Track 09 - New publishing and scientific communication ways: Electronic edition, digital educational resources Authors: Ana Catarina Silva and Maria Manuel Borges https://www.youtube.com/watch?v=tAdQkqUYROo&list=PLboNOuyyzZ86iI_x9SRTfV1KlSRX9DcEc&index=5

1. HYBRID PUBLISHING
DESIGN METHODS
FOR TECHNICAL BOOKS
Ana Catarina Silva
Escola Superior de Design IPCA
acsilva@ipca.pt
Maria Manuel Borges
Faculdade de Letras da Universidade de Coimbra
mmb@fl.uc.pt
Technological Ecosystems for Enhancing Multiculturality
TEEM'15
Track 9. New publishing and scientific
communication ways: Electronic
edition, digital educational resources

2. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
contents
3 The design of technical books
1 scope
2 goals
4 fixed and reflowable program
5 conclusions

3. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
1a
fase
1 | apresentação do tema
70 Chapter Understanding and conceptualizing interaction
this I mean a human dialog not in the sense of using
ordinary language, but in the sense of thinking about
the sequence and the of interaction. So I think
interaction design is about designing a space for peo-
ple, where that space has to have a temporal flow. It
has to have a dialog with the person.
YR: Could you tell me a bit more about what you
think is involved in interactiondesign?
on hat topic. His book, BringingDesign
brings the perspectives of a number of re-
searchersand designers. See Color Plate for an exampleof
his latest research.
Tell me about your and how you
moved into interactiondesign.
I got into interaction design through a couple of
intermediate steps. I started out doing research into
artificial intelligence. I became interested in how peo-
ple interact with computers, in particular, when using
ordinary language. It became clear after years of
working on that, however, that the computer was a
long way off from matching human abilities. More-
over, using natural language with a computer when it
doesn't really understand you can be very frustrating
and in fact a very bad way to interact with it. So,
rather than trying to get the computer to imitate the
person, I became interested in other ways of taking
advantage of what the computer can do well and what
the person can do well. That led me into the general
field of HCI. As I began to look at what was going on
in that field and to study it, it became clear that it was
not the same as other areas of computer science. The
key issues were about how the technology fits with
what people could do and what they wanted to do. In
contrast, most of computer science is really domi-
nated by how the mechanisms operate.
I was very attracted to thinking more in the style
of design disciplines, like product design, urban de-
sign, architecture, and so on. I realized that there was
an approach that you might call a design way, that
puts the technical asspects into the background with
respect to understanding the interaction. Through
looking at these design disciplines, I realized that
there was something unique about interaction design,
which is that it has a dialogic temporal element. By
One of the biggest influences is product design.
I think that interaction design overlaps with it, be-
cause they both take a very strong user-oriented view.
Both are concerned with finding a user group, under-
standing their needs, then using that understanding to
come up with new ideas. They may be ones that the
users don't even realize they need. It is then a matter
of trying to translate who it is, what they are doing,
and why they are doing it into possible innovations.
In the case of product design it is products. In the case
of interaction design it is the way that the computer
system interacts with the person.
YR. What do you think are importantinputs into the
design process?
One of the characteristics of design fields as op-
posed to traditional engineering fields is that there is
much more dependence on case studies and examples
than on formulas. Whereas an engineer knows how to
calculate something, an architect or a designer is
working in a tradition where there is a history over
time of other things people have done. People have
said that the secret of great design is to know what to
steal and to know when some element or some way of
doing things worked before will be appropriate
to your setting and then adapt it. Of course you can't
apply it directly, so I think a big part of doing good
design is experience and exposure. You have to have
seen a lot of things in practice and understood what is
