Five Design Sheets Creative Design and

Sketching for Computing and

Visualisation 1st Edition Jonathan C.
Roberts
Visit to download the full and correct content document:
https://textbookfull.com/product/five-design-sheets-creative-design-and-sketching-for-
computing-and-visualisation-1st-edition-jonathan-c-roberts/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

Computing the Environment Digital Design Tools for

Simulation and Visualisation of Sustainable
Architecture 1st Edition Brady Peters

https://textbookfull.com/product/computing-the-environment-
digital-design-tools-for-simulation-and-visualisation-of-
sustainable-architecture-1st-edition-brady-peters/

Data Visualisation A Handbook for Data Driven Design

Andy Kirk

https://textbookfull.com/product/data-visualisation-a-handbook-
for-data-driven-design-andy-kirk/

Data Visualisation: A Handbook For Data Driven Design

Andy Kirk

https://textbookfull.com/product/data-visualisation-a-handbook-
for-data-driven-design-andy-kirk-2/

Museums and Design for Creative Lives 1st Edition

Suzanne Macleod

https://textbookfull.com/product/museums-and-design-for-creative-
lives-1st-edition-suzanne-macleod/
Presto Sketching The Magic of Simple Drawing for
Brilliant Product Thinking and Design 1st Edition Ben
Crothers

https://textbookfull.com/product/presto-sketching-the-magic-of-
simple-drawing-for-brilliant-product-thinking-and-design-1st-
edition-ben-crothers/

Digital design in action : creative solutions for

designers 1st Edition Ciolek

https://textbookfull.com/product/digital-design-in-action-
creative-solutions-for-designers-1st-edition-ciolek/

Generative Art with JavaScript and SVG: Utilizing

Scalable Vector Graphics and Algorithms for Creative
Coding and Design (Design Thinking) 1st Edition David
Matthew
https://textbookfull.com/product/generative-art-with-javascript-
and-svg-utilizing-scalable-vector-graphics-and-algorithms-for-
creative-coding-and-design-design-thinking-1st-edition-david-
matthew/

Tragic Design The Impact of Bad Design and How to Fix

It 1st Edition Jonathan Shariat

https://textbookfull.com/product/tragic-design-the-impact-of-bad-
design-and-how-to-fix-it-1st-edition-jonathan-shariat/

Statistics and experimental design for toxicologists

Shayne C. Gad

https://textbookfull.com/product/statistics-and-experimental-
design-for-toxicologists-shayne-c-gad/
Jonathan C. Roberts
Christopher J. Headleand
Panagiotis D. Ritsos

Five Design-Sheets:
Creative Design
and Sketching
for Computing
and Visualisation
Five Design-Sheets: Creative Design and Sketching
for Computing and Visualisation
Jonathan C. Roberts • Christopher J. Headleand
Panagiotis D. Ritsos

Five Design-Sheets: Creative

Design and Sketching for
Computing and Visualisation

123
Jonathan C. Roberts Christopher J. Headleand
Bangor University University of Lincoln
Bangor, UK Lincoln, UK

Panagiotis D. Ritsos
Bangor University
Bangor, UK

ISBN 978-3-319-55626-0 ISBN 978-3-319-55627-7 (eBook)

DOI 10.1007/978-3-319-55627-7

Library of Congress Control Number: 2017940639

© Springer International Publishing AG 2017

This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of
the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation,
broadcasting, reproduction on microfilms or in any other physical way, and transmission or information
storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology
now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication
does not imply, even in the absence of a specific statement, that such names are exempt from the relevant
protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this book
are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or
the editors give a warranty, express or implied, with respect to the material contained herein or for any
errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional
claims in published maps and institutional affiliations.

Printed on acid-free paper

This Springer imprint is published by Springer Nature

The registered company is Springer International Publishing AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Preface

One of the many challenges that programmers face is knowing how to start, when
setting out to solve a computing problem. For instance, when we give our computing
students programming assignments, many of them leave the development of their
code until the last minute, just because they do not know how or where to start.
Starting a project, or a programming assessment, is often the hardest part to the
problem. When we (the authors) are faced with problems ourselves, whether for
work or at home, we have often found ourselves reaching for sheets of paper to
make sketches, draw a rough plan and take some notes down. The very act of putting
pen to paper helps us think through the problem in a deeper way. It is these initial
sketches, done on a back of an envelope (so to speak), that help us get our creative
juices starting; they help us to quickly express our ideas and also quickly reject
them.
Each of us is different in how we do this creative thinking. Jonathan will get
his drawing pens out of his bag, reach for his pad of A3 sheets of drawing paper,
write down words to explore the landscape and draw a quick diagram. Chris, on the
other hand, will jump to the wipe board, clean it off from the previous conversation
and draw large pictures on the board, while Panos will pull up a mind-mapping or
graphical editor on his computer, type in a few categories and brainstorm different
phrases, and draw a picture on the screen. While we are different with regard to the
tools that we use, we all are planning and thinking creatively, trying to work through
the problem in our minds, using different depictions to externalize and perpetuate
our thoughts. We are considering alternative solutions and ascertaining which is the
best one to follow. We are organizing our thoughts into our courses of actions or
grouping them into strategies.
Any of our methods could be used on its own or in combination with the
others. These tools (sketching, wipe board or graphics program) help us, not only
to work our ideas through but also to share them and communicate them to others.
Indeed, group work can often be beneficial because you can collectively draw upon
everyone’s knowledge and ideas. Other times this can be problematic, with some
people pushing their idea for their own interest or itinerary, rather than working
toward the common, collective good.

v
vi Preface

Fig. 1 Working through an algorithm to manipulate three-dimensional data

The challenge with these techniques being used on their own, however good they
may be, is that they are ad hoc. There is no specific structure for drawing on a
wipe board or for sketching. An empty wipe board or a sheet of paper is merely a
blank starting point. But structure is very important for group activities, as it allows
the group to follow the same guidelines. Structure is also especially beneficial to
students who are learning – as a method can be taught, the students know what
to do by repeating the steps of the method and they can be assessed on how well
they implemented it. So, how can we provide a structure over the sketching and
critical design process? What would it look like? What information will the structure
contain? We believe that such a structure will help students learn how to plan and
think through alternatives for building software interfaces. It will help learners to
have a method that they can apply and reapply. It will help companies, who are
building interfaces, exchange and compare ideas and different solutions.
Drawing and sketching have always been an important part of human expression.
Just consider Leonardo da Vinci who created many beautiful notebooks of his
ideas. These books are still inspiring researchers and inventors today, in art and
design of tools and mechanical devices. Likewise, we have used sketchbooks to
record events and develop our thoughts. We start our story in October 1992 when
Jonathan was studying for his PhD. It was during this time that he started to use
research notebooks. These were A4 glue-bound hardback notebooks that were
ruled. Jonathan can remember walking to every meeting with his notebook and
pen. Every page started with the date of that meeting and every event started on
a new page. Meetings, conferences, thoughts, ideas, concepts, diagrams, etc. all
Preface vii

