Academia.eduAcademia.edu

Figure 36 – uploaded by Omar Sosa-Tzec

See full PDFdownloadDownload figure
Photoshop has trhee screen modes, namely “standard screen mode,’ “full screen mode with menu bar” and “full screen mode.” Going from the first to the third screen mode is an example of anti-climax. On the other hand, the user can activate or deactivate extra features in the window of the current opened file. The “extras” include “grid,” “smart guides,” “3D lights,” among others. The progressive activation or deactivation of the “extras” represents respectively a climax or anti-climax for that window. Climax entails an increment in the number of components available in the inter- face. Conversely, anti-climax entails a decrement in that number. Both of them derive from the interaction with the system. Moreover, they can occur at the level of the complete interface or a section of it. Through an easy and nonlinear addition or subtraction of components, an experienced user might increment the efficiency in a workflow. ‘Letters are the particles of language, whic is the vehicle of knowledge, which is the opiate of the masses.”

Figure 36 Photoshop has trhee screen modes, namely “standard screen mode,’ “full screen mode with menu bar” and “full screen mode.” Going from the first to the third screen mode is an example of anti-climax. On the other hand, the user can activate or deactivate extra features in the window of the current opened file. The “extras” include “grid,” “smart guides,” “3D lights,” among others. The progressive activation or deactivation of the “extras” represents respectively a climax or anti-climax for that window. Climax entails an increment in the number of components available in the inter- face. Conversely, anti-climax entails a decrement in that number. Both of them derive from the interaction with the system. Moreover, they can occur at the level of the complete interface or a section of it. Through an easy and nonlinear addition or subtraction of components, an experienced user might increment the efficiency in a workflow. ‘Letters are the particles of language, whic is the vehicle of knowledge, which is the opiate of the masses.”

Related Figures (48)

iA Writer is a distraction-less free environment designed by iA. Writing can be a difficult and painfu process, and Writer attempts to “Keep your hands on the keyboard and your mind in the text.” Writ- er and other similar tools provide an interface in which the user can focus on her writing. Through the combination of a “Full Screen” view and a “Focus Mode,” Writter attempt to fulfill that need. When the user activates both options, Writer hides the menu and toolbar at the bottom of the screen, and blurs all the text except the sentence wherein the cursor is located. Also, Writer allows the user to format the current text through simple inline commands. However, the formatting re- sults are only visible when the user exports the current text into another file format (e.g. Microsoft Word). That means, Writer doesn't want the user to get distracted by formatting matters. Writer's design characteristics demonstrate an ethical appeal to the value of the act of writing, rather than to the administration and formatting of an electronic document. Screenshot by the author.
iA Writer is a distraction-less free environment designed by iA. Writing can be a difficult and painfu process, and Writer attempts to “Keep your hands on the keyboard and your mind in the text.” Writ- er and other similar tools provide an interface in which the user can focus on her writing. Through the combination of a “Full Screen” view and a “Focus Mode,” Writter attempt to fulfill that need. When the user activates both options, Writer hides the menu and toolbar at the bottom of the screen, and blurs all the text except the sentence wherein the cursor is located. Also, Writer allows the user to format the current text through simple inline commands. However, the formatting re- sults are only visible when the user exports the current text into another file format (e.g. Microsoft Word). That means, Writer doesn't want the user to get distracted by formatting matters. Writer's design characteristics demonstrate an ethical appeal to the value of the act of writing, rather than to the administration and formatting of an electronic document. Screenshot by the author.
OmmWriter is also a distraction-free writing tool, which is designed by Herraiz & Co. The design is presented as “your own private writing room where you can close the door behind you to focus on your writing in peace.” Like Writer by iA, OmmWriter makes use of the ethical appeal. Nevertheless, OmmWriter makes us of the emotional appeal to transmit the idea of a “zen room” destined to writing. Besides having soft images for the screen background, OmmWriter can display a pastel color gradient that softly changes over time. It also allows the user to select different background music and sounds effects that can be listened while typing. An emotional experience derives from the combination of those characteristics. Screenshot by the author.
