[雙語翻譯]視覺傳達(dá)設(shè)計(jì)外文翻譯--視覺傳達(dá)的設(shè)計(jì)原則（英文）

1、60 CommuniCations oF the aCm | APRIL 2011 | vOL. 54 | nO. 4contributed articlesIllustratIon by Mark skIllIcornVISuAL communIcATIon VIA diagrams, sketches, charts, photographs, video, and animation is fundamen

2、tal to the process of exploring concepts and disseminating information. The most-effective visualizations capitalize on the human facility for processing visual information, thereby improving comprehension, memory, a

3、nd inference. Such visualizations help analysts quickly find patterns lurking within large data sets and help audiences quickly understand complex ideas. Over the past two decades a number of books10,15,18,23 have c

4、ollected examples of effective visual displays. One thing is evident from inspecting them: the best are carefully crafted by skilled human designers. Yet even with the aid of computers, hand-designing effective visua

5、lizations is time-consuming andrequires considerable effort. More- over, the rate at which people world- wide generate new data is growing exponentially year to year. Gantz et al.5 estimated we collectively produced 1

6、61 exabytes of new information in 2006, and the compound growth rate between 2007 and 2011 would be 60% annually. We are thus expected to pro- duce 1,800 exabytes of information in 2011, 10 times more than the amount

7、 we produced in 2006. Yet acquiring and storing this data is, by itself, of little value. We must understand it to produce real value and use it to make decisions. The problem is that human design- ers lack the tim

8、e to hand-design effec- tive visualizations for this wealth of data. Too often, data is either poorly vi- sualized or not visualized at all. Either way, the results can be catastrophic; for example, Tufte24 explained

9、how Morton Thiokol engineers failed to visually communicate the risks of launching the Challenger Space Shuttle to NASA management in 1986, leading to the vehicle’s disasterous failure. While Robison et al.20 ar

10、gued the engineers must not be blamed for the Challenger accident, better com- munication of the risks might have prevented the disaster. Skilled visual designers manipu- late the perception, cognition, and Doi:10.11

11、45/1924421.1924439How to identify, instantiate, and evaluate domain-specific design principles for creating more effective visualizations. By maneesh aGRaWaLa, WiLmot Li, anD FLoRaine BeRthouzoz Design Principles

12、 for Visual Communicationkey insightsDesign principles connect the visual design of a visualization with the viewer’s perception and cognition of the underlying information the visualization is meant to convey. id

13、entifying and formulating good design principles often requires analyzing the best hand-designed visualizations, examining prior research on the perception and cognition of visualizations, and, when necessary, cond

14、ucting user studies into how visual techniques affect perception and cognition. Given a set of design rules and quantitative evaluation criteria, we can use procedural techniques and/or energy optimization to build

15、automated visualization-design systems.62 CommuniCations oF the aCm | APRIL 2011 | vOL. 54 | nO. 4contributed articlesFIGure 1. harry beck © tFl FroM the london transPort MuseuM collectIon FIGure 2. (leF

16、t) stePhen bIesty © dorlInG kIndersley; (rIGht) lIFeart IMaGescommunicative intent of visualiza- tions by carefully applying principles of good design. These principles ex- plain how visual techniques can be used

17、to either emphasize important information or de-emphasize irrel- evant details; for example, the most important information in a subway map is the sequence of stops along each line and the transfer stops that allow

18、riders to change lines. Most sub- way passengers do not need to know the true geographic path of each line. Based on this insight, map designer Harry Beck redesigned the map of the London Underground in 1933 using t

19、wo main principles: straightening the subway lines and evenly spacing the stops to visually emphasize the sequence of stops and transfer points (see Figure 1). Such design principles connect the visual design of a v

20、isualization with the viewer’s perception and cognition of the underlying information the vi- sualization is meant to convey. In the field of design, there is a long-standing debate regarding the interaction of aest

21、hetic and functional properties of designed artifacts. We do not seek to engage in this debate here; rather, we focus on how particular design choic- es affect the perception and cognition of the visualization, not t

22、he aesthetic style of the visualization. Accordingly, we use the term “design principle” as a shorthand for guidelines that help improve viewers’ comprehension of visually encoded information. Design principles are

23、usually not strict rules, but rules of thumb that might even oppose and contradict one another. For instance, Beck did not completely straighten the sub- way lines; he included a few turns in them to give viewers a

24、sense of a line’s overall spatial layout. Skilled visual designers implicitly apply the relevant design principles and balance the trade-offs between them in an itera- tive process of creating example de- signs, crit

25、iquing the examples, and improving the designs based on the critiques. Designers usually do not directly apply an explicitly defined set of design principles. The principles are a form of tacit knowledge that de- si

26、gners learn by creating and studying examples. It is far more common for books on visual design to contain vi- sual examples rather than explicit de- sign principles. Many of the analysts and end users inundated with

27、 data and charged with creating visualizations are not trained designers. Thus, our work aims to identify domain-specific design prin- ciples, instantiating them within au- tomated visualization design systems that e

28、nable non-designers to create effective visual displays. While other researchers have considered specific ways to use cognitive design princi- ples to generate visualizations (see the online appendix) we have been de

29、vel- oping a general, three-stage approach for creating visualization design sys- tems: Figure 1. harry Beck’s map of the London underground from 1933. Beck straightened the lines and more evenly spaced the stops to vi

30、sually emphasize the sequence of stops along each line. Figure 2. hand-designed cutaway and exploded-view illustrations (left) design the cuts and explosions to emphasize the shape of the missing geometry and spatial r