made it into the notebooks. Importantly, sketches formed an important part of the
recording process. At the time, Jonathan was investigating methods to render and
explore three-dimensional datasets, such as those from magnetic resonance imaging
(MRI) or computed tomography (CT) scans. It was only a few years earlier that
Lorensen and Cline had published the marching cubes1 algorithm. Jonathan can
remember drawing many sketches of how to visualise and render three-dimensional
data (Fig. 1). These algorithms were eventually included into the Waltz visualisation
system, to manipulate and analyze three-dimensional data. An early sketch of the
Waltz interface (dated March 1995) is shown in Fig. 2a. This was used as a “plan”
to help design the interface (Fig. 2b). It was used not only to work out the final
appearance but also to help plan the individual aspects of the code.
Drawing, sketching and design are always featured in all our teaching and
work. We pick up the story, once again, in 2007. Jonathan had just moved to
Bangor University and set up a graduate module on information visualisation. It
was during this module that Jonathan started to develop the Five Design-Sheet
sketching methodology. We needed a method to allow students to plan their data
visualisation tools. At first, the methodology was informal and merely encouraged
students to make sketches to plan their goals. But after refining the module and
the technique over several years, the format and advice of sketching and planning
interfaces were gradually developed. At the same time, Chris completed a degree
in education and design. He joined Harlech College, where he developed and led
a creative technologies course. Panos was working for the industry as a software
engineer, having completed his PhD in 2006. From 2011 and over the next few
years, we see the coming together of many events. The first Five Design-Sheets2
paper was published; Panos moved to Bangor to work with Jonathan, and then
Chris followed. Working collaboratively, we started to generalise and develop the
Five Design Sheet further. The outcome of this process was our journal paper on
“Sketching Designs Using the Five Design-Sheet Methodology”3 that was presented
at the IEEE Visualisation Conference in 2015.
Collectively we realised that together we had a common interest in design,
sketching, professional development and encouraging others to develop good
software. It is these aspects that have motivated us to write this book. Not only
does the Five Design-Sheet methodology provide a useful structure for students and
learners to follow in an academic setting, but it can also be helpful for those doing
research and development of new software tools and those developing software in
companies. Moreover, it is not only the mere act of sketching that is important, but
it is the thinking that surrounds the sketching of an idea. What is often difficult

1
Lorensen, W.E. and Cline, H.E., 1987, August. Marching cubes: A high resolution 3D surface
construction algorithm. In ACM SIGGRAPH computer graphics (Vol. 21, No. 4, pp. 163–169).
ACM.
2
Roberts, J.C., 2011. The Five Design-Sheet (FdS) Approach for Sketching Information Visualiza-
tion Designs. Proc. Eurographics Education Papers, pp. 27–41.
3
Roberts, J.C., Headleand, C. and Ritsos, P.D., 2016. Sketching designs using the Five Design-
Sheet methodology. IEEE transactions on visualization and computer graphics, 22(1), pp. 419–428.
viii Preface

Fig. 2 The Waltz visualisation tool. (a) Sketches were first made that plan and explain the
interface. (b) The sketches provide a vision for the completed tool. Both sketch and the Waltz
tool were created by Jonathan Roberts while studying for his doctor of philosophy (PhD) thesis,
University of Kent, 1995
Preface ix

is knowing where ideas are initiated from or how to think through ethical and
professional issues that surround a problem. We have experienced this firsthand.
We have each worked on projects and developed software where we have had to
think through the challenges, grapple with ethical issues and develop appropriate
solutions. We see this everyday in our students, especially those who are doing
projects and find it difficult to ideate different concepts and think through the
problem. Creative thinking is not a skill that many have. But it is a skill that
we believe can be learned, especially with some help and advice. We do feel,
however, that there should be more design thinking within the curriculum and a
wider adoption of creative thinking alongside critical thinking in education and
at every level. Things are starting to change, and we are gradually seeing more
sketching, creativity, and planning by design in difficult curricula.
Furthermore, we feel that ethical concerns should be looked at more closely, and
that being ethical and professional in school and academia and in the workplace
is becoming increasingly multifaceted while always remaining important. For
instance, the threat of cybercrimes and cyberbullying is increasing. It is therefore
beneficial for programmers to understand and appreciate how such issues may
affect their designs. While professionalism is part of the curriculum in many
higher education computing courses, students often ignore the related concepts and
implications and do not engage with the material in a truly thoughtful manner. One
challenge they face is that there are few resources that integrate design thinking
with professional considerations. Significantly, we believe that along with design
thinking, professional thinking should be incorporated into the design phase and
especially considered from the start. Consequently, we include chapters that discuss
a range of such issues faced by the developer.
To write the book, we have drawn upon our wide range of knowledge and
skills and many years of experiences within education, teaching and industry.
Collectively, we have experience in leading and mentoring undergraduate, master,
and research (PhD) students and leading and evaluating different computing
modules (from computer programming, graphics and information Visualisation
modules, algorithms, Web design, and Web programming to artificial intelligence
and professional perspectives). We have developed degree programs and led them
through accreditation. We have been external examiners, examining courses and
PhD students at different universities. We also draw upon the experience and
knowledge of many authors, from related literature. As you read, take a note of
related work that you can follow and read at a later stage.
Through our refinement of the Five Design-Sheet method (over the past 8 years
or more), we have also generalised the techniques from being totally focused on
information visualisation tools to also using the method for interactive software
development. We need to be true to the past of the FdS, and so we will include many
examples focusing on the development of data visualisation tools. But we also think
(actually we hope) that the methods and ideas we discuss here could be used for
new applications. We hope that you will be able to take the method and adapt it
x Preface

for your purpose. Finally, we take this opportunity to acknowledge and thank all the
students who have helped us develop the Five Design-Sheet method and have trailed
our processes throughout the years. Without you, this book would not be possible.

Bangor, UK Jonathan C. Roberts

Lincoln, UK Christopher J. Headleand
Bangor, UK Panagiotis D. Ritsos
Contents

Part I Think
1 Introduction: Think, Prep, Sketch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.2 Think, Prep, Sketch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.3 Focused Learning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
1.4 What Software Tools Can You Build, as a Result
of this Process? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.5 Think: In Your Minds-Eye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.6 Design by Sketching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1.7 Developing Your Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
1.8 How to Read this Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
2 Overview of the Five Design-Sheets (FdS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
2.1 Introduction to the FdS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
2.2 The Design By-Sketching Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
2.3 Take Time and Develop Your Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
2.4 Thinking Holistically. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
2.5 History of the FdS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
2.6 Who Has Used the FdS? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
2.6.1 Teachers Can Use the FdS in an Assessment. . . . . . . . . . . . . . 36
2.6.2 Project Students, Creating a Chapter on Their
Dissertation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
2.6.3 In a Company Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
2.7 Will It Work for Non-Visual Interface Development? . . . . . . . . . . . . . . 38
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
3 Thoughts, Ideas, Problems and Solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
3.1 Types of Thinking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
3.2 On Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
3.3 Fast and Slow Thinking of Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

xi
xii Contents

3.4 The Importance of Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

3.5 Reflection, Metacognition and Critical Thinking . . . . . . . . . . . . . . . . . . . 53
3.6 Problem Solving Stages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
3.7 Characterising Problems (Well-Structured vs. Ill-Structured) . . . . . 61
3.8 Being a Convergent and Critical Thinker . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
3.9 Divergent Thinking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
3.10 Enthusiasm and Attitude to Thinking, Problem Solving and
Creativity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
3.11 Thinking, Problem Solving and the FdS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
3.12 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
4 Social, Ethical and Other Considerations to Interface Design . . . . . . . . 85
4.1 Our Self, Our Identity and Foresight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
4.2 Triage: Making a Quick Judgment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
4.3 Can You Do It? Resources, Utility, Authority . . . . . . . . . . . . . . . . . . . . . . 92
4.3.1 Can You: Do You Have the Resources? . . . . . . . . . . . . . . . . . . . 93
4.3.2 Can You: Is There Utility? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
4.3.3 Can You: Do You Have Authority? . . . . . . . . . . . . . . . . . . . . . . . . 98
4.4 Should You Do It? – Is It Ethical? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
4.5 What If You? – Any Ramifications?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
4.5.1 Business Response: Is There a Product? . . . . . . . . . . . . . . . . . . 107
4.5.2 Emotive Response: How Will People View It? . . . . . . . . . . . 111
4.6 Thinking Through Issues, Use an Acronym! . . . . . . . . . . . . . . . . . . . . . . . 112
4.7 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Part II Prep
5 Sketching Design Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
5.1 Sketching as a Way to Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
5.2 But I Cannot Draw! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
5.3 Getting a Kit Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
5.4 Pens, Ink and Colour Washes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
5.5 Why Is Sketching Useful? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
5.6 Techniques: Bold Lines and Faint Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
5.7 Improving and Enhancing Your Sketches . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
5.8 Other Mediums: Different Types of Low-Fidelity Prototyping . . . . 141
5.9 Sketching Alone or in a Group? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
5.10 Sketching Alternatives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
5.11 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
6 Graphical Marks and Semiology for Sketching . . . . . . . . . . . . . . . . . . . . . . . . . 151
6.1 Developing a Visual (Sketching) Language . . . . . . . . . . . . . . . . . . . . . . . . . 151
6.2 Graphical Marks and Gestalt Laws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Contents xiii

