Visual thinking for design
Increasingly, designers need to present information in ways that aid their audience's thinking process. Fortunately, results from the relatively new science of human visual perception provide valuable guidance. In Visual Thinking for Design, Colin Ware takes what we now know about perception, c...
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Amsterdam ; London :
Morgan Kaufmann
2008.
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| Edición: | 1st edition |
| Colección: | The Morgan Kaufmann series in interactive technologies
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| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627265106719 |
Tabla de Contenidos:
- FRONT COVER; VISUAL THINKING FOR DESIGN; COPYRIGHT PAGE; CONTENTS; PREFACE; CHAPTER 1 VISUAL QUERIES; The Apparatus and Process of Seeing; The Act of Perception; Bottom-Up; Top-Down; Implications for Design; Nested Loops; Distributed Cognition; Conclusion; CHAPTER 2 WHAT WE CAN EASILY SEE; The Machinery of Low-Level Feature Analysis; What and Where Pathways; Eye Movement Planning; What Stands Out = What We Can Bias for; Lessons for Design; Motion; Visual Search Strategies and Skills; The Detection Field; The Visual Search Process; Using Multiscale Structure to Design for Search; Conclusion
- CHAPTER 3 STRUCTURING TWO-DIMENSIONAL SPACE2.5D Space; The Pattern-Processing Machinery; The Binding Problem: Features to Contours; The Generalized Contour; Texture Regions; Interference and Selective Tuning; Patterns, Channels, and Attention; Intermediate Patterns; Pattern Learning; Serial Processing; Visual Pattern Queries and the Apprehendable Chunk; Multi-chunk Queries; Spatial Layout; Horizontal and Vertical; Pattern for Design; Examples of Pattern Queries with Common Graphical Artifacts; Semantic Pattern Mappings; CHAPTER 4 COLOR; The Color-Processing Machinery; Opponent Process Theory
- Channel PropertiesPrinciples for Design; Showing Detail; Color-Coding Information; Large and Small Areas; Emphasis and Highlighting; Color Sequences; Color on Shaded Surfaces; Semantics of Color; Conclusion; CHAPTER 5 GETTING THE INFORMATION: VISUAL SPACE AND TIME; Depth Perception and Cue Theory; Stereoscopic Depth; Structure from Motion; 2.5D DESIGN; How Much of the Third Dimension?; Affordances; The Where Pathway; Artificial Interactive Spaces; Space Traversal and Cognitive Costs; Conclusion; CHAPTER 6 VISUAL OBJECTS, WORDS, AND MEANING; The Inferotemporal Cortex and the What Channel
- Generalized Views from PatternsStructured Objects; Gist and Scene Perception; Visual and Verbal Working Memory; Verbal Working Memory; Control of the Attention and the Cognitive Process; Long-term Memory; Priming; Getting into Visual Working Memory; Thinking in Action: Receiving a Cup of Coffee; Elaborations and Implications for Design; Make Objects Easy to Identify; Novelty; Images as Symbols; Meaning and Emotion; Imagery and Desire; Conclusion; CHAPTER 7 VISUAL AND VERBAL NARRATIVE; Visual Thinking Versus Language-Based Thinking; Learned Symbols; Grammar and Logic
- Comparing and Contrasting the Verbal and Written ModesLinking Words and Images Through Diexis; PowerPoint Presentations and Pointing; Mirror Neurons: Copycat Cells; Visual Narrative: Capturing the Cognitive Thread; Q&A Patterns; Framing; FINSTs and Divided Attention; Shot transitions; Cartoons and Narrative Diagrams; Single-frame Narratives; Conclusion; CHAPTER 8 CREATIVE META-SEEING; Mental Imagery; The Magic of the Scribble; Diagrams are Ideas Made Concrete; Requirements and Early Design; Visual Task Analysis; The Creative Design Loop; Cognitive Economics of Design Sketching
- The Perceptual Critique
