How did we get from command line to computer interfaces we know today? PlosBlogs’s NeuroTribes offers an insight into the sketchbook of Susan Kare, the Artist who’s high-school friend Andy Hertzfeld, the lead software architect for the Macintosh operating system, offered a job to design fonts for the Mac.
Inspired by the collaborative intelligence of her fellow software designers, Kare stayed on at Apple to craft the navigational elements for Mac’s GUI. Because an application for designing icons on screen hadn’t been coded yet, she went to the University Art supply store in Palo Alto and picked up a $2.50 sketchbook so she could begin playing around with forms and ideas. In the pages of this sketchbook, which hardly anyone but Kare has seen before now*, she created the casual prototypes of a new, radically user-friendly face of computing — each square of graph paper representing a pixel on the screen.
Read more on http://blogs.plos.org
Kare’s work gave the Mac a visual lexicon that was universally inviting and intuitive. Instead of thinking of each image as a tiny illustration of a real object, she aimed to design icons that were as instantly comprehensible as traffic signs.
- An Interview with Bowyer – UIDesign + Funware + Luxury [Theory, iPad, Interview] Bowyer is a new company by Vadik Marmeladov, Sergey Filippov, a man known as "The Client", and Ilya Kolganov. In this interview we talk through their first collaborations, philosophy, process, commercial projects, and future plans. "Craftmanship is attention to details. Luxury is attention to unnecessary details." Typical phone games and apps retain a certain average appearance with a target on mass-market appeal. Design is usually not a priority, and as a result, often mediocre. Unlike the fashion industry, for instance, app development is young enough that nichés have not yet developed fully. Seeing this gap in the industry, Bowyer wished to target luxury markets. "About 2 years ago while working on a commercial website we came up with a simple app for a luxury brand," Vadik explained. The screen would be completely black, and through in-app purchases, individual diamonds could be bought and populated on the screen. The concept would be a reflection of physical diamonds: holding no real value other than the inherent scarcity and cost of ownership. sergeyfilippov.com/extra/2009/jewellery/ "Later we got a job to create an app for a fashion exhibition in Moscow. We decided to go much further then just an 'exhibition app'. We came up with an idea of creating a periodic magazine. Each issue would be a new level or a new stage in a game." Funware — is the use of game mechanics in non-game contexts to encourage desired user actions and generate customer loyalty. Funware typically employs game mechanics such as points, leaderboards, badges, challenges and levels. "This was our first step in research of this phenomenon," Vadik explained. "As of now, the project is still on hold, but we still looking forward to returning to the project, but before doing so we have to find an editor-in-chief. We need someone who will think not in spreads and articles, but by levels, scores achievements and other mechanics." "How do we attract, let's say, 'fancy' people? How do we make them want to play?" "So we came up with this symbolical story called Samara. Samara is the woman behind the app, the voice, the soul. She has random emotions and we even put her quotes there. The first 'issue' is Dreams of Samara, and OBVIOUSLY, [laughing] you solving her dreams. They are weird, but inspired by real emotions that she experienced during the exhibition. Every level is based on an actual piece, but a bit mutated," Vadik explained. The app begins almost entirely locked away. Only through succeeding in each of the games is the corresponding artwork finally revealed. Inspiration came from games such as the one below. In this case, porn photos would slowly reveal itself as the player progressed through the game. "Creating these games around art provoked subliminal meanings. For example, the pictures from the designers are not THAT great, but we made people kind of fight for them. In a way it was reflective of the fashion marketing industry." If it is the first-ever fashion game then it should look like a first-ever game: • Ritual, meditation • Accessory • Such a beautiful device and such an ugly content. • Device as a Friend • Competition "Imagine reading a magazine that connected to Apple's GameCenter. Imagine your 'experience' or 'skills' affect the magazine itself. It becomes personal and even more fancy! The fashion world already overuses Facebook and iPhone (their primary gaming device) but still ignore games themselves because most of them are uglyyyy." "Visionaire was one of our top inspirations. Imagine game levels designed by top designers.. or not even a game — like Hedi Slimane designs a 'Find My Friends' app." Working with the client, Bowyer approached the app using techniques common in agile development. Each stage would be designed, presented to the client, then after several development iterations, the level would be signed off. Vadik explained, "We would be sitting together at one desk, thinking together, experimenting together. Sometimes a scene was determined before design even began, [laughs]." This was repeated for each level. With this method the client always knew how the app was progressing, and exactly what the product was looking like. He continued: "It was 2 weeks of preparation and client talks, then 2 weeks of actual building. I guess only under these conditions can you can implement soul and magic into the project." Sergey, the primary developer for the project explained his tools: "We used Box2D Engine for physic simulation, Cocos2D framework to deal with OpenGL and of course Cocoa frameworks for the rest. Timing was not the biggest challenge. For example, we did the Wood level for Chalayan in 2 hours. However, one challenge was to achieve symbiosis between Cocoa and OpenGL ES worlds-- to make the border between them invisible." "Even Apple attempts to simulate 'craftsmanship' in their interfaces, but what we want is real craft." Lately Apple has caught a lot of flak over the emulation of texture in their apps. From the torn