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7 results for “GRAPHIC DESIGN”
Supporting information of a study for the definition and evaluation of a graphical user interface for housing co-design
<p>This dataset is from a study that intends to define, prototype and test a graphical user interface for a housing co-design system. To define the requirements of the interface, we conducted interviews with professionals of architecture, urbanism and social sciences areas, as well as with housing cooperatives and inhabitants of these institutions. An interface solution was prototyped, tested and refined. Then we conducted a heuristic evaluation and a summative evaluation. Such evaluations involved the testing of a high-fidelity prototype, to receive feedback from UX/UI experts, potential users (inhabitants) and architects.</p> <p>S1_File refers to the interview protocol used with the three groups of interviewees. We share the English and Portuguese versions of the interviews with professionals and the original (Portuguese) and translated versions of the remaining ones since these were conducted in Portuguese.</p> <p>S2_File is a dataset reporting the results of the interviews. Each question includes the answers given and the identification (anonymized) of the interviewees who responded to that question.</p> <p>S3_File describes the usability issues identified by the experts during the heuristic evaluation of the high-fidelity prototype. The first page organizes the issues by severity (left) and priority (right). The remaining pages have a table for each issue, including rows for problem designation, heuristic violated, problem description, solution proposal, severity degree, and an image of the interface pointing to the referred issue.</p> <p>S4_File refers to the results of the heuristic evaluation. It includes the identification of each issue, which expert (anonymized) identified such issue, and the heuristic it violates, with the sum of the times each heuristic was violated at the end of each column. At the right, a table presents the consolidation of issues, organized by priority, with columns identifying the issue, severity level, frequency, and priority.</p> <p>S5_File is the script given to potential users to experiment with the interface during the summative evaluation. This script guides the user through the tasks to perform since the prototype does not have all the features functioning.</p> <p>S6_File refers to the questionnaires applied during the summative evaluation with inhabitants. It includes a preliminary questionnaire, a Single Ease Question (SEQ) questionnaire, a System Usability Scale (SUS) questionnaire, and a Graphical User Interface (GUI) questionnaire.</p> <p>S7_File refers to the results of the summative evaluation with inhabitants (potential users).</p> <ul> <li>Page A refers to the preliminary questionnaire with demographic information such as age, gender, education, relationship with digital technologies, etc. Each field corresponds with each inhabitant (anonymised) and the sum and percentage. In the middle, a table presents a summary of the consolidation. In the right possible relations are presented. </li> <li>Page B presents the results of the SEQ questionnaire, identifying the ratings each inhabitant (anonymized) gave each task. A summary of such values is at the right. </li> <li>On page C, the result of each rating for the SUS questionnaire given by each inhabitant (anonymized) is shown. At the bottom is the calculation of the SUS score.</li> <li>Page D presents the GUI questionnaire results for each inhabitant (anonymized), with the average and SD identified for each question. A summary of such results is on the right.</li> <li>Page E holds the notes taken by the researchers based on their observations regarding task performance. The information is organized in tables for each step of each task and includes the completeness, attempts, and time taken for each inhabitant (anonymized) to complete such task. Also, the sum, percentage, average, and SD are registered. Next to each task is a table identifying how many participants accomplished the task at the first attempt.</li> <li>Page F refers to the strong and weak aspects identified by the inhabitants. Strong and weak aspects are identified, as well as which inhabitant (anonymized) has identified them. The sum and percentage are also given. At the right, there is a table with the consolidation of results by combining similar answers. </li> </ul> <p>S8_File refers to the results of the discussion with architects after experiencing the interface. Such results relate to the positive and negative aspects that the architects identified in the interface and its usefulness for architecture. The left table identifies the strong and weak aspects that architects (anonymized) identified and the sum and percentage associated with them. The table on the right consolidates such results, with similar responses combined.</p>
Tan-Tári Bricks graphical abstract in iGEM Design League 2022
<p>Graphical abstract of Tan-Tári Bricks Team from the University of Chile participating in iGEM Design League 2022.</p>
BRAIN Journal-Cursor Movement – a Valuable Indicator in Intelligent System Design-Figure 5. Emotional flow after 3 hours of graphical editing
<p>To resume, we started with a product interface, found a way to determine two opposite states, than used that way to map user interaction with the product and determine the emotional answer to that interface. The results can then be used to improve product design, to elicit certain emotional responses, etc. For example, in this case, due to the rapid movement (anger) patterns in the aligning phase, a layout that minimizes this can be developed, using a shortcut menu or dynamically appearing guidelines. Furthermore, the user interface can be imagined to be able to learn working patterns and shift the shortcut menu from an aligning menu, if it detects anger patterns, into a color/shape picking menu, if it detects relaxation patterns, therefore assessing the emotional impact and improving the design of the interface in the same time.</p>
"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18
Q-Sort Graphic Designs
<p>Dataset with graphic designs used for conferences and other meetings</p>
THEORETICAL PRINCIPLES OF DESIGNING MODERN ECO RESIDENTIAL BUILDINGS USING GRAPHIC PROGRAMS.
<p><span>To design modern eco-residential buildings with the help of computer programs, we will first familiarize ourselves with the possibilities of computer programs and consider the procedures and methods of designing eco-residential buildings. We present the theory of what needs to be done in practice.</span></p>
Seeking for Perfected Aortic Arch Reconstruction Using a Graphically Designed Patient-specific Surgical Patch
ClinicalTrials.gov study NCT06853054. IPD Sharing: NO. Countries: 1. Publications: 0.
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Allen Brain Atlas
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DANDI Archive for NWB datasets
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International Brain Laboratory public data
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OpenNeuro
OpenNeuro is a free, open platform for sharing neuroimaging datasets, with public search, dataset pages, and download paths for web, S3, DataLad, and the OpenNeuro CLI.