6.3 Graphical Semiotics: Arbitrary Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

6.4 Graphical Semiotics: Sensory Signals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
6.5 Graphical Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
6.6 Graphical Encapsulation and Environment . . . . . . . . . . . . . . . . . . . . . . . . . 169
6.7 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
7 Creative Thinking, Creativity and Ideation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
7.1 Aim to Generate Many Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
7.2 Telling a Story with Sketches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
7.3 Idea Generation: And Getting in the Right Mindset . . . . . . . . . . . . . . . . 186
7.4 Encouraging a Creative Mindset and Environment . . . . . . . . . . . . . . . . . 191
7.5 The Importance of Sleep and Resting the Mind . . . . . . . . . . . . . . . . . . . . 193
7.6 Ideas from Nature: Mimicking and Bioinspiration . . . . . . . . . . . . . . . . . 195
7.7 Ideas from Man-Made Structures and Models . . . . . . . . . . . . . . . . . . . . . . 197
7.8 Techniques to Help Find Alternative Ideas. . . . . . . . . . . . . . . . . . . . . . . . . . 200
7.9 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Part III Sketch

8 Sheet 1 of the Five Sheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
8.1 Get Prepared . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
8.2 Framing the Vision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
8.3 How to Frame the Problem? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
8.4 The Journey of Sheet 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
8.5 Ideas (Start with the Salient Features). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
8.6 Ideas (Using Other Frameworks: Top-Down Thinking) . . . . . . . . . . . . 227
8.7 Ideas (Focusing on Tasks: Bottom-Up Thinking). . . . . . . . . . . . . . . . . . . 229
8.8 Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
8.9 Categorise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
8.10 Combine and Refine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
8.11 Question . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
8.12 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
9 Sheets 2, 3 and 4 (The Middle Sheets) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
9.1 Pause and Deliberate on the Designs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
9.2 Starting Sheets 2, 3 and 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
9.3 The Big Picture of the Puzzle Game Example . . . . . . . . . . . . . . . . . . . . . . 249
9.4 Examples of the Big Picture Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
9.4.1 Technologies and Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
9.4.2 User Interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
9.4.3 Designs That Focus on Animation . . . . . . . . . . . . . . . . . . . . . . . . . 265
9.5 Operations and Components of the System . . . . . . . . . . . . . . . . . . . . . . . . . 266
9.6 The Parti (The Main Focus). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
xiv Contents

9.7 Pros and Cons of Each Design Sheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

9.8 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
10 Sheet 5 (Design Realisation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
10.1 Which Alternative Design? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
10.1.1 Goals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
10.1.2 Fit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
10.1.3 Usable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
10.1.4 Useful . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
10.1.5 Aesthetics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
10.1.6 Cost. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
10.1.7 Eco-Friendly and Sustainable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
10.1.8 Unique. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
10.1.9 Buildable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
10.2 Creating the Final Design Realisation Sheet . . . . . . . . . . . . . . . . . . . . . . . . 291
10.3 Delivering and Using the Realisation Sheet. . . . . . . . . . . . . . . . . . . . . . . . . 295
10.4 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
11 Five Design-Sheet Examples and Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 299
11.1 Worked Example of the FdS (Heritage Scenario) . . . . . . . . . . . . . . . . . . 299
11.1.1 Heritage Example: Sheet 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
11.2 Heritage Example: Sheets 2, 3, 4 and 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
11.3 Worked Example of the FdS
(Explanatory Visualisation Scenario) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
11.4 Visualisation Example: Sheet 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
11.5 Visualisation Example: Sheets 2, 3, 4 and 5 . . . . . . . . . . . . . . . . . . . . . . . . 317
11.6 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Part I
Think
Chapter 1
Introduction: Think, Prep, Sketch

Abstract There are many situations when you need to plan and think through
a range of different ideas, strategies, or courses of action. Often, your task is to
find the right tools, or approach for a job and plan a solution to the problem at
hand. In other situations is it useful to work through different permutations in your
mind and decide which idea is the best to implement. Often though, it is initially
difficult to know which design is best and how to proceed. This certainly applies to
programmers, when they design and develop visual computer interactive interfaces,
or visualisation tools that display big data. In particular, software engineers need
often to consider various alternative designs and layouts, before they even think
about beginning to program. In this book we present a method that will enable
you to contemplate, decide upon and communicate different approaches and ideas.
We call it the Five-Designs Sheet methodology, as it is based around sketching
alternative designs in five structured sheets. Through presenting this method, we
discuss techniques to help you contemplate your ideas, combine them to devise
more complex plans and depict them in sketches. These sketches can them be
implemented as interface solutions. This chapter covers the main concepts explored
in the book and the different skills that we wish you to learn, including: (1) thinking
through ideas, (2) preparing to sketch and (3) sketching different ideas and using the
Five Design-Sheet methodology for design-thinking.

1.1 Introduction

When in the early stages of designing an interface for a software application, it

is often difficult to envision what it will look like. There may be many possible
layouts, or a number of different ways that a user could interact with your tool. Any
of these possible alternatives could be implemented and each may have potential as
a usable system. Some designs will end up being more popular and the users will
go back and use them again-and-again, whereas other tools may be used once and
never again open. Coming up with those designs and possibly building more than
one alternatives will take much time and require effort, cost you (or the company
you are working for) lots of money. Obviously, when you are planning to build
something, you want to make the end result useful, worthwhile, fit for its purpose,
while keeping overall costs minimum. It would seem sensible to plan as much as

© Springer International Publishing AG 2017 3

J.C. Roberts et al., Five Design-Sheets: Creative Design and Sketching
for Computing and Visualisation, DOI 10.1007/978-3-319-55627-7_1
4 1 Introduction: Think, Prep, Sketch

you can before you proceed with the (usually expensive) implementation of the
solution. But there is a balance to maintain. You do not want to limit development
in deadline sensative applications, but you want to spent as much time in the
planning process as possible so as to maximise the efficiency, and success of the
development process. Furthermore, you do not want to get into a situation where
your designs are impossible to build, due to unconsidered technical constraints from
an immature design concept. There is a compromise to be made. You need to have
a well considered plan that can be used by you (or other people) to build your idea.
Many of today’s software engineers use Agile techniques, where the software is
built in close collaboration with users or client. The software development moves
forward at a fast pace, and the outputs are rigorously and frequently tested. Yet,
software engineers still need to get to a situation where they can start this building
process. If you are the developer, you need to know what the end-product may look
like, how users will interact with it, and how it should connect with other software.
You need, at least, to create a vision document, which records the ideas that you
have had, ideas that you have rejected (for whatever reasons) and ideas that you
have explored in great detail. In fact, not only is it useful to record these ideas, but
you will need to have elements of it down on paper, such to confirm the design idea
to your client or supervisor.
Systematic planning of what to build, and thinking over the advantages and
disadvantages of alternative design solutions is essential in many fields. Not only is
design-thinking useful for software engineers, but it is beneficial when you design
and prototype a new piece of hardware, using bread-boards or printed-circuit boards.
It can be useful when you are looking to re-design a product, or look to adapt and
improve existing products. We do acknowledge that throughout this book we focus
on the creation of interactive software tools, and use the case study of building data-
visualisation tools. However, we have tried to keep the techniques general enough
such that this book would be useful for a wide range of people, with different
challenges and different situations, and for different applications.
This book explores design by sketching and describes the Five Design-Sheet
(FdS) methodology [8]. By following the methodology you will produce five sheets
which develop designs from initial ideation through to a final concept. Sheet 1
provides a workflow to explore the idea space, where creativity can flow and where
lots of different ideas are generated. Sheets 2, 3 and 4 develop these ideas further,
while Sheet 5 is used to refine a implementable solution. It is through sketching
that you will understand more about the issues, opportunities and challenges of the
design task.
The book follows the general structure of the methodology, supported by
additional material. In Part I – Thinking, after a discussion and overview of the
methodology we present aspects that you need to consider before tackling the FdS.
Then Part – Preparation, and in Part III – Sketching, where we present chapters that
discuss each of the sheets (sheets 1 then 2, 3 and 4 together, followed by a chapter
on sheet 5).
1.2 Think, Prep, Sketch 5

