Esta dissertação teve por objetivo verificar se existe um diferencial estético nas representações visuais nas interfaces gráficas dos dispositivos móveis da Apple e, se existir, se esse diferencial efetivamente influencia o vínculo do usuário com a marca e se o usuário tem consciência dele. Para tanto é apresentada uma breve análise diacrônica sobre as interfaces computacionais, bem como uma descrição de momentos chave na história da referida empresa. A partir disto, são abordadas questões que abrangem o posicionamento da marca Apple, pois desde a popularização das interfaces gráficas (GUI) a mesma tem sido associada tanto ao conceito de boas interfaces, quanto tem esta relação contestada. Existem ainda autores que consideram que o sucesso da marca Apple deve-se menos à qualidade de seus produtos (hardware e interfaces gráficas) que à força das ações de marketing da empresa. Para compreender de forma mais pontual as interfaces que eram objeto de estudo e as diretrizes que envolvem a construção de seu desenho, foram analisados os guias de desenvolvimento de interfaces da Apple para o iOS (iOS Human Interface Guidelines) e do Android (Android Developers), atualmente seu principal concorrente. A fim de tentar analisar a percepção que usuários têm das especificidades e dos diferenciais estéticos entre as referidas interfaces, foram construídas duas simulações, cada qual com características de um dos sistemas. Sessões experimentais com usuários, seguidas de entrevista, compuseram a fase empírica, de cunho qualitativo, em que se procurou verificar qual conjunto de ícones os participantes preferiam e por que. Os resultados encontrados apontam que questões estéticas são importantes na percepção que as pessoas têm das interfaces. Essa atenção às configurações estéticas parece contribuir para a percepção geral que se tem dos produtos onde os ícones se apresentam. A partir desses resultados é possível afirmar que a estética faz parte do conjunto de fatores, que constroem a percepção final – positiva ou negativa, de uma interface e, com ela, dos produtos de uma determinada marca. Por outro lado, embora o conjunto de ícones construído de acordo com os parâmetros do Guia de Desenvolvimento de Interfaces da Apple tenha sido preferido por dois terços dos participantes, não houve identificação daquele grupo de ícones com as interfaces da marca Apple. Isso sugere que a construção da marca é alicerçada na qualidade estética de suas interfaces, mas indica também a importância das ações de marketing na atribuição de maior qualidade estética às interfaces da Apple. / This work aimed to verify whether there is a differential in aesthetic visual representations in the graphical interfaces of Apple’s mobile devices. If a difference was found, a second objective was to verify whether this differential effectively influences the bond between user and brand and if the user is aware of it. To this end, it starts with a brief diachronic analysis of computer interfaces, as well as a description of key moments in Apple's history of. Discussed issues include brand positioning, as, since the popularization of graphical user interfaces (GUI), Apple has been associated to the concept of good interfaces. However, at the same time, this relationship has also been challenged, as there are authors who believe that the success of the brand Apple is not due to the quality of its products (hardware and graphical interfaces) but to the strength of the marketing activities of the company. To understand the specific interfaces that were the object of this study and to know the guidelines that drive their design, we analyzed Apple iOS Human Interface Guidelines and its Android equivalent - Android Developers - (as Android is currently Apple's main competitor in the mobile market). In order to analyze users' perception of specific features and aesthetic differences between Apple and Android interfaces, two simulations were built, each with characteristics of either system. Experimental sessions with users were followed by interviews, comprising the empirical, qualitative study. These experiments aimed to verify which set of icons participants preferred and why. The results show that aesthetic considerations are important in the perception of interfaces. This attention to aesthetic settings seems to contribute to the general perception that people have of the digital products themselves. From these results we can say that aesthetics is part of the set of factors that build the final perception - positive or negative - of an interface, and with it, the products of a particular brand. However, although the icon set constructed in accordance with the parameters of iOS Human Interface Guidelines Apple has been preferred by two-thirds of the participants, the identification of that group of icons with Apple interfaces did not happen. This suggests that Apple's brand building can be founded on the aesthetic quality of its interfaces, but also indicates the importance of marketing actions in assigning greater aesthetic quality to Apple interfaces.

