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User Interaction Design for Secure Systems
User Interaction Design for Secure Systems Ka-Ping Yee Report No. UCB/CSD-02-1184 May 2002 Computer Science Division (EECS) University of California Berkeley, California 94720 Supported by NSF award #EIA-0122599 ITR/SI: Societal Scale Information Systems: Technologies, Design and Applications User Interaction Design for Secure Systems Ka-Ping Yee [email protected] Computer Science Department University of California, Berkeley Abstract Perhaps the most spectacular class of recent security problems is the e-mail virus, which is a good real-life The security of any computer system that is configured example of a security violation in the absence of software and operated by human beings critically depends on the errors. At no point in the propagation of the virus does information conveyed by the user interface, the decisions any application or system software do anything other of the computer users, and the interpretation of their than exactly what its programmers would expect: the e- actions. We establish some starting points for reasoning mail client correctly displays the message and correctly about security from a user-centred point of view, by decodes the attached virus program; the system correctly modelling a system in terms of actors and actions and executes the virus program. Rather, the problem has introducing the concept of the subjective actor-ability occurred because the expectations of the programmer state. We identify ten key principles for user interaction became inconsistent with what the user would want. design in secure systems and give case studies to Our purpose here is to present a way of thinking about illustrate and justify each principle, describing real-world this type of issue. -
Developing an Arabic Typography Course for Visual Communication Design
Developing an Arabic Typography course for Visual Communication Design Students in the Middle East and North African Region A thesis submitted to the School of Visual Communication Design, College of Communication and Information of Kent State University in partial fulfillment of the requirements for the degree of Master of Fine Arts by Basma Almusallam May, 2014 Thesis written by Basma Almusallam B.F.A, Kuwait University, 2008 M.F.A, Kent State University, 2014 Approved by ___________________________ Jillian Coorey, M.F.A., Advisor ___________________________ AnnMarie LeBlanc, M.F.A., Director, School of Visual Communication Design ___________________________ Stanley T. Wearden, Ph.D., Dean, College of Communication and Information Table of Contents TABLE OF CONTENTS………………………………………………………………...... iii LIST OF FIGURES……………………………………………………………………….. v PREFACE………………………………………………………………………………..... vi CHAPTER I. INTRODUCTION…………………………………………………………. 1 The Current Issue………………………………………………….. 1 Core Objectives……………………………………………………. 3 II. THE HISTORY OF THE ARABIC WRITING SYSTEM, CALLIGRAPHY AND TYPOGRAPHY………………………………………....………….. 4 The Arabic Writing System……………………………………….. 4 Arabic Calligraphy………………………………………………… 5 The Undocumented Art of Arabic Calligraphy……………….…… 6 The Shift Towards Typography and the Digital Era………………. 7 The Pressing Issue of the Present………………………………….. 8 A NOTE ON THE PROCESS…………………………………………………………….. 10 Applying a Framework for Research Documentation…………….. 11 Mental Model……………………………………………………… 12 Proposed User Testing……………………………………………. -
Booklet & CD Design & Typography: David Tayler Cover Art: Adriaen Coorte
Voices of Music An Evening with Bach An Evening with Bach 1. Air on a G string (BWV 1069) Johann Sebastian Bach (1685–1750) 2. Schlummert ein (BWV 82) Susanne Rydén, soprano 3. Badinerie (BWV 1067) Dan Laurin, voice flute 4. Ich folge dir gleichfalls (St. John Passion BWV 245) Susanne Rydén, soprano; Louise Carslake, baroque flute 5. Giga (BWV 1004) Dan Laurin, recorder 6. Schafe können sicher weiden (BWV 208) Susanne Rydén, soprano 7. Prelude in C minor (BWV 871) Hanneke van Proosdij, harpsichord 8. Schlafe mein Liebster (BWV 213) Susanne Rydén, soprano 9. Prelude in G major (BWV 1007) David Tayler, theorbo 10. Es ist vollbracht (St. John Passion BWV 245) Jennifer Lane, alto; William Skeen, viola da gamba 11. Sarabanda (BWV 1004) Elizabeth Blumenstock, baroque violin 12. Kein Arzt ist außer dir zu finden (BWV 103) Jennifer Lane, alto; Hanneke van Proosdij, sixth flute 13. Prelude in E flat major (BWV 998) Hanneke van Proosdij, lautenwerk 14. Bist du bei mir (BWV 508) Susanne Rydén, soprano 15. Passacaglia Mein Freund ist mein J.C. Bach (1642–1703) Susanne Rydén, soprano; Elizabeth Blumenstock, baroque violin Notes The Great Collectors During the 1980s, both Classical & Early Music recordings underwent a profound change due to the advent of the Compact Disc as well as the arrival of larger stores specializing in music. One of the casualties of this change was the recital recording, in which an artist or ensemble would present an interesting arrangement of musical pieces that followed a certain theme or style—much like a live concert. Although recital recordings were of course made, and are perhaps making a comeback, most recordings featured a single composer and were sold in alphabetized bins: B for Bach; V for Vivaldi. -
Gourmet Typography Training
