The Essential Guide to User Interface Design An Introduction to GUI Design Principles and Techniques 3rd Edition Wilbert O. Galitz - Download the ebook and start exploring right away
The Essential Guide to User Interface Design An Introduction to GUI Design Principles and Techniques 3rd Edition Wilbert O. Galitz - Download the ebook and start exploring right away
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The Essential Guide to User Interface Design An
Introduction to GUI Design Principles and Techniques
3rd Edition Wilbert O. Galitz Digital Instant Download
Author(s): Wilbert O. Galitz
ISBN(s): 9780470053423, 0470053429
Edition: 3
File Details: PDF, 5.47 MB
Year: 2007
Language: english
The Essential Guide to
User Interface Design
An Introduction to GUI Design
Principles and Techniques
Third Edition
Wilbert O. Galitz
The Essential Guide to User Interface Design: An Introduction to GUI Design Principles and
Techniques, Third Edition
Published by
Wiley Publishing, Inc.
10475 Crosspoint Boulevard
Indianapolis, IN 46256
www.wiley.com
Galitz, Wilbert O.
The essential guide to user interface design : an introduction to GUI design principles and
techniques / Wilbert O. Galitz. — 3rd ed.
p. cm.
Includes bibliographical references and index.
ISBN-13: 978-0-470-05342-3 (paper/website)
ISBN-10: 0-470-05342-9 (paper/website)
1. Graphical user interfaces (Computer systems) I. Title.
QA76.9.U83G33 2007
005.4'37—dc22
2006038755
Trademarks: Wiley and the Wiley logo are registered trademarks of John Wiley & Sons, Inc. and/or its
affiliates, in the United States and other countries, and may not be used without written permission.
All other trademarks are the property of their respective owners. Wiley Publishing, Inc., is not associ-
ated with any product or vendor mentioned in this book.
Wiley also publishes its books in a variety of electronic formats. Some content that appears in print
may not be available in electronic books.
To my wife and business partner, Sharon, for many years of love and
support in our home and office.
v
Credits
vi
Contents
vii
viii Contents
Groupings 323
Selection Support Menus 325
Phrasing the Menu 328
Menu Titles 329
Menu Choice Descriptions 330
Menu Instructions 332
Intent Indicators 332
Keyboard Shortcuts 333
Selecting Menu Choices 337
Initial Cursor Positioning 337
Choice Selection 338
Defaults 339
Unavailable Choices 340
Mark Toggles or Settings 340
Toggled Menu Items 341
Web Site Navigation 342
Web Site Navigation Problems 343
Web Site Navigation Goals 344
Web Site Navigation Design 345
Maintaining a Sense of Place 367
Kinds of Graphical Menus 369
Menu Bar 369
Pull-Down Menu 371
Cascading Menus 375
Pop-Up Menus 377
Tear-Off Menus 379
Iconic Menus 380
Pie Menus 380
Graphical Menu Examples 382
Example 1 382
Step 5 Select the Proper Kinds of Windows 385
Window Characteristics 385
The Attraction of Windows 386
Constraints in Window System Design 388
Components of a Window 390
Frame 390
Title Bar 391
Title Bar Icon 391
Window Sizing Buttons 392
What’s This? Button 393
Menu Bar 393
Status Bar 394
Scroll Bars 394
Split Box 394
Toolbar 394
Command Area 395
xii Contents
Multimedia 669
Graphics 669
Images 671
Photographs/Pictures 676
Video 677
Diagrams 678
Drawings 681
Animation 681
Audition 683
Combining Mediums 686
Step 11 Exercise 689
Step 12 Choose the Proper Colors 691
Color — What Is It? 692
RGB 694
HSV 694
Dithering 694
Color Uses 695
Color as a Formatting Aid 695
Color as a Visual Code 696
Other Color Uses 696
Possible Problems with Color 696
High Attention-Getting Capacity 696
Interference with Use of Other Screens 697
Varying Sensitivity of the Eye to Different Colors 697
Color-Viewing Deficiencies 697
Color Connotations 698
Cross-Disciplinary and Cross-Cultural Differences 700
Color — What the Research Shows 700
Color and Human Vision 701
The Lens 701
The Retina 701
Choosing Colors 702
Choosing Colors for Categories of Information 703
Colors in Context 703
Usage 704
Discrimination and Harmony 704
Emphasis 706
Common Meanings 706
Location 707
Ordering 708
Foregrounds and Backgrounds 708
Three-Dimensional Look 709
Color Palette, Defaults, and Customization 710
Grayscale 711
Text in Color 712
Monochromatic Screens 712
xvi Contents
Consistency 713
Considerations for People with Color-Viewing Deficiencies 713
Cultural, Disciplinary, and Accessibility Considerations 714