good and bad about them, to then use these to inform
your design.
YR: How do you see the relationship between study-
ing interactiondesignand the practice of it? Is there a
good dialog between researchand practice?
TW: Academicstudy of interaction design is a tricky
area because so much of it depends on a kind of
tacit knowledge that comes through experience and
I
Drivecar t o pump
Squeezetrigger on
thenozzleuntil
tankis
Figure 8.4 A storyboard dep
Wizard of Oz Anothe
assumes that you have a
sits at a computer scree
with the product. In fac
chine where a human op
user. The method takes
swept away in a storm an
1900).
8.2.4 High-fidelityprototyping
High-fidelity prototyping
product and produces a p
example, a prototype of
delity than a paper-based
board is a higher-fidelityp
If you are to build a
tool to support this. Com
sual Basic, and Smalltalk
so they are powerful too
straightforward.
10 Chapter What is interaction design?
What this means in practice is that confusion, misunderstanding, and com-
munication breakdowns can often surface in a team. The various team members
may have different ways of talking about design and may use the same terms to
mean quite different things. Other problems can arise when a group of people is
"thrown" together who have not worked as a team. For example, the Vi-
sion of the Future Project found that its multidisciplinary teams-who were re-
sponsible for developing ideas and products for the future-experienced a
number of difficulties, namely, that project team members did not always have a
clear idea of who needed what information, when, and in what form (Lambourne
et al.,1997).
practice, the makeup of a given design team depends on the kind of interactive product
ing built. Who do you think would need to be involved in developing:
(a) a public kiosk providing information about the exhibits available in a science
museum?
(b) an interactive educational to accompany a series?
Comment Each team will need a pumber of different people with different skill sets. For example, the
first interactive product would need:
(a) graphic and designers, museum curators, educational advisors, software
engineers, software designers, usability engineers, ergonomists
The second project would need:
(b) producers, graphic and interaction designers, teachers, video experts, software
engineers, software designers, usability engineers
In addition, as both are being developed for use by the general public, representa-
tive users, such as school children and parents, should be involved.
In practice, design teams often end up being quite large, especially if they are working on a
big project to meet a fixed deadline. For example, it is common to find teams of fifteen peo-
ple or more working on a project for an extensive period of time, like six months.
This means that a number of people from each area of expertise are likely to be working as
part of the project team.
Interaction design in business
Interaction design is big business. In particular, consultants, start-
up companies, and mobile computing industries have all realized its pivotal role
in successful interactive To get noticed in the highly competitive field
of web products requires standing out. Being able to say that your product is
easy and effective to use is seen as central to this. Marketing departments are re-
alizing how branding, the number of hits, customer return rate, and customer
satisfaction are greatly affected by the usability of a Furthermore, the
presence or absence of good interaction design can make or break a company.
78 Chapter Understanding users
Figure 3.4 Poor icon set. What
do you think the icons mean
and why are they so bad?
that information needs to be represented in an appropriate form to facilitate the
perception and recognition of its underlying meaning.
Memory involves recalling various kinds of knowledge that allow us to act ap-
propriately. It is very versatile, enabling us to do many things. For example, it al-
lows us to recognize someone's face, remember someone's name, recall when we
last met them and know what we said to them last. Simply, without memory we
would not be able to function.
It is not possible for us to remember everything that we see, hear, taste, smell,
or touch, nor would we want to, as our brains would get completely overloaded. A
filtering process is used to decide what information gets further processed and
memorized. This filtering process, however, is not without its problems. Often we
6.4 models: showing how the activities relate 189
Review
Cumulative
through
