Index

NUMERICS Amazon, 10 37signals, 259, 276 American Airlines, 258 960 grid, 204 ampersand, 199 animation. See also motion reducing, 219–220 A transition compared to, 229–230 annotation, 98 About Face 3 (Cooper), 248–249, 254, 255, 276 anticipation, 236 action app bar, 255 application fl ow, 51–52 Apple content, distinguishing from, 222 iBook platform, 258 information architecture, 85, 86 iMovie, 256 overlapping, 237 iOS, 251–252, 276 as software element, 47 iPad, 61 actionable item, 279, 280 iPhone, 215, 230, 264 Adobe After Eff ects, 124–125 iQuery, 126, 127 Adobe Edge Tools, 106, 123–124 iTunes, 81 Adobe Fireworks, 102, 103 Keynote, 105, 125–126, 236 Adobe Illustrator, 102–103 touch targets, optimal, 264 Adobe Kuler, 163–165 application fl ow aesthetics, visual, 2 about, 46 aff ordance basics, 47–49 about, 221–222 case study, 53–57 action, distinguishing from content, 222 consistency, 48 defaults, 223 creating, 49–52 feedback, providing, 222–223 information architecture, 67, 68 feeding forward, 223 applied creativity, 22 fl ow, facilitating, 250 arc, 238 grid, 224–226 COPYRIGHTEDArduino, 128, MATERIAL129 Poka-Yoke, 224 ascender, 179–180 After Eff ects (Adobe), 124–125 aspect ratio, 61 airline check-in kiosk, 258 associations, 156 airport way fi nder case study, 28–30 ATM example, 64 aliasing, 193 attractiveness, 259 alignment auto focus, 274 design patterns, 287–288 auto save, 275–276 wireframe, 99 availability, 253

220_9781119942900-bindex.indd0_9781119942900-bindex.indd 293293 22/26/13/26/13 11:37:37 PMPM 294 DESIGN FOR SOFTWARE

axis, 180–181 prototyping, 133–135 Axure RP, 127–128 time and expenses system, 53–57 wireframe, 109–111, 133–135 character, storyboard, 60 B checkout process case study, 14–15 Back ease, 241 Clarity Connect, 83 Bacon, Kevin (actor), 71 clean design, defi ned, 202 Balsamiq Mockups, 103, 104 click-through wireframe, 120 base size, 98 closed questions, 17 Basecamp product, 259 clutter, reducing, 254–255 baseline, 178 CMYK (Cyan, Magenta, Yellow and Key), 148 Baskerville typeface, 183 code snippet Behance.net, 36 color, fi nding average, 172 black, psychology of, 153 color scheme, monochromatic, 166 blank slate, 276–277 grid overlay, generating, 225 blog, inspiration, 28 cognitive, defi ned, 47 blue, psychology of, 152 cognitive load, 254–255 Bodoni typeface, 184 cognitive psychology, 2, 15, 47 Bounce ease, 242 cognitive tomfoolery, 243 brand-compatible colors, 158 color brightness, 146 average, fi nding, 170–172 Bringhurst, Robert (author) coding with, 165–167 Th e Elements of Typographic Style, 177, 199 color palette, 158–163, 163–165 Brooks, Kevin (author) consistency, 156 Storytelling for User Experience, 60 contrast, 154–155 brown, psychology of, 153 cool, 149–150 Brown, Tim (design agency CEO), 40 emotional aspects, 144 bubble, 112, 113 fi nancial application example, 167–170 builder layout, 79–80 models, 146–149 Buxton, Bill (author) Photoshop, 167–170 Sketching User Experiences, 40, 119, 121 psychology, 151–153, 157–158 reducing, 217 rules of thumb, 156–158 C techniques, 163–172 visual weight, 213–214 cap height, 178 vocabulary, 144–146 case study warm, 149–150 airport way fi nder, 28–30 wireframe techniques, 108–109 application fl ow, 53–57 color palette, 158–163, 163–165 checkout process, 14–15 color space, 146 material collection, 28–30 colorblindness, 154 observation, 14–15 columns, 204–205, 208 Olympic bid book application, 133–135