pages in Calendar, the artificial book thickness in iBooks, and now to the faux leather in Find My Friends "the result is a fake, chinese knockoff rather than a beautiful piece. Apple wants to create luxury in their apps, but without certain knowledge and traditions-- it has failed." "We think we have the right combination of fashion, art, and cultural connection that would help us create a sense of luxury in the interaction. This could be achieved by adding attention to detail: 3d, physics, etc." A close parallel would be the elastic effect when scrolling to the top of a page on an iPhone. It's not a necessary action, but provides an extra level of interaction that makes the experience richer and more responsive. Originally these ideas began as part of the Road Inc. project, but were ultimately cut due to time constraints. However, after the project's completion, Sergey and Vadik continued development. Layouts could be designed to have physical relationships between elements. Scrolling, pulling, sliding over the surface would have ripple-like effects over the design. Or, in the case below, each element could be linked to a diagonal grid with the physical properties of a fish net. See the interface in motion: "It has become a general trend in our industry that mainstream digital design can’t express emotion or craftsmanship. We believe this thinking to be false. The device is also a tool, and has a direct relationship to craftsmanship, materials, skills, sources, perfect taste and even traditions in some way. Instead of hand made paper and ink, let's create a new way of storytelling using interactive illustrations and text which interacts with your voice and device position. Instead of a high-end tourbillon lets use geo-location and augmented reality etc... It’s definitely not a replacement, but it’s a tool that brings craftsmanship to the next level. This is nothing new, just evolution, and at some point they have to start to use and understand it. I bet they want this goal, but have no idea how to execute it. Even Apple attempts to simulate 'craftsmanship,' but what we really want is craft." "The task was clear — make all of this info accessible and playful." For a year Vadik and Sergey worked together on the now critically acclaimed Road Inc. The app features fifty 3D "reconsitutions" of classic cars, soundtracks, fact sheets, photographs, press cuttings, sketches, etc. Pyrolia, the publisher, proclaims it as the "first digital object dedicated to the automobile." "First of all we have to say that client was very brave and passionate, because this is indeed enormous amount of content, all of which was held by the client and their in-house team. They personally scanned all the books, collected all the videos from the right companies, and even contacted rare car owners. On the team we had three editors as well as a car expert preparing content." "How do we target these guys? What are their preferences in terms of digital environment?" Vadik explains that the current trend in digital publishing is simply the regeneration of existing web content-- basically PDFs with videos thrown in. "The new direction will be the reinvention of storytelling and information curation. It is a bit tricky, content should be adapted for the 'touch' and 'swipe' rather than 'click'-- which is a big difference." Some beliefs behind the interface: • No buttons — super intuitive and easy to use. There should be no tutorial or "help" • Do not compete with cars design • Play with user’s familiar experiences • Easy to update • Play with Apple UI guidelines, so you can create a totally crazy interface, but it will be familiar to people because it repeats default behaviours. Rather than solve this problem with each client, Vadik explains Bowyer's approach for future projects: "We want to try to implement a university approach. We research and develop a tool that clients can buy and apply to their needs (among other clients) or just license the whole thing the become an exclusive owner. This sounds easy in the electronics industry, but how can you apply it to design or art? this we going to challenge." What is Bowyer? More information about Bowyer can be found at http://bowyerworldwide.com Apps available on the AppStore: Samara Op de Beeck Road Inc. […]
- A Prism for Interface Design [Theory] There appear to be a few paths and trends appearing within the interface designs for mobile devices like the iPhone, and I would like to open a discussion amongst those of us in a position to help steer, or at the very least influence the course of progress in this field. For the sake of this argument, I have identified three broad categories into which most interfaces can fall: UNIVERSAL Any interface built entirely with the provided assets and components common to the platform. Â In the case of the iPhone, these are all of the elements from within the Interface Builder framework. COSTUMED Any interface that attempts to recreate a non-digital experience or environment with photo-realistic graphics and controls that mimic actions and movements not physically possible in a 2-dimensional screen interface. NAKED Any interface that is tailored to its purpose and medium without attempting to mimic another purpose, reality or dimension. Universal interfaces are by far the most commonâ€“they make up the bulk of the more than 35,000 (and growing) apps on the Apple App Store, and for good reason. Â Part of the spirit behind the Apple SDK was an openness to individuals and teams who might otherwise not have been unable to design, develop and produce an application, let alone an appropriate interface. Â In doing so, Apple provided a framework for most of the basic actions and interactions so that ideas could be brought to market with less friction. Â Itâ€™s no surprise that this â€œstandardâ€ interface is consistent with Appleâ€™s overall interface style which dates back to the introduction of Aqua with OS X. Â Although highly evolved since Aqua, the iPhone interface still embraces a pseudo-3D environment characterized by stylized/realistic icons plus buttons and bars with implied depth set within a â€œstudioâ€ environment lit by the perfect imaginary light-box. Â All together, the Universal Apple iPhone interface is