steps
Plan next phases
Develop, verify
next-level product
Figure 6.9 Thespiral lifecyclemodelof softwaredevelopment.
hind RAD began to emerge in the early also in response to the inappropri-
ate nature of the linear lifecycle models based on the waterfall. Two key features of
a RAD project are:
Time-limited cycles of approximately six months, at the end of which a sys-
tem or partial system must be delivered. This is called time-boxing. In effect,
this breaks down a large project into many smaller projects that can deliver
products incrementally, and enhances flexibility in terms of the development
techniques used and the maintainability of the final system.
Attached
Have a go
Figure A Windows-ba
What strategiesdo you use t
Comment People often write down wh
others to remind them. Ano
ics. A mnemonicinvolves ta
cepts and using them to
idiosyncraticconnections. Fo
is in relation to west and vic
this out is to take the first let
the phrase"Never Eat Shred
A growing problem
documents created, imag
saved, bookmarked
ing them again. Naming is
remember a name of a fil
cially if there are tens of t
cilitated, bearing in mind
psychologist, has been re
Table 4.1 Classificationof computer-mediated communication (CMC) into three types: (I) Synchronous
communication,(ii) Asynchronouscommunication and (iii) CMC combined with other activity
i. Synchronouscommunication
Where conversations in real time are supported by letting people talk with each other either using their voices
or through typing. Both modes seek to support non-verbal communication to varying degrees.
Examples:
Talking with voice: video phones, video conferencing (desktop or wall), media spaces.
Talking via typing: text messaging (typing in messages using cell phones), instant messaging (real-time
interaction via chatrooms, collaborative virtual environments (CVEs).
New kinds of functionality:
CVEs allow communication to take place via a combination of graphical representations of self (in the form
of avatars) with a separate or overlaying speech bubbles.
CVEs allow people to represent themselves as virtual characters, taking on new personas opposite
gender), and expressing themselves in ways not possible in face-to-face settings.
CVEs, and chatrooms have enabled new forms of conversation mechanisms,such as multi-turn-taking,
where a number of people can contribute and keep track of a multi-streaming text-based conversation.
Instant messaging allows users to multitask by holding numerous conversations at once.
Benefits:
Not having to physicallyface people may increase shy people's confidence and self-esteem to converse more
in "virtual" public.
It allows people to keep abreast of the goings-on in an organization without having to move from their office.
It enables users to send text and images instantly between people using instant messaging.
In offices,instant messaging allows users to fire off quick questions and answers without the time lag of
or phone-tag.
Problems:
Lack of adequate bandwidth has plagued video communication, resulting in poor-quality images that
frequently break up, judder, have shadows, and appear as unnatural images.
It is difficult to establish eye contact (normally an integral and subconscious part of face-to-face
conversations) in CVEs, video conferencing, and videophones.
Having the possibility of hiding behind a persona, a name, or an avatar in a gives people the
opportunity to behave differently. Sometimes this can result in people becoming aggressive or intrusive.
ii. Asynchronouscommunication
Where communication between participants takes place remotely and at different times. It relies not on
dependent turn-taking but on participants initiating communication and responding to others when they want
or are able to do so.
Examples:
bulletin boards, newsgroups, computer conferencing
New kinds offunctionality:
Attachments of different sorts (including annotations, images, music) for and computer conferencing
can be sent.
Messages can be archived and accessed using various search facilities.
Benefits:
Ubiquity: Can read any place, any time.
Flexibility: Greater autonomy and control of when and how to respond, so can attend to it in own time
rather than having to take a turn in a conversation at a particular cue.
Powerful: Can send the same message to many people.
Makes some things easier to say: Do not have to interact with person so can be easier to say things than when
face to face announcing sudden death of colleague, providing feedback on someone's performance).
(Continued)
112
Technical
books

4. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
1a
fase
1 | apresentação do tema
70 Chapter Understanding and conceptualizing interaction
this I mean a human dialog not in the sense of using
ordinary language, but in the sense of thinking about
the sequence and the of interaction. So I think
interaction design is about designing a space for peo-
ple, where that space has to have a temporal flow. It
has to have a dialog with the person.
YR: Could you tell me a bit more about what you
think is involved in interactiondesign?
on hat topic. His book, BringingDesign
brings the perspectives of a number of re-
searchersand designers. See Color Plate for an exampleof
his latest research.
Tell me about your and how you
moved into interactiondesign.
I got into interaction design through a couple of
intermediate steps. I started out doing research into
artificial intelligence. I became interested in how peo-
ple interact with computers, in particular, when using
ordinary language. It became clear after years of
working on that, however, that the computer was a
long way off from matching human abilities. More-
over, using natural language with a computer when it
doesn't really understand you can be very frustrating
and in fact a very bad way to interact with it. So,
rather than trying to get the computer to imitate the
person, I became interested in other ways of taking
advantage of what the computer can do well and what
the person can do well. That led me into the general
field of HCI. As I began to look at what was going on
in that field and to study it, it became clear that it was
not the same as other areas of computer science. The
key issues were about how the technology fits with
what people could do and what they wanted to do. In
contrast, most of computer science is really domi-
nated by how the mechanisms operate.
I was very attracted to thinking more in the style
of design disciplines, like product design, urban de-
sign, architecture, and so on. I realized that there was
an approach that you might call a design way, that
puts the technical asspects into the background with
respect to understanding the interaction. Through
looking at these design disciplines, I realized that
there was something unique about interaction design,
which is that it has a dialogic temporal element. By
One of the biggest influences is product design.
I think that interaction design overlaps with it, be-
cause they both take a very strong user-oriented view.
Both are concerned with finding a user group, under-
standing their needs, then using that understanding to
come up with new ideas. They may be ones that the
users don't even realize they need. It is then a matter
of trying to translate who it is, what they are doing,
and why they are doing it into possible innovations.
In the case of product design it is products. In the case
of interaction design it is the way that the computer
system interacts with the person.
YR. What do you think are importantinputs into the
design process?
One of the characteristics of design fields as op-
posed to traditional engineering fields is that there is
much more dependence on case studies and examples
than on formulas. Whereas an engineer knows how to
calculate something, an architect or a designer is
working in a tradition where there is a history over
time of other things people have done. People have
said that the secret of great design is to know what to
steal and to know when some element or some way of
doing things worked before will be appropriate
to your setting and then adapt it. Of course you can't
apply it directly, so I think a big part of doing good
design is experience and exposure. You have to have
seen a lot of things in practice and understood what is
good and bad about them, to then use these to inform
your design.
YR: How do you see the relationship between study-
ing interactiondesignand the practice of it? Is there a
good dialog between researchand practice?
TW: Academicstudy of interaction design is a tricky
area because so much of it depends on a kind of
tacit knowledge that comes through experience and
I
Drivecar t o pump
Squeezetrigger on
thenozzleuntil
tankis
Figure 8.4 A storyboard dep
Wizard of Oz Anothe
assumes that you have a
sits at a computer scree
with the product. In fac
chine where a human op
user. The method takes
swept away in a storm an
1900).
8.2.4 High-fidelityprototyping
High-fidelity prototyping
product and produces a p
example, a prototype of
delity than a paper-based
board is a higher-fidelityp
If you are to build a
tool to support this. Com
sual Basic, and Smalltalk
so they are powerful too
straightforward.
10 Chapter What is interaction design?
What this means in practice is that confusion, misunderstanding, and com-
munication breakdowns can often surface in a team. The various team members
may have different ways of talking about design and may use the same terms to
mean quite different things. Other problems can arise when a group of people is
"thrown" together who have not worked as a team. For example, the Vi-
sion of the Future Project found that its multidisciplinary teams-who were re-
sponsible for developing ideas and products for the future-experienced a
number of difficulties, namely, that project team members did not always have a
clear idea of who needed what information, when, and in what form (Lambourne
et al.,1997).
practice, the makeup of a given design team depends on the kind of interactive product
ing built. Who do you think would need to be involved in developing:
(a) a public kiosk providing information about the exhibits available in a science
museum?
(b) an interactive educational to accompany a series?
Comment Each team will need a pumber of different people with different skill sets. For example, the
first interactive product would need:
(a) graphic and designers, museum curators, educational advisors, software
engineers, software designers, usability engineers, ergonomists
The second project would need:
(b) producers, graphic and interaction designers, teachers, video experts, software
engineers, software designers, usability engineers
In addition, as both are being developed for use by the general public, representa-
tive users, such as school children and parents, should be involved.
In practice, design teams often end up being quite large, especially if they are working on a
big project to meet a fixed deadline. For example, it is common to find teams of fifteen peo-