220_9781119942900-bindex.indd0_9781119942900-bindex.indd 294294 22/26/13/26/13 1:371:37 PMPM INDEX 295

comic book, 110 Cooper, Alan (author) communication, visual About Face 3, 248–249, 254, 255, 276 aff ordance, 221–226 Copic Sketch Neutral Gray Marker, 44 grid, 204–211, 212 creativity, 22 hierarchy, 211–215 Csikszentmihalyi, Mihaly (author) parallelism, 220–221 Flow, 249 reduction, 215–220 CSS3, 126, 127 simplicity, 202–203 Cubic ease, 242 complexity, identifying, 41 Cyan, Magenta, Yellow and Key (CMYK), 148 compositing, video, 139 concept communicating, 58 D proof of, 117 dashboard conditional elements, 96, 97 glance-view, 284–285 connectors, 96, 97, 99–100 layout, 83 consistency defaults, 223 application fl ow, 48 demo, practicing, 137, 138 color, 156 descender, 180 information architecture, 86–87 Th e Design of Everyday Th ings (Norman), 47, 221 spacing, 188–189 design patterns typography, digital, 188–189, 195–196 about, 273–274 visual communication, 203 actionable items, 279, 280 content auto focus, 274 actions, distinguishing from, 222 auto save, 275–276 grid, 209 blank slate, 276–277 information architecture deliverables, 67, 68 direct manipulation, 281 information architecture process, 85, 86, drag and drop, 274–275 87–88 error-proof controls, 285–286 reducing, 87–88 fonts, contrasting, 290–291 as software element, 47 get me out of here, 286–287 wireframe, 94 glance-view dashboard, 284–285 “content not chrome” principle, 87–88 like items, grouping, 281–282 continuous scrolling, 282–283 matching UI to task diffi culty, 288–289 contrast modal states, avoiding, 279–280 color, 154–155, 158 progress indicators, 277–278 ergonomics, 263 reasons for using, 270–271 typeface, 197–198 resources, 271–273 visual weight, 214 right/left input alignment, 287–288 controls scrolling, continuous, 282–283 error-proof, 285–286 size to importance visualization, 283–284 reducing, 216 super search, 288 cool colors, 149–150 sync position, 290 target sizes, 278–279

220_9781119942900-bindex.indd0_9781119942900-bindex.indd 295295 22/26/13/26/13 1:371:37 PMPM 296 DESIGN FOR SOFTWARE

design thinking, defi ned, 40 Egyptian typefaces, 184–185 designer, typeface, 195–196 Elastic ease, 241 Designing Interfaces, 2nd Edition (Tidwell), 271, elements 273 conditional, 96, 97 Designspiration.net, 34, 35 listing, 49–50 details, magnifying, 112, 113 placing, 51–52 determinate progress indicator, 277, 278 Elements of Style (Strunk), 220 diagram, application Th e Elements of Typographic Style (Bringhurst), about, 46 177, 199 basics, 47–49 engineering excellence, 2 case study, 53–57 engineering scale, triangular, 45 consistency, 48 environment, 60, 263 creating, 49–52 Envisioning Information (Tufte), 108 information architecture, 67, 68 ergonomics, 259–266 diatonic scale, 187, 188 error-proof control, 285–286 diffi culty, task, 288–289 escape hatch, 286–287 digital typography ethnography, 9 about, 176–177 Evernote, 11, 12, 275 consistency, 188–189, 195–196 Everyday Food (magazine), 27 font compared to typeface, 182 techniques, 187–199 terminology, 177–181 F typeface classifi cation, 182–186 fade, 232 direct manipulation, 281 family, type, 193–194, 195 double-stranded Fibonacci scale, 187, 188 feedback drag and drop, 274–275 aff ordance, 222–223 Dribble.com, 34, 35 eliciting, 41 drill-down layout, 80–81 fl ow, 253–254 Dropbox.com, 10 giving, 222–223, 253–254 sketching, 41 feeding forward, 223 E Fibonacci scale, double-stranded, 187, 188 Ease-In, 239 fi delity Ease-In-Out, 241 prototyping, 120 Ease-Out, 240 wireframe, 92–93 easing, 239–242 fi eld of view, 261–262 edge case, 100–101 fi nancial application example, 167–170 Edge Tools (Adobe), 106, 123–124 Fireworks (Adobe), 102, 103 Edward Tufte Archival Graph Paper for Artists Flash, 171 and Scientists, 44–45 fl exibility, 257 effi ciency, 256 fl ip eff ect, 243