1.2 Think, Prep, Sketch

At the start of any project you need to have a vision; a concept of where you are
heading. In your mind you have an idea of what the tool you develop could look
like in the end, and your imagination allows you to envision how it could fit in
with other software and tools. Often at the start of any development, this vision is
not concrete, it is approximate and abstract. But even a rough, approximate vision
affords us many features. It allows us to extrapolate the ideas and work through any
problems. It allows us to plan out different aspects of the programming task, which
could be given to other people.
Many ideas start off small. Indeed back-of-an-envelope sketches are often the
starting point to a new endeavour. These sketched ideas could be initiated by a brief
encounter and discussion with someone over (say) a meal. In this situation your
mind is free-wheeling, it is relaxing, you are talking about your day, your friends,
sports, politics and how cool your new gadget is. It is during these times that you
come up with an idea. You apply it to a problem that your subconscious mind has
been working on in the background. This idea may actually be an amalgamation
of many other ideas. It may be bringing together different concepts. Your brain
merely puts different parts of those ideas into order. Sketching down these ideas, or
anything that assists your thought process and brainstorming is important. Indeed,
many designers suggest that you should have a pad of paper and a pen with you at
all times, such that you can write down the ideas when you have them, on the spot.
In fact, we highly support this form of sketching. It is timely and necessary, and
these sketches can be developed further. We will talk further about where and how
ideas are created in Chap. 7 about Idea creation.
Other times the ideas come to fruition because you have worked hard and focused
on a problem. This is a deliberate form of thinking. Leonardo de Vinci wrote “It
has long since come to my attention that people of accomplishment rarely sat back
and let things happen to them. They went out and happened to things” [11]. It is
deliberate thinking because you have spent conscious effort and time, pondering
and considering the idea, and working through all possibilities. In this situation you
can afford be more systematic and rigorous over the design process. For instance,
you can first do some research into your challenge, and see what other people have
done and achieved. You would need to take notes from this research, start to write
(or sketch) the main concepts, and work through different ideas. You are systematic
in how you have written these ideas, and you would put thought into how these can
be placed into a categorisation. You start off with a categorisation of five parts (for
instance) and then refine this category into (say) three categories.
These two types of thought represent fast and slow thinking (see Kahneman [6]).
If you are thinking fast then you are most likely acting intuitively. You draw on your
experience and your knowledge to make decisions and choices. Kahneman calls this
“System 1” thinking. The thoughts associated with system 1 are automatic. They
are routine. We make decisions based on the available information. The second type
of thinking is slow, and Kahneman labels this as “System 2”. It is deliberate and
6 1 Introduction: Think, Prep, Sketch

requires more effort. Slowing down and being more deliberate can deter us from
making rash and unfortunate decisions. System 2 thinking is rational and is focused
on critical-thinking. We need to concentrate hard on finding solutions to a particular
problem. In creative discovery we need both. We need to be fast in our thinking, to
find the easy and quick answers, but also we need to put effort into our thinking,
such to classify and organize our thoughts and ideas appropriately.
However these ideas have been initiated – whether they started as back-of-an-
envelope sketches, or through sustained effort – you will still need to further refine
them. You will need to ascertain how they fit in with current practices, and make
judgements to decide whether the chose solution is going to be appropriate and
useful. These ideas will need to be further planned, fleshed-out and elaborated.
Additional detail will have to be added. If you are to give a sketch of your idea
to a developer, to build, then you will be probably required to add additional detail,
to explain your idea.
This is a process. You will start off with ideas, make preparation and do further
research, and then create the final design documents. In this book, the final output
we will be creating is a set of sketches. Indeed, for any project you will have three
stages: you will make steps to think through different ideas, you will then need to
plan and make preparation of what you are building to confirm to you (and others,
that your ideas are suitable), and finally you will need to sketch your plans to make
them concrete, such that you can implement the software or commission it (for
example). Consequently, this book is split into these three parts: Think, Prep, Sketch,
see Fig. 1.1.
Thinking. There are many aspects to thinking. Some thoughts are creative and
enable new ideas to be generated. Other thoughts we have are critical, and help
us question our ideas. Different types of thinking are required at different stages.
Whatever type of thinking we are referring to at a particular time, enables us,
as software developers to consider many different aspects of the engineering
process. Often, programmers are too keen to get started, which can lead them
to head off on a wrong path. Especially some student learners are so keen to
just get coding that they end-up missing what the main functionality of the tool
should be, ending up with low marks in related assessments. But a little thought
up-front can help a great deal with the appropriateness and effectiveness of the

Fig. 1.1 The book is divided into three parts. Part I covers the vision, where you need to think
and imagine what the idea could look like consider the advantages and disadvantages of an idea
in comparison with others. Part , details what specific preparation you should make, such to create
good designs. Part III covers the Five Design-Sheet methodology in detail, with separate chapters
for each sheet, and looks to further reading and examples of people using the FdS approach
1.2 Think, Prep, Sketch 7

end result. Towards this goal, we explore how we can initiate new ideas, and how
we can engender creative thinking. In this part we also discuss ethical issues and
any ramifications of you doing the work. We ask “can you?”, “should you?”, and
“what if you?” do the work and build the tool.
Prep. The second part covers specific actions that you should do in preparation
before the FdS. The first skill we will investigate is sketching. We will cover more
detail on why sketch, skills to improve your sketching, and also different medium
for sketching or low-fidelity planning. As authors, we have been researching
(among other things) how to develop visualisation tools and create new data-
visualisation algorithms. An important aspect of thinking about new visualisation
tools is to make sure that you understand the data that you have. Therefore
as preparation for doing the FdS we will look at data analysis. We will cover
questions such as: What requirements are there on the tool? What does the client
want? What is the task of the tool? What data do you have or require to implement
the tool?
Sketching. While we can think about the ideas in our mind, we need a way to
record them. It is often through this very act of recording of our ideas that we
realise how these can be improved or whether they are fit for purpose. One way
to display the ideas is to create a fully-rendered, picture of our vision. Such
computer-rendered images are useful, because they can be used to see exactly
what an interface, object or building may look like. However, these full-rendered
versions often look too finished, making people who see them less likely to
question the depicted ideas and their suitability in tackling the problem at hand.
On the contrary, what we want is a way to record our ideas yet still be
able to tweak on them, refine and improve them, and allow people to readily
contribute and challenge them. Sketching our designs provides this half-way-
house. It enables us to record our ideas and exchange them with others, while
its approximate and unfinished state invites people to contribute, making it
more that they will question, refine and adapt them. Following the Five Design-
Sheet method we work through sketching initial design ideas, planning them in
more detail, and finally presenting the realisation design sheet that can be then
implemented by yourself or given to someone else to build.
Throughout these three stages we are not advocating that you should do all the
thinking first and then do sketching. Instead, we strongly suggest that sketching
becomes part of the thought process, and that you will need to contemplate about
your solution throughout each part of the FdS. The thinking that we are advocating
at the first stage is more about preparing your mind and thinking through different
issues that could possibly occur. We are trying to get you to make ‘what if’
questions. For example, “if I build this tool, would it be usable?”, “if I build this
tool, how will it be integrated into current systems that the company uses?”. We are
encouraging you to be critical about your ideas. We are asking you to perform a
critical analysis of what could be. We are thinking through different combinations
and different possibilities in our minds-eye.
8 1 Introduction: Think, Prep, Sketch