ple or more working on a project for an extensive period of time, like six months.
This means that a number of people from each area of expertise are likely to be working as
part of the project team.
Interaction design in business
Interaction design is big business. In particular, consultants, start-
up companies, and mobile computing industries have all realized its pivotal role
in successful interactive To get noticed in the highly competitive field
of web products requires standing out. Being able to say that your product is
easy and effective to use is seen as central to this. Marketing departments are re-
alizing how branding, the number of hits, customer return rate, and customer
satisfaction are greatly affected by the usability of a Furthermore, the
presence or absence of good interaction design can make or break a company.
78 Chapter Understanding users
Figure 3.4 Poor icon set. What
do you think the icons mean
and why are they so bad?
that information needs to be represented in an appropriate form to facilitate the
perception and recognition of its underlying meaning.
Memory involves recalling various kinds of knowledge that allow us to act ap-
propriately. It is very versatile, enabling us to do many things. For example, it al-
lows us to recognize someone's face, remember someone's name, recall when we
last met them and know what we said to them last. Simply, without memory we
would not be able to function.
It is not possible for us to remember everything that we see, hear, taste, smell,
or touch, nor would we want to, as our brains would get completely overloaded. A
filtering process is used to decide what information gets further processed and
memorized. This filtering process, however, is not without its problems. Often we
6.4 models: showing how the activities relate 189
Review
Cumulative
through
steps
Plan next phases
Develop, verify
next-level product
Figure 6.9 Thespiral lifecyclemodelof softwaredevelopment.
hind RAD began to emerge in the early also in response to the inappropri-
ate nature of the linear lifecycle models based on the waterfall. Two key features of
a RAD project are:
Time-limited cycles of approximately six months, at the end of which a sys-
tem or partial system must be delivered. This is called time-boxing. In effect,
this breaks down a large project into many smaller projects that can deliver
products incrementally, and enhances flexibility in terms of the development
techniques used and the maintainability of the final system.
Attached
Have a go
Figure A Windows-ba
What strategiesdo you use t
Comment People often write down wh
others to remind them. Ano
ics. A mnemonicinvolves ta
cepts and using them to
idiosyncraticconnections. Fo
is in relation to west and vic
this out is to take the first let
the phrase"Never Eat Shred
A growing problem
documents created, imag
saved, bookmarked
ing them again. Naming is
remember a name of a fil
cially if there are tens of t
cilitated, bearing in mind
psychologist, has been re
Table 4.1 Classificationof computer-mediated communication (CMC) into three types: (I) Synchronous
communication,(ii) Asynchronouscommunication and (iii) CMC combined with other activity
i. Synchronouscommunication
Where conversations in real time are supported by letting people talk with each other either using their voices
or through typing. Both modes seek to support non-verbal communication to varying degrees.
Examples:
Talking with voice: video phones, video conferencing (desktop or wall), media spaces.
Talking via typing: text messaging (typing in messages using cell phones), instant messaging (real-time
interaction via chatrooms, collaborative virtual environments (CVEs).
New kinds of functionality:
CVEs allow communication to take place via a combination of graphical representations of self (in the form
of avatars) with a separate or overlaying speech bubbles.
CVEs allow people to represent themselves as virtual characters, taking on new personas opposite
gender), and expressing themselves in ways not possible in face-to-face settings.
CVEs, and chatrooms have enabled new forms of conversation mechanisms,such as multi-turn-taking,
where a number of people can contribute and keep track of a multi-streaming text-based conversation.
Instant messaging allows users to multitask by holding numerous conversations at once.
Benefits:
Not having to physicallyface people may increase shy people's confidence and self-esteem to converse more
in "virtual" public.
It allows people to keep abreast of the goings-on in an organization without having to move from their office.
It enables users to send text and images instantly between people using instant messaging.
In offices,instant messaging allows users to fire off quick questions and answers without the time lag of
or phone-tag.
Problems:
Lack of adequate bandwidth has plagued video communication, resulting in poor-quality images that
frequently break up, judder, have shadows, and appear as unnatural images.
It is difficult to establish eye contact (normally an integral and subconscious part of face-to-face
conversations) in CVEs, video conferencing, and videophones.
Having the possibility of hiding behind a persona, a name, or an avatar in a gives people the
opportunity to behave differently. Sometimes this can result in people becoming aggressive or intrusive.
ii. Asynchronouscommunication
Where communication between participants takes place remotely and at different times. It relies not on
dependent turn-taking but on participants initiating communication and responding to others when they want
or are able to do so.
Examples:
bulletin boards, newsgroups, computer conferencing
New kinds offunctionality:
Attachments of different sorts (including annotations, images, music) for and computer conferencing
can be sent.
Messages can be archived and accessed using various search facilities.
Benefits:
Ubiquity: Can read any place, any time.
Flexibility: Greater autonomy and control of when and how to respond, so can attend to it in own time
rather than having to take a turn in a conversation at a particular cue.
Powerful: Can send the same message to many people.
Makes some things easier to say: Do not have to interact with person so can be easier to say things than when
face to face announcing sudden death of colleague, providing feedback on someone's performance).
(Continued)
112
Technical
books

5. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
1a
fase
1 | apresentação do tema
70 Chapter Understanding and conceptualizing interaction
this I mean a human dialog not in the sense of using
ordinary language, but in the sense of thinking about
the sequence and the of interaction. So I think
interaction design is about designing a space for peo-
ple, where that space has to have a temporal flow. It
has to have a dialog with the person.
YR: Could you tell me a bit more about what you
think is involved in interactiondesign?
on hat topic. His book, BringingDesign
brings the perspectives of a number of re-
searchersand designers. See Color Plate for an exampleof
his latest research.
Tell me about your and how you
moved into interactiondesign.
I got into interaction design through a couple of
intermediate steps. I started out doing research into
artificial intelligence. I became interested in how peo-
ple interact with computers, in particular, when using
ordinary language. It became clear after years of
working on that, however, that the computer was a
long way off from matching human abilities. More-
over, using natural language with a computer when it
doesn't really understand you can be very frustrating
and in fact a very bad way to interact with it. So,
rather than trying to get the computer to imitate the
person, I became interested in other ways of taking
advantage of what the computer can do well and what
the person can do well. That led me into the general
field of HCI. As I began to look at what was going on
in that field and to study it, it became clear that it was
not the same as other areas of computer science. The
key issues were about how the technology fits with
what people could do and what they wanted to do. In
contrast, most of computer science is really domi-
nated by how the mechanisms operate.
I was very attracted to thinking more in the style
of design disciplines, like product design, urban de-
sign, architecture, and so on. I realized that there was
an approach that you might call a design way, that
puts the technical asspects into the background with
respect to understanding the interaction. Through
looking at these design disciplines, I realized that
there was something unique about interaction design,
which is that it has a dialogic temporal element. By
One of the biggest influences is product design.
I think that interaction design overlaps with it, be-
cause they both take a very strong user-oriented view.
Both are concerned with finding a user group, under-
standing their needs, then using that understanding to
come up with new ideas. They may be ones that the
users don't even realize they need. It is then a matter
of trying to translate who it is, what they are doing,
and why they are doing it into possible innovations.
In the case of product design it is products. In the case
of interaction design it is the way that the computer
system interacts with the person.
YR. What do you think are importantinputs into the
design process?
One of the characteristics of design fields as op-
posed to traditional engineering fields is that there is
much more dependence on case studies and examples
than on formulas. Whereas an engineer knows how to
calculate something, an architect or a designer is
working in a tradition where there is a history over
time of other things people have done. People have
said that the secret of great design is to know what to
steal and to know when some element or some way of
doing things worked before will be appropriate
to your setting and then adapt it. Of course you can't
apply it directly, so I think a big part of doing good
design is experience and exposure. You have to have
seen a lot of things in practice and understood what is
good and bad about them, to then use these to inform
your design.
YR: How do you see the relationship between study-
ing interactiondesignand the practice of it? Is there a
good dialog between researchand practice?
TW: Academicstudy of interaction design is a tricky
area because so much of it depends on a kind of
tacit knowledge that comes through experience and
I
Drivecar t o pump
Squeezetrigger on
thenozzleuntil
tankis
Figure 8.4 A storyboard dep
Wizard of Oz Anothe
assumes that you have a
sits at a computer scree
with the product. In fac
chine where a human op
user. The method takes
swept away in a storm an
1900).
8.2.4 High-fidelityprototyping
High-fidelity prototyping
product and produces a p
example, a prototype of
delity than a paper-based
board is a higher-fidelityp
If you are to build a
tool to support this. Com
sual Basic, and Smalltalk
so they are powerful too
straightforward.
10 Chapter What is interaction design?
What this means in practice is that confusion, misunderstanding, and com-
munication breakdowns can often surface in a team. The various team members
may have different ways of talking about design and may use the same terms to
mean quite different things. Other problems can arise when a group of people is
"thrown" together who have not worked as a team. For example, the Vi-
sion of the Future Project found that its multidisciplinary teams-who were re-
sponsible for developing ideas and products for the future-experienced a
number of difficulties, namely, that project team members did not always have a
clear idea of who needed what information, when, and in what form (Lambourne
et al.,1997).
practice, the makeup of a given design team depends on the kind of interactive product
ing built. Who do you think would need to be involved in developing:
(a) a public kiosk providing information about the exhibits available in a science
museum?
(b) an interactive educational to accompany a series?
Comment Each team will need a pumber of different people with different skill sets. For example, the
first interactive product would need:
(a) graphic and designers, museum curators, educational advisors, software
engineers, software designers, usability engineers, ergonomists
The second project would need:
(b) producers, graphic and interaction designers, teachers, video experts, software
engineers, software designers, usability engineers
In addition, as both are being developed for use by the general public, representa-
