The Digital Reading Experience關(guān)于數(shù)字閱讀設(shè)備上的用戶體驗(yàn)課件

1、The Digital Reading Experience: Learningfrom Interaction Design and UX-Usability Experts Anne Kostick Published online: 9 March 2011Ó Springer Science+Business Media, LLC 2011 Abstract Now that e-books and digital devices are active in the marketplace, publishers need to incorporate usability a

2、nd user experience research and practice in their development process. Interaction design and UX research is well established in technology-driven industries; publishers have much to learn from these experts, for the betterment of their digital product and eventually, broader adoption of e-books by

3、their customers. This article highlights the work and opinions of three UX, research and design practitioners as a first step in launching a tidal exchange of knowledge and ideas. 如今市場(chǎng)上電子書和電子閱讀設(shè)備的活躍是的發(fā)行商們必須將可用性和用戶體驗(yàn)調(diào)查融入他們研發(fā)產(chǎn)品的過程中去。交互設(shè)計(jì)和用戶體驗(yàn)調(diào)查在科技為導(dǎo)向的行業(yè)之中深深扎根，發(fā)行商有很多東西應(yīng)該向這些專家學(xué)習(xí)，為了他們的電子產(chǎn)品最終能夠發(fā)展的更好，電子書能夠

4、更好的為他們的消費(fèi)者利用和熟悉。Keywords Bibliotype 􏰀 Book publishing 􏰀 Design 􏰀 Digital reading 􏰀Digital books 􏰀 E-books 􏰀 Reader experience 􏰀 User experience 􏰀 User interface 􏰀 UX 􏰀 UI 􏰀 Usability 􏰀 Steve P

5、ortigal 􏰀 Whitney Quesenbery 􏰀 Craig Mod 􏰀 Foxpath IND 􏰀 A List Apart 􏰀 Rosenfeld Media 􏰀 Jeffrey Zeldman I remember the first time I picked up the new, first-generation Kindle and tried it out. I found it so hard to hold; the buttons seemed to b

6、e in the wrong place and on the wrong sides. The labels were hard to see. The color and feel of the exterior was off-putting. The screen text was, well . unsatisfactory. I thought: Dont these device makers like to read? Dont they like books? I put it down and didnt touch another Kindle for quite a w

7、hile. 如果我們現(xiàn)在回顧第一代kindle的話你回發(fā)現(xiàn)他非常難用。按鈕似乎都放錯(cuò)了位置和方向，指示標(biāo)簽難以找到。外觀的顏色和感覺都很奇怪，字體顯示也很讓人不適。After a whirlwind 2010, a variety of improved digital reading devices are now in the hands of customers, with various configurations, colors, screens, and displays. They all try to emulate the book reading experience,

8、but they frequently fall short: A. Kostick (&)Foxpath IND, 30 Fuller Place, Brooklyn, NY 11215, USA e-mail: anne 123 136 Pub Res Q (2011) 27:135140 when they do, another book customer is confirmed in his or her decision to stick with print. 而在2010年之后 大量被改進(jìn)的電子閱讀產(chǎn)品已經(jīng)被送到了消費(fèi)者手中，外形，顏色和屏幕各不相同，他們都極力提升電

9、子閱讀的用戶體驗(yàn)，但其中的大多數(shù)在曇花一現(xiàn)之后就很快被市場(chǎng)淘汰了，而當(dāng)他們讓一些新的嘗試者失望之后，有一些本來轉(zhuǎn)向電子閱讀的人們決定還是忠于紙質(zhì)閱讀。We in the publishing industry need to stop and think about what makes print books almost always a happy and pleasant physical experience. And not only a physical experience: theres a reason why our current book formats have e

10、ndured all this time that goes beyond convenience, economics, and lack of other options. 身處出版業(yè)的我們需要停下來多去想想是什么讓紙質(zhì)大多數(shù)印刷品總是能創(chuàng)造出一種愉悅的閱讀體驗(yàn)。不僅僅是生理上的愉悅，我們現(xiàn)存的書籍存在形式在經(jīng)過長(zhǎng)達(dá)幾千年的發(fā)展和轉(zhuǎn)變之后逐漸已經(jīng)超越了物理上的方便經(jīng)濟(jì)。Books feel good. They operate well. It turns out that hundreds of years of publishing have field-tested for us t

11、he best ways to display text, to compose pages. Standard trim sizes are no accident, nor are the relative page counts of most books. It is not only economical; it works to hold books in these shapes, sizes, and weights. More than that, we readers have developed important habits and cues that keep us

12、 turning pages, finding our places, scanning and skimmingeven inhalingthe text. Most readers want to transfer their established reading habits to the new technology; it is up to us to apply what we learn about the reading experience to the new technology of e-readers. 紙質(zhì)書籍讓我們愉悅，他們被用起來很方便并且舒服，因?yàn)閿?shù)千年的發(fā)

