This paper is concerned with the use of icons in human-computer interaction (HCI). Icons are pictographic representations of data or processes within a computer system, which have been used to replace commands and menus as the means by which the computer supports a dialogue with the end-user. They have been applied principally to graphics-based interfaces to operating systems, networks and document-processing software. The paper attempts to provide a more systematic treatment of icon interfaces than has hitherto been made, and to create a classification which it is hoped will be of use to the dialogue designer. The characteristics, advantages and disadvantages of icon-based dialogues are described. Metaphors, design alternatives, display structures and implementation factors are discussed, and there is a summary of some icon design guidelines drawn from a variety of sources. Some mention is also made of attempts by researchers to measure the effectiveness of icon designs empirically.

Icon-based human-computer interaction

Foreword Note on graphic conventions 0. Introduction-Toward a Logic of Culture 0.1. Design for a semiotic theory 0.2. 'Semiotics': field or discipline? 0.3. Communication and/or signification 0.4. Political boundaries: the field 0.5. Natural boundaries: two definitions of semiotics 0.6. Natural boundaries: inference and signification 0.7. Natural boundaries the lower threshold 0.8. Natural boundaries: the upper threshold 0.9. Epistemological boundaries 1. Signification and Communication 1.1. An elementary communicational model 1.2. Systems and codes 1.3. The s-code as structure 1.4. Information, communication, signification 2. Theory of Codes 2.1. The sign-function 2.2. Expression and content 2.3. Denotation and connotation 2.4. Message and text 2.5 Content and referent 2.6. Meaning as cultural unit 2.7. The interpretant 2.8. The semantic system 2.9. The semantic markers and the sememe 2.10. The KF model 2.11. A revised semantic model 2.12. The model \"Q\" 2.13. The format of the semantic space 2.14. Overcoding and undercoding 2.15. The interplay of codes and the message as an open form 3. Theory of Sign Production 3.1. A general survey 3.2. Semiotic and factual statements 3.3. Mentioning 3.4 The prolem of a typology of signs 3.5. Critique of iconism 3.6. A typology of modes of production 3.7. The aesthetic text as invention 3.8. The rhetorical labor 3.9. Ideological code switching 4. The Subject of Semiotics References Index of authors Index of subjects

A Theory of Semiotics

A human-computer interface for executing computer operations on data objects under control of a multifunctional cursor which represents multiple computer operations visually in the cursor, which facilitates execution of repeated operations through a "cycle" capability, and which decouples pointer and image functionalities in time and space. The interface may be configured with a screen display and a movable region to display a cursor shape, which shape contains multiple icons representative of computer operations. Each computer operation may be executed under the control of a distinct input pattern. Multiple operations may be loaded in one or more sequences, which may themselves by cycled under control of a distinct input pattern. The interface may also be configured with a screen display, a movable region to display a cursor pointer, and an image region to display computer operation icons. One operation from a menu of operations is associated with the image subarea, and then an icon representative of the associated operation is displayed in the image subarea as a local reminder of this operation. The associated operation may then be executed on a data object on the screen when prompted by the user. The image subarea may be subdivided so that multiple operations may be loaded, displayed, and then executed through cursor control. The pointer subarea and the image subarea are decoupled from one another in time and in space. The visibility of the image subarea is decoupled from the availability of operations indicated within that subarea.

System for controlling computer processing utilizing a multifunctional cursor with decoupling of pointer and image functionalities in space and time

http://www.nortonfastback.com/york/docs/design%20of%20computer%20icons.pdf

Factors affecting the design of computer icons

An architectural model of a window manager is presented. Some commercially available window managers are compared in relation to this model. Specific attention is given to the window managers supplied by SUN, APOLLO, and ICL (PERQ PNX). 3.

Methodology of window management

The term corporate identity program is well-known in the graphic design field, which has applied the approach to the traditional areas of stationery, vehicle identification, signage, and other forms of complex communication. It is argued that this approach should be extended to the design of screens, especially for high-resolution, iconic, multiwindow interfaces. Typography, symbolism, and color are discussed from this perspective, and three case studies, namely, the Xerox Star, the Apple Lisa, and the Intran Metaform system, are examined.

Corporate identity for iconic interface design: The graphic design perspective

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Corporate identity for iconic interface design: The graphic design perspective