OmmWriter is also a distraction-free writing tool, which is designed by Herraiz & Co. The design is presented as “your own private writing room where you can close the door behind you to focus on your writing in peace.” Like Writer by iA, OmmWriter makes use of the ethical appeal. Nevertheless, OmmWriter makes us of the emotional appeal to transmit the idea of a “zen room” destined to writing. Besides having soft images for the screen background, OmmWriter can display a pastel color gradient that softly changes over time. It also allows the user to select different background music and sounds effects that can be listened while typing. An emotional experience derives from the combination of those characteristics. Screenshot by the author.
Once the user leaves the home screen in the Yahoo Weather app, the interface focuses on showing numerical information. The interface evinces that the app can provide enough and reliable infor- mation about the weather in order to satisfy the user's needs, providing a rational appeal. Screenshot by the author.
Once the user leaves the home screen in the Yahoo Weather app, the interface focuses on showing numerical information. The interface evinces that the app can provide enough and reliable infor- mation about the weather in order to satisfy the user's needs, providing a rational appeal. Screenshot by the author.
Sublime Text is a source code editor designed by Jon Skinner. The tagline for Sublime Text states, “You'll love the slick user interface, extraordinary features and amazing performance.” The interface of Sublime Text focuses on displaying and manipulating the code. As it occurs with Writer and Om- mWriter, Sublime Text's interface appeals to the value of writing (code) without distractions. How- ever, the code editor demonstrates the use of the rational appeal through the series of keyboard shortcuts that allow the user to manipulate the code on the fly. Screenshot by the author.
Sublime Text is a source code editor designed by Jon Skinner. The tagline for Sublime Text states, “You'll love the slick user interface, extraordinary features and amazing performance.” The interface of Sublime Text focuses on displaying and manipulating the code. As it occurs with Writer and Om- mWriter, Sublime Text's interface appeals to the value of writing (code) without distractions. How- ever, the code editor demonstrates the use of the rational appeal through the series of keyboard shortcuts that allow the user to manipulate the code on the fly. Screenshot by the author.
Some questions to keep in mind at the moment of pondering the three modes of appeal for a given interface: The designer can also ponder “the transitions” from one mode of appeal to another in order to note how both the interface and interaction could be affecting the user experience. Screenshots by the author. Given an interface, the designer can ponder the possible ways in which the three modes of appeal contribute in the interface design and user experience. Such an exercise might guide the design of a similar system or the redesign of the current interface.
Some questions to keep in mind at the moment of pondering the three modes of appeal for a given interface: The designer can also ponder “the transitions” from one mode of appeal to another in order to note how both the interface and interaction could be affecting the user experience. Screenshots by the author. Given an interface, the designer can ponder the possible ways in which the three modes of appeal contribute in the interface design and user experience. Such an exercise might guide the design of a similar system or the redesign of the current interface.
Operation* Standard
Operation* Standard
Screenshot by the author.
Screenshot by the author.
Addition
Addition
Se ee ee ee The initial content in the “Search” section of the mobile version corresponds to the default content displayed in the “Explore” section of the full version. That includes the complete list of 200 billionaires from the full version, which includes their faces, rank, names, and the numerical value being currently inspected. The information from the tooltip and the other modes of visualization are disregarded. The first option from the menu (situated at the bottom of the screen) is labeled as “Gains/Loss- es.” The content of this section comes from that shown in the full version when user selects “all the billionaires” and “$ change previous day” in the “Explore” section. The mobile version of Bloomberg Billionaires shows a menu with four options. Three of them are related to the mobile version, whereas the last one just redirects the user to the “full version” of the website. The menu represents an example of addition since it was not present in the full version of the website.
Se ee ee ee The initial content in the “Search” section of the mobile version corresponds to the default content displayed in the “Explore” section of the full version. That includes the complete list of 200 billionaires from the full version, which includes their faces, rank, names, and the numerical value being currently inspected. The information from the tooltip and the other modes of visualization are disregarded. The first option from the menu (situated at the bottom of the screen) is labeled as “Gains/Loss- es.” The content of this section comes from that shown in the full version when user selects “all the billionaires” and “$ change previous day” in the “Explore” section. The mobile version of Bloomberg Billionaires shows a menu with four options. Three of them are related to the mobile version, whereas the last one just redirects the user to the “full version” of the website. The menu represents an example of addition since it was not present in the full version of the website.