13、展、轉(zhuǎn)變和出版售賣的經(jīng)驗(yàn)已經(jīng)為我們提供了很多經(jīng)驗(yàn)，去用最好的方法裝載書頁，合適的頁面大小和紙張材料而沒有過多的錯(cuò)誤產(chǎn)生。不僅僅是經(jīng)濟(jì)上的，我們了解了怎樣的形狀大小和重量最適合人類握在手上閱讀和翻頁，更重要的是在數(shù)千年書本的進(jìn)化之中作為讀者的我也發(fā)展處了重要的閱讀習(xí)慣和直覺 翻頁 做筆記 快速掃讀或是精讀。多數(shù)讀者希望把他們已建立于紙質(zhì)閱讀上的習(xí)慣直接嫁接到電子閱讀中去。而我們應(yīng)該做的就是用我們的所學(xué)用新興科技來匹配這些傳統(tǒng)閱讀習(xí)慣。There is plenty of expertise out there that we can draw on, mostly coming from the

14、 technology-driven industries that power the digital book revolution. Product and software interface designers in the computer and Internet industries have long relied on experts in usability and user experience to guide their decisions. They know that the easier and more satisfying it is for custom

15、ers to handle the equipment or interact with Web pages, the more likely they are to buy the device, order the product online, or view ads over many screens. We in digital books need to learn this and then gain influence in the decisions being made, both about how digital devices will be designed in

16、future, and more immediately about how digital text is displayed. I sought out usability and design experts to see what they can offer that will help us move toward a better user experience for readers. Three of them appear in this article. 我們可以借鑒很多的專業(yè)技能，其中的大多數(shù)來自促使電子書革命的科技導(dǎo)向行業(yè)。實(shí)體產(chǎn)品和軟件見面設(shè)計(jì)師們已經(jīng)有很長(zhǎng)根據(jù)用戶

17、體驗(yàn)和可用性原則來指導(dǎo)他們決定的歷史。他們知道只有用戶越容易使用產(chǎn)品，產(chǎn)品滿意度越高，他們才越有可能繼續(xù)用買產(chǎn)品或?yàn)g覽網(wǎng)頁上的廣告。Analyzing Reader Experience Steve Portigal, of consumer research firm Portigal Consulting1 in Pacifica, California conducted a research project in the summer of 2009 called Reading Ahead,2 on individual reading habits. Portigals proje

18、ct presented some compelling arguments for serious and expert research into user habits and preferences. As the summary states: P做了一個(gè)關(guān)于讀者個(gè)人閱讀習(xí)慣和偏好的調(diào)查 Books are more than just pages with words and pictures; they are imbued with personal history, future aspirations, and signifiers of identity. 傳統(tǒng)書籍并不試

19、試上面有字和圖畫的書頁而已。他們還承載了閱讀這本書時(shí)候的個(gè)人歷史，未來的期許以及個(gè)人身份認(rèn)同等等。 The unabridged reading experience includes crucial events that take place before and after the elemental moments of eyes-looking-at-words. 一個(gè)完整的閱讀體驗(yàn)同時(shí)包括了你在瀏覽這些書籍前后以及同時(shí)發(fā)生的事情和記憶 Digital reading privileges access to content while neglecting other essent

20、ial aspects of this complete reading experience. 1 .2 from=ss_embed. 電子閱讀在方便用戶更好的獲取北榮的同時(shí)忽視里其他幾個(gè)極為重要的閱讀體驗(yàn)。123 Pub Res Q (2011) 27:135140 137 There are opportunities to enhance digital reading by replicating, referencing, and replacing social (and other) aspects of traditional book reading. 而我們可以通過復(fù)制，

21、引用和提及一些其他方面的內(nèi)容來提升數(shù)字閱讀的傳統(tǒng)心理效用。Still, the primary goal of digital-book development should be creating good user experiences: creating things people can use that dont disappoint on some social, physical, or conceptual level that the designers and manufacturers hadnt known about or taken into account. T

22、here exist, of course, basic principles, but were at that inflection point where we bring our analog expectations to digital. Its hard to adopt new technology if its not done really well, and we dont have a model for a digital reading experience. Show Readers What They Could Gain The iPad is a big c

23、ultural story, said Portigal, because it changes our reading behavior. It is innovative and digital, but it isnt a book. New behaviors are emerging as a result of digital experience, he explained. We can handle operations that changefor example, that have preference settingsand there are actions tha

24、t are moot now (for example, removing the jacket from a hardcover book before reading). But theres so much potential for new functions and innovations; are readers ready for that? They lose something from not having the physical book, but dont yet know how much they may have to gain. E-book designer

