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How big or small is it in relation to other items on the screen Larger items draw our attention more, particularly when they re much larger than similar things around them. Size is also an ordered and quantitative variable, which means that people automatically sequence objects in terms of their size and tend to assign relative quantities to those differences; if we have four sizes of text, we assume relative importance increases with size, and that bold type is more important than regular. This makes size a useful property in conveying information hierarchies. Sufficient distinction in size is also enough to draw our attention quickly. In his classic The Semiology of Graphics, Jacques Bertin describes size as a dissociative property, which means that when something is very small or very large, it can be difficult to decipher other variables, such as shape.
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How light or dark is it Of course, the idea of lightness or darkness is meaningful primarily in context of the value of the background. On a dark background, dark type is faint, whereas on a light background, dark type is pronounced. Like size, value can be dissociative; if a photo is too dark or light, for example, you can no longer perceive what s in it. Contrasts in value are something people perceive quickly and easily, so value can be a good tool for drawing attention to elements that need to stand out. Value is also an ordered variable for example, lower-value (darker) colors on a map are easy to interpret as deeper water or denser population.
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Is it yellow, red, or orange Differences in hue draw our attention quickly. In some professions, hue has specific meaning we can take advantage of; for example, an accountant sees red as negative and black as positive, and a securities trader sees blue as buy and red as sell (in the United States, at least). Colors also take on meaning from the social contexts in which we ve grown up. To Westerners who ve grown up with traffic signals, red means stop and sometimes even danger, whereas in China, red is the color of good luck. Similarly, white is associated with purity and peace in the West, and with funerals and death in Asia. Unlike size or value, though, hue is not intrinsically ordered or quantitative, so it s less ideal for conveying that sort of data. Also, we don t want to rely on hue as the sole communication vector, since color-blindness is quite common. Color is best used judiciously. To create an effective visual system that allows users to identify similarities and differences between elements, you should use a limited number of hues the carnival effect overwhelms users and limits your ability to communicate. Hue is also where the branding needs and communication needs of an interface can collide; it can take a talented visual designer (and skilled diplomat) to navigate these waters.
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Is it pointing up, down, or sideways This is a useful variable to employ when you have directional information to convey (up or down, backward or forward). Orientation can be difficult to perceive with some shapes or at small sizes, though, so it s best used as a secondary communication vector. For example, if you want to show the stock market is going down, you might want to use a downward-pointing arrow that s also red.
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Is it rough or smooth, regular or uneven Of course, elements on a screen don t have real texture, but they can have the appearance of it. Texture is seldom useful for conveying differences or calling attention, since it requires a lot of attention to distinguish. Texture also takes a fair number of pixels to convey. However, it can be an important affordance cue; when we see a textured rubber area on a device, we assume that s where we re meant to grab it. Ridges or bumps on a user-interface (UI) element generally indicate that it s dragable, and a bevel or drop-shadow on a button makes it seem more clickable.
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