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工業設計畢業論文李四外文翻譯(編輯修改稿)

2026-07-15 22:44 本頁面

　

【文章內容簡介】 go next, and how to get back. The Star and Macintosh interfaces were very influential in this menu at the top of the screen lays out all the possibilities。 it’s clear how you access them and what will happen when you do.Equally crucial is certain mand in one part of the system should have the same effect in another part. An example, again from some time ago, was Appleworks, one of the first integrated office programs on the Apple II. Those were the days of green “ransomnote” characters on a black screen, and very limited functionality. But Appleworks was beautifully, satisfyingly, knew exactly what to mand in the database did exactly the same in the word processor。 wherever you were, the escape key took you back up a never got lost and rarely made a mistake. Compare that with modern “integrated” applications. Consistency, like all forms of satisfying simplicity, is very difficult to achieve.When we interact with everyday artifacts, like a car, we don’t spend too much time thinking about the interaction: we think about where we’re heading and what we want to do. Intuitive interaction minimizes the burden of conscious thought needed to operate the system, leaving us to concentrate on our goals. A good example was Quark Express, which let you almost unconsciously zoom in on your image by holding down two keys and clicking on what you wanted to see better. It was like shifting your gaze: you didn’t have to march off somewhere to find the right tool. But too many systems still keep demanding too much attention, like inpetent bosses, distracting us from getting on with the job.When we design a puterbased system or device, we’re designing not just what it looks like but how it behaves. We’re designing the quality of how we and it is the skill of the interaction designer. It’s partly responsiveness: when you move your mouse, for instance, does it feel sluggish, or nippy and sprightly? When you manipulate your iPod dial, the bination of sound and feel, as well as telling you what you’re doing, is subtle and can design those qualities of interaction, relating what we see to what we hear or feel with the same refinement with which typographers adjust the spacing of type, or product designers the radius of a curve.But the qualities of interaction must be appropriate to the context. An adventure game needs an interaction offering subtlety of atmosphere and intriguingly cha

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