Cards is a metaphorical approach to interface design by Google. A card represents an placeholder that can be filled with information obtained from diverse providers. The cards are intended to be interface elements in different platforms and devices. Depending on these factors, the meta- phor helps to find the appropriate form to display information. A system can be conceptualized metaphorically. For instance, an object “from the real world” can serve as inspiration for designing a system. However, the interface doesn’t have to replicate all the properties of the object to which the system makes reference. Being aware about the user’s characteristics and needs, the context, and the technological possibilities give the opportunity to twist the original concept and provide features in the system that not only help to fulfill the system’s functional purpose but also enrich the user experience. Having such an approach entails creat- ing computer imagination interactions (Siegel & Stolterman, 2009).
Cards is a metaphorical approach to interface design by Google. A card represents an placeholder that can be filled with information obtained from diverse providers. The cards are intended to be interface elements in different platforms and devices. Depending on these factors, the meta- phor helps to find the appropriate form to display information. A system can be conceptualized metaphorically. For instance, an object “from the real world” can serve as inspiration for designing a system. However, the interface doesn’t have to replicate all the properties of the object to which the system makes reference. Being aware about the user’s characteristics and needs, the context, and the technological possibilities give the opportunity to twist the original concept and provide features in the system that not only help to fulfill the system’s functional purpose but also enrich the user experience. Having such an approach entails creat- ing computer imagination interactions (Siegel & Stolterman, 2009).
FocusWriter is a distraction-free writing tool designed by Graeme Gott. FocusWriter allows the user to apply “themes” to the interface. One of them resembles a wood table with a paper sheet on it. Applying that theme links the system with a handwriting metaphor. * Original text from Ehses & Lupton (1988).
FocusWriter is a distraction-free writing tool designed by Graeme Gott. FocusWriter allows the user to apply “themes” to the interface. One of them resembles a wood table with a paper sheet on it. Applying that theme links the system with a handwriting metaphor. * Original text from Ehses & Lupton (1988).
Screenshots by the author.
Screenshots by the author.
In the “Expanded Card View,’ Evernote shows parts of the content from each saved note in order to help the user browse all the saved notes. Each of these parts, a synecdoche themselves, are employed to compose a synecdoche of the saved notes. Synecdoche uses a part of an object to represent the whole.
In the “Expanded Card View,’ Evernote shows parts of the content from each saved note in order to help the user browse all the saved notes. Each of these parts, a synecdoche themselves, are employed to compose a synecdoche of the saved notes. Synecdoche uses a part of an object to represent the whole.
Over is an app designed for adding text to photographs. The main menu has a circular form. The user has to rotate the circle in order to access and select one of the eight options. However, only the half of the circle is shown, which entails a synecdoche of the complete menu.
Over is an app designed for adding text to photographs. The main menu has a circular form. The user has to rotate the circle in order to access and select one of the eight options. However, only the half of the circle is shown, which entails a synecdoche of the complete menu.
Conceptualizing a system as a person might help to make the “distance” between the system and the user shorter. In cases wherein the system is not designed for collaborative work, the personification of the system helps to present it as a sidekick. Asa result, the user could delegate a task to the system. Then, the success of that task becomes the responsibility of the system, not the user. However, along with the increment in the system’s agency, the user’s expectation for the system to act as a real person might increase.
Conceptualizing a system as a person might help to make the “distance” between the system and the user shorter. In cases wherein the system is not designed for collaborative work, the personification of the system helps to present it as a sidekick. Asa result, the user could delegate a task to the system. Then, the success of that task becomes the responsibility of the system, not the user. However, along with the increment in the system’s agency, the user’s expectation for the system to act as a real person might increase.
Oringe's Climate Clock shows information about the current weather, the weather of the last hour, and the weather forecast for the next nine hours. In each piece of information, the weather conditions are represented by an icon, which works as a visual metonymy. Later, all the pieces of information are arranged ina cir- cular layout, substituting the numerals of the clock shown in the middle of the screen. Such a clock establishes a spatial relation between time and weather, entailing a metonymy.