Esta dissertação teve por objetivo verificar se existe um diferencial estético nas representações visuais nas interfaces gráficas dos dispositivos móveis da Apple e, se existir, se esse diferencial efetivamente influencia o vínculo do usuário com a marca e se o usuário tem consciência dele. Para tanto é apresentada uma breve análise diacrônica sobre as interfaces computacionais, bem como uma descrição de momentos chave na história da referida empresa. A partir disto, são abordadas questões que abrangem o posicionamento da marca Apple, pois desde a popularização das interfaces gráficas (GUI) a mesma tem sido associada tanto ao conceito de boas interfaces, quanto tem esta relação contestada. Existem ainda autores que consideram que o sucesso da marca Apple deve-se menos à qualidade de seus produtos (hardware e interfaces gráficas) que à força das ações de marketing da empresa. Para compreender de forma mais pontual as interfaces que eram objeto de estudo e as diretrizes que envolvem a construção de seu desenho, foram analisados os guias de desenvolvimento de interfaces da Apple para o iOS (iOS Human Interface Guidelines) e do Android (Android Developers), atualmente seu principal concorrente. A fim de tentar analisar a percepção que usuários têm das especificidades e dos diferenciais estéticos entre as referidas interfaces, foram construídas duas simulações, cada qual com características de um dos sistemas. Sessões experimentais com usuários, seguidas de entrevista, compuseram a fase empírica, de cunho qualitativo, em que se procurou verificar qual conjunto de ícones os participantes preferiam e por que. Os resultados encontrados apontam que questões estéticas são importantes na percepção que as pessoas têm das interfaces. Essa atenção às configurações estéticas parece contribuir para a percepção geral que se tem dos produtos onde os ícones se apresentam. A partir desses resultados é possível afirmar que a estética faz parte do conjunto de fatores, que constroem a percepção final – positiva ou negativa, de uma interface e, com ela, dos produtos de uma determinada marca. Por outro lado, embora o conjunto de ícones construído de acordo com os parâmetros do Guia de Desenvolvimento de Interfaces da Apple tenha sido preferido por dois terços dos participantes, não houve identificação daquele grupo de ícones com as interfaces da marca Apple. Isso sugere que a construção da marca é alicerçada na qualidade estética de suas interfaces, mas indica também a importância das ações de marketing na atribuição de maior qualidade estética às interfaces da Apple. / This work aimed to verify whether there is a differential in aesthetic visual representations in the graphical interfaces of Apple’s mobile devices. If a difference was found, a second objective was to verify whether this differential effectively influences the bond between user and brand and if the user is aware of it. To this end, it starts with a brief diachronic analysis of computer interfaces, as well as a description of key moments in Apple's history of. Discussed issues include brand positioning, as, since the popularization of graphical user interfaces (GUI), Apple has been associated to the concept of good interfaces. However, at the same time, this relationship has also been challenged, as there are authors who believe that the success of the brand Apple is not due to the quality of its products (hardware and graphical interfaces) but to the strength of the marketing activities of the company. To understand the specific interfaces that were the object of this study and to know the guidelines that drive their design, we analyzed Apple iOS Human Interface Guidelines and its Android equivalent - Android Developers - (as Android is currently Apple's main competitor in the mobile market). In order to analyze users' perception of specific features and aesthetic differences between Apple and Android interfaces, two simulations were built, each with characteristics of either system. Experimental sessions with users were followed by interviews, comprising the empirical, qualitative study. These experiments aimed to verify which set of icons participants preferred and why. The results show that aesthetic considerations are important in the perception of interfaces. This attention to aesthetic settings seems to contribute to the general perception that people have of the digital products themselves. From these results we can say that aesthetics is part of the set of factors that build the final perception - positive or negative - of an interface, and with it, the products of a particular brand. However, although the icon set constructed in accordance with the parameters of iOS Human Interface Guidelines Apple has been preferred by two-thirds of the participants, the identification of that group of icons with Apple interfaces did not happen. This suggests that Apple's brand building can be founded on the aesthetic quality of its interfaces, but also indicates the importance of marketing actions in assigning greater aesthetic quality to Apple interfaces.