220_9781119942900-bindex.indd0_9781119942900-bindex.indd 296296 22/26/13/26/13 1:371:37 PMPM INDEX 297

fl ow Gmail, 224 about, 249–250 goals aff ordances, 250 defi ning, 73 availability, 253 as software element, 47 clutter, reducing, 254–255 user, 49 facilitating, 250–255 GOOD (magazine), 27 feedback, 253–254 Google Analytics, 79 mental model, user’s, 250–251 Google Chrome, 275 modal states and disruptions, avoiding, 251– Google Gmail, 224 253 Google Maps, 257 Flow (Csikszentmihalyi), 249 Google SketchUp, 257–258 focus, 119, 259 graphing paper, 44–45 follow, 242–243 gray follow-through, 237 color palette, 159–160 font psychology of, 153 body, 191–193 wireframe techniques, 108–109 contrasting, 290–291 grayscale, 154–155 typeface compared to, 182 green, psychology of, 152, 157–158 font hinting, 192–193 green screen, 137 Footloose (movie), 71 grid Foursquare, 77 about, 204 frame-by-frame approach, 111–112 aff ordance, 224–226 Frere-Jones, Tobias (typeface designer), 194, columns, 204–205, 208 195, 196 content regions, defi ning, 209 functional requirements, 8 example, 212 functionality, wireframe, 95 gutter, 206, 207, 210 Futura typeface, 186 module, 206 960 grid, 204 padding, 206, 207, 210 G precision, 210, 211 gallery layout, 84 process, 208–211 Garamond typeface, 183 rows, 205, 208–209 Garrett, Jesse James (designer), 96 grid layout, 74–75 general material, 24, 29–30 Grid Systems in Graphic Design (Muller- Geometric sans-serif, 186 Brockmann), 211 Gestalt principles, 71–72, 281, 287 gutter, 206, 207, 210 gesture dictionary, 69–70 get me out of here, 286–287 Getting Real (37signals), 276 H Gill Sans typeface, 185 hardware, video prototyping, 136–137 glance-view dashboard, 284–285 HCI (human-computer interaction), 249

220_9781119942900-bindex.indd0_9781119942900-bindex.indd 297297 22/26/13/26/13 1:371:37 PMPM 298 DESIGN FOR SOFTWARE