Naturally, when you start a project you will have many questions in your mind.
These questions will be vague and general. You will be thinking over the challenge,
what to build, and how you can gather your thoughts together. Indeed, if you
have been tasked with building the tool – for instance, you could be a student
doing an assessment – then some of these questions may already be posed by the
requirements document that your teacher has given you. Some of these could include
the following:
• So what are you going to build?
• What have you been asked to build?
• What ideas do you have in your mind?
• What challenge are you trying to solve?
• Where do ideas come from?
When you have decided what idea you are working through, then you need to
start to be more specific. Here you need to make firm the requirements of the tool.
Consider where it will be used by the user. You especially need to consider questions
over ethical considerations of the tool. Questions such as the following come to
mind:
• What will the tool look like in the end?
• What have other people done? (research)
• Do you already have a solution to your challenge?
• Are the ideas ethical?
• Are the ideas suitable?
• Will they make a good product?
• Will they work with existing software?
• Do you have any specific requirements to the solution?
• Where will the tools be used, what environment and location?
Finally, you will need to work through the ideas that you have in your mind and
make them into usable plans. We use sketching and sheets of paper to articulate the
designs. At the end of the process you should be able to take your ideas and build
the tool; the concepts should be valid, fit the requirements and have been properly
considered for their worth and value.
• How will you record your ideas?
• How will you work with clients?
• How will you plan out your idea solutions?
• How many component parts are there to your solution?
• Is it actually possible to build the ideas?
• How can you take your ideas and implement them?
• Can you give your ideas to others to implement?
All these are relevant questions, and all need you to have a vision (or many) of
what the tool will look like. This book will lead you through contemplating this
vision (or visions), and help you make suitable plans to build the tool.
1.3 Focused Learning 9

1.3 Focused Learning

As educators we support focused learning and deliberate practice [2]. We want you
to focus on design, particularly design-by-sketching, and deliberately direct your
thoughts to consider different solutions. We wish you to pro-actively learn new skills
and to purposefully practice these skills as you go through this book. We help you
on this journey by providing a set of exercises at the end of every chapter. These
exercises help you to focus your knowledge and deliberately practice the skills that
we have been discussing in that chapter. We also want you to develop your critical
thinking skills, help you to better prepare and develop your sketching abilities. The
more you perform a Five Design-Sheet plan, the better you understand what to put
on the sheets and how to record your ideas.
There has been much talk about how long it takes to become an expert. For
example, Erricson [2] and colleagues presented some excellent work describing a
basic rule of 10 years of involvement needed, for becoming an expert. Likewise,
Malcolm Gladwell [4] in his book titled “Outliers” talks about the need for 10;000 h.
It may seem obvious, regarding some skills, where this would be true. Musicians
need to practice long hours to improve their skills and to master playing a particular
instrument. In other situations there may also be an advantage from genetics. For
example, we can imagine that basketball players may be generally advantaged if
they are taller. One counter argument is they may developed physically earlier than
most of their peers, and thus, because of their physique, were selected early as being
promising individuals in basketball. Therefore they may had more time to practice
and become experts sooner than others!
Superior performance by very young children without prior instruction may suggest excep-
tional promise, leading to the early onset of training. This in turn leads to a consistently
greater accumulation of practice (and hence, by our framework, performance) relative to
later-starting individuals. Ericsson et al. [2]

As a reader, you may be feeling that you will not be able to give over 10;000 h
to developing your design and sketching skills, and in fact, you did sketching as a
child and found it difficult. But, the figure of 10;000 h somewhat masks the main
point: that it is not about putting hours and hours into mindless practice, rather it
is being focused on the task. What we want is for you to try to stay focused on
the target and make time count. Deliberate practice is also about being mindful and
understanding the process, knowing what you are doing and for what reason. In
our case, we are getting you to learn and develop your skills in design, sketching,
considering new ideas and critical thinking. It means that you understand how you
are improving as a learner yourself. Indeed, we suggest that you keep your ideas and
sketches together in a book or a folder, or you could scan them in to a computer and
keep them electronically. You can look back over previous sketches and see how
you have improved your skills in sketching, have developed your style, and have
ideated new concepts.
As authors, and educators ourselves, we wish to empower you to have the right
knowledge and right skills to do the job. We want you to be an empowered learner.
10 1 Introduction: Think, Prep, Sketch

Where you feel motivated to learn and develop the necessary skills, feel confident in
what you do and how to apply the techniques that you learn to different (and new)
situations. Throughout this book we want you to think about yourself personally
and how you are learning. To be a self-aware learner. We want you to be passionate
about design, and excited about developing your skills. We want you to be confident
to use the Five Design-Sheet methodology in your own problem solving. To be
self-assured in creating new ideas and work through different solutions that you
are confronted with. We also believe in a constructivist approach, where you as a
learner are involved in your own development. We wish to develop your critical
thinking skills and motivate you to become independent thinkers who are active
learners . This is why we encourage you to pick up a pencil and a pad, and start
taking notes. Start sketching and planning ideas, and work through the exercises at
the end of each chapter. Especially when we discuss design thinking, rather than
merely reading the text, we want you to start sketching. Grab a pad of plain paper
and a black pen and start making notes. Keep your own notebook and put your notes
and sketches in the book. Start sketching different ideas. Turn your imagination to
the challenges or projects that you are working on and do some sketching!

1.4 What Software Tools Can You Build, as a Result of this

Process?

It is useful at this stage to say what visions are possible: what tools can be built, and
what kind of software can be built as a result of this book. Actually, as authors we
do not want to dictate what can (or even what cannot) be built, because there are an
infinite number of possibilities in computer interface design. Also, we acknowledge
that interface development is rapidly changing. The use of non-WIMP1 interfaces is
growing fast [9]. Computer interfaces that use pens (styluses), touch or gestures are
definitely on the rise. We do not exclude any of these interfaces, in fact we embrace
these new types of interaction, and (as researchers) we encourage developers to
develop more tools specifically suitable for these interfaces. Whatever style of
interface you are considering to build, we believe you should still go through the
stages of Thinking, Preparation and Sketching.
The data-visualisation tool is one type of interface that can be built. Figure 1.2
shows a sketch of a visualisation interface that was designed by a student. The sketch
shows a plan of their idea, alongside the completed tool that reads in historic rainfall
data. The user can load the data which is displayed at several levels of aggregation,
from one year, individual weeks in the year, to several years. The visualisation
shows data in several panels, and demonstrates the quantity of rainfall in Britain
from 1911 to 1933. The visualisation tool allows a user to display rainfall from a
specific regions in Britain. This figure shows the quantity of rainfall in Wales, which

1
WIMP – Windows Icons Menus Pointers
1.4 What Software Tools Can You Build, as a Result of this Process? 11

Fig. 1.2 On the left, a sketch of the final design taken from Sheet 5 of the FdS. On the right an
implementation using the Processing.org Java library to display rainfall in Britain. It is clear to see
that there are similarities, but also there are differences in the final implementation of the tool

is shown by the colour highlighted in the map at the top. This work was submitted
as part of the Information Visualisation Masters module, and demonstrates how a
student has taken their early sketch ideas and changed them into a working prototype
tool. If we were being critical, then there are several places where the tool could be
made better. For instance, the colour combinations could be improved, the summary
information at the top of the page is extremely small and could be made bigger, and
there is no clear scale or tick marks to indicate the actual quantities of rainfall.
However, it is an excellent example to demonstrate several lessons that we are
expressing. Namely it demonstrates that a student has thought through the challenge,
come up with a design sketch, and then interpreted how to implement the tool.
Data-visualisation tools are not the only type of interactive systems that can
be built. In a web-technology course, students are asked to develop an interactive
tool that will manipulate geometric patterns through an interface. Figure 1.3 shows
the sketch that a student made on their realisation design sheet. The image on the
right shows a picture of their final tool. They chose to focus on geometric patterns
that looked like flowers. It is interesting to see what types of patterns can easily be
generated by very few basic shapes. While each of the results are somewhat similar –
they are circular, and are symmetric – there are still many contrasting visual patterns
that can be created with the tool (see Fig. 1.4).
The tool works in a web browser, uses HTML5 and CSS for the slider controls,
JavaScript for the functionality and interaction, and the graphics is rendered using
Scalable Vector Graphics (SVG). Sure it is a simple tool, but it is an excellent
example of an interactive tool. In fact we can clearly see some basic principles.
12 1 Introduction: Think, Prep, Sketch