Choosing Colors for Textual Graphic Screens 714
Effective Foreground/Background Combinations 714
Choose the Background First 717
Maximum of Four Colors 717
Use Colors in Toolbars Sparingly 718
Test the Colors 718
Choosing Colors for Statistical Graphics Screens 718
Emphasis 718
Number of Colors 718
Backgrounds 719
Size 719
Status 719
Measurements and Area-Fill Patterns 719
Physical Impressions 720
Choosing Colors for Web Pages 721
Uses of Color to Avoid 723
Step 12 Exercise 725
Step 13 Organize and Layout Windows and Pages 727
Organizing and Laying Out Screens 728
General Guidelines 728
Organization Guidelines 729
Control Navigation 748
Window Guidelines 749
Web Page Guidelines 750
Screen Examples 761
Example 1 761
Example 2 762
Step 14 Test, Test, and Retest 767
Usability 768
The Purpose of Usability Testing 768
The Importance of Usability Testing 769
Scope of Testing 770
Prototypes 771
Hand Sketches and Scenarios 772
Interactive Paper Prototypes 774
Programmed Facades 775
Prototype-Oriented Languages 776
Comparisons of Prototypes 776
Kinds of Tests 777
Guidelines and Standards Review 779
Heuristic Evaluation 780
Cognitive Walk-Throughs 786
Contents xvii
This third edition of The Essential Guide to User Interface Design is about designing clear,
easy-to-understand-and-use interfaces and screens for graphical and Web systems. It
is the eighth in a long series of books by the author addressing screen and interface
design. Over the past two decades these books have evolved and expanded as inter-
face technology has changed and research knowledge has expanded.
The first book in the series, called The Handbook of Screen Format Design, was pub-
lished in 1981. It presented a series of screen design guidelines for the text-based tech-
nology of that era. Through the 1980s and early 1990s the book’s content was regularly
updated to reflect current technology and published under different, but similar, titles.
In 1994, graphical user interface, or GUI, systems having assumed interface domi-
nance, the newest version of the book, which focused exclusively on graphical system
interface design, was released. It was titled It’s Time to Clean Your Windows. The follow-
on and updated version of It’s Time to Clean Your Windows was the first edition of this
book, The Essential Guide to User Interface Design. The impetus for these newer editions
of The Essential Guide to User Interface Design has been the impact of the World Wide
Web on interface and screen design. This new edition incorporates an extensive com-
pilation of Web interface design guidelines, and updates significant general interface
findings over the past several years.
xix
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different content
CHAPTER XV
DIVORCED AND MARRIED
When Said Abdel Wohatt was transferred from the Khartoum to the
Alti saltpetre works, his father-in-law, Ali Khaater, the storekeeper of
the Omdurman arsenal, considered that he was no longer under the
obligation of risking his neck by mixing the Khartoum product with
the Fellati’s, or substituting it with good saltpetre in stock. A
consignment of mine was consequently sent direct to the powder
factory, and was used in making what Abd es Semmieh and Hosny,
the directors, believed would be a good explosive. The result, while
being eminently satisfactory to myself, was just the reverse for the
people responsible for making the powder. Not being certain where
the fault actually lay, they mixed this powder with a quantity of really
good powder made from the Fellati’s product, only to succeed in
spoiling the whole bulk. When my next consignment was sent in
they carried out some experiments, and, discovering where the fault
lay, sent me an intimation that if our works did not turn out saltpetre
equal in quality to that formerly supplied by us, I should be reported
to the Khaleefa. Nahoum Abbajee, hearing of the affair, came to me
in |210| a state of excitement, and pointed out the danger I was
running into, and as he was then trying to think out an invention for
coining money, he suggested that he should apply to the Khaleefa
for my services in assisting him. This request Abdullahi was only too
glad at the time to accede to; saltpetre was coming in in large
quantities, and he was in great trouble about his monetary system.
