Apps will define the iPad, it’s true. But in developing your app idea, which comes first, the idea or the device? Good news: neither. It’s people! When brainstorming and researching ideas for your app, step back and consider the context in which the device will be used by real live people. How does the iPad fit into our lives? In what situations would we prefer this device to a laptop or iPod Touch?
- Samsung Galaxy Tab 10.1 3G – 10.1 inches, 1280 x 800 pixels
- Samsung P1000 Galaxy Tab – 7.0 inches, 600 x 1024 pixels
- Dell Streak 7 – 7-inch 800×480
- Motorola Xoom – 10.1-inch, 1280×800
- Viewsonic G – 10.1-inchs 1024×600
I plan to collect the data of how many times a user presses a button on the keyboard or mouse. If possible, I would also like to include which words are typed most.
My initial cinematic experience will consist of a sentence being typed, and then deconstructed by each letter to calculate how many of each letter is used to create the sentence. The letters will relocate to the format of my design.
The design will be composed of 2 sections. the left section will be 1/3rds of the page, consisting of the top 10 buttons used and the number of times used. The right 2/3rds of the page will hold a keyboard and an empty text box above. At the start, the only section that will be revealed is the left left section. This section will be centered on the screen while the cinematic is playing, but then shift to the left when the sentence is deconstructed. When the cinematic is finished, the right section slide out from behind the left section to reveal the keyboard and textbox.
The navigation will consist of each section being able to collapse. Not only will the right section be able to collapse behind the left section, but then the left section will collapse into a very thin strip on the very left side of the screen. This small strip will only display the top letters/buttons used. Depending on how much information I can add, I may have tabs for each section to add more navigating. There will also be an exit, reset, and copy/paste buttons.
Other than the opening cinematic, The each button pressed on the keyboard will light the corresponding button on the displayed keyboard. The number of times pressed will change every time a button is pressed. Also if all of the sections are opened and the user keeps still, a guide to what each sections records and how the ‘device’ is used will appear.
“My Nokia N95 phone has six types of Exit buttons to exit an application such as the addressbook or the calendar. They are: Quit, Exit, Cancel, Back, Close, and End. Sometimes the button becomes a No button also. Only one is going to REALLY quit the application and save battery and processing power.” I found this quote as one of the responses to a video I had found, and thought it could help explain what I think interactive design is. Firstly, I don’t believe interactive design and interaction design are different. From what I have researched, both seem to collide at the same obstacle, how to lead a user through a pleasant and efficient digital experience.
So how do interactive designers hurdle these obstacles? To make a digital experience efficient, the designer generally will attempt to create an experience with the most direct path to what they want their users to find. Well, relating to the introductory quote, an interactive designer made the decision to have several commands for the user to exit an application, and apparently the user was confused by this decision.
This can also affect the pleasant part of the experience, the part that organizes information to visually appeal to the user. So the designer chooses whether the user will following a specific path or map to navigate their way. Not only that, an interactive designer wants the user to enjoy what they’re doing as well. For example, most website let their users navigate through buttons or scrolling.
Combining these points is what I believe makes an interactive designer. If the designer doesn’t create an efficient experience, the user may look toward a different individual to provide the service. If the designer doesn’t create a pleasant experience, the user may simply feel unsatisfied with the content and again, look toward a different individual to provide the service. Therefore, interactive designers calculate how to lead a user through a pleasant and efficient digital experience.
Replacing 1 element of an idea that we’ve been presented for years.
The 80/20 rule in design is used in almost every program we’ve been using in this class. Each program is design with most of the tools and menus located in the same grouped space covering about 20% of the page at the top or on one of the sides. And on top of that many of the tools and options are cascaded into a tab or some sort of collapsed menu. That way most of design revolves around how easily a viewer can navigate around that 20% portion of the page, so 80% of the work will be done in that area.
As for artwork specifically, the 80/20 rule comes into play in almost the exact same way. Using the rule to save time, artists can layout their work so that composition is made quickly, presenting the idea of the work. But the last 80% of the work is spent on the small portions of the piece needing the most detail because that certain area is where the audience is expected to perceive the most.
Just to give another example on how the rule is used, this link Prof Spencer provided has a good diagram.
Time Period: Egyptian
Climbing down the slopes of an Egyptian pyramid, you come across different troubles. After your character disappears after entering the base of a pyramid, he reappears at the top needing to find a way down. Having multiple layers in a pyramid, the character will have to maneuver back and forth to fall to the next layer of the pyramid. With each level there will be dangers, such as the mummy’s chasing him from when he had explored inside, or bats that shoot out after being shocked by the character. As you progress further down the pyramid, the layers extend in length to supply the character with more obstacles to maneuver around. Once at the bottom, the character’s troubles are over.
The design will be filled with a rigid surfaced pyramid that has a playful color scheme consisting of brighter brown colors. The pyramid will be resting on green grass, supporting the idea of reaching the end being a safe place. The sky will also be bright, so the grass and the sky will let the rigid pyramid stand out because it is where the player’s eyes will rest throughout the game.
Another possible design could consist of a more dramatic setting. There could consist of no positive reinforcement. For example, the sky could consist constant lightning, and the ground could also consist of horrors that make the character run out from the side of the screen to progress to the next stage still frightened.
Another possible design could consist of a less cartoon feel. The character could be escaping in a setting with only one light source, his flash light. So unless the character is facing a certain direction, the entire interface could be toned to near black.
One of the games I appreciate with its design is Shadow of Colossus. The style depicts the man, creatures, and environment as realistically as possible, even though the creatures are the size of miniature mountains that stampede on vast terrain, swim in oceans of sand, or soar across the open sky. With that in mind, the main concept is the contrast between big and small, sturdy and flimsy, and strong and weak. In turn, the design for the tiny man has to, in some way, reflect small, flimsy, and weak, while the colossal creatures reflect big, sturdy, and strong.
When examining the man that you play, he represents these traits easily. All of his various shadings of grey cloths seem to be attached by a single thread, tossing and turning with even a subtle breeze. With that, the texture appears soft and gentle. As he runs, his limbs wobble and joints bounce with each maneuver. Even when wielding the wooden bow to fire its arrow at colossus from the ground, it’s already known that nothing will happen to the beast with the provided weapon. The arrow just bounces off like a toothpick would if slung at a man.
As for the Colossus, these figures represent the opposite traits. Firstly, they are enormous. They are equipped with protective armor-like sections of the body that are clearly impenetrable. Even most of the parts that aren’t protected can’t be harmed due to the simple fact that anything done to it would compare to a simple scratch. Their textures are rough and ragged, smeared with solid dark color. Possibly though, the most important addition to their design is the 1 other color added to most of the Colossus, a lighter green. The addition of that color signifies that the Colossus are somewhat organic, or alive, which means they can be killed.
The environment also plays a heavy but silent role in the design. If the concept was to show the contrast between the man and the Colossus, the scale of the environment needed to build onto that relationship. Therefore, the environment is so massive that the entire game takes place in a single gigantic landscape including realistically scaled mountains, plateaus, and bodies of water. Being designed this way, the player draws that realistic relationship from the real world to the game by its environmental scale, player to creature contrast, and sense of realism.
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