Oringe's Climate Clock shows information about the current weather, the weather of the last hour, and the weather forecast for the next nine hours. In each piece of information, the weather conditions are represented by an icon, which works as a visual metonymy. Later, all the pieces of information are arranged ina cir- cular layout, substituting the numerals of the clock shown in the middle of the screen. Such a clock establishes a spatial relation between time and weather, entailing a metonymy.
Instead of playing the video recording right away, the webpage of a TED Talk shows a picture from the talk along with information about it and some buttons, including the one for “play.” Although the picture can be regarded as a synecdoche of the video, the whole composition is designed to represent the actual video of the talk. Such a composition entails a metonymy. Moreover, each of the buttons and their visual design work as metonymies themselves. They represent actions.
Instead of playing the video recording right away, the webpage of a TED Talk shows a picture from the talk along with information about it and some buttons, including the one for “play.” Although the picture can be regarded as a synecdoche of the video, the whole composition is designed to represent the actual video of the talk. Such a composition entails a metonymy. Moreover, each of the buttons and their visual design work as metonymies themselves. They represent actions.
Color by Adobe allows the user to create a color palette and save it for a later use in other design software. The system comes in the form of both a web and a mobile app. Once the user selects the “color rule,” there is three ways through which the user can modify the colors of the palette. First, the user can move the position of handlers in the color wheel shown in the interface. Second, the user can adjust the sliders associated to each color swatch of the palette. Third, the user can type the values that correspond to a color in certain color space. Then, the position of a hadler in the color wheel establishes a spatial relation with a color. The current position of all the handlers establishes a causal relation with the color palette. The position of the sliders for a color swatch establishes a casual relation with the color currently shown. Each text box establishes a similar relation. Those relations correspond to metonymies found in the Adobe Color's interface. Metonymy represents one term witl another which is close to it in time, space, or causation. Metonymies are mostly related to the functionality of a system. In their static form, they help to convey the functions available in the interface. Dynamic metonymies, which involve animation, are helpful to represent the current state of the system.
Color by Adobe allows the user to create a color palette and save it for a later use in other design software. The system comes in the form of both a web and a mobile app. Once the user selects the “color rule,” there is three ways through which the user can modify the colors of the palette. First, the user can move the position of handlers in the color wheel shown in the interface. Second, the user can adjust the sliders associated to each color swatch of the palette. Third, the user can type the values that correspond to a color in certain color space. Then, the position of a hadler in the color wheel establishes a spatial relation with a color. The current position of all the handlers establishes a causal relation with the color palette. The position of the sliders for a color swatch establishes a casual relation with the color currently shown. Each text box establishes a similar relation. Those relations correspond to metonymies found in the Adobe Color's interface. Metonymy represents one term witl another which is close to it in time, space, or causation. Metonymies are mostly related to the functionality of a system. In their static form, they help to convey the functions available in the interface. Dynamic metonymies, which involve animation, are helpful to represent the current state of the system.
Most of the interface components in the Airbnb app have a dimensional behavior. The transition from one interface component to another resembles. horizontal or vertical move between content. However, accessing to the main menu adds perspective to the interface. The content in the screen “moves away” so the main menu can be visible. Then, both the menu and that content seem to be floating in three-dimensional space, which breaks the previ- ous perception in the user. Although the ways to interact with the app don't change, adding perspective creates an antithesis, a conceptual division in the interface that helps the user distinguish between the spaces destined to the main menu and other content, respectively. The antithesis can be expressed in a system through the content, the interaction or both. The antithesis can occur at a high level (i.e., the entire interface) or in lower levels (i.e., a section of the interface). Contrasting content can be used to convey two viewpoints about the topic conveyed at certain level. Likewise, contrasting forms of interaction could help the user conceptually delimit the structure and functionality of the system. * Original text from Ehses & Lupton (1988).
