graphic

The increasing mass of information confronting a business or an individual have created a demand for information management applications. Time-based information, in particular, is an important part of many information access tasks. This paper explores how to use 3D graphics and interactive animation to design and implement visualizers that improve access to large masses of time-based information. Two new visualizers have been developed for the Information Visualizer: 1) the Spiral Calendar was designed for rapid access to an individual's daily schedule, and 2) the Time Lattice was designed for analyzing the time relationships among the schedules of groups of people. The Spiral Calendar embodies a new 3D graphics technique for integrating detail and context by placing objects in a 3D spiral. It demonstrates that advanced graphics techniques can enhance routine office information tasks. The Time Lattice is formed by aligning a collection of 2D calendars. 2D translucent shadows provide views and interactive access to the resulting complex 3D object. The paper focuses on how these visualizations were developed. The Spiral Calendar, in particular, has gone through an entire cycle of development, including design, implementation, evaluation, revision and reuse. Our experience should prove useful to others developing user interfaces based on advanced graphics.

The Galaxy of News system embodies an approach to visualizing large quantities of independently authored pieces of information, in this case news stories. At the heart of this system is a powerful relationship construction engine that constructs an associative relation network to automatically build implicit links between related articles. To visualize these relationships, and hence the news information space, the Galaxy of News uses pyramidal structuring and visual presentation, semantic zooming and panning, animated visual cues that are dynamically constructed to illustrate relationships between articles, and fluid interaction in a three dimensional information space to browse and search through large databases of news articles. The result is a tool that allows people to quickly gain a broad understanding of a news base by providing an abstracted presentation that covers the entire information base, and through interaction, progressively refines the details of the information space. This research has been generalized into a model for news access and visualization to provide automatic construction of news information spaces and derivation of an interactive news experience.

Computer sliders are a generic user input mechanism for specifying a numeric value from a range. For data visualization, the effectiveness of sliders may be increased by using the space inside the slider as

• an interactive color scale,

• a barplot for discrete data, and

• a density plot for continuous data.

The idea is to show the selected values in relation to the data and its distribution. Furthermore, the selection mechanism may be generalized using a painting metaphor to specify arbitrary, disconnected intervals while maintaining an intuitive user-interface.

We propose an interaction technique for editing splines that is aimed at professional graphic designers. These users do not take full advantage of existing spline editing software because their mental representations of drawings do not match the underlying conceptual model of the software. Although editing splines by specifying control points and tangents may be appropriate for engineers, graphic designers think more in terms of strokes, shapes, and gestures appropriate for editing drawings. Our interaction technique matches the latter model: curves can be edited by means of marks, similar to the way strokes are naturally overloaded when drawing on paper. We describe this interaction technique and the algorithms used for its implementation.

We propose a new evolutionary method of extracting user preferences from examples shown to an automatic graph layout system. Using stochastic methods such as simulated annealing and genetic algorithms, automatic layout systems can find a good layout using an evaluation function which can calculate how good a given layout is. However, the evaluation function is usually not known beforehand, and it might vary from user to user. In our system, users show the system several pairs of good and bad layout examples, and the system infers the evaluation function from the examples using genetic programming technique. After the evaluation function evolves to reflect the preferences of the user, it is used as a general evaluation function for laying out graphs. The same technique can be used for a wide range of adaptive user interface systems.

PhotoMesa is a zoomable image browser that uses a novel treemap algorithm to present large numbers of images grouped by directory, or other available metadata. It uses a new interaction technique for zoomable user interfaces designed for novices and family use that makes it straightforward to navigate through the space of images, and impossible to get lost.PhotoMesa groups images using one of two new algorithms that lay out groups of objects in a 2D space-filling manner. Quantum treemaps are designed for laying out images or other objects of indivisible (quantum) size. They are a variation on existing treemap algorithms in that they guarantee that every generated rectangle will have a width and height that are an integral multiple of an input object size. Bubblemaps also fill space with groups of quantum-sized objects, but generate non-rectangular blobs, and utilize space more efficiently.

The human visual system makes a great deal more of images than the elemental marks on a surface. In the course of viewing, creating, or editing a picture, we actively construct a host of visual structures and relationships as components of sensible interpretations. This paper shows how some of these computational processes can be incorporated into perceptually-supported image editing tools, enabling machines to better engage users at the level of their own percepts. We focus on the domain of freehand sketch editors, such as an electronic whiteboard application for a pen-based computer. By using computer vision techniques to perform covert recognition of visual structure as it emerges during the course of a drawing/editing session, a perceptually supported image editor gives users access to visual objects as they are perceived by the human visual system. We present a flexible image interpretation architecture based on token grouping in a multiscale blackboard data structure. This organization supports multiple perceptual interpretations of line drawing data, domain-specific knowledge bases for interpretable visual structures, and gesture-based selection of visual objects. A system implementing these ideas, called PerSketch, begins to explore a new space of WYPIWYG (What You Perceive Is What You Get) image editing tools.