Fig. 1.3 The left image shows a sketch of the layout of a flower pattern generator program that
was sketched by a third-year (final year) computing undergraduate student. They then implemented
a version of their tool (as shown on the right) which allows a user to change different parameters

Fig. 1.4 Examples of geometric patterns created by the pattern-generator tool. While this is
basically a simple interface the flower-pattern tool can still create some interesting patterns

There are buttons to control the interface (the sliders), a position where the results
are placed (the SVG output), and while not visible, there is some underpinning
model that holds the state of the system parameters. In this case the state is a set
of numbers that represent the properties of the petals.
1.4 What Software Tools Can You Build, as a Result of this Process? 13

The pattern generator has been designed with three columns of controllers: colour
controls (on the left of the view), with opacity controls and size controls to the
right. These sliders and buttons control the appearance of the petals, two back, two
middle and two front. The parameter values are stored as variables and represent
the state of the system. The JavaScript code creates the SVG geometry, which is
displayed in the centre. The geometry gets created when the user releases their
mouse click, after sliding a slider or selecting a button. The implementation connects
the interface (the buttons and sliders etc.) to the rendering of the geometry via the
Document Object Model (DOM). The DOM model treats the HTML document
as a tree structure, to allow the program to access and individual elements of the
page. There are certainly many ways to implement this tool. For instance, the
student could have used different JavaScript libraries (such as HTML5 Canvas,
Raphael.js, processing.js, etc.). However the implementation provides us with a
good demonstrator to investigate interfaces in more detail, and to explore general
principles and structures of computer interfaces.
Most interfaces have a similar structures. In a simplistic view, the buttons on the
screen (or the gestures we make) are used to call functions (which provide the logic
and the operations), that then perform some result. Obviously, in reality, there are
many different interaction elements that can be created (such as sliders, buttons,
radio buttons, drag-and-drop etc.). But these interactive elements all share similar
traits. Let us consider a few example interfaces. In a computer driving game the
input could be from the AZ and NM keys to control the car up/down and left/right,
respectively. The program needs to ascertain whether the user wants the car to move
forward, and if it is free to move forward then the outcome is to play the moving
forward animation. If an obstacle is hit, the car crash animation needs to be played.
In another tool, the user wishes to display data (data visualisation), the developer
has created menus to load the data, and buttons to determine how the data is filtered
and mapped onto the output in graphical patterns.
Whatever the interface, similar structures exist. These, in computer science, are
software patterns.2 These patterns are strategies that have been found to be useful
and are generalised, such that they can be applied to many different situations. A
useful pattern for many interfaces is the Model View Controller (MVC) pattern.
(We do acknowledge that there are many variants of the MVC pattern, but for now
let’s keep it simple.) The MVC pattern is useful for user-interface development. The
flower-pattern generator uses the MVC model, and is shown in Fig. 1.5. The Model
is the underlying data that the user is storing or adapting. The View enables the
information to be displayed. It is the actual result of the tool. The Controller part
of the model represents buttons, sliders and other components that manipulate and
control the underpinning model. The driving game can be considered with a similar
pattern. The user controls the car, and the program then needs to decide whether the

2
To look further on software design patterns, see “Design patterns: elements of reusable object-
oriented software” by Gamma et al. [3] and also for data-visualisation “Software design patterns
for information visualisation” by Heer and Agrawala [5]
14 1 Introduction: Think, Prep, Sketch

observes
VIEW
Variables
graphical Stroke TRUE
Back petals 1 #7ED7E6
display
of model MODEL Back petals 2
Middle petals 1
#F56170
#D937CD
Middle petals 2 #60FF31
Front petals 1 #B0108D
Front petals 2 #901DDA

CONTROLLER manipulates

Fig. 1.5 The flower-pattern tool uses the Model View Controller software design pattern, where
the Controller updates the Model, the Viewer reflects the state of the Model, and the controller
generates the graphics

car crashes or moves forward. For the data-visualisation example the user needs to
have several menus and buttons to control how that information is mapped from the
data elements onto the graphical elements. Maybe a suite of buttons could be used
to change the colourmap of the data, whereby the button switches the view from
showing data in a greyscale colourmap, to that of a white to blue scale.
The idea of patterns is useful and relevant to us in this book. When learning
computing programming and developing interactive systems it is often useful to
follow a pattern. Many interface developers follow the MVC pattern (or a variant)
to create suitable interfaces. The structure enables developers to work separately,
yet together on the same problem. The structure enables code to be more easily
re-used, and new people (who need to pick up your code at a later stage) can easily
understand how components are connected. While we are not necessarily advocating
that the MVC pattern is useful for all situations, it is a good starting point.
The Five Design-Sheet method, that we discuss in great detail in Chap. 2, is also
a pattern: it is a general method, which can be applied to a wide range of situations.
The FdS has a series of steps to help you think about the problem at hand, in small
steps. It can be re-used and once learned can be exchanged and applied as a model
with other people. Sheets 2, 3, 4 and 5 all have a similar structure, that enable you to
detail the Vision (Big Picture), Components (and operations of the functions), and
what the main functions do and how they are created. By doing this planning you
are able to think through the functionality of the interfaces, what they would look
like, and how they could perform.

1.5 Think: In Your Minds-Eye

While the act of imagining new design solutions can be demanding, it can also be
a fun and rewarding experience. Such solutions can be insightful designs, futuristic,
unconventional or unusual. They can be made out of any material, include any
1.5 Think: In Your Minds-Eye 15

components, and work in any way that your imagination can handle! In your mind
there are no limits, no one to stop you from imagining the impossible. This my
sounds like a thought experiment. On the one hand it is – we are actually advocating
the use of creative visualisation. We are asking you to use your imagination, and to
consider in your mind what the idea will look like and what it will do.
Let us do a little exercise now. Imagine that you have a two-dimensional white
square that is hovering just in front of your head. Now, along with the square,
imagine that you have a round drill bit. The drill is quite large, yet not too sharp. Use
the drill to carve holes, with their vertical axis in parallel to the square plane, into
the four sides of the square. This shape now looks like an idealized jigsaw piece.
Now you can easily duplicate this shape. Make a 2  5 grid of these shapes, and
place them next to each other. In this grid formation, colour them in different shades
of grey, from a light grey on the left to a dark grey on the right. Once you have done
this, you can open your eyes and look to the Fig. 1.6. Look at the picture that we
drew and see if it matches with the picture held in your imagination.
The picture you have considered in your mind may be slightly different, but
hopefully not much. You would have needed to create a virtual plane in three-
dimensional space to put your two-dimensional square. You would have needed
to make assumptions over how large the square is – but probably you would have

Drill-bit

Square Intersections Result

Fig. 1.6 Imagine that you have a two-dimensional white square that is hovering just in front of
your head. Now cut into the square with a small drill. Now duplicate the result 10 times, placing
them in a grid 2  5, color each one a darker shade of grey
16 1 Introduction: Think, Prep, Sketch