Abstract User experience research has focused mainly on understanding user experiences during or directly after use. However, studies that focus on anticipated user experiences are scarce. Different methods and metrics have also been developed to measure user experience, but only a few are suitable for evaluating visual user interface design in an anticipated use situation. Moreover, these methods do not provide guidance on how to create suitable examples for research. This thesis investigates how anticipated user experiences, needs, and wishes for visual user interface design can be studied in the early development phase. Furthermore, it investigates how visual design examples can be created and used in these studies as well as their benefits. To answer these questions, it was necessary to create and evaluate prototypes and visual design examples in the user early development phase user experience studies. The examples allowed the study of how interactive elements of user interfaces should be visually designed to draw users’ attention to them. In addition, the thesis explains the means of increasing the visibility of an interactive object and the impact of its use context on its visual design. A constructive design research approach is used in this thesis. The research material is compiled from the artifacts and results of the seven user studies. The main data collection and analysis methods are qualitative, supported with some quantitative methods. The main contribution of this thesis is a practical EDE method for creating visual design examples and evaluating them in early development phase anticipated user experience studies focused on the visual design of a user interface. The second contribution of this thesis is user experience-based preliminary suggestions for the design of interactive elements within the studied user interfaces. The findings are useful for both practitioners and researchers dealing with user experience and visual user interface design. / Tiivistelmä Käyttäjäkokemustutkimus on keskittynyt käyttäjien kokemuksiin varsinaisen käytön aikana tai heti sen jälkeen. Kiinnostus ennakoidun käyttäjäkokemuksen tutkimukseen ennen käyttötilannetta on herännyt vasta hiljattain. Käyttäjäkokemuksen arviointi- ja mittausmenetelmiä on kehitetty paljon, mutta vain harvat niistä sopivat visuaalisen käyttöliittymäsuunnittelun tutkimiseen ennakoidussa käyttötilanteessa. Menetelmät eivät myöskään opasta arviointiin sopivien visuaalisten esimerkkien suunnittelussa. Tutkielmassa selvitetään, miten käyttäjien ennakoituja kokemuksia, tarpeita ja toiveita visuaalisesta käyttöliittymäsuunnittelusta voidaan tutkia tuotekehityksen alkuvaiheessa. Lisäksi selvitetään, kuinka visuaalisia esimerkkejä voidaan luoda ja käyttää alkuvaiheen ennakoidun käyttäjäkokemuksen arvioinneissa sekä pohditaan niiden etuja tutkimuksille. Jotta näihin kysymyksiin voidaan vastata, täytyi luoda prototyyppejä ja visuaalisia esimerkkejä sekä arvioida niitä käyttäjätutkimuksissa. Esimerkkien avulla tutkitaan, miten vuorovaikutteisia käyttöliittymäelementtejä tulisi visuaalisesti esittää, jotta käyttäjä erottaisi ne muusta sisällöstä. Lisäksi selvitetään, miten elementin vuorovaikutteista ilmettä voitaisiin vahvistaa sekä arvioidaan sovellusympäristön vaikutusta elementin visuaaliseen esittämiseen. Tutkimuksen lähestymistapa on konstruktiivinen suunnittelun tutkimus. Aineisto muodostuu artefakteista ja seitsemän käyttäjäkokemustutkimuksen tuloksista. Tutkimusten tiedonkeruumenetelmät ja aineiston analyysimenetelmät ovat laadullisia. Lisämenetelminä on käytetty myös määrällisiä mittareita ja analyysimenetelmiä. Tutkielman päätulos on käytännöllinen EDE-menetelmä, joka on tarkoitettu visuaalisten esimerkkien luontiin ja arviointiin alkuvaiheen ennakoiduissa käyttäjäkokemustutkimuksissa, jotka keskittyvät tuotteen visuaaliseen suunnitteluun. Tutkielman toinen tulos on käyttäjäkokemuspohjaiset alustavat suositukset tutkittujen käyttöliittymien vuorovaikutteisten elementtien visuaaliseen suunnitteluun. Tulokset palvelevat visuaalisen käyttöliittymäsuunnittelun tai käyttäjäkokemuksen parissa työskenteleviä tutkijoita ja teollisuuden ammatinharjoittajia.