25、s and developers have to show it to them. Editors should look for plus-ones. What are some ways to do a value-add for the existing experience? Something provocative, but something that can be turned off! Portigal suggests we tease and challenge the reader to learn more about what a digital reading e

26、xperience can offer, and then let us know how they like or dislike a feature. Maybe readers will be able to navigate content based on reading expectations: What kinds of books do people read in bed? Before sleeping? In transit? Readers may want to choose their content based on feeling, word length,

27、density of prose, device and platform, for different situations and activities. After the study was published, Portigal and the design magazine Core 77 co- sponsored a one-hour design challenge that drew provocative and boundary-hopping entries3 that may, more than a year later, still inspire profes

28、sionals to think outside the rectangle. Open Standards Encourage Innovation Open standards offer the greatest opportunities, in Portigals (and others) opinion. Allowing developers to innovate with widgets and plug-ins has sparked great feature delivery for mobile and web consumerswhy not in e-books?

29、 3 123 138 Pub Res Q (2011) 27:135140 For his own reading (he is a Stephen King fan), Portigal still favors print. He was recently introduced to the iPad and liked it: The most virtual-reality device I have tried: quite exciting and seductive. He would like a lower-than-hardcover price for a digital

30、 experience (audiobook versions just wont do; it must be through the eyes), but more convenience still isnt enough to convert him to digital. And he likes the shareability of print books, a feature already being tested by Amazon and Barnes and Noblebut with consequences that publishers will wrestle

31、for some time to come. Thinking on Both Sides of the Screen When user-experience professionals turn their attention to digital reading and e-books, they tend to see both forest and trees. Whitney Quesenbery, principal at the research and consulting firm WQusability4 and a devoted e-book consumer as

32、well as usability expert, talked about how reading books could be transformed by going digital. Quesenbery got right to one of the main points in the e-book discussionthe subject of multi-format accessibility. I want to buy the book once and go back and forth between modes of reading. Id even want t

33、o sync my audiobook version with my text version. Like most good interactive design practitioners, she prefers to streamline the users path to the contentfewer clicks, subscriptions, and versions. The New York Times should be able to customize my subscriptions and digital delivery. I dont want to ha

34、ve to subscribe to five different versions of the Times, and I dont want to have to reduce my options. Quesenberys recent book, Storytelling for User Experience,5 from the innova- tive publisher Rosenfeld Media,6 is a model of her multi-format philosophy (the book can be purchased in two different m

35、ulti-format packages that include print or printable, MOBI, ePub, and Adobe). Her book carries the subtitle Crafting Stories for Better Design. For the purposes of digital reading, she may as well reverse that line to Crafting Design for Better Stories: The books story (the experience) is inextricab

36、le from how the book is experienced; the books design. Kindle Gets It Almost Right When it comes to digital platforms, Quesenbery is a Kindle fan. It was love at first sight, she said. Reading is an immersive activity, so Kindle is good: when reading a book, I am not multitasking. When I read on an

37、iPad, there are all sorts of distractions. 4 5 6 . 123 Pub Res Q (2011) 27:135140 139 Other design choices seem particularly user-friendly and accessible, which are qualities of high importance: It feels right in the hand, and not too heavy. The screen, with its soft gray instead of bright white bac

38、kground, is not as hard on the eyes; I can read the Kindle forever. And the power cord is industry-standard. Quesenbery stores 60-70 books on her device, sends documents for screen reading, and uses it as a clippings file. But her ideal reading device is still over the horizon. Although she says, I

39、have the timing down so I can push the forward button before I finish the last sentence of the page, shed really like something better optimized for nonfiction: scaling graphics for diagrams and tables; travel-book features that combine GPS with dynamically served text; and (most important for frequ

40、ent users of the Kindles text- to-speech feature) a dead-mans switch to turn off the book when I fall asleep. A Designer Deploys His Left Brain One gift of the Web era is the flowering of interaction design as a professional discipline. Its practitioners have modeled mind-opening approaches to books

41、 and reading. For more than a decade Web designers have found a practical, code-savvy, design-centered voice at A List Apart, founded in 1997 by Jeffrey Zeldman of the Web design firm Happy Cog. ALA (now a multi-platform publisher) showcases some brilliant thinking in a number of areas.7 One recent

42、feature earlier this year offered a compelling demonstration of Web design practice applied to iPad reading when Craig Mod,8 a talented writer, designer and developer, published the article A Simpler Page, outlining how the concept of the book page can burst open when reconstructed on an iPad screen.9 A New Design Model and a Tool to Make It Happen Mod shows how print design assumptions based, for example, on the kinetic properties of the book spine can hinder optimal text display on an iPad or tablet. He calls for a rethinking of the properties of t