automatically scaled the image to make it fit into your minds-eye! Sure, there will be
differences. Your drill bit may have been sharp. The depth of how much the drill has
entered into the square would be different. As soon as we have mentioned drilling
your mind may have also considered the material that you were cutting into. Maybe
you had imagined wood, or metal. You may have even considered what happened
to the swarf (the remaining material that comes off the object when it is drilled).
Maybe in your imagination you still have the swarf in the picture. The depth of
the cuts could have been different. There are many possible interpretations of this
vision, and in fact, there is no wrong answer. It is just that one persons imagination
is different to another person. What we are doing here is creative visualisation. We
are telling a story, explaining a situation, and in your mind you are painting the
picture.
Creative visualisation is thus a cognitive process, where you generate a visual
mental image of something (with your eyes open or closed). You are forming a
mental image in your mind. You can rotate and manipulate that image in your brain.
At this point, we do note that we are using the word visualisation to refer to the
creation of a mental image of these stories, and that the pictures are not made explicit
in the real world, but rather they are merely imagined by yourself. By forming a
mental image, you can manipulate the idea in your mind, turn it around and look
at it from different angles. You can also start to work out whether it is feasible and
how it could interact with other things. For example, considering the adapted square
that you imagined before. You can now rotate it, overlap it with other versions, cut
out a circle in the centre etc. There are endless possibilities.
These are mental images that you have in your mind. You form such pictures
when you give directions to help someone find a building, when you try to recall
what a person looked like ten years ago, or what they were wearing last week. Many
of the pictures we have in our mind are created from events that happen to us as
individuals. As such, we can remember places, people, buildings, trees and positions
of objects. We often remember these as pictures. While we can recall images, as we
have seen, we can create new thoughts.
These thoughts and ideas are obviously shaped by who we are, our experiences
and knowledge and the environment that we live. In fact, gaining new ideas may
require us to push out of our comfort zone, move us into a new environment, or get
us to meet new people. We will discuss methods that help us create new concepts in
Chap. 7 when we discuss the generation of ideas for interface design. Yet, this book
is more than a methodology for thinking. Yes, we cover idea creation and look where
ideas can be inspired from, but we also cover detail of acting upon and drawing your
ideas such that you and others can use them. By placing the ideas on paper you are
working through the ideas, moulding them and helping them take shape. You are
committing the concepts that are running through your mind on paper. These sheets
of paper then be exchanged and shared with others.
Another random document with
no related content on Scribd:
määrin. Kaupungin ahtaiden katujen varsilla, missä useimmat talot
ovat vielä vanhaan tapaan rakennetut, näkyy lukuisten venäläisten
kauppiasten ja käsityöläisten nimikilpien joukossa myös sellaisia
kirjoituksia kuin: Bottier de Paris (pariisilainen suutari) ja Marchande
de Modes (muotikauppiatar). Sellainen rehentely ei kuitenkaan voine
pettää herkkäuskoistakaan. Tavara, mitä näistä kaupoista voi ostaa,
on sellaista, ettei piintyneinkään takalistolainen voi olla epätietoinen
sen alkuperästä.

Perille päästyä johti liikkeelläolo Assanoffin ajatukset viimein

vähän toisaalle. Hän ravisti itsensä virkeäksi ja osoitti jälleen entistä
luonnonlaatuaan, toisin sanoen: hän alkoi jälleen elää. Moreno
esiteltiin everstillensä, toverit ottivat hänet hyvin vastaan ja
eurooppalaiset juhlivat häntä, ja ollessaan välttämättömyyden pakon
alaisena hän tuli vähemmän kuin siihen asti katsoneeksi
menneisyyteen. Kolmen kuukauden kuluttua hänellä oli jälleen
luutnantin olkalaput. Hän otti osaa erääseen retkeen, suoritti siinä
hyvin tehtävänsä ja yleni ratsumestariksi. Sotilaalla on oma tapansa
katsella elämää: jos hänelle lupaisi paratiisin korvaukseksi
virkavuosioikeuksista ja helvetin jostakin korkeammasta asemasta,
niin tuskin sittenkään kukaan epäröisi, ja jos joku pitäisikin
parempana olla Jumalan luona, ei hän ikinä lakkaisi katumasta
uhraustaan.

Sittenkin Don Juan antoi vielä vuosikausia sydämensä

toivomusten harhailla Espanjaan. Tosin ei hänen rakkautensa
aiheuttanut hänelle enää samaa kalvavaa tuskaa kuin ensimmäisinä
kuukausina. Se muuttui hempeäksi tottumukseksi, melankoliseksi
tunnelmaksi, josta hänen sielunsa sai tavallaan tyydytystä. Hän
kirjoitti usein ja sai myös vastauksia. Rakastavat toivoivat parhaansa
mukaan erillään olonsa loppumista. Kun politiikka hautasi sen
tapparan, joka oli katkaissut heidän sydämiensä siteen, täytyi heidän
pian huomata, etteivät aineelliset elinehdot sallineet Morenon jättää
Kaukaasiaa, kun hänellä ei ollut muuta kuin palkkansa eikä hän
enää voinut muuttaa elämänuraa; nuori nainen ei myöskään ollut
kyllin rikas voidakseen tulla lemmittynsä luo. Niin jäi kaikki
entiselleen. Ei kumpikaan mennyt naimisiin. Vähitellen he lakkasivat
tuntemasta itseään perin onnettomiksi, mutta onnellisia ei heistä
tullut koskaan.

*****

Kauan ennen sitä aikaa, josta nyt on puhe, tuli Moreno eräänä
yönä jokseenkin myöhään kotiin iltakutsuista kenraalikuvernöörin
luota ja näki kaukaa autiolla kadulla, joka kulkee tataarilaiskaanin
entisen, nyt ruutimakasiiniksi muutetun palatsin ohi, naisolennon,
joka astui samaan suuntaan kuin hänkin. Oli talvi ja kylmä, lumi peitti
maata useampien tuumain vahvuudelta, kaikki oli jäässä ja yö
synkimmillään.

Moreno arveli itsekseen: — Kukahan tuo onneton olento lienee?

Ratsumestari oli nähnyt paljon kurjuutta ja onnettomuutta

lähimmässä ympäristössään, eikä hänen omassakaan elämässään
ollut iloa. Sellaisissa olosuhteissa muuttuu ihminen joko huonoksi tai
erikoisen kunnolliseksi. Morenosta oli tullut kunnon mies.

Niin paljon kuin pimeys salli, tarkkasivat hänen silmänsä säälien

tuon olennon yksinäistä kulkua. Huomatessaan, että nainen pysähtyi
ja horjahteli, hän kiirehti askeleitaan saavuttaakseen hänet ja
auttaakseen, mutta samassa hän suureksi hämmästyksekseen
havaitsi, että onneton olento pysähtyi juuri hänen ovensa eteen, ja
kohta kuului myös hänen takaansa nopeita askeleita.
 Moreno kääntyi ja tunsi heti 'hengen vihollisen'. Gregor Ivanitsh oli
paljain päin, turkitta ja liikkui niin nopeasti eteenpäin kuin hänen
suuresti lisääntynyt ruumiinpainonsa salli. Moreno luuli, eikä ilman
syytä, että "hengen vihollinen" oli tuota naista tavoittamassa, ja
hänen päähänsä pälkähti, että se saattaisi tapahtua huonossa
tarkoituksessa.

Hän tarttui siis Gregor Ivanitshin käteen ja huusi kovaa: "Minne

matka?"

"Herra ratsumestari, pyydän teiltä, älkää pidättäkö minua. Tyttö

parka on karkuteillä."

"Kuka? Mistä tytöstä te puhutte?"

"Selityksiin ei nyt ole aikaa, herra ratsumestari, mutta kun kerran

olette tässä, niin auttakaa minua pelastamaan hänet. Ehkä se on
vielä mahdollista, voi, ja jos kukaan pystyy häntä rauhoittamaan, niin
juuri te!"

Hän veti Morenoa mukanaan. Tämä ei pannut vastaan,

hämmästynyt kun oli, ja ollessaan vain muutaman askeleen päässä
kodistaan hän huomasi kauhukseen, kuinka nainen ojensi kätensä
ovea vasten pysyäkseen pystyssä ja samalla horjahteli: seuraavassa
silmänräpäyksessä hän varmasti syöksyisi kynnyksen yli. Moreno
tarttui häneen, kietoi käsivartensa hänen ympärilleen ja katsoi häntä
kasvoihin. Nainen oli Umm Djehan.

Tuntiessaan Morenon hän sai kuin sähköiskun, joka lyhyeksi

hetkeksi salaman tavoin antoi hänelle uutta voimaa. Umm Djehan
kietoi käsivartensa Morenon kaulaan, suuteli häntä tulisesti eikä
virkkanut muuta kuin ainoan sanan: "Hyvästi!"
 Sitten hänen käsivartensa heltisivät, ja hän vaipui taaksepäin.
Moreno katsoi häneen tyrmistyneenä ja huomasi, että hän oli kuollut.

