309 |
as globally distorted, segmented, locally Euclidian views |
as globally distorted, segmented, locally Euclidian views |
310 |
(see, e.g. [wang01mindsviews]_). |
(see, e.g. [wang01mindsviews]_). |
311 |
|
|
312 |
.. it is important to maintain orientation locally, |
.. |
313 |
|
|
314 |
|
it is important to maintain orientation locally, |
315 |
that is, going in one direction should result in arriving from |
that is, going in one direction should result in arriving from |
316 |
the opposite direction, so that the local spatial structure |
the opposite direction, so that the local spatial structure |
317 |
does not change too much. |
does not change too much. |
331 |
because the visual field is wider than it is tall --- |
because the visual field is wider than it is tall --- |
332 |
consider the usual screen aspect ratios of 4:3 and 16:9. |
consider the usual screen aspect ratios of 4:3 and 16:9. |
333 |
|
|
334 |
.. leaving more space at the left and right sides than on the top and bottom. |
.. |
335 |
|
|
336 |
|
leaving more space at the left and right sides than on the top and bottom. |
337 |
XXX: left and right hand??? |
XXX: left and right hand??? |
338 |
|
|
339 |
Based on the above principles we have selected a simple geometry |
Based on the above principles we have selected a simple geometry |
357 |
For left-link-end buoys the preceding discussion should |
For left-link-end buoys the preceding discussion should |
358 |
be reversed. |
be reversed. |
359 |
|
|
360 |
.. Thus, the buoys are equally close to the focus, matching |
.. |
361 |
|
|
362 |
|
Thus, the buoys are equally close to the focus, matching |
363 |
the fisheye focus shape. |
the fisheye focus shape. |
364 |
Additionally, a circle arc provides more area for the buoys than, |
Additionally, a circle arc provides more area for the buoys than, |
365 |
e.g., a straight line. |
e.g., a straight line. |
370 |
in the focused node, |
in the focused node, |
371 |
the final positions of the buoys need be adjusted to prevent. |
the final positions of the buoys need be adjusted to prevent. |
372 |
|
|
373 |
.. how does this interact with the perception of the projection? |
.. |
374 |
|
|
375 |
|
how does this interact with the perception of the projection? |
376 |
|
|
377 |
.. figure:: buoyGeometry |
.. figure:: buoyGeometry |
378 |
:label: figbuoygeom |
:label: figbuoygeom |
446 |
|
|
447 |
\label{sec-breaklines} |
\label{sec-breaklines} |
448 |
|
|
449 |
The rectangular frames are also likely a decision resulting |
The rectangular frames used in most user |
450 |
mostly from performance. Especially when showing a region |
interfaces are also likely a decision resulting |
451 |
of another document in a buoy, a rectangular frame could be |
mostly from performance. Especially when showing a fragment |
452 |
visually distracting, and doesn't provide a clear indication |
of a document in a buoy, a rectangular frame could be |
453 |
|
visually confusing, and doesn't provide a clear indication |
454 |
of whether we are looking at the edge of the currently shown |
of whether we are looking at the edge of the currently shown |
455 |
part or the whole content. |
part or the whole content. |
456 |
|
|
467 |
|
|
468 |
NASA diagram XXX |
NASA diagram XXX |
469 |
|
|
470 |
We apply this technique by drawing the buoys simply as |
We apply this technique by drawing the buoys as |
471 |
non-photorealistically torn-off pieces of the target document. |
non-photorealistically torn-off pieces of the target document. |
472 |
However, because of the requirements of fluid animation, |
However, because of the requirements of fluid animation, |
473 |
the shapes of the break lines need to be carefully designed. |
the shapes of the break lines need to be carefully designed. |
475 |
The shape of a torn edge is tied to its location on |
The shape of a torn edge is tied to its location on |
476 |
the target document, creating a cue of scale of the torn-off |
the target document, creating a cue of scale of the torn-off |
477 |
piece on the screen. |
piece on the screen. |
|
Furthermore, the varying shapes of the edges |
|
|
help the user distinguish between targets torn off |
|
|
of different places. |
|
|
|
|
478 |
When a link is followed, the torn shape of the target buoy |
When a link is followed, the torn shape of the target buoy |
479 |
animates to the full shape of the document, as if larger and |
animates to the full shape of the document. |
480 |
larger parts were torn off. [XXX: screenshots] |
The animation does not look like the edge just gliding |
481 |
|
over the document, but rather as if larger and |
482 |
|
larger parts were magically torn off the original document. |
483 |
|
[XXX: screenshots] |
484 |
|
|
485 |
|
.. |
486 |
|
|
487 |
|
Furthermore, the varying shapes of the edges |
488 |
|
help the user distinguish between targets torn off |
489 |
|
of different places. |
490 |
|
|
491 |
The hardware implementation uses a noise texture for creating |
The hardware implementation uses a noise texture for creating |
492 |
the variation in the torn shape with texture coordinates tied |
the variation in the torn shape with texture coordinates tied |
493 |
to the paper location. |
to the paper location. |
494 |
The stencil buffer is used for drawing the contents |
The stencil buffer is used for efficiently |
495 |
inside the buoy silhuette. |
drawing the contents delimited by the irregular shape. |
496 |
Finally, a non-photorealistic black edge is drawn |
Finally, a non-photorealistic black edge [XXX nonphotorealistic refs] |
497 |
around the silhuette to clarify the image.. |
is drawn |
498 |
|
around the silhuette to clarify the image. |
499 |
|
|
500 |
|
|
501 |
Nadir |
Nadir |