• Abstract and Figures
• Public Full-text

Lawrence Berkeley National Laboratory Recent Work Title GRAPHIC DESIGN FOR COMPUTER-BASED DEFORMATION MANAGEMENT: A CASE STUDY OF SEEDIS Permalink https://escholarship.org/uc/item/4c17d4v5 Author Marcus, A. Publication Date 1983-09-01 eScholarship.org Powered by the California Digital Library University of California LBL-16330 ~.d­ UC-32 Lawrence Berkeley Laboratory UNIVERSITY OF CALIFORNIA REC£r Physics, Computer Scienc~R,&E~~~ Mathematics Division JIfN 1719FM- lIBRAR¥-'ANO DOCUMENTS SECTION GRAPHIC DESIGN FOR COMPUTER-BASED INFORMATION MANAGEMENT: A CASE STUDY OF SEEDIS Technical Report Aaron Marcus . TWO-WEEK LOAN COpy '! • This is a Library Circulating Copy which may be borrowed for two weeks. September 1983 For a personal retention. copy, call Tech. Info. Division, Ext. 6782 . - Prepared for the U.S. Department of Energy under Contract DE-AC03-76SF00098 DISCLAIMER This document was prepared as an account of work sponsored by the United States Government. While this document is believed to contain COlTect information, neither the United States Government nor any agency thereof, nor the Regents of the University of California, nor any of their employees, makes any warranty, express or implied, or assumes any legal responsibility for the accuracy, completeness, or usefulness of any information, apparatus, product, or process disclosed, or represents that its use would not infringe privately owned rights. Reference herein to any specific commercial product, process, or service by its trade name, trademark, manufacturer, or otherwise, does not necessarily constitute or imply its endorsement, recommendation, or favoring by the United States Government or any agency thereof, or the Regents of the University of California. The views and opinions of authors expressed herein do not necessarily state or reflect those of the United States Government or any agency thereof or the Regents of the University of California. LBL-16330 GRAPHIC DESIGN FOR COMPUTER-BASED INFORMATION MANAGEMENT: A CASE STUDY OF SEEDIS Technical Report Aaron Marcus* Lawrence Berkeley Laboratory University of California Berkeley, CA 94720 September 1983 *Formerly, Staff Scientist, Computer Science and Mathematics Department, Lawrence Berkeley Laboratory. Present address: Aaron Marcus and Associates, 1196 Euclid Avenue, Berkeley, Ca 94708 Prepared for the U.S. Department of Energy under Contract DE-AC03-76SF00098 Aaron Marcus Graphic Design for Computer­ based Information Management: A Case Study of Seedis Vi.,,,, ..._____________________________________________ _ , ~, Abstract Graphic Designers cally stored data into spatial (sometimes This report summarizes the and Computer Graphics geographical), temporal, and colorful forms graphic design research, Graphic design is the discipline concerned so that significant patterns emerge from development, and imple­ with the communication of informational, informational graphics. mentation that the author emotional, and aesthetic content through has conducted over the last the manipulation of visible language, i.e., With respect to outer-faces, many computer four years for a large typography, symbolism and illustration, graphics advertisements and much profes­ geographic information color, spatial organization, and temporal sional literature exhibit charts, maps, or management system called sequencing [7]. Certain professionals in this other diagrams. If one examines these Seedis. Portions of this discipline are concerned primarily with the images carefully with an eye trained in report have been as­ communication of complex information visual communication, one notices over­ sembled from diverse tech­ through ·the design of charts, maps, sights or errors in visual thinking that seem nical papers cited in the , diagrams, and other technical documents. clearly unintended, such as color combina­ references and have been Knowledge from these professionals and tions that inhibit legibility, poor typographic re-edited for presentation their literature can be applied to the task of to both the computer designing the graphic presentation of hierarchies, or chaotic composition. The graphics and the graphic computer-generated documents, a task situation is often not the result of deficient design communities, This which now faces builders, users and equipment but simply the result of computer report describes Seedis managers of information management sys­ graphics displays created by persons with and three different areas in tems. After two decades of development relatively little training in graphic design, which graphic design prin­ from the simplest display of line printer i.e., in typography, color, composition, non­ ciples have been applied. characters and CRT screen vectors, com­ alphanumeric