Affected by traditional editorial thinking, the layout of electronic publications is often overlooked. In fact, the importance of layout design of electronic publications is greater than that of traditional books and magazines. Many creative ideas can only be fully reflected in proper layout arrangements. For example, the clarity and easiness of interactive works largely depend on the rational layout of the layout, the division of functional areas, the placement of small buttons, the color, and the convex and concave areas, which may affect readers' reading and use. Must not be arbitrarily arranged, according to the principles of aesthetics and visual psychology to summarize some basic design techniques for reference:
1 characteristics of the screen layout design Screen physical characteristics and changes in human visual characteristics determine the screen reading has different characteristics compared with traditional reading, and therefore have different layout design requirements. Paper reading has a long history, the color of paper and ink, the matching of font sizes, and even the influence of light have been thoroughly studied. For a long time, the screen has been used for viewing rather than reading. Therefore, the study on the adaptability of reading is relatively weak. The author believes that at least the following features should be taken into account when designing a screen layout.
1.1 Limitations on Size and Resolution The rectangular size of the computer screen limits the display of the screen, thus affecting the selection of elements such as font size and the storage of large graphics and tables. For example, if the font size is too large, the page is frequently distracted, and if not, it is difficult to recognize the difficulty. Instead of using “bleeding†or double-page layouts to arrange large graphics or tables, you can use scrolling, layered or hypertext links. method. The fineness of the picture is no longer determined by the producer alone. And mainly depends on the physical characteristics of the user's screen and display software features, so the design does not need blind pursuit of high resolution.
1.2 The use of a large amount of color The screen's color rendering range is much larger than the paper's ink color. The ability of the human eye to distinguish color (approximately thousands of species) is also significantly better than the resolution of gray levels (about 100+ levels). With the ease of use and modification, it is natural to use a large amount of color in electronic publications. Things. Different colors have different visual space effects (such as the warm sense of advancement, expansion, and excitement). Reasonable configurations can show magical artistic appeal. Play a variety of functions such as content differentiation, theme rendering, atmosphere contrasting, and adding three-dimensional effects. Avoid using too many colors too much and too much chaos, too much brightness, otherwise it will interfere with the effective absorption of information required by the line of sight.
The new elements and new forms of the 1.3 edition added to the traditional layout elements such as text tables, graphic images and lace shading, and added two new elements that should not be ignored: light and tone, although they have no substantive content, However, it plays an important role in guiding sightlines, highlighting subjects, displaying texture differences, rendering atmosphere, and maintaining image balance.
Animated figures, flashing symbols, etc. are new manifestations of layout elements. When used properly, it can be very active, prompting, and attracting readers' attention. However, excessive use can distract attention, disturb thinking, and even cause dazzling feelings. It must be avoided.
The placement of the eyebrows, footnotes, and pages can all be designed in novel ways.
2 The Basic Skills of Screen Layout Design Layout art is neither strict nor seamless, nor is it universally applicable. Only by continuous study and study can we accumulate rich experience, integrate various types of knowledge, and seek information expression forms and readers' acceptance. The perfect fit.
The layout of the electronic publication is divided into dynamic static and dynamic. The dynamics are mainly reflected in the transformation of the screen. There are changes in the commonly used methods, such as changing, sweeping, encircling, strobing, and so on. The motion, emotion, rhythm, and sound are required to pass through. Reasonable division and grouping enable readers to feel the existence of paragraphs, and feel that the performance process is complete, consistent and smooth. Static layout design has the same features as traditional books and periodicals, but due to the aforementioned features, we need further in-depth research.
The basic principles of layout design can be summarized as balanced and diverse unity. The purpose is to make the picture clear and easy, beautiful, attractive, and in line with people's psychological habits, the application system must also take into account the ease of operation.