Samassa tuli Gregor Ivanitsh paikalle ja auttoi häntä pitämään

elotonta ruumista pystyssä. Moreno tahtoi viedä hänet asuntoonsa.

"Ei", sanoi 'hengen vihollinen' päätään pudistaen, "lapsi parka on

minun luonani ollut sairaana, sentähden tahdon myös hautauttaa
hänet omalla kustannuksellani. Nyt hän on kuollut. Hän ei ole minua
rakastanut, mutta minä tahdoin hänen parastaan, ja siinä on syytä
kyllin, että saan pitää itseäni hänen ainoana omaisenaan."

"Mitä sitten oikeastaan on tapahtunut?" kysyi Moreno.

"Eipä paljoa. Hän ei halunnut joutua myydyksi, hän ei suostunut

lähtemään Trapezuntiin. Hän kieltäytyi tanssimasta, ja mitä ei
koskaan ennen ollut tapahtunut, mitä ei koskaan ennen oltu hänessä
nähty, hän kulutti yöt ja päivät itkien, hän raastoi rintojaan ja repi
kynsillä kasvojaan. Kauneudenloiste ei tiennyt enää kuinka tulisi
hänen kanssaan toimeen ja halusi kovasti päästä hänestä eroon.
Silloin sanoin puolestani Umm Djehanille: 'Tyttäreni, olet väärällä
tiellä, ja juuri henki saa ilmeisesti pääsi pyörälle. Unohda tyhmät
ajatukset! Juo, naura, laula, huvittele, anna oikuillesi täysi valta! Olet
nuori, olet kaunis, herätät ihailua ja tanssit kuin haltiatar. Kenraalikin
makaa jalkojesi juuressa, jos haluat. Minkätähden oikeastaan et
tahdo?"

Hän vastasi minulle: 'Koska rakastan saamatta vastarakkautta.'

Enempää selvää ei hänestä voinut saada. Minä, joka olin ennen

ollut häneen rakastunut, en enää siitä välittänyt, vaan otin hänet
kaikessa ystävyydessä huostaani ja vein vuokratilalleni hänen
omalla suostumuksellaan. Hoidin häntä, koetin viihdytellä — mutta
mitä arvelette — pelkästä itkemisestä hän viimein alkoi yskiä ja minä
haetin lääkärin, joka selitti, että hänen oli oltava hyvin varovainen ja
vältettävä kylmettymistä. Tiedättekö, mitä hän teki? Hän meni ulos ja
piehtaroi lumessa! Niin, henki, henki! Älkää minulle enää siitä
puhuko! Tehän olette kaikki sokeita, pakanoita! Viimein, kolme
päivää sitten, hän sanoi minulle toden totta sen, mitä teille nyt
kerron. Se on sulaa järjettömyyttä, mutta kuitenkin toistan tarkoin
hänen omat sanansa. Hän sanoi minulle: 'Vie minut Bakuun!'

'Mitäs sinä sieltä haluat?' kysyin.

'Kuolla', vastasi hän.

Tuska ahdisti hänen kurkkuaan ja minä vastasin tylysti: 'Täällä on

yhtä hyvä kuolla kuin Bakussa.'

'Ei ole! Tahdon kuolla ratsumestari Morenon kynnykselle.'

Luulin hänen puhuvan sekapäisenä. Koskaan hän ei ollut lausunut

nimeänne, ei koskaan, sanon teille, ei kertaakaan. Hän suuttui ja
vastasi minulle vihaisesti: 'Etkö ymmärrä minua?'

Kun hän suuttui, tuli häneltä verta suusta, ja hänellä oli tuntikausia
tuskia. Annoin siis perään.

'No, hyvä, mennään vain!'

"Tulimme tänne. Hän lähetti minut juuri äsken apua hakemaan

sanoen voivansa huonommin, mikä ikävä kyllä oli liiankin totta. Ja
totellessani häntä… niin, näettehän itse."

Huokaus katkaisi miesparalta äänen.

 Moreno tunsi syvää surua. Se ei tosin ollut järkevää. Suurin onni,
mikä voi Umm Djehania kohdata, oli tullut hänen osakseen. Mitä
olisikaan voinut hänestä tulla elämässä? Jos hän olisi pysynyt
todellisena ja uskollisena lesgittärenä, ei Assanoffin ja
nuoruudenunelmain menettäminen olisi murtanut hänen sydäntään.
Hän oli paljon kärsinyt, hän olisi vastedeskin epäilemättä saanut
kärsiä, mutta hänen tyydytetty ylpeytensä ja varmentunut
itsetietoisuutensa olisivat pitäneet häntä pystyssä loppuun saakka, ja
joko hän sitten olisi tanssitaitonsa tenholla lumonnut shemahalaisia
asiantuntijoita tai antanut etusijan vanhan kaimakamin maailmaa
vierovalle haaremille, niin hän olisi joka tapauksessa päässyt
korkeaan ikään ja voinut elämäniltana vaipua kuten vanhan
patriarkan vaimot rauhalliseen ja kunniakkaaseen kuolemanuneen.
Mutta hänkin oli lopulta tullut uskottomaksi kotimaansa jumalille. Hän
oli kyllä ponnistellut vastaan, kapinoinut ja urhoollisesti kaatunut
tämän vastarintansa uhrina; mutta siitä huolimatta pitää kuitenkin
paikkansa, että hän oli sydämensä pohjassa käynyt heikoksi: hän oli
rakastunut eurooppalaiseen!

Kun Moreno kertoi Assanoffille koko tarinan, koski se

sivistyneeseen tataariin tavattoman voimakkaasti. Viikkoon hän ei
selvinnyt, ja missä hänet tapasikin, hän lauloi marseljeesia.
Myöhemmin hän rauhoittui.
 *** END OF THE PROJECT GUTENBERG EBOOK
KAUKAASIALAINEN TANSSIJATAR ***

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright in
these works, so the Foundation (and you!) can copy and distribute it
in the United States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part of
this license, apply to copying and distributing Project Gutenberg™
electronic works to protect the PROJECT GUTENBERG™ concept
and trademark. Project Gutenberg is a registered trademark, and
may not be used if you charge for an eBook, except by following the
terms of the trademark license, including paying royalties for use of
the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as
creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given
away—you may do practically ANYTHING in the United States with
eBooks not protected by U.S. copyright law. Redistribution is subject
to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
 PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free

distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund from
the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be

used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law in
the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms of
this agreement by keeping this work in the same format with its
attached full Project Gutenberg™ License when you share it without
charge with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the terms
of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears, or
with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
 This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived

from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning of
this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg™ electronic works
provided that:

• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt that
s/he does not agree to the terms of the full Project Gutenberg™
 License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and
discontinue all use of and all access to other copies of Project
Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

for the “Right of Replacement or Refund” described in paragraph
1.F.3, the Project Gutenberg Literary Archive Foundation, the owner
of the Project Gutenberg™ trademark, and any other party
distributing a Project Gutenberg™ electronic work under this
agreement, disclaim all liability to you for damages, costs and
expenses, including legal fees. YOU AGREE THAT YOU HAVE NO
REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF
WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE
FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of receiving it,
you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or entity
that provided you with the defective work may elect to provide a
replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.

1.F.4. Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the

Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and distribution
of Project Gutenberg™ electronic works, harmless from all liability,
costs and expenses, including legal fees, that arise directly or
indirectly from any of the following which you do or cause to occur:
(a) distribution of this or any Project Gutenberg™ work, (b)
alteration, modification, or additions or deletions to any Project
Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of

Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.
 Section 3. Information about the Project
Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,

Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many small
donations ($1 to $5,000) are particularly important to maintaining tax
exempt status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of
compliance. To SEND DONATIONS or determine the status of
compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where

we have not met the solicitation requirements, we know of no
prohibition against accepting unsolicited donations from donors in
such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of
other ways including checks, online payments and credit card
donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project

Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed

editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how
to subscribe to our email newsletter to hear about new eBooks.