As Khaleefa, he was entitled to one-fifth of all loot, property,
taxes, and goods coming to the Beit-el-Mal; and as all property of
whatever description was considered to belong primarily to this
administration, it followed that Abdullahi was entitled to one-fifth of
the property in the Soudan; but as he had not much use for hides,
skins, gum, ivory, and such-like, he took his proportion in coin—after
putting his own valuation upon his share. As the money he took
from the Beit-el-Mal was hoarded and never came into circulation
again, a sort of specie famine set in. Attempts had been made in the
early days of Abdullahi’s rule to produce a dollar with a fair modicum
of silver; but Nur-el-Garfawi, Adlan’s successor at the Beit-el-Mal,
came to the conclusion, evidently, that a coin was but a token, and
that it was immaterial what it was made of, provided it carried some
impression upon it. The quantity of silver in his dollars grew less and
less, and then was only represented by a light plating which wore off
in a few weeks’ time. When people grumbled, he unblushingly issued
copper dollars pure and simple. All the dollars were issued from the
Beit-el-Mal as being of equivalent value to |211| the silver dollar, and
when these coins were refused, the Khaleefa decreed that all future
offenders should be punished by the confiscation of their property
and the loss of a hand and foot. The merchants, though, were equal
to the occasion; when an intending purchaser inquired about the
price of an article, the vendor asked him in what coinage he
intended to pay; the merchant then knew what price to ask.
As the silver dollars gradually disappeared, the few remaining
went up enormously in value, until in the end they were valued at
fifty to sixty of the Beit-el-Mal coins, so that an article which could
be bought for a silver dollar could not be purchased under fifty to
sixty copper dollars. Although a rate of exchange was forbidden, the
Beit-el-Mal took advantage of the state of affairs by buying in the
copper dollars, melting them up, recasting, and striking from a
different die. These coins would be again issued at the value of a
silver dollar, and the remaining copper dollars in the town were put
out of circulation by the Beit-el-Mal’s refusal to receive them. To
make matters worse, the die cutters cut dies for themselves and
their friends, and it was worth the while of the false (?) coiners to
make a dollar of better metal than the Beit-el-Mal did, and these we
re-accepted at a premium. The false coinage business flourished
until Elias el Kurdi, one of the best of the die cutters, was
permanently incapacitated by losing his right hand and left foot; and
this punishment, for a time at least, acted as a deterrent upon
others, leaving the Beit-el-Mal the entire monopoly of coinage. |212|
Sovereigns might at any time be bought for a dollar, for their
possessors were glad to get rid of them. Being in possession of a
gold coin denoted wealth, and many people who attempted to
change a gold coin returned only to find their hut in the hands of the
Beit-el-Mal officials, searching for the remainder of the presumed
gold hoard. Failing to find it, they confiscated the goods and
chattels. The trade with the Egyptian frontier, Suakin and Abyssinia,
was carried on through the medium of barter and the Austrian
(Maria Theresa) trade dollar.
It was while the currency question was at its height that Abbajee
came forward with his scheme for a coining press; and, in order that
I might assist him, I was transferred to the Khartoum arsenal. I was
obliged to give up my quarters in the Mission buildings, and live with
the bodyguard of thirty Baggaras in the house of Hamadan, the
Mahdist governor of Khartoum. The arsenal was presided over by
Khaleel Hassanein, at one time a clerk under Roversi, in the
department for the repression of the slave trade. Although ten years
had elapsed since the fall of Khartoum, the arsenal must have been
in as perfect working order as when Gordon made it into a model
Woolwich workshop. Power was obtained from a traction-engine,
which drove lathes, a rolling-mill, drills, etc., while punches, iron
scissors, and smaller machinery were worked by hand. In the shops
proper were three engines and boilers complete, ready to be fitted
into Nile steamers, and duplicates and triplicates of all parts of the
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