This study introduces rapid design ethnography as a research strategy that may be used in design as an alternative to conventional ethnography. It interrogates this strategy by means of a study of the Ghanaian Adinkra symbols. Adinkra is an indigenous graphic language that carries specific cultural narratives that embody proverbs and or poetic messages. In view of this, this study discusses how a collaboration between ethnography (and rapid ethnography) and design can be merged to create appropriate visual communication with specific reference to this indigenous visual vernacular. The study also highlights the evolution of rapid ethnographic techniques in comparison to conventional ethnography, as well as the way that these techniques may be of assistance to both designer and ethnographer. / Mini Dissertation (MA)--University of Pretoria, 2016. / Visual Arts / MA / Unrestricted

Genus definierar människors sociala kön och genomsyrar samhället genom de föreställningar, idéer och handlingar som förknippas med män respektive kvinnor. Uppfattningar av genus skapas och upprätthålls av genussystem som är konstruerat för att producera stereotyper. Nuförtiden finns det dock fler kön än de stereotypa, vilket bör beaktas vid design. Ändå tillämpas könsstereotyper idag inom alla designområden, vilket innebär att de också påverkar den visuella designen av grafiska användargränssnitt. Visuell design av användargränssnitt och upplevelser är viktiga delar av området interaktionsdesign och därför är syftet med kandidatuppsatsens forskning var att utforska stereotyp könskodning i visuell design av användargränssnitt, och hur detta påverkar användarnas upplevelse. De estetiska designattribut som forskningsstudien undersökte närmare i relation till användarnas upplevelse var färg, typografi och bilder. För detta genomfördes en kvalitativ studie där data samlades in genom individuella semistrukturerade intervjuer från tre målinriktat utvalda designers och en fokusgruppsdiskussion med tre målinriktat utvalda användare. Den insamlade informationen analyserades tematiskt för att generera fyra teman. Dessa fyra teman representerar forskningsresultaten, som diskuterades med hjälp av relevant litteratur, inklusive självbestämmandeteorin. Resultaten visar att informanternas upplevelse påverkas av stereotyp könskodning av färg, typsnitt och bildspråk i designen av grafiska användargränssnitt genom att de först identifierar design som antingen stereotypiskt feminint eller maskulint könskodad. Informanterna reagerar både positivt och negativt på den stereotypiskt könskodade designen på olika sätt. De upplever och vittnar också om att den stereotypiskt könskodade designen bidrar till utanförskap och exkludering av kvinnor, män och andra marginaliserade kön. Resultaten indikerar att användares upplevelser av och inställningar till stereotypiskt könskodade användargränssnitt är övervägande negativa och därmed kan det påstås att visuell design av användargränssnitt generellt sett gynnas av att hållas könsneutral. Resultatet av denna kandidatuppsats bidrar teoretiskt genom tillföra ett kvalitativt perspektiv i genusforskningen på forskningsområdena interaktionsdesign och människa-datorinteraktion som i dagsläget saknar både bredd och djup. Studien bidrar också praktiskt med information om användares designpreferenser som kan nyttjas av bland annat designers, utvecklare och andra intressenter. / Gender defines the social sex of humans and permeates society through the conceptions, ideas and actions associated with men and women respectively. Perceptions of gender are created and maintained by gender systems, which are designed to produce stereotypes. Nowadays, however, more genders than the stereotypical exists, which should be taken into consideration when designing. Still, until today, gender stereotypes such as boys liking blue and girls liking pink are applied throughout all design fields, which means they also affect the visual design of graphic user interfaces. Visual design of user interfaces and experience are important parts of the interaction design field. Therefore, the purpose of this bachelor’s thesis was to explore stereotypically gendered design in the visual design of user interfaces, and how this affects the users' experience. The aesthetic design attributes that the research study examined in more detail in relation to the users' experience were color, typography, and images For this, a qualitative study was conducted, where data was collected through individual semi-structured interviews from three purposively selected designers and a focus group discussion with three purposively selected users. The collected data was analyzed thematically to conclude to four themes. These four themes represent the research findings, which were discussed with the help of relevant literature, including the theory of Self Determination. The research findings show that the informants’ experiences are influenced by stereotypically gendered color, typography and imagery in the design of graphical user interfaces by, first of all, identifying designs as either stereotypically femininely or masculine gendered. The informants react both positively and negatively to the stereotypically gendered design in various different ways. They also experience and testify that the stereotypically gender-coded design contributes to the exclusion of women, men and other marginalized genders. The research findings indicate that users' experiences of and attitudes towards stereotypically gendered user interfaces are predominantly negative and, thus, it can be argued that visual design of user interfaces generally benefits from being gender neutral. The outcome of this bachelor's thesis research contributes theoretically by adding a qualitative perspective into gender research in the research areas of interaction design and human-computer interaction, which currently lacks both breadth and depth. The study also provides practical information on users' design preferences that can be used by designers and developers, among other interested stakeholders.