2.1 Equilibrium Equilibrium is the natural psychological requirement that people form over a long period of time. Picture balance refers to the principle similar to leverage. With the center of the picture as the fulcrum, the weight of the visual image of the upper and lower left and right visual images (essentially the conspicuous degree in the picture) is generally in a relatively balanced state. Can give the viewer a stable feeling. The weight of the image generally varies according to its type, size, color, movement, and Other properties. For example, people are heavier than animals, animals are heavier than plants, brighter than gray, heavy textures are more delicate than delicate ones.
Obviously, symmetry is a special case of equilibrium, and it is the easiest to grasp. It is suitable for the presentation of solemn and serious topics, but it is often prone to be dull, lacks fun, and should not be used in layout design. It is better to break symmetry but satisfy people's psychology. The relative balance of visual weight and value required by senses and life experiences.
2.2 Multiple Unity
2.2.1 The purpose of diversification and diversification is to present subject information more prominently while being active in the layout and beautifying the layout. The most commonly used and most important application means is comparison, and its variety is extremely varied, and its use changes endlessly. Common are:
(1) The size of the area is not matched by the size of the area. Most of the time, the difference in the importance of the content is reflected in the relative size, for example, the level is divided by the change in the title size. Sometimes people use mentally fixed things to highlight the major (small) subject matter. If a small human figure looks up at a stone, it can bring out the majestic grandeur of the stone.
(2) The most framed skeleton of line contrast lines. It has thickness, straightness, thick talk, and distinction between reality and reality. It will produce different reactions in people's visual psychology, such as thick line weights, weak lines, straight lines, soft curves, solid lines, dashed lines, and so on. The cooperation of upper angles and directions can flexibly express different topics. For example, our choice of fonts is based on the consideration of line characteristics.
(3) Color contrast The so-called "red flowers need to support the green leaves", in general, the contrast of black and white, red and green, yellow and blue will make the main body stand out. However, the contrasting colors on the same surface should not be too much, and the area cannot be evenly distributed. The layout key tone should be determined first, otherwise it will give people a confusing feeling like the color palette, and a variety of high-brightness color configurations on the screen will cause color tremor, causing visual problems. exhausted.
(4) Brightness and darkness This depends first on the brightness of the thing itself, but it can also be characterized by the use of lighting art. With the difference between the main body and the background tone, it can effectively guide the line of sight, highlight the subject, and enhance the atmosphere. At the same time, the shadow formed is not qualitative but tangible, and has a difference in size, which can play a role in the relative balance of the picture.
(5) Texture contrast texture is the feeling of the surface material properties of the object. The differences in textures are easy to produce a strong visual impact, leaving a deep impression on people, such as the rough grayish gravel on the ground a few beaded red cherries, contrary to put them on the silk tablecloth more crystal clear.
(6) Comparison of motion and statics The complete expression of a complex message or the development of a thing often requires the completion of several screens together. Flash, movement, or changing dynamic symbols are sometimes used on the same screen. Menus, toolbars, and system status descriptions are used. Other functional areas and status areas are relatively static. In general, the dynamic part should occupy a larger area, and be properly isolated from the static part by means of the side cabinet and other forms, so that the user feels the change of information brought about by the dynamic part while grasping the system due to a relatively stable control area. Have confidence.
In addition, there are a variety of techniques such as comparison of facts, comparisons of complications, contrasts of shapes, shapes, and the like. In a word, the above-mentioned purposes are achieved by utilizing the characteristics that human vision is more sensitive to changing things.
Specificity is the most contrasted development that modern vision people think. Such as radiation, glory, flow, etc., as well as things that do not conform to people’s logical image, such as distorted wheels, distorted human bodies, etc., its effects are more intense than the contrast and attract people's attention. However, due to the susceptibility to visual discomfort or logic confusion, Usually only used on promotional pages, the text should not be used more.