wonderfully designed and intuitive to use. Â However it, and almost all other system interfaces like it, suffers from itâ€™s own ubiquity. Â By striving to work in every situation for every type of interaction, a Universal interface almost always lacks the nuance and depth needed to adapt to situations where the interface can and should be more than a tool. In contrast with the Universal interfaces, Costumed ones take their adapting and customization to an entirely different level. Â These specially designed interfaces hold nothing back when attempting to recreate an existing physicality or fabricate a hypothetical one based on elements of reality. What a Universal interface lacks in personality, a Costumed one gushes forth without apology. Â With the level of realism possible in 3D rendering and the fine resolution of modern display technology, it is possible to recreate the precision machining of an industrial control pad or the subtle nuance of a wood carved toy. Â In either situation, however, the user is expected (required) to suspend reality to imagine the touch and feel of actions and movements that are supposedly taking place behind or withinâ€“while the screen acts as some sort of planar barrier between the reality outside and the implied reality within. Done correctly, a Costumed interface can honestly draw in the user such that the mind may willingly suspend the disbelief to allow the pleasure of interacting with this other world to overtake wholly. Â Executed poorly, an interface attempting to set a new reality stage often presents only a caricature of that space not unlike a high school stage productionâ€“no one is fooled and the entire production suffers because of it. Thirdly, the area of interface design that I believe has the most untapped potential and an important role in the ongoing evolution of digital interactions: Naked interfaces. Â Simply put, a Naked interface succeeds through its pure honesty and unadorned nature. Â It is an interface that pretends to be nothing other than itself and offers an unencumbered connection between the user and the device or application. Â The strength of this approach lies in the immediacy of the communication. Â Naked interfaces do away with most of the ancillary decoration and symbology common in other styles and cut to the chase. Â Where other interfaces might illustrate a link to the home screen with the common image of a pitched roof house, a Naked interface eliminates the interpretation step needed for a user to read a graphic, mentally translated it and then understand it. Â Simply using the word HOME offers the shortest connection to the intended message. One can argue that the symbology common to modern interfaces (gears icons for â€œsettingsâ€, a filmstrip icon for â€œmoviesâ€, etc.) offer a more universal or internationally accessible connection, but I think we should question this. Â In most cases, these icons are accompanied by a label (Settings, Movies) which somewhat defeat their purpose or at the very least acknowledge their limitation. Â Furthermore, the presumptive nature of the icon is in no way universal (How many people in India or Japan live in a home similar to the common peaked roof icon?) or antiquated (Has a modern teenager ever seen a piece of 8mm film with sprocket holes in real life?) to the point where they become caricatures of the idea in much the same way the politically (in?)correct man and woman stick figures of restroom signs represent the safest solution vs. the most clear or interesting one. At the end of the day, my own preference for Naked interface designs comes back to a central idea that too often gets lost in the process of design: the interface is there primarily to serve the function and content, and should therefore not draw attention to itself. Â In my own work, I generally strive for a minimum ratio of 100:1 in favor of the content (the content should be at least 100 x the scale or impact of the navigation and controls necessary to access it.) Â This may not always be possible, but it is a good rule of thumb to guide design decisions. Returning to the iPhone specifically, another benefit that the Naked interfaces seem to have is the ability to get the attention of users through their sheer unexpected simplicity. Â When an App strays from the norm of the Universal Apple iPhone interface, it immediately takes on a personality that distinguishes it from being just another off-the-shelf app. Â In my own apps (KERN, EYE vs. EYE and PRESS CHECK, all designed specifically for creatives) one of my personal mandates was to avoid the use of any Universal components. Â Other titles like Eliss and Edge have been even more successful at leveraging their unique minimalist and Naked interfaces to focus the entire experience on the gameplay itself, a true accomplishment. Â While these may be eccentric titles in the sea of Universal and Costumed apps on the market, we shouldnâ€™t forget that a truly engaging game does not need any adornment to be deeply enjoyable. Â Think for a moment about the Rubikâ€™s cube, Sudoko, or a a game of chess, and it becomes clear that anything other than a Naked interface for these classics only works against their ability to engage. I believe that Naked interfaces can and will continue to capture the imagination of users as more and more â€œdesignedâ€ apps reach out to the design-centric niches. Â As these interfaces make their way into larger markets and larger audiences, we will have the ability to expose more users to their strengths and ultimately steer the design language toward a more highly refined nature of thought and purpose. Jason Franzen is a founding partner of FORMation, a multi-disciplined design firm based in Dallas, […]
- Minimal Designer [Flash, Scripts] Keith has just posted this UI components library for Flex/FlashBuilder on hisÂ BIT-101 blog. Minimal design, clean look, and whilst still in development should make implementation as easy as drag and drop.Â As far as code generation, it just generates a list of the components with constructors and sets any properties (right now only width and height, as needed). The source will be available shortly. You can see the demo below + full screen here // bit-101.com/MinimalDesigner/ BIT-101 Flash […