Most of the interface components in the Airbnb app have a dimensional behavior. The transition from one interface component to another resembles. horizontal or vertical move between content. However, accessing to the main menu adds perspective to the interface. The content in the screen “moves away” so the main menu can be visible. Then, both the menu and that content seem to be floating in three-dimensional space, which breaks the previ- ous perception in the user. Although the ways to interact with the app don't change, adding perspective creates an antithesis, a conceptual division in the interface that helps the user distinguish between the spaces destined to the main menu and other content, respectively. The antithesis can be expressed in a system through the content, the interaction or both. The antithesis can occur at a high level (i.e., the entire interface) or in lower levels (i.e., a section of the interface). Contrasting content can be used to convey two viewpoints about the topic conveyed at certain level. Likewise, contrasting forms of interaction could help the user conceptually delimit the structure and functionality of the system. * Original text from Ehses & Lupton (1988).
“Human Development Index: A Brief Introduction” is a single page website that provides basic information about the Human Development Index (HDI), which measures the progress in each country based on life expectancy, education and wealth. The website includes two forms of visualization. First, it presents an interactive visualization that shows the human development in each country over time. At the same time, it shows the population growth in relation to China's population in 2013. Second, the website presents a table that focuses on comparing data between the most developed country with some countries in the world, including those with emerging economies. Whereas the first visualization is geographical and shows a global view of human development over time based on the most populated country, the second visualization is textual and only considers one year and some selected countries. Such a contrast makes the visualizations work as an antithesis in the website's content.
“Human Development Index: A Brief Introduction” is a single page website that provides basic information about the Human Development Index (HDI), which measures the progress in each country based on life expectancy, education and wealth. The website includes two forms of visualization. First, it presents an interactive visualization that shows the human development in each country over time. At the same time, it shows the population growth in relation to China's population in 2013. Second, the website presents a table that focuses on comparing data between the most developed country with some countries in the world, including those with emerging economies. Whereas the first visualization is geographical and shows a global view of human development over time based on the most populated country, the second visualization is textual and only considers one year and some selected countries. Such a contrast makes the visualizations work as an antithesis in the website's content.
Google Maps’ interface is loaded with visual information. Unlike a physical map, Google Maps allows the user explore many places virtually, get direc- tions and make a decision based on a mode of transportation, and learn about landmarks from other people's reviews. The interface components are intended to support all those tasks, hence they present information through diverse forms. Flat maps, three-dimensional maps, street views, users’ photographs, labels, location pins, icons, lines, and shapes are combined with direct manipulation events, including click and drag. Altogether, they represent an amplification in the interface through which Google Maps intends to enrich the user experience. Considering the ways to amplify the interface or part of it may help to enrich the user experience. However, such a consideration must avoid overwhelm- ing the user. The redundancy and level of complexity will be subjected to the system’s functionality.
Google Maps’ interface is loaded with visual information. Unlike a physical map, Google Maps allows the user explore many places virtually, get direc- tions and make a decision based on a mode of transportation, and learn about landmarks from other people's reviews. The interface components are intended to support all those tasks, hence they present information through diverse forms. Flat maps, three-dimensional maps, street views, users’ photographs, labels, location pins, icons, lines, and shapes are combined with direct manipulation events, including click and drag. Altogether, they represent an amplification in the interface through which Google Maps intends to enrich the user experience. Considering the ways to amplify the interface or part of it may help to enrich the user experience. However, such a consideration must avoid overwhelm- ing the user. The redundancy and level of complexity will be subjected to the system’s functionality.
Hovering over a country displays a tooltip which shows textual informa- tion that is visually displayed in the map. It also shows a kind of progress bar that marks the development for that country in that year. Therefore, the information in the tooltip amplifies a country in the map. The Facebook Messanger app allows users communicate through several forms. Displaying the options in the interface for those forms entail parallel- ism, a type of scheme. However, each option has different interface components and involves different interaction flows. The amplification derives from the details (in terms of components, content and interaction) involved for each option.
Hovering over a country displays a tooltip which shows textual informa- tion that is visually displayed in the map. It also shows a kind of progress bar that marks the development for that country in that year. Therefore, the information in the tooltip amplifies a country in the map. The Facebook Messanger app allows users communicate through several forms. Displaying the options in the interface for those forms entail parallel- ism, a type of scheme. However, each option has different interface components and involves different interaction flows. The amplification derives from the details (in terms of components, content and interaction) involved for each option.