2.2.2 Unification and unification is to harmonize the relationships between various elements of the layout and make it an organic whole. It will not cause mutual interference of information due to the existence of multiple contrasts, and even lead to a messy and disorderly feeling. To do this, we must grasp the main contradiction, weaken the minor contrast, and give up some of the details. The main coordination methods are:
(l) The proportion of occupied area occupied by occupancy is in accordance with the importance of the content, and the location arrangement can satisfy relatively balanced conditions, and basically conforms to the principle of “advantageous attentionâ€. Modern psychology studies show that when the human eye looks at a picture, attention is often focused on a certain part of the site first, and this part is called an advantage note.
(2) Light and shade coordination The use of light and shadow to make the two-dimensional body have a significant three-dimensional effect is one of the advantages of the screen image over the paper medium. Correctly applying the projection principle and perspective principles to handle the light-dark relationship between objects can form richness. The tone levels describe specific time and environments, and fully express the texture features and three-dimensional effects of objects.
(3) Coordinator of space and time The ancients said: Face stays three minutes empty, and then angry is sent. The design of traditional books and magazines pays much attention to blanking and avoids the dull and depressed feeling caused by overly crowded layouts. The design on the screen should be even more so, because it is easier to see the screen and the sitting posture is more rigid. In general, if the content of the layout itself has changed a lot, a lively and varied environment has been created by different combinations of fonts, sizes, shading, and colors, and blanks can be appropriately reserved. Monotonous content requires more space to adjust reading rhythm and beautify the layout. One of the unpleasant phenomena in the current electronic layout design is to put too many icons and buttons in the blank space, and even some sports and directional things (such as the finger icons) are close to the front of the picture and text. Obvious sense of touch is very unnatural.
(4) There is no such problem in the access and coordination traditional layout design. It can refer more to the expression means of film and television works, mainly referring to the use of different screen transformation techniques according to the changes in content, such as the transformation from the original surface to a circle. The shape and rhombic frame starts a new picture, and gradually expands from small to large until it completely replaces the original face. The sense of the passage is clear, and it is often used when there is a clear distinction between time and place. If a chapter heading appears, it can be gradually radiated from the center, eventually occupies the entire screen, and then like the page flips open, it slowly expands from it to the left (chapter content). In this way, there will be echoes, which are more vivid than the sudden and sudden appearance of the title.
References 1 Hu Youfei's Camera Skills and Program Production Shanghai: Tongji University Publishing Society 1997
2 One Thrilling Talk about Composition of Shanghai: Shanghai People's Fine Arts Publishing House
1 characteristics of the screen layout design Screen physical characteristics and changes in human visual characteristics determine the screen reading has different characteristics compared with traditional reading, and therefore have different layout design requirements. Paper reading has a long history, the color of paper and ink, the matching of font sizes, and even the influence of light have been thoroughly studied. For a long time, the screen has been used for viewing rather than reading. Therefore, the study on the adaptability of reading is relatively weak. The author believes that at least the following features should be taken into account when designing a screen layout.
1.1 Limitations on Size and Resolution The rectangular size of the computer screen limits the display of the screen, thus affecting the selection of elements such as font size and the storage of large graphics and tables. For example, if the font size is too large, the page is frequently distracted, and if not, it is difficult to recognize the difficulty. Instead of using “bleeding†or double-page layouts to arrange large graphics or tables, you can use scrolling, layered or hypertext links. method. The fineness of the picture is no longer determined by the producer alone. And mainly depends on the physical characteristics of the user's screen and display software features, so the design does not need blind pursuit of high resolution.
1.2 The use of a large amount of color The screen's color rendering range is much larger than the paper's ink color. The ability of the human eye to distinguish color (approximately thousands of species) is also significantly better than the resolution of gray levels (about 100+ levels). With the ease of use and modification, it is natural to use a large amount of color in electronic publications. Things. Different colors have different visual space effects (such as the warm sense of advancement, expansion, and excitement). Reasonable configurations can show magical artistic appeal. Play a variety of functions such as content differentiation, theme rendering, atmosphere contrasting, and adding three-dimensional effects. Avoid using too many colors too much and too much chaos, too much brightness, otherwise it will interfere with the effective absorption of information required by the line of sight.