presents GOURMET TYPOGRAPHY TRAINING Take control of your type instead of letting it control you! Gourmet Typography Training teaches and demonstrates the expert-level typographic skills and aesthetics that are rarely taught in schools or fully understood by professionals. Fill in the gaps in your typographic know-how and learn how to “see” type like you’ve never seen it before. Why Gourmet Typography Training? Every creative professional, regardless of specialty, can benefit from learning to communicate more effectively with type. Whether you are a beginner or seasoned pro, Gourmet Typography Training will sharpen your eye and give you practical, usable skills that will visibly improve the beauty, clarity and effectiveness of all your typographic projects. Subjects covered include: Who will benefit? What makes a good typeface Visual communicators of all kinds, including: OpenType demystified Graphic designers Type crimes: Are you a type criminal? Art directors Fine-tuning type, including alignment, Creative directors hyphenation, hung punctuation, etc. Creative services directors Tracking, kerning, and word spacing Web designers Tips for more professional typography Package designers Type on the Web, Web fonts Production specialists Type in motion Typographers Keyboard shortcuts and time-saving tips Web programmers and developers Every creative professional regardless of specialty can learn to communicate more effectively with type! For more information, call The Type Studio at 203.227.5929 or email us at [email protected]. www.thetypestudio.com (page 1 of 2) What they are saying about Ilene’s Gourmet Typography Training... “Your course was great! Since taking it, “I recently attended your Gourmet “As a working professional in the advertis- I can’t help but look at every book title, Typography workshop and wanted to ing industry with 10 years of creative magazine headline, and even company thank you again for an amazing day. -
PRESS KIT Typecon2019: Nice MINNEAPOLIS, MN August 28–September 1, 2019 Typecon2019 MINNEAPOLIS, MN the CONFERENCE August 28–Sept 1
PRESS KIT TypeCon2019: Nice MINNEAPOLIS, MN August 28–September 1, 2019 TypeCon2019 MINNEAPOLIS, MN THE CONFERENCE August 28–Sept 1 50 WORDS Founded 21 years ago, TypeCon is the nation’s premier typography and lettering arts conference. Hundreds of attendees convene each year for an immersive five day program of inspiring presentations, workshops, and events. At TypeCon, both professionals and educators can learn, grow, and network in the company of like-minded enthusiasts. 120 WORDS Founded 21 years ago, TypeCon is the nation’s premier typography and lettering arts conference. Hundreds of attendees from around the world convene each year for an immersive five day program centered around typography, lettering, and design. TypeCon is best-known for its educational presentations, all of which are submitted via open-call, “by the community, for the community.” Recent speakers and workshop leaders have included Tobias Frere-Jones, Lance Wyman, Gemma O’Brien, Underware, Jessica Hische, Matthew Carter, and Louise Fili. TypeCon oers a unique opportunity for both professionals and educators to learn, study, network, and further their knowledge in the company of like-minded enthusiasts. TypeCon2019: “Nice” will take place August 28th–September 1st, at the Hilton Minneapolis in downtown Minneapolis, Minnesota. FULL Founded 21 years ago by The Society of Typographic Aficionados (SOTA), TypeCon is the nation’s premier typographic and lettering arts conference. Hundreds of attendees from around the world convene each year for an immersive five day program centered around typography, lettering, and design. The conference takes place in a dierent city each year and is dedicated to promoting and disseminating knowledge of both historical and contemporary typography. -
Visibility Aspects Importance of User Interface Reception in Cloud Computing Applications with Increased Automation
School of Computing Blekinge Institute of Technology Visibility Aspects Importance of User Interface Reception in Cloud Computing Applications with Increased Automation Denis Haxhixhemajli Thesis submitted for completion of Master of Science (120 credits) Main field of study: Computer Science Specialization: Informatics School of Computing Blekinge Institute of Technology SE-371 79 Karlskrona Sweden This thesis is submitted to the School of Computing at Blekinge Institute of Technology in partial fulfillment of the requirements for the degree of Master of Science (120 credits) in Computer Science with specialization in Informatics. The thesis is equivalent to 20 weeks of full time studies (30 credits). Contact Information: Author: Denis Haxhixhemajli Address: Rruga “UÇK” BII Nr:12, Pristina 10000, Republic of Kosovo E-mail: [email protected] University advisor: Hans Kyhlbäck School of Computing Blekinge Institute of Technology School of Computing Internet : www.bth.se/com Blekinge Institute of Technology Phone : + 46 455 38 50 00 SE-371 41 Karlskrona Fax : + 46 455 38 50 57 Sweden ii ACKNOWLEDGEMENTS I would like to thank my parents for their continuous support. Special thanks to my Supervisor: Hans Kyhlbäck, as I could not have done this without his detailed, precise and motivating feedback, especially for his ideas to make things better. I would also like to thank the people who participated in the scenario of this thesis. Finally, a big thanks goes to the whole academic staff of this Master’s program for their extra effort to make it awesome: Sara Eriksén, Per Flensburg, Stig Holmberg, Lars-Olof Johansson, Christian Östlund, Lars Svensson, Sten Carlsson, Viveca Asproth, Christina Amcoff Nyström, Anita Håkansson, Ulrica Skagert and Sofia Swartz. -