This project is interested in creating application for generating dynamic web pages which are connected to database. Main intention of this project is concentrated to set out basic parts and create class diagram of this application. Final application will be used for simplification of web pages design for non-IT users. Final application represents concept for any extension and modification in the future.

The visualization strategy of small multiples (Tufte, 1983, 1990, 1997) is not merely the clever or ordered arrangement of similar and personable images; small multiples—purposeful compositions of similarly sized, repeated illustrations—contain a great deal more than the sum of their respective parts. The purpose of this study is to define a set of objectives and guiding tactics for using small multiples in the visual language of instructional designs. This study aims to (1) compile a targeted literature review cataloging the historical treatment of small multiples and their pedagogical and cognitive virtues and (2) analyze examples of small multiples usage in visual design artifacts to determine efficacious and expansive applications of this technique.

Vi har arbetat med lugn inom spel. Vår prototyp är en gameslice där du är en person som villklappa saker och du har en gummiarm som kan resa hur långt du som spelare vill, den kanäven böja sig överallt på skärmen. Målet med spelet är att klappa saker med din gummiarmoch du behöver inte bry dig om saker runt dig då du bara har ett mål vilket är att klappa saker. Syftet med vårt spel är att skapa ett spel som undviker stress genom att inte använda sig avklassiska element som kan uppfattas stressande. Anledningen till att vi valt att undersöka lugninom spel är för att vi vill bredda förståelsen hur vi kan se på spel och hur spel kan användas. Vi har i den här undersökningen fokuserat på det visuella delarna av spelet, då det är en av deviktigaste delarna för att designa med lugn i åtanken. Vi har även jobbat för att se till attspelet ger dig som spelare frihet att spela spelet hur du vill. Ett annat mål med undersökningen har varit att låta spelaren hitta lugn genom att användadetta spel som en distraktion från omvärlden. Spelet visade sig lyckas i den aspekten att personer som spelade hade roligt när de speladespelet. Enligt de personer som testade vårt spel och gav oss verbal feedback som visade sigvara för att spelet gav spelare sådan frihet. / We have worked with calm within games. Our prototype is a gameslice where you play as aperson who wants to pet different things and you have a gummy arm that can get how long asyou want and it can bend everywhere on screen.  The goal of the game is to pet things withyour gummy arm and not really care about anything around you when you only have the goalof petting something. The purpose of the game is to create a game that avoids stress through using classicmechanics that are usually regarded as stressful. The reason we chose to research calm withingames is that we want to widen the view on games and how they can be used. We havefocused on the visual parts of the game making process since that is one of the moreimportant parts of designing with calm in mind. We have also worked to make sure that youcan play the game in whatever way you want. Another goal with this research has been to let the player find calm through the distractionthat our game provides from the rest of the world. The game seems to have been successful in the way that players had fun while playing, andaccording to verbal feedback the main reason was the freedom the game provided the players.