heads up display (HUD) graphics, 26 Th e Illusion of Life (Th omas and Johnston), 234 Helvetica typeface, 186 Illustrator (Adobe), 102–103 Hero Pattern, 60–61 IMDB.com, 71 Heuristic Ideation, 33–34 iMovie (Apple), 256 hierarchy indeterminate progress indicator, 277, 278 color, 154 Indochino.com, 82 visual communication, 211–215 information architecture (IA) wireframe, 94 ATM example, 64 Hoefl er, Jonathan (typeface designer), 194, 195, consistency, 86–87 196 content, 70–72 HSB (Hue, Saturation, and Brightness), 146–147 defi ned, 65 HSL (Hue, Saturation, and Lightness), 148–149 deliverables, 66–70 HTML, 126–127 grouping similar items, 85–86 HUD (heads up display) graphics, 26 importance, 64 hue, 145, 157 layout, 74–84 Hue, Saturation, and Brightness (HSB), 146–147 newsreader app example, 73, 85–86, 87, 88 Hue, Saturation, and Lightness (HSL), 148–149 process, 72–88 human factors, 259–266 reduction, 87–88 human-computer interaction (HCI), 249 usability, cost of, 65–66 Humanist typeface, 185 working memory of user, 64, 70 Information Architecture for the World Wide Web (Morville and Rosenfeld), 65 I insight, user, 9–11, 12 IA (information architecture) inspiration ATM example, 64 creativity types, 22 consistency, 86–87 Heuristic Ideation, 33–34 content, 70–72 inspiration blog, 28 defi ned, 65 last resorts, 34–36 deliverables, 66–70 material collection, 23–27, 28–30 grouping similar items, 85–86 mood board, 30–33 importance, 64 techniques, 23–34 layout, 74–84 inspiration blog, 28 newsreader app example, 73, 85–86, 87, 88 instructions, assembly, 110 process, 72–88 interaction reduction, 87–88 human-computer, 249 usability, cost of, 65–66 wireframe, 94 working memory of user, 64, 70 interaction design (IxD) iBook platform (Apple), 258 defi ned, 248–249 ideas ergonomics, 259–266 communicating, 117 fl ow, 249–255 exploring, 117 human-computer interaction compared to, generating, 41 249 identity, reinforcing, 156 importance, 248

220_9781119942900-bindex.indd0_9781119942900-bindex.indd 298298 22/26/13/26/13 1:371:37 PMPM INDEX 299

learnability, designing for, 256, 258–259 L usability, designing for, 256–258 layout interface about, 74 fi eld of view and peripheral vision, 261–262 builder, 79–80 muscle fatigue, 260–261 dashboard, 83 interpretation, alternative, 41 drill-down, 80–81 interview, user gallery, 84 about, 15–16 grid, 74–75 questions, 16–18 master-detail, 75–76 user, appropriate, 16 tabs, 76–77 intrigue, 20 two-nav, 78–79 iOS (Apple), 251–252, 276 wireframe, 94 iPad (Apple), 61 wizard, 82 iPhone (Apple), 215, 230, 264 leading, 179 iQuery (Apple), 126, 127 leading questions, 17 iTunes (Apple), 81 learnability, designing for, 256, 258–259 Ive, Jony (designer), 203 ligature, 181 IxD (interaction design) lighting conditions, 263 defi ned, 248–249 line width, ideal, 189 ergonomics, 259–266 Linear ease, 242 fl ow, 249–255 line-height value, 188 human-computer interaction compared to, lists, 221 249 Lithgow, John (actor), 71 importance, 248 Little Bets (Sims), 121 learnability, designing for, 256, 258–259 locking, screen, 254 usability, designing for, 256–258

M J Mac OSX Mail application, 238 JavaScript Maeda, John (graphic designer), 203 pixel data, 171 magazine, 27 prototyping tools, 126–127 magnifying details, 112, 113 Johnston, Ollie (animator) manipulation, direct, 281 animation, 235 marker Th e Illusion of Life, 234 neutral gray, 44 Sharpie dual-sided, 42–43 Martha Stewart’s Everyday Food (magazine), 27 K master-detail layout, 75–76 kerning, 179 material collection Keynote (Apple), 105, 125–126, 236 case study, 28–30 Kindle device, 257 general material, 24 Kuler (Adobe), 163–165 sources, 24–27 specifi c material, 23–24

