It’s being redundant with the whitespace by separating some blocks of text from others. Spatial positioning does something a little more complex here. Similarly, the tiny lightweight font used for the directions comment indicates “you may want to read this, but it’s not that big a deal if you miss it.” Our eyes are drawn to dense, contrasted shapes with heavy " visual weight.” The invitation’s most important line is in a giant font the second most important line is in a large font, but not as large the body text is normal sized. Some of these patterns work as well in print as they do onscreen, but most of them would be useless in print because they presume that the user will interact with the page.įigure 4-3. With typography and alignmentīig, bold fonts do the trick for importance, of course. This chapter’s patterns describe concrete ways to apply those high-level concepts to interface design.īut the changeable, interactive nature of computer displays makes layout easier in some ways, harder in others. We’ll talk about visual hierarchy, visual flow and focal points, and grouping and alignment-all are predictable and rational approaches to page design. Some important ideas from graphic design are explained in this chapter introduction each can guide you in the layout of pages, screens, and dialog boxes. If all this content were presented in a drab monotone, with no graphic emphasis to grab and move your attention, you would actually find it harder to extract meaning-what’s supposed to be important, and what’s not?Įven though it is ultimately an art, there might be more rationality to good page layout than you think. Likewise for editors who arrange articles, headlines, and ads on a newspaper. Film and television directors make their living by manipulating your attention on the movie or TV screen, and you are presumably a willing participant. If the word “manipulating” sounds unseemly to you, think about it this way. Page layout is the art of manipulating the user’s attention on a page to convey meaning, sequence, and points of interaction. and one with a 9 and 2 pair.Chapter 4. Organizing the Page:Layout of Page Elements I have just finished a sudoku with three "rectangles" in it-one with a 5 and 2 pair, one with a 1 and 3 pair.The "rectangle" involves either two 3x3 adjacent grids or hops over an adjacent grid to involve a third adjacent grid, but a rectangle cannot involve more than three 3x3 grids.The "rectangle" method-which provides 77 clues but leaves out two pairs of rectangular corner numbers to create an ambiguous sudoku-works not just for 1s and 2s but for any pair of opposite corner numbers.77 is the maximum number of clues that can still yield an ambiguous sudoku.17 is the minimum number of clues that can still allow for a "logical" (without guessing) solution to the sudoku.That is to say, given 17 to 77 clues, whether a sudoku can be solved without guessing (that is, solved "logically") depends on the unique set of clues given. A sudoku that is ambiguous is not a proper sudoku, but whether a sudoku is ambiguous or not depends more on the unique set of clues given rather than the number of clues-17 to 77-given.
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