.

208

Acknowledgements and credits