This paper details the design and evaluation of the Delphian Desktop, a mechanism for online spatial prediction of cursor movements in a Windows-Icons-Menus-Pointers (WIMP) environment. Interaction with WIMP-based interfaces often becomes a spatially challenging task when the physical interaction mediators are the common mouse and a high resolution, physically large display screen. These spatial challenges are especially evident in overly crowded Windows desktops. The Delphian Desktop integrates simple yet effective predictive spatial tracking and selection paradigms into ordinary WIMP environments in order to simplify and ease pointing tasks. Predictions are calculated by tracking cursor movements and estimating spatial intentions using a computationally inexpensive online algorithm based on estimating the movement direction and peak velocity. In testing the Delphian Desktop effectively shortened pointing time to faraway icons, and reduced the overall physical distance the mouse (and user hand) had to mechanically traverse.

This paper describes a Computer Aided Design system for sketching free-form polygonal surfaces such as terrains and other natural objects. The user manipulates two 3D position and orientation trackers with three buttons, one for each hand. Each hand has a distinct role to play, with the dominant hand being responsible for picking and manipulation, and the less-dominant hand being responsible for context setting of various kinds. The less-dominant hand holds the workpiece, sets which refinement level that can be picked by the dominant hand, and generally acts as a counterpoint to the dominant hand. In this paper, the architecture of the system is outlined, and a simple surface is shown.

The human visual system makes a great deal more of images than the elemental marks on a surface. In the course of viewing, creating, or editing a picture, we actively construct a host of visual structures and relationships as components of sensible interpretations. This paper shows how some of these computational processes can be incorporated into perceptually-supported image editing tools, enabling machines to better engage users at the level of their own percepts. We focus on the domain of freehand sketch editors, such as an electronic whiteboard application for a pen-based computer. By using computer vision techniques to perform covert recognition of visual structure as it emerges during the course of a drawing/editing session, a perceptually supported image editor gives users access to visual objects as they are perceived by the human visual system. We present a flexible image interpretation architecture based on token grouping in a multiscale blackboard data structure. This organization supports multiple perceptual interpretations of line drawing data, domain-specific knowledge bases for interpretable visual structures, and gesture-based selection of visual objects. A system implementing these ideas, called PerSketch, begins to explore a new space of WYPIWYG (What You Perceive Is What You Get) image editing tools.

Conventional windowing environments provide separate classes of objects for user interface components, or “widgets,” and graphical objects. Widgets negotiate layout and can be resized as rectangles, while graphics may be shared, transformed, transparent, and overlaid. This presents a major obstacle to applications like user interface builders and compound document editors where the manipulated objects need to behave both like graphics and widgets.

Fresco[1] blends graphics and widgets into a single class of objects. We have an implementation of Fresco and an editor called Fdraw that allows graphical objects to be composed like widgets, and widgets to be transformed and shared like graphics. Performance measurements of Fdraw show that sharing reduces memory usage without slowing down redisplay.

Conventional windowing environments provide separate classes of objects for user interface components, or “widgets,” and graphical objects. Widgets negotiate layout and can be resized as rectangles, while graphics may be shared, transformed, transparent, and overlaid. This presents a major obstacle to applications like user interface builders and compound document editors where the manipulated objects need to behave both like graphics and widgets.

Fresco[1] blends graphics and widgets into a single class of objects. We have an implementation of Fresco and an editor called Fdraw that allows graphical objects to be composed like widgets, and widgets to be transformed and shared like graphics. Performance measurements of Fdraw show that sharing reduces memory usage without slowing down redisplay.

Involving graphic designers in the large-scale development of user interfaces requires tools that provide more graphical flexibility and support efficient software processes. These requirements were analysed and used in the design of the TkZ-inc graphical library and the IntuiKit interface design environment. More flexibility is obtained through a wider palette of visual techniques and support for iterative construction of images, composition and parametric displays. More efficient processes are obtained with the use of the SVG standard to import graphics, support for linking graphics and behaviour, and a unifying model-driven architecture. We describe the corresponding features of our tools, and show their use in the development of an application for airports. Benefits include a wider access to high quality visual interfaces for specialised applications, and shorter prototyping and development cycles for multidisciplinary teams.

When involved in the visual design of graphical user interfaces, graphic designers can do more than providing static graphics for programmers to incorporate into applications. We describe a technique that allows them to provide examples of graphical objects at various key sizes using their usual drawing tool, then let the system interpolate their resizing behavior. We relate this technique to current practices of graphic designers, provide examples of its use and describe the underlying inference algorithm. We show how the mathematical properties of the algorithm allows the system to be predictable and explain how it can be combined with more traditional layout mechanisms.