220_9781119942900-bindex.indd0_9781119942900-bindex.indd 299299 22/26/13/26/13 1:371:37 PMPM 300 DESIGN FOR SOFTWARE

meaningfulness, 70–71 N measure, 181, 189–190 nature, 25–26 Meer.li, 273 navigation memory, working, 64, 70 information architecture, 85, 86 mental model, user’s, 250–251 parallelism, 220–221 menu, restaurant, 24–25 as software element, 47 Microsoft Nest thermostat, 257 “content not chrome” principle, 87–88 .NET, 171 PowerPoint, 105, 125 newsreader app example, 73, 85–86, 87, 88 SketchFlow, 106–107, 122–123 960 grid, 204 SkyDrive, 84 Norman, Don (author) touch targets, optimal, 264 Th e Design of Everyday Th ings, 47, 221 Visio, 103, 104 notebook, Moleskin, 46 Windows 8 operating system, 75, 255 Windows Phone Interaction Guidelines, 264 Zune, 159–160 O Mint.com, 10, 11 modal states observation, 11–15 design patterns, 279–280 occlusion, 265–266 facilitating fl ow, 251–253 old style serif, 182–183 reducing, 219 Olympic bid book application case study, modern serif, 184 133–135 module, 206 OmniGraffl e, 102 Moggridge, Bill (design consultant), 248 OneNote, 275 Moleskin notebook, 46 online payment systems example, 253 mood board, 30–33 open-ended questions, 17–18 Morville, Peter (author) Openframeworks, 128–129 Information Architecture for the World Wide orange, psychology of, 152 Web, 65 overlapping action, 237 motion about, 228 benefi ts, 228–229 P guidelines, 229–232 packaging, 25 principles, 234–242 padding, 206, 207, 210 techniques, advanced, 242–243 paper, graphing, 44–45 tools, 232–234 paper prototype, 118, 119, 130–131 movies, 26–27 parallelism, 220–221 Muller-Brockmann, Josef (author) pattern, defi ning, 48 Grid Systems in Graphic Design, 211 pencil, non-photo, 43 muscle fatigue, 260–261 Penner, Robert (author) Programming Macromedia Flash MX, 240 website, 242

220_9781119942900-bindex.indd0_9781119942900-bindex.indd 300300 22/26/13/26/13 1:371:37 PMPM INDEX 301

peripheral vision, 261–262 question persona, 18–19, 20, 67 closed, 17 perspective, 59 leading, 17 Photoshop, 167–170 open-ended, 17–18 P.I.E.C.E. method, 20 user interview, 16–18 pink, psychology of, 153 pixel data, 171 Planet of the Apes (movie), 71 R Poka-Yoke, 224 Rams, Dieter (industrial designer), 203 posture, reading, 263 readability, 154 PowerPoint, 105, 125 reading posture, 263 precision, 210, 211 realist sans-serif, 186 Prezi, 80 red Processing (Java-based environment), 128, 129 psychology of, 151, 157–158 Programming Macromedia Flash MX (Penner), 240 shades, 156 progress indicator, 253–254, 277–278 Red, Green, and Blue (RGB), 147 proof of concept, 117 reducing prototyping application fl ow, 49, 52–53 about, 116 information architecture process, 87–88 case study, 133–135 steps, 49 eff ective, 118–119 visual communication techniques, 215–220 faking it, 120–121 redundancy, 88 fi delity, 120 Reeder for Mac, 76 mentality of, 121 relationships, unintended, 41 paper, 118, 119, 130–131 remote car control app, 221 purposes, 116–117 requirements quantity of, 117–118 defi ning, 73 techniques, 129–139 functional, 8 tools, 122–129 research, user video, 136–139 case study, 14–15 wireframe, click-through, 120 ethnography, 9 wireframe, interactive, 131–135 fi ndings, making sense of, 18 proximity, 72, 215 observation, 11–15 psychology persona, 18–19 cognitive, 2, 15, 47 purpose, 8 color, 151–153, 157–158 usability compared to, 9 Pttrns.com, 271, 272 use, 8 Push Pop Press, 258 user insight, starting with, 9–11, 12 user interview, 15–18 user story/scenario, 19–20, 67 Q response time, 254 Quesenbery, Whitney (author) RGB (Red, Green, and Blue), 147 Storytelling for User Experience, 60 rhythm, 98, 188–189