Typography Height
THIS MONTH POInts OF VIEW a Serif Sans serif b Ascender Serif Typography Height Typography is the art and technique of arranging type. Like a Serif Descender person’s speaking style and skill, the quality of our treatment of Figure 1 | Typefaces. (a) The anatomy of letterform for serif (Garamond) letters on a page can influence how people respond to our mes- and sans serif (Univers) type both set at 58 point. (b) Four of the most sage. It is an essential act of encoding and interpretation, linking readily available fonts. what we say to what people see. Typography has been known to affect perception of credibility. line and paragraph settings (Fig. 2b). The relative scale of white In one study, identical job resumes printed using different type- space in Figure 2b makes the hierarchy of the content apparent. faces were sent out for review. Resumes with typefaces deemed Differentially aligning the paragraph text and bulleted list, when appropriate for a given industry resulted in applicants being con- allowed, differentiates the content. sidered more knowledgeable, mature, experienced, professional, To achieve meaningfully spaced text, use the ‘space before’ and believable and trustworthy than when less appropriate typefaces ‘space after’ settings instead of extra carriage returns. Find the were used1. In this case, picking the right typeface can help some- settings under Font menu > Paragraphs (PowerPoint) or Format one’s chances of landing a job. menu > Paragraphs (Word). The paragraph text in Figure 2b is set The term typeface is frequently conflated with font; Arial is a with 5 point space after it; the bulleted list has 3 point space after ‘typeface’ that may include roman, bold and italic ‘fonts’. -
Emotional Perception of Typography Messages in Fashion Design
I Emotional Perception of Typography Messages in Fashion Design Case Study: Amman City Prepared by: Amal Dahmoos Supervised by: Dr. Wael Al Azhari Thesis Submitted in Partial Fulfillment for the Requirements of the Masters Degree in Graphic Design Department of Graphic Design, Faculty of Architecture and Design Middle East University, Amman, Jordan May- 2018 II Authorization I, Amal Fawzi Dahmoos, authorize the Middle East University for Graduate Studies to provide hard or electronic copies of my thesis to libraries, organizations, or institutions concerned in academic research upon request. Name: Amal Fawzi Dahmoos Date: 16 May 2018 Signature: III Committee Decision IV Dedication “And she loved a little boy very very much, even more than she loved herself” Anonymous I dedicate this humble effort To my little boy, my biggest muse, Issa Dughlas V Acknowledgment I would like to express my deepest gratitude to my supervisor Prof. Wael Al- Azhari, for his patience, encouragement and immense knowledge. For being the best mentor and for instructing me through this whole journey. I could never thank you enough. I would like to thank the “Middle East University” for making this accomplishment possible. I would also like to thank all my professors at the university whom had given me invaluable assistance. I’m sincerely grateful for Prof. Ziyad Haddad’s massive guidance. For always believing in me, guiding me to the right directions and for his great help in getting me to this point. I would like to thank my hero, my idol, my infinite support, my dad Fawzi Dahmoos, and my strength, my siblings Arwa, Moe, Sandy and Ahmad. -
A Review of User Interface Design for Interactive Machine Learning
1 A Review of User Interface Design for Interactive Machine Learning JOHN J. DUDLEY, University of Cambridge, United Kingdom PER OLA KRISTENSSON, University of Cambridge, United Kingdom Interactive Machine Learning (IML) seeks to complement human perception and intelligence by tightly integrating these strengths with the computational power and speed of computers. The interactive process is designed to involve input from the user but does not require the background knowledge or experience that might be necessary to work with more traditional machine learning techniques. Under the IML process, non-experts can apply their domain knowledge and insight over otherwise unwieldy datasets to find patterns of interest or develop complex data driven applications. This process is co-adaptive in nature and relies on careful management of the interaction between human and machine. User interface design is fundamental to the success of this approach, yet there is a lack of consolidated principles on how such an interface should be implemented. This article presents a detailed review and characterisation of Interactive Machine Learning from an interactive systems perspective. We propose and describe a structural and behavioural model of a generalised IML system and identify solution principles for building effective interfaces for IML. Where possible, these emergent solution principles are contextualised by reference to the broader human-computer interaction literature. Finally, we identify strands of user interface research key to unlocking more efficient and productive non-expert interactive machine learning applications. CCS Concepts: • Human-centered computing → HCI theory, concepts and models; Additional Key Words and Phrases: Interactive machine learning, interface design ACM Reference Format: John J. -