symbolism, photography, and puter graphics is entering a decade of reproduction processes. visual sophistication. Inter-face design also can benefit from A potentially symbiotic relationship exists graphic design. Graphic design seeks to use between graphic design and computer simplicity in organizing visible language graphics in creating the "three faces" of (Marcus, 1980) and making effective and computer systems: outer-faces, inter-faces, attractive frames of information. These and inner-faces [10,15]. Outer-faces are the frames must aid learning of a complicated end display products of data processing: text, aid memorization, encourage accurate images of information such as texts, tables, decision making, assist in building a clear charts, maps, and diagrams. Inter-faces are conceptual image of the system in the the user-oriented human-machine interfaces user's mind, and attract and retain the used to create outer-faces. These inter­ user's attention in situations when the user faces are comprised of frames (online) and may be uninterested, unmotivated, or dis­ pages (offline) of process control, data tracted. As computer systems reach out to structures, and their documentation. Inner­ ever wider audiences. the notion of attract­ faces are the frames and pages of source ing and holding a user's interests and emo­ code operating systems, and programming tions will not seem so foreign a goal for , . utilities that builders and maintainers of interface design. computer systems require in order to sup­ port the inter-faces and outer-faces. By Finally, in the area of inner-faces, the combining intuitive, practical skills and increasing number of computer programs of scientific knowledge, graphic designers can ever greater complexity require more time help synthesize prototype solutions for any and energy for program creation and of the three faces and assist in analyzing maintenance. The widespread availability of and developing finished displays that are high resolution display equipment suggests not merely "pretty," but which communi­ that computer technology itself will benefit cate information better. There is clearly a from more legible and more readable need for converting vast amounts of numeri- displays of program source code, operating systems, and related utilities or documents. Lawrence Berkeley Graphic Design Page 2· Laboratory For Computer-Based LBL-16330 Information Management: September 1983 A Case Study of Seedis Designing visible language schemes for all oriented graphic design principles can be three faces of computers will be recognized categorized in the following paragraphs [7]. as a distinct and demanding task requiring the assistance of information-oriented Sans Serif Type Styles: Following the pre­ graphic designers. cedent of the Bauhaus and the Construc­ tivist typographers, the Swiss designers The Relevance of Swiss Design Principles rejected the traditional serif letters in favor The basic principles of graphic design in of the more simplified sans serif letterforms, selecting visual signs or symbols and their e.g., Helvetica and Univers. Both typefaces attributes (such as their location, size and retain the 'machined' look and the uniform boldness) for presentation on paper, film, letter weight that the rougher versions of and display screens can enhance the legi­ the 1930s introduced, but add a greater bility of computer graphics as well as its homogeneity and a new elegance to the readability, i.e., its appeal or friendliness. curves used in their letterforms. These two faces remain standard typefaces for These principles of visual organization and modern, clear typographic displays. limits of perception form a conceptual basis for the grid-oriented or utilitarian approach Simplified Imagery: The standardization of to graphic design. It is an approach format for Swiss posters prevented the eminently suited to information display in poster designer from relying on the size of which many complex relationships must be the poster to gain impact. Instead,. the distinguished carefully and clearly. designer had to work with effective images viewed from a distance much like mural The utilitarian approach to graphic design painting. This contributed to a reduction in derives from the German Bauhaus and Rus­ the amount of pri mary text presented as sian Constructivist artistic trends of the well as the use of one essential image for early twentieth century. These movements immediate recognition. The typographic emphasized functionalism, new technology, emphasis attracted the eye of the viewer and rationalism. The utilitarian approach to through the primary text. When illustration graphic communication as seen in posters, was included it was often geometrical in books, magazines, diagrams, etc., emerged form.

Load more

  22

Copy Link