Hovering over the face of a billionaire highlights it. It also shows a tooltip wherein the billionaire's rank and full name appear along with the net worth. The additonal information amplifies the reason for which the billionaire has that position.
Hovering over the face of a billionaire highlights it. It also shows a tooltip wherein the billionaire's rank and full name appear along with the net worth. The additonal information amplifies the reason for which the billionaire has that position.
The videos from Vine lack of a “play” button. The videos shown on the home page start playing when the user hovers over them. In turn, the videos in each category start playing when they get closer to the center of the screen. Therefore, the lack of that button is an ellipsis in the interface that doesn't complicate the interaction or diminish the user experience. The multitasking screen in iOS shows the avatar and name from those people in the contact list that are labeled as “favorites” or that have been con- tacted recently. Tapping on avatars and names of people shows the available options to communicate with that person. Repeating such an action hides those options. The avatar, name and options to communicate constitute an interactive unit wherein the latter doesn't need to be visible all the time.
The videos from Vine lack of a “play” button. The videos shown on the home page start playing when the user hovers over them. In turn, the videos in each category start playing when they get closer to the center of the screen. Therefore, the lack of that button is an ellipsis in the interface that doesn't complicate the interaction or diminish the user experience. The multitasking screen in iOS shows the avatar and name from those people in the contact list that are labeled as “favorites” or that have been con- tacted recently. Tapping on avatars and names of people shows the available options to communicate with that person. Repeating such an action hides those options. The avatar, name and options to communicate constitute an interactive unit wherein the latter doesn't need to be visible all the time.
Flickr's interface employs a type of container in order to show the set of photographs recently taken by people that a user follows. Thumbnails of each photograph in the set are arranged in a column. Hovering over each thumbnails shows a bigger picture in the container's background. Through three little icons (which work as metonymies), a photograph in that set can be labeled as “favorite,” commented or shared. The thumb- nails and little icons are interactive, but no words give a hint of their functionality. That omission represents a case of ellipsis.
Flickr's interface employs a type of container in order to show the set of photographs recently taken by people that a user follows. Thumbnails of each photograph in the set are arranged in a column. Hovering over each thumbnails shows a bigger picture in the container's background. Through three little icons (which work as metonymies), a photograph in that set can be labeled as “favorite,” commented or shared. The thumb- nails and little icons are interactive, but no words give a hint of their functionality. That omission represents a case of ellipsis.
“Letters used in words are letters not wasted” instead of “Letters that are used ir words are letters that are not wasted.”
“Letters used in words are letters not wasted” instead of “Letters that are used ir words are letters that are not wasted.”
Clear is a list-making app designed by Realmac. The vertical navigation of the app allows the user to move between the main menu, the set of lists and the items in each of these lists. Moving downward requires the user make a short vertical swipe from the bottom of the screen. However, moving upward requires a long vertical swipe from the top of the screen. Making a short swipe in that direction creates a new list or item according to the current level in the navigation. The long and short vertical swipes are involved with two cases of alliteration in the interface. Moving upward involves a long vertical swipe every time, which moves the current content down the screen. Creating a new item involves a short swipe every time, which “pulls” the new item's container from a plane perpendicular to the screen, and also moves down the current items.
Clear is a list-making app designed by Realmac. The vertical navigation of the app allows the user to move between the main menu, the set of lists and the items in each of these lists. Moving downward requires the user make a short vertical swipe from the bottom of the screen. However, moving upward requires a long vertical swipe from the top of the screen. Making a short swipe in that direction creates a new list or item according to the current level in the navigation. The long and short vertical swipes are involved with two cases of alliteration in the interface. Moving upward involves a long vertical swipe every time, which moves the current content down the screen. Creating a new item involves a short swipe every time, which “pulls” the new item's container from a plane perpendicular to the screen, and also moves down the current items.
