I've already written about this sort of futuristic gestural interface before and I love it! I can't wait until this sort of thing is available for home use.
Wait…! What did you say? It is!
More accurately, it will be. Currently dizmo is at kickstarter phase so no idea about how much it'll cost but suffice to say there are boffins working on it now. Dizmo is a software that can make the apparently flaky 'Leap Motion' work on a realistic level.
Science Fiction eh? It really does help push us to make our fantasies reality.
(I'm still waiting for my hoversuit though…)
Showing posts with label user interface design. Show all posts
Showing posts with label user interface design. Show all posts
Sunday, April 06, 2014
Tuesday, November 13, 2012
Minority report User Interface (sign language for your computer)
I thought Minority Report was a great film. It's my kind of science fiction: thoughtful and set not too far in the future nor based solely on whacky gadgets that we think may one day come into existence. The technological developments which we see in Minority Report are close enough to feel achievable, such as the following interface between John and the digital files he's inspecting.
Imagine my surprise when visiting the Maritime museum in Cherbourg (Cité de la mer) when I get to have a play with such an interface! It was a little cranky as it took a bit of work to stay still enough within the active zone but it was perfectly usable.
 |
| Plink, plink... |
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| Not like that Daddy, like this! |
Furthermore when checking out more of these types of interfaces online I see that there are some amazing new advancements with gestural recognition and I have included a video of 'kinect' below controlling Windows 7.
The real impact of this technology will come when the interface can be controlled with very subtle gestures rather than the big pointy and hovering movements we see in the video. The above video demonstrates a useful application of current gestural recognition but I see this developing more into a discreet sign language. It will become less of a series of large gestures you need to learn (much like apple track pad and mouse interfaces) and more akin to a sign language you'll need to take up in order to communicate with your computer. This will enable you to have much more freedom and depth of communication.
Once these gestures become so small and well defined and set into a language 'structure' then we will see the mouse becoming redundant.
Friday, November 09, 2012
Tablet interface difficult for creating artwork but good for sketching
Tablets are great aren't they? Portable, shiny and lovely. But are they any good at content creation? This BBCnews article (Creating art on tablets remains a work in progress) outlines the pitfalls of creating art on an ipad or tablet and reflects my frustration at illustrating directly onto the tablet screen.
I found that sketching wasn't a problem and indeed some apps enhance the dynamic feel by but trying to get anything close to what you intend takes some working out. Then again most media aren't that immediate; it takes time to learn how to manipulate images, textures and colours be it a new type of painting process or an illustration software. I suppose this is the crux of the painting on a tablet is difficult problem: we expect it to be easy because of the interface. But the friction on the tablet and the absence of any pressure sensitivity means you have to work at it to get results. Having said that plenty of people have! Including, of course, the most famous exponent of tablet art, Mr. Hockney.
I found that sketching wasn't a problem and indeed some apps enhance the dynamic feel by but trying to get anything close to what you intend takes some working out. Then again most media aren't that immediate; it takes time to learn how to manipulate images, textures and colours be it a new type of painting process or an illustration software. I suppose this is the crux of the painting on a tablet is difficult problem: we expect it to be easy because of the interface. But the friction on the tablet and the absence of any pressure sensitivity means you have to work at it to get results. Having said that plenty of people have! Including, of course, the most famous exponent of tablet art, Mr. Hockney.
Tuesday, July 17, 2012
Evolution, the eye and communication design
Whilst on holiday (this fact is not superfluous, it crops up later!) I finished reading Richard Dawkin's fascinating and insightful book, "The Greatest Show on Earth" which outlined the evidence for evolution.
Dawkins says that the eye is an amazing, if oddly put together piece of kit and he uses this as an argument against an 'intelligent creator'. He points out that the optic nerve gobbles up quite a lot of important retinal real estate and would most likely not be made in such a way by an intelligent designer of an eye. Amazingly, however, we don't perceive this 'hole' nor do we generally see the gap between our eyes as our brains do an amazing job of working out the 'puzzle' in front of us and rendering us pretty seamless vision. I am aware of this more than most as my wife suffers from a condition which has caused her to lose some sight near her macula but, as her consultant tells her, the brain does an amazing job of compensating and under normal circumstances she sees no 'gap', despite the disease's progress.
I was first put on to the amazing visual processing power of the brain after listening to the 2003 Reith lectures called 'The Emerging Mind' given by Vilayanur S. Ramachandran. He details the workings of the mind and notably touches on art: "Are there such things as artistic universals?", he asks.