tive users, such as school children and parents, should be involved.
In practice, design teams often end up being quite large, especially if they are working on a
big project to meet a fixed deadline. For example, it is common to find teams of fifteen peo-
ple or more working on a project for an extensive period of time, like six months.
This means that a number of people from each area of expertise are likely to be working as
part of the project team.
Interaction design in business
Interaction design is big business. In particular, consultants, start-
up companies, and mobile computing industries have all realized its pivotal role
in successful interactive To get noticed in the highly competitive field
of web products requires standing out. Being able to say that your product is
easy and effective to use is seen as central to this. Marketing departments are re-
alizing how branding, the number of hits, customer return rate, and customer
satisfaction are greatly affected by the usability of a Furthermore, the
presence or absence of good interaction design can make or break a company.
78 Chapter Understanding users
Figure 3.4 Poor icon set. What
do you think the icons mean
and why are they so bad?
that information needs to be represented in an appropriate form to facilitate the
perception and recognition of its underlying meaning.
Memory involves recalling various kinds of knowledge that allow us to act ap-
propriately. It is very versatile, enabling us to do many things. For example, it al-
lows us to recognize someone's face, remember someone's name, recall when we
last met them and know what we said to them last. Simply, without memory we
would not be able to function.
It is not possible for us to remember everything that we see, hear, taste, smell,
or touch, nor would we want to, as our brains would get completely overloaded. A
filtering process is used to decide what information gets further processed and
memorized. This filtering process, however, is not without its problems. Often we
6.4 models: showing how the activities relate 189
Review
Cumulative
through
steps
Plan next phases
Develop, verify
next-level product
Figure 6.9 Thespiral lifecyclemodelof softwaredevelopment.
hind RAD began to emerge in the early also in response to the inappropri-
ate nature of the linear lifecycle models based on the waterfall. Two key features of
a RAD project are:
Time-limited cycles of approximately six months, at the end of which a sys-
tem or partial system must be delivered. This is called time-boxing. In effect,
this breaks down a large project into many smaller projects that can deliver
products incrementally, and enhances flexibility in terms of the development
techniques used and the maintainability of the final system.
Attached
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Table 4.1 Classificationof computer-mediated communication (CMC) into three types: (I) Synchronous
communication,(ii) Asynchronouscommunication and (iii) CMC combined with other activity
i. Synchronouscommunication
Where conversations in real time are supported by letting people talk with each other either using their voices
or through typing. Both modes seek to support non-verbal communication to varying degrees.
Examples:
Talking with voice: video phones, video conferencing (desktop or wall), media spaces.
Talking via typing: text messaging (typing in messages using cell phones), instant messaging (real-time
interaction via chatrooms, collaborative virtual environments (CVEs).
New kinds of functionality:
CVEs allow communication to take place via a combination of graphical representations of self (in the form
of avatars) with a separate or overlaying speech bubbles.
CVEs allow people to represent themselves as virtual characters, taking on new personas opposite
gender), and expressing themselves in ways not possible in face-to-face settings.
CVEs, and chatrooms have enabled new forms of conversation mechanisms,such as multi-turn-taking,
where a number of people can contribute and keep track of a multi-streaming text-based conversation.
Instant messaging allows users to multitask by holding numerous conversations at once.
Benefits:
Not having to physicallyface people may increase shy people's confidence and self-esteem to converse more
in "virtual" public.
It allows people to keep abreast of the goings-on in an organization without having to move from their office.
It enables users to send text and images instantly between people using instant messaging.
In offices,instant messaging allows users to fire off quick questions and answers without the time lag of
or phone-tag.
Problems:
Lack of adequate bandwidth has plagued video communication, resulting in poor-quality images that
frequently break up, judder, have shadows, and appear as unnatural images.
It is difficult to establish eye contact (normally an integral and subconscious part of face-to-face
conversations) in CVEs, video conferencing, and videophones.
Having the possibility of hiding behind a persona, a name, or an avatar in a gives people the
opportunity to behave differently. Sometimes this can result in people becoming aggressive or intrusive.
ii. Asynchronouscommunication
Where communication between participants takes place remotely and at different times. It relies not on
dependent turn-taking but on participants initiating communication and responding to others when they want
or are able to do so.
Examples:
bulletin boards, newsgroups, computer conferencing
New kinds offunctionality:
Attachments of different sorts (including annotations, images, music) for and computer conferencing
can be sent.
Messages can be archived and accessed using various search facilities.
Benefits:
Ubiquity: Can read any place, any time.
Flexibility: Greater autonomy and control of when and how to respond, so can attend to it in own time
rather than having to take a turn in a conversation at a particular cue.
Powerful: Can send the same message to many people.
Makes some things easier to say: Do not have to interact with person so can be easier to say things than when
face to face announcing sudden death of colleague, providing feedback on someone's performance).
(Continued)
112
Technical
books

6. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
1 | scope
hybrid
publishing

7. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
1 | scope
hybrid
publishing

8. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
1 | scope
hybrid
publishing

9. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
1 | scope
hybrid
publishing

10. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
1 | scope
hybrid
publishing

11. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
1 | scope
hybrid
publishing

12. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
1 | scope
hybrid
publishing

13. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
2 | goals
provide a characterization of
the editorial design methods
of technical books in a hybrid
publishing context.

14. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
The codex in its modern configuration has remained virtually
unchanged for five centuries, due to a high degree of functional
and aesthetic optimization.

15. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
mobility;
interoperability;
access;
connection;
interactivity;
optimization information
Electronic reading platforms
“are far from ideal, and in some cases,
barely serviceable.”
JISC report
abc
images
sound
text
tables
infographics
multimedia
a
0100010 0100010
010010 0100010
01000100100010
010001010100010
010001010100010
0100110 0100010
0100010 0100010
0100010 0100010
1100100010100010
01000100100010
1010100110 0100010
Digital
Content
?

16. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
content structure; form
definition of the
design program
conceptualization design
3 | the design of technical books

17. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
It’s ‘content and design’.
(...)You can create good experiences without
knowing the content. What you can’t do is create
good experiences without knowing your content
structure. What is your content made from, not
what your content is. An important distinction.
M. Boulton

18. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
content structure; form
definition of the
design program
design
3 | the design of technical books
conceptualization

19. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
3 | the design of technical books
The design program
of a technical book:
a fixed or reflowable model?

20. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
fixed
Definite Content — meaning shifts with container
(source: http://craigmod.com/journal/ipad_and_books/)
4 | fixed and reflowable program

21. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
reflowable
Formless Content — retaining meaning in any container. (fonte:
http://craigmod.com/journal/ipad_and_books/)
4 | fixed and reflowable program

22. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
4 | fixed and reflowable program

23. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
5 | conclusions
In a hybrid workflow it is necessary to redefine the book design
program in order to identify not what the content is, but
what it is made of. To do this, one needs to consider as well
the relationships between technologies, markets and types of
content. With regard to the technical book, it is necessary to
understand its publishing field and their specificities.
For book content to function in more than one support, fluidly,
but maintaining the original relationships between graphic
elements, there should be defined rules and a protected
structure that functions in all the different possible contexts.
To do so, standardized processes and formats must be used,
such as those developed by IDPF or agreed upon usage, due
to its popularity that make the most universal possible book,
either printed or electronic.

24. TEEM 2015 | Ana Catarina Silva; IPCA | Maria Manuel Borges; FLUC
5 | conclusions
In a hybrid workflow it is necessary to redefine the book design
program in order to identify not what the content is, but
what it is made of. To do this, one needs to consider as well
the relationships between technologies, markets and types of
content. With regard to the technical book, it is necessary to
understand its publishing field and their specificities.
For book content to function in more than one support, fluidly,
but maintaining the original relationships between graphic
elements, there should be defined rules and a protected
structure that functions in all the different possible contexts.
To do so, standardized processes and formats must be used,
such as those developed by IDPF or agreed upon usage, due
to its popularity that make the most universal possible book,
either printed or electronic.

25. thank you
Ana Catarina Silva
acsilva@ipca.pt
Maria Manuel Borges
mmb@fl.uc.pt
Guimarães / 15 / Junho / 2012