In the interface of the “unlock screen”, the circle works as the basic shape for the buttons and the indicators of number of digits entered by the user. The repetition of the circle entails a polyptoton at a formal level. The interface of the “control center” shows three rows of buttons and three sliders (when music is being played). However, the shape of the buttons changes for each row and only two of the sliders look alike. In this case, the polyptoton occurs at a functional level.
In the interface of the “unlock screen”, the circle works as the basic shape for the buttons and the indicators of number of digits entered by the user. The repetition of the circle entails a polyptoton at a formal level. The interface of the “control center” shows three rows of buttons and three sliders (when music is being played). However, the shape of the buttons changes for each row and only two of the sliders look alike. In this case, the polyptoton occurs at a functional level.
One of the view modes in the Google Drive app displays the files and folders as a series of strips. In all of them, the structure and func- tionality are the same. This is polyptoton that works at both formal and functional levels. A polyptoton in an interface can be described in terms of form, function or both. First, a basic structure or form can be noticed in the interface components on the current screen. Second, the components have the same or a very similar function- ality. Third, the basic structure (or form) and same (or similar) functionality can be noticed in interface components that belong to different (conceptual) sections of the interface. Polyptotons can also help with usability aspects.
One of the view modes in the Google Drive app displays the files and folders as a series of strips. In all of them, the structure and func- tionality are the same. This is polyptoton that works at both formal and functional levels. A polyptoton in an interface can be described in terms of form, function or both. First, a basic structure or form can be noticed in the interface components on the current screen. Second, the components have the same or a very similar function- ality. Third, the basic structure (or form) and same (or similar) functionality can be noticed in interface components that belong to different (conceptual) sections of the interface. Polyptotons can also help with usability aspects.
Google Docs, Google Sheets and Google Slides are three web portals having a similar form and functionality. At the level of Google's “Home & Office” apps, they entail parallelism. In general, they represent a variation of “creating and working with ‘documents”.” The interface of each portals supports the parallelism: they are similar. The distinction is obtained partially through the synecdoches employed in the “cards” corresponding to the “documents.” Parallelism can be obtained through the interface component’s composition, the forms of interaction or a combination of both. The similarity in the composition is obtained through the consistency of the basic shapes, visual arrangement and style. Consistency in interaction usually works well with parallelism at the compositional level. However, conceptually related forms of interaction might be required in order! to support the parallelism of a multifunctional component. “She tried to find word that are clear, precise, and appropriate.”
Google Docs, Google Sheets and Google Slides are three web portals having a similar form and functionality. At the level of Google's “Home & Office” apps, they entail parallelism. In general, they represent a variation of “creating and working with ‘documents”.” The interface of each portals supports the parallelism: they are similar. The distinction is obtained partially through the synecdoches employed in the “cards” corresponding to the “documents.” Parallelism can be obtained through the interface component’s composition, the forms of interaction or a combination of both. The similarity in the composition is obtained through the consistency of the basic shapes, visual arrangement and style. Consistency in interaction usually works well with parallelism at the compositional level. However, conceptually related forms of interaction might be required in order! to support the parallelism of a multifunctional component. “She tried to find word that are clear, precise, and appropriate.”
Many web browsers designed for computers allow the user to “open” multiple tabs in order to load diverse web content in the same window. Along wit each tab a toolbar might appear, which presents the same elements for all the tabs (e.g., navigation buttons). Such a repetition can be regarded as an anaphora for the browser's interface. Making a similar observation for all the windows in a operative system points out the existence of anaphoras as well, which help the user identify the different types of windows in the operative system. ‘Words, yes words, do ignite the imagina- tion.” Anaphoras are achieved through the repetition of interface components, including the ways to interact with them. Such components are placed at the “beginning” of the interface or sections of it. Anaphoras entail consistency in the interface. Through the repetition of components, anaphoras support the system’s learnability, memorability and efficiency.