The lecture is well worth a listen but one point I want to dwell on here which struck a chord with me after my holiday at the coast (aha!) was the story about the seagulls. On holiday I saw plenty of seagulls and I love to hear them 'squaaaaaww'. As they fly past I often point out the red spot under the beak to my children and tell them the following story.
Experiments on seagull chicks by N. Tinbergen at Oxford University showed that this spot is not only a very important signal for the chick to peck at for food, but by abstracting it further researchers found that a chick would peck for food at a red spot painted on two two long sticks!
Furthermore, Tinbergen found out that the higher the contrast of the red spot the more the chick will peck for food and this high contrast is what the chick perceives as 'motherness'. Ramachandran emphasises that this is intellignet rationalisation of the brain processing of a chick: the goal of vision, he points out, is to do as little as is needed to get the job done. Evolution has taught the chick that all it needs to do is peck at the high contrast red spot in order to be fed, because this is 'mother'. It cares not that the mother has a head, wings, feathers or legs because it's saving energy! The red spot will do.
The analogy I see with interface design is clear: we need to use visual clues and the processing power of humans' brains to streamline our interaction design and icon development. Use what is hard-wired within us all to make that interactive process a seamless one for the user so that they are helped along the process by the mother within them. Why use complex invented icons when our innate feelings can show us a simpler way. We don't however need the blatancy of red panic buttons for simpler operations (although occasionally this might help!). We can do better than this with more subtle colour palettes, intelligent photographic choices and visual clues in order to smooth the passage from operation to operation.
So designers: before you use your pencils, use your brains.
Dawkins says that the eye is an amazing, if oddly put together piece of kit and he uses this as an argument against an 'intelligent creator'. He points out that the optic nerve gobbles up quite a lot of important retinal real estate and would most likely not be made in such a way by an intelligent designer of an eye. Amazingly, however, we don't perceive this 'hole' nor do we generally see the gap between our eyes as our brains do an amazing job of working out the 'puzzle' in front of us and rendering us pretty seamless vision. I am aware of this more than most as my wife suffers from a condition which has caused her to lose some sight near her macula but, as her consultant tells her, the brain does an amazing job of compensating and under normal circumstances she sees no 'gap', despite the disease's progress.
I was first put on to the amazing visual processing power of the brain after listening to the 2003 Reith lectures called 'The Emerging Mind' given by Vilayanur S. Ramachandran. He details the workings of the mind and notably touches on art: "Are there such things as artistic universals?", he asks.
The lecture is well worth a listen but one point I want to dwell on here which struck a chord with me after my holiday at the coast (aha!) was the story about the seagulls. On holiday I saw plenty of seagulls and I love to hear them 'squaaaaaww'. As they fly past I often point out the red spot under the beak to my children and tell them the following story.
Experiments on seagull chicks by N. Tinbergen at Oxford University showed that this spot is not only a very important signal for the chick to peck at for food, but by abstracting it further researchers found that a chick would peck for food at a red spot painted on two two long sticks!
Photo (taken on holiday!) by PG.
Furthermore, Tinbergen found out that the higher the contrast of the red spot the more the chick will peck for food and this high contrast is what the chick perceives as 'motherness'. Ramachandran emphasises that this is intellignet rationalisation of the brain processing of a chick: the goal of vision, he points out, is to do as little as is needed to get the job done. Evolution has taught the chick that all it needs to do is peck at the high contrast red spot in order to be fed, because this is 'mother'. It cares not that the mother has a head, wings, feathers or legs because it's saving energy! The red spot will do.
The analogy I see with interface design is clear: we need to use visual clues and the processing power of humans' brains to streamline our interaction design and icon development. Use what is hard-wired within us all to make that interactive process a seamless one for the user so that they are helped along the process by the mother within them. Why use complex invented icons when our innate feelings can show us a simpler way. We don't however need the blatancy of red panic buttons for simpler operations (although occasionally this might help!). We can do better than this with more subtle colour palettes, intelligent photographic choices and visual clues in order to smooth the passage from operation to operation.
So designers: before you use your pencils, use your brains.
Thursday, January 27, 2011
Thursday, January 13, 2011
15 UI Design Patterns Web Designers Should Keep Handy
A link over to an article covering the key areas of a website design. Overview of layout, functionality, usability and plenty of further reading links. Well done @onextrapixel!
(In this case 'patterns' refers to trends not textures)
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