In this thesis I use both Dense Clarity - Clear Density as well as qualitative interviewing as methods to guide me through this examination of sound design. Through studying other works and executing personal tests I try to find out if there is a need to use sound and silence in a creative way to evoke emotion. I examine films as well as literature from the 1960s all the way to the 2000s, to see how the use of silence has unfolded over the years. I also create a visual production that strengthens my theory that silence affects narrative more than its credited for. But the essay isn’t just about silence, it’s revolved around sound too, expanding into how sound correlates with emotion and how one can apply it to their production. / I detta kandidatarbete använder jag både Dense Clarity - Clear Density samt Kvalitativ Intervju som metoder för att vägleda mig igenom denna forskning om ljuddesign. Jag kommer att studera andra verk och utföra egna experiment, med detta vill jag se om det finns ett behov av att använda ljud och tystnad på ett kreativt sätt för att väcka känslor. Jag granskar, samt undersöker både film och litteratur från 1960-talet, ända fram till 2000-talet för att se hur användningen av tystnad i film har utfällt sig genom åren. Med att jag skapar en visuell produktion, så stärks min teori, som är att tystnad kan påverka filmens narrativ, oerhört. Men denna uppsats kretsar inte bara runt tystnad, utan även runt ljud som korrelerar med känslor och hur man kan använda sig av deras relation för att skapa en starkare produktion.

Med detta kandidatarbete vill vi uppmärksamma och förmedla hållbarhet, med fokus på konsumtion och plastnedskräpning i haven. Kandidatarbetet kommer löpa ut i en gestaltning som kommer befinna sig i ett fysiskt rum. Det fysiska rummet är ett fikarum och befinner sig på marinmuséumet i Karlskrona, vilket även är våran externa samarbetspart.Vi anser att det är viktigt att skriva om konsumtion och plastnedskräpning i hav eftersom det har en förödande påverkan på mänskligheten och för våran planet. Gestaltningen i kandidatarbetet kommer ta stöd utav perspektivet X for change. Metoder och idégenerering metoder som hjälpt vårt arbete framåt är brainstorming, moodboard, mindmaps och prototyper. Vi valde dessa metoder eftersom vi ansåg att detta kunde ge största möjliga potential för arbetet. I slutändan har vi en gestaltning som löpt ut genom många olika beslut och selektioner. Vi använder en teknik som kallas double exposure 3d som vi placerat på en av väggarna i rummet. Double exposure 3d betyder att man med hjälp av ett par “gamla” 3d glasögon, som har en blå och en röd sida, kan filtrera bort olika färgkanaler som då resulterar i två olika bilder, men som samtidigt är en hel. Vi har gjort två illustration av plastnedskräpning där ena läggs på den röda sidan och den andra på blåa sidan. Detta för att representera nutiden och hur framtiden kommer att se ut om vi fortsätter med våran ohållbara konsumtion och nedskräpning. Illustrationen är fiktionell och är endas en representation om hur världen skulle kunna se ut i framtiden. Väggen kommer även att stödjas av informativa posters med bland annat förslag på vad en individ kan bidra till. / With this bachelor thesis we want to raise awareness and to convey sustainability, with a focus on consumption and plastic littering in the sea. This bachelor thesis will result in a design that will be in a physical room. The physical room is a breakroom and is located in the Naval museum in Karlskrona, which is also our external partner. We believe that it is important to write about consumption and plastic littering in the sea because it has a devastating impact on humanity and our planet. The design that this bachelor thesis will produce will be supported by the design perspective X for Change. Methods and idea generating methods that helped our work move forward are brainstorming, moodboard, mindmaps and prototypes. We chose these methods because we consider that it could provide the greatest possible potential for the work. In the end we have a design created through many different decisions and selection. We use a technique called double exposure 3d which we placed on one of the walls of the room. Double exposure 3d is that with the help of a pair of “old” 3d glasses, which has a blue and red side, can filter out different color channels which then results in two different images, which at the same time is a whole. We made two illustrations of plastic littering where one is put on the red side and the other on the blue side. This is to represent today and how the future will look like if we continue with our unsustainable consumption and littering. The illustration is fictional and is only a representation of how the world could look in the future. The wall will also be supported by informative posters, including suggestions on what an individual can contribute with.