Many web browsers designed for computers allow the user to “open” multiple tabs in order to load diverse web content in the same window. Along wit each tab a toolbar might appear, which presents the same elements for all the tabs (e.g., navigation buttons). Such a repetition can be regarded as an anaphora for the browser's interface. Making a similar observation for all the windows in a operative system points out the existence of anaphoras as well, which help the user identify the different types of windows in the operative system. ‘Words, yes words, do ignite the imagina- tion.” Anaphoras are achieved through the repetition of interface components, including the ways to interact with them. Such components are placed at the “beginning” of the interface or sections of it. Anaphoras entail consistency in the interface. Through the repetition of components, anaphoras support the system’s learnability, memorability and efficiency.
In some occasions, the fixed interface component should presented at the “end” of the interface in order to let the user inspect the rest of content first. Epistrophe is the opposite of anaphora.
In some occasions, the fixed interface component should presented at the “end” of the interface in order to let the user inspect the rest of content first. Epistrophe is the opposite of anaphora.
One way to access a tap in iOS is through tapping on the apps icon. In some occasions, the icons have a red badge indicating the number of notifications from the app that haven't been attended by the user. The badge is an extra visual element that doesn't contribute on accessing the app. Nevertheless, it points out an issue that the user may pay attention once inside of the app. The predictive keyboard in iOS shows three options for the possible word being typed by the user. Detecting “Ha” in the conversation makes the keyboard replace the words with emoticons along with the acronym for “laughing out loud.” In terms of the common predictive content (i.e., words), the emoticons entail a visual parenthesis. A parenthesis derived from interaction, nonetheless. Such a parenthesis doesn't attempt to “interrupt” the interaction flow. On the contrary, it attempts to make the experience more engaging for the people in the conversation A parenthesis derives from the interface component that asks the user to turn the location services on. It isan extra component in the interface's composition. Moreover, it “interrupts” the usual interaction flow in that Foursquare's screen.
One way to access a tap in iOS is through tapping on the apps icon. In some occasions, the icons have a red badge indicating the number of notifications from the app that haven't been attended by the user. The badge is an extra visual element that doesn't contribute on accessing the app. Nevertheless, it points out an issue that the user may pay attention once inside of the app. The predictive keyboard in iOS shows three options for the possible word being typed by the user. Detecting “Ha” in the conversation makes the keyboard replace the words with emoticons along with the acronym for “laughing out loud.” In terms of the common predictive content (i.e., words), the emoticons entail a visual parenthesis. A parenthesis derived from interaction, nonetheless. Such a parenthesis doesn't attempt to “interrupt” the interaction flow. On the contrary, it attempts to make the experience more engaging for the people in the conversation A parenthesis derives from the interface component that asks the user to turn the location services on. It isan extra component in the interface's composition. Moreover, it “interrupts” the usual interaction flow in that Foursquare's screen.
‘The ‘Scarlet Letter’ (in Hawthorne’s novel) was embroidered in a typeface which has never been identified.”
‘The ‘Scarlet Letter’ (in Hawthorne’s novel) was embroidered in a typeface which has never been identified.”
In the Google Hangouts app for iOS, a thought bubble with three green dots appears when the person in the other side of the conversation is typ- ing. It also indicates whether that person is texting through a computer. Both the dots and computer can be regarded as metonymies. However, the bubble as a whole might be considered as a parenthesis in the inter- face's composition due to its intermitent appearence in the interface.
In the Google Hangouts app for iOS, a thought bubble with three green dots appears when the person in the other side of the conversation is typ- ing. It also indicates whether that person is texting through a computer. Both the dots and computer can be regarded as metonymies. However, the bubble as a whole might be considered as a parenthesis in the inter- face's composition due to its intermitent appearence in the interface.
Weather+ can show either a color or a picture on the background. As it occurs with Yahoo weather, that app uses the background in order to convey how the current weather might look like or feel. That approach entails an apposition for the current weather displayed in the interface.
Weather+ can show either a color or a picture on the background. As it occurs with Yahoo weather, that app uses the background in order to convey how the current weather might look like or feel. That approach entails an apposition for the current weather displayed in the interface.
Related topics:
Human Computer InteractionRhetoricDesignUser Experience (UX)Rhetorical AnalysisVisual RhetoricInteraction DesignInformation ArchitectureGraphic DesignDesign Theory
580 California St., Suite 400
San Francisco, CA, 94104
© 2025 Academia. All rights reserved