The new elements and new forms of the 1.3 edition added to the traditional layout elements such as text tables, graphic images and lace shading, and added two new elements that should not be ignored: light and tone, although they have no substantive content, However, it plays an important role in guiding sightlines, highlighting subjects, displaying texture differences, rendering atmosphere, and maintaining image balance.
Animated figures, flashing symbols, etc. are new manifestations of layout elements. When used properly, it can be very active, prompting, and attracting readers' attention. However, excessive use can distract attention, disturb thinking, and even cause dazzling feelings. It must be avoided.
The placement of the eyebrows, footnotes, and pages can all be designed in novel ways.
2 The Basic Skills of Screen Layout Design Layout art is neither strict nor seamless, nor is it universally applicable. Only by continuous study and study can we accumulate rich experience, integrate various types of knowledge, and seek information expression forms and readers' acceptance. The perfect fit.
The layout of the electronic publication is divided into dynamic static and dynamic. The dynamics are mainly reflected in the transformation of the screen. There are changes in the commonly used methods, such as changing, sweeping, encircling, strobing, and so on. The motion, emotion, rhythm, and sound are required to pass through. Reasonable division and grouping enable readers to feel the existence of paragraphs, and feel that the performance process is complete, consistent and smooth. Static layout design has the same features as traditional books and periodicals, but due to the aforementioned features, we need further in-depth research.
The basic principles of layout design can be summarized as balanced and diverse unity. The purpose is to make the picture clear and easy, beautiful, attractive, and in line with people's psychological habits, the application system must also take into account the ease of operation.
2.1 Equilibrium Equilibrium is the natural psychological requirement that people form over a long period of time. Picture balance refers to the principle similar to leverage. With the center of the picture as the fulcrum, the weight of the visual image of the upper and lower left and right visual images (essentially the conspicuous degree in the picture) is generally in a relatively balanced state. Can give the viewer a stable feeling. The weight of the image generally varies according to its type, size, color, movement, and Other properties. For example, people are heavier than animals, animals are heavier than plants, brighter than gray, heavy textures are more delicate than delicate ones.
Obviously, symmetry is a special case of equilibrium, and it is the easiest to grasp. It is suitable for the presentation of solemn and serious topics, but it is often prone to be dull, lacks fun, and should not be used in layout design. It is better to break symmetry but satisfy people's psychology. The relative balance of visual weight and value required by senses and life experiences.
2.2 Multiple Unity
2.2.1 The purpose of diversification and diversification is to present subject information more prominently while being active in the layout and beautifying the layout. The most commonly used and most important application means is comparison, and its variety is extremely varied, and its use changes endlessly. Common are:
(1) The size of the area is not matched by the size of the area. Most of the time, the difference in the importance of the content is reflected in the relative size, for example, the level is divided by the change in the title size. Sometimes people use mentally fixed things to highlight the major (small) subject matter. If a small human figure looks up at a stone, it can bring out the majestic grandeur of the stone.
(2) The most framed skeleton of line contrast lines. It has thickness, straightness, thick talk, and distinction between reality and reality. It will produce different reactions in people's visual psychology, such as thick line weights, weak lines, straight lines, soft curves, solid lines, dashed lines, and so on. The cooperation of upper angles and directions can flexibly express different topics. For example, our choice of fonts is based on the consideration of line characteristics.
(3) Color contrast The so-called "red flowers need to support the green leaves", in general, the contrast of black and white, red and green, yellow and blue will make the main body stand out. However, the contrasting colors on the same surface should not be too much, and the area cannot be evenly distributed. The layout key tone should be determined first, otherwise it will give people a confusing feeling like the color palette, and a variety of high-brightness color configurations on the screen will cause color tremor, causing visual problems. exhausted.
(4) Brightness and darkness This depends first on the brightness of the thing itself, but it can also be characterized by the use of lighting art. With the difference between the main body and the background tone, it can effectively guide the line of sight, highlight the subject, and enhance the atmosphere. At the same time, the shadow formed is not qualitative but tangible, and has a difference in size, which can play a role in the relative balance of the picture.