220_9781119942900-bindex.indd0_9781119942900-bindex.indd 301301 22/26/13/26/13 1:371:37 PMPM 302 DESIGN FOR SOFTWARE

right/left input alignment, 287–288 target, 278–279 Rockwell typeface, 185 visual weight, 213 roles, typography, 190–191 SketchFlow (Microsoft), 106–107, 122–123 roman typefaces, 180, 182–185, 191 sketching. See also application fl ow; storyboard Rosenfeld, Louis (author) benefi ts, 41–42 Information Architecture for the World Wide importance, 40 Web, 65 learning, 40–41 rows, 205, 208–209 tools, 42–46 rules of thumb use, 42 application fl ow, 47–49 Sketching User Experiences (Buxton), 40, 119, 121 color, 156–158 SketchUp, 257–258 Heuristic Ideation, 33 SkyDrive (Microsoft), 84 slab serif typefaces, 184–185 slide, 233 S slow in and slow out, 234–235 sans-serif typefaces, 185–186, 191, 197 software saturation, 145–146 cognitive psychology, relevance to, 47 scale elements, common, 47 motion tools, 233–234 functional requirements, 8 typographic, 187–188 ingredients, 2 scenario spacing information architecture deliverables, 67 consistency, 188–189 P.I.E.C.E. method, 20 typography, digital, 188–189 template, 20 wireframe, 98–99 use case compared to, 19 specifi c material, 23–24, 29 screen Spiekermann, Erik (typeface designer), 195 fi eld of view and peripheral vision, 261–262 squash and stretch, 235–236 listing, 50–51 stagger, 237 muscle fatigue, 260–261 steps, reducing, 49 reducing, 87 storyboard screen locking, 254 benefi ts, 58–59 scrolling, continuous, 282–283 board, creating, 61–62 serif, defi ned, 180 creating, 59–62 serif typefaces, 180, 182–185, 191 importance, 57 shade, 157 information architecture deliverables, 67 Sharpie dual-sided marker, 42–43 story, creating, 59–61 similarity, 71, 85–86, 281–282 use, 59 simplicity, 202–203 Storytelling for User Experience (Quesenbery and Sims, Peter (author) Brooks), 60 Little Bets, 121 Strunk, William (author) size Elements of Style, 220 base, 98 style, typeface, 198 design patterns, 283–284 super search, 288 sync position, 290

220_9781119942900-bindex.indd0_9781119942900-bindex.indd 302302 22/26/13/26/13 1:371:37 PMPM INDEX 303

T classifi cations, 182–186 tabs layout, 76–77 combining, 194–198 talent, natural, 22 contrast, 197–198 target sizes, 278–279 Egyptian, 184–185 task diffi culty, 288–289 font compared to, 182 Tauber, Edward (author), 33 Futura, 186 A Technique for Producing Ideas (Young), 23 Garamond, 183 template Gill Sans, 185 persona, 19 Helvetica, 186 storyboard, 60–61 Humanist, 185 user story/scenario, 20 Rockwell, 185 theme, defi ning, 73 roman, 180, 182–185, 191 37signals, 259, 276 sans-serif, 185–186, 191, 197 Th omas, Frank (animator) serif, 180, 182–185, 191 animation, 235 slab serif, 184–185 Th e Illusion of Life, 234 style, 198 Tidwell, Jennifer (author) variation, reducing, 218 Designing Interfaces, 2nd Edition, 271, 273 weight, 197–198 timing guidelines, 230 x-height, 196 tomfoolery, cognitive, 243 typeface designer, 195–196 tools typography, digital motion, 232–234 about, 176–177 prototyping, 122–129 consistency, 188–189, 195–196 sketching, 42–46 font compared to typeface, 182 wireframe, 102–107 techniques, 187–199 touch screen terminology, 177–181 fi eld of view and peripheral vision, 261–262 typeface classifi cation, 182–186 muscle fatigue, 260–261 typography roles, 190–191 touch targets, optimal, 263–265, 264 Toyota Production System, 261 transition, 229–230. See also motion U Transitional serif, 183 UI-Patterns.com, 271, 272 Tufte, Edward R. (author) UML (Unifi ed Modeling Language), 95–96 Envisioning Information, 108 understandability, 256 Th e Visual Display of Quantitative Information, Unifi ed Modeling Language (UML), 95–96 211 usability Tumblr, 28 cost, 65–66 TV shows, 26–27 designing for, 256–258 tweaking, 159 testing, 9, 117 two-nav layout, 78–79 user research compared to, 9 typeface use case, 19 Baskerville, 183 Bodoni, 184