Multimedia User Interface Design Alistair US Tcliffe
17 Multimedia User Interface Design Alistlir sS tAliife CONTENTS 17.1 Introduction ..................................................................................................................................................................... 387 17.2 Definitions and Terminology ........................................................................................................................................... 388 17.3 Cognitive Background ..................................................................................................................................................... 389 17.3.1 Perception and Comprehension ........................................................................................................................... 389 17.3.2 Selective Attention ............................................................................................................................................... 389 17.3.3 Emotion and Arousal ........................................................................................................................................... 389 17.3.4 Learning and Memorization ................................................................................................................................ 390 17.4 Design Process ................................................................................................................................................................. 391 17.4.1 Users, Requirements, and Domains ................................................................................................................... -
Logo Usage Color System Typography
LOGO & TYPOGRAPHY GUIDELINES Logo Usage Color System While each project may be unique, the logo should The City of Fargo logo consists of two primary colors, remain consistent. Keep it simple. Clean. And resist blue and black. The full-color version is the preferred the impulse to change it up. Even small changes can usage for all printed material or promotional items. devalue the strength of the City’s logo. However, do not print the full-color version over unacceptable background colors. For four-color offset printing, use the four-color Pantone equivalents. RGB COLOR BLACK values are provided for on-screen usage ONLY. The secondary color can be used when creating layouts. It is a brand extension to the primary blue and black. REVERSED B&W PRIMARY SECONDARY BLUE BLACK BLUE 2 PANTONE PANTONE PANTONE 3005 UP Process Black 295 UP CMYK CMYK CMYK 99 22 0 1 0 0 0 100 99 51 8 36 RGB RGB RGB MINIMUM CLEAR SPACE 0 125 213 35 31 32 0 78 125 Surround the logo with space. The minimum amount of space surrounding the logo must be equal to the height (x) of the “o.” The diagram below illustrates the area of minimum clear space required. Typography The font Gotham is used for all printed materials. Gotham is a clean, modern sans serif. Using one typeface ensures all visual communications are consistent. By incorporating different weights and treatments, a wide range of effects can be achieved while maintaining consistency across all communication and materials. Gotham Light Gotham Bold Gotham Light Italic Gotham Bold Italic Gotham Book Gotham Black Gotham Book Italic Gotham Black Italic Logo Taglines Gotham Medium Gotham Medium Italic The “Far More” tagline communicates the promise and position of the City and brand. -
User Interface Design
User interface design ©Ian Sommerville 2004 Software Engineering, 7th edition. Chapter 16 Slide 1 Objectives ● To suggest some general design principles for user interface design ● To explain different interaction styles and their use ● To explain when to use graphical and textual information presentation ● To explain the principal activities in the user interface design process ● To introduce usability attributes and approaches to system evaluation ©Ian Sommerville 2004 Software Engineering, 7th edition. Chapter 16 Slide 2 Topics covered ● Design issues ● The user interface design process ● User analysis ● User interface prototyping ● Interface evaluation ©Ian Sommerville 2004 Software Engineering, 7th edition. Chapter 16 Slide 3 The user interface ● User interfaces should be designed to match the skills, experience and expectations of its anticipated users. ● System users often judge a system by its interface rather than its functionality. ● A poorly designed interface can cause a user to make catastrophic errors. ● Poor user interface design is the reason why so many software systems are never used. ©Ian Sommerville 2004 Software Engineering, 7th edition. Chapter 16 Slide 4 Human factors in interface design ● Limited short-term memory • People can instantaneously remember about 7 items of information. If you present more than this, they are more liable to make mistakes. ● People make mistakes • When people make mistakes and systems go wrong, inappropriate alarms and messages can increase stress and hence the likelihood of more mistakes. ● People are different • People have a wide range of physical capabilities. Designers should not just design for their own capabilities. ● People have different interaction preferences • Some like pictures, some like text. ©Ian Sommerville 2004 Software Engineering, 7th edition.