(5) Texture contrast texture is the feeling of the surface material properties of the object. The differences in textures are easy to produce a strong visual impact, leaving a deep impression on people, such as the rough grayish gravel on the ground a few beaded red cherries, contrary to put them on the silk tablecloth more crystal clear.
(6) Comparison of motion and statics The complete expression of a complex message or the development of a thing often requires the completion of several screens together. Flash, movement, or changing dynamic symbols are sometimes used on the same screen. Menus, toolbars, and system status descriptions are used. Other functional areas and status areas are relatively static. In general, the dynamic part should occupy a larger area, and be properly isolated from the static part by means of the side cabinet and other forms, so that the user feels the change of information brought about by the dynamic part while grasping the system due to a relatively stable control area. Have confidence.
In addition, there are a variety of techniques such as comparison of facts, comparisons of complications, contrasts of shapes, shapes, and the like. In a word, the above-mentioned purposes are achieved by utilizing the characteristics that human vision is more sensitive to changing things.
Specificity is the most contrasted development that modern vision people think. Such as radiation, glory, flow, etc., as well as things that do not conform to people’s logical image, such as distorted wheels, distorted human bodies, etc., its effects are more intense than the contrast and attract people's attention. However, due to the susceptibility to visual discomfort or logic confusion, Usually only used on promotional pages, the text should not be used more.
2.2.2 Unification and unification is to harmonize the relationships between various elements of the layout and make it an organic whole. It will not cause mutual interference of information due to the existence of multiple contrasts, and even lead to a messy and disorderly feeling. To do this, we must grasp the main contradiction, weaken the minor contrast, and give up some of the details. The main coordination methods are:
(l) The proportion of occupied area occupied by occupancy is in accordance with the importance of the content, and the location arrangement can satisfy relatively balanced conditions, and basically conforms to the principle of “advantageous attentionâ€. Modern psychology studies show that when the human eye looks at a picture, attention is often focused on a certain part of the site first, and this part is called an advantage note.
(2) Light and shade coordination The use of light and shadow to make the two-dimensional body have a significant three-dimensional effect is one of the advantages of the screen image over the paper medium. Correctly applying the projection principle and perspective principles to handle the light-dark relationship between objects can form richness. The tone levels describe specific time and environments, and fully express the texture features and three-dimensional effects of objects.
(3) Coordinator of space and time The ancients said: Face stays three minutes empty, and then angry is sent. The design of traditional books and magazines pays much attention to blanking and avoids the dull and depressed feeling caused by overly crowded layouts. The design on the screen should be even more so, because it is easier to see the screen and the sitting posture is more rigid. In general, if the content of the layout itself has changed a lot, a lively and varied environment has been created by different combinations of fonts, sizes, shading, and colors, and blanks can be appropriately reserved. Monotonous content requires more space to adjust reading rhythm and beautify the layout. One of the unpleasant phenomena in the current electronic layout design is to put too many icons and buttons in the blank space, and even some sports and directional things (such as the finger icons) are close to the front of the picture and text. Obvious sense of touch is very unnatural.
(4) There is no such problem in the access and coordination traditional layout design. It can refer more to the expression means of film and television works, mainly referring to the use of different screen transformation techniques according to the changes in content, such as the transformation from the original surface to a circle. The shape and rhombic frame starts a new picture, and gradually expands from small to large until it completely replaces the original face. The sense of the passage is clear, and it is often used when there is a clear distinction between time and place. If a chapter heading appears, it can be gradually radiated from the center, eventually occupies the entire screen, and then like the page flips open, it slowly expands from it to the left (chapter content). In this way, there will be echoes, which are more vivid than the sudden and sudden appearance of the title.
References 1 Hu Youfei's Camera Skills and Program Production Shanghai: Tongji University Publishing Society 1997
2 One Thrilling Talk about Composition of Shanghai: Shanghai People's Fine Arts Publishing House
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