220_9781119942900-bindex.indd0_9781119942900-bindex.indd 303303 22/26/13/26/13 1:371:37 PMPM 304 DESIGN FOR SOFTWARE

user. See also user interview; user research; user view story/scenario fi eld of, 261–262 appropriate, 16 wireframe, 96 goals, 49 violet, psychology of, 152–153 insight, 9–11, 12 Virgin America, 258 mental model, 250–251 Visio (Microsoft), 103, 104 working memory, 64, 70 vision, unifi ed, 59 user interview visual aesthetics, 2 about, 15–16 visual communication questions, 16–18 aff ordance, 221–226 user, appropriate, 16 grid, 204–211, 212 user research hierarchy, 211–215 case study, 14–15 parallelism, 220–221 ethnography, 9 reduction, 215–220 fi ndings, making sense of, 18 simplicity, 202–203 observation, 11–15 Th e Visual Display of Quantitative Information persona, 18–19 (Tufte), 211 purpose, 8 visual rhythm, 98, 188–189 usability compared to, 9 Visual Vocabulary, 96 use, 8 visual weight, 212–215 user insight, starting with, 9–11, 12 user interview, 15–18 user story/scenario, 19–20, 67 W user story/scenario Walt Disney Studio, 57 information architecture deliverables, 67 warm colors, 149–150 P.I.E.C.E. method, 20 websites. See specifi c websites template, 20 weight use case compared to, 19 typeface, 197–198 visual, 212–215 white, psychology of, 153 V widescreen, 61 value (brightness), 146 Windows 8 operating system, 75, 255 vertical rhythm, 188, 189 Windows Phone Interaction Guidelines, 264 Viddy, 256 Wired (magazine), 27 video compositing, 139 wireframe video game, 26 anatomy, 94–95 video prototyping case study, 109–111, 133–135 demo, 137, 138 click-through, 120 fi lming, 137, 138 debunking, 92–93 hardware and green screen, 136–137 defi ned, 92 video compositing, 139 do’s and don’ts, 98–101

220_9781119942900-bindex.indd0_9781119942900-bindex.indd 304304 22/26/13/26/13 1:371:37 PMPM INDEX 305

elements, essential, 96–98 X fi delity, 92–93 x-height framework, 96 defi ned, 178 information architecture deliverables, 69 font, body, 192 interactive, 131–135 typefaces, combining, 196 language, 95–96 purpose, 92 roles, 93 Y techniques, 107–113 tools, 102–107 yellow, psychology of, 152, 157–158 use, 93–94 Young, James Webb (author) wizard layout, 82 A Technique for Producing Ideas, 23 working memory of user, 64, 70 Z Zune (Microsoft), 159–160

220_9781119942900-bindex.indd0_9781119942900-bindex.indd 305305 22/26/13/26/13 1:371:37 PMPM 220_9781119942900-bindex.indd0_9781119942900-bindex.indd 306306 22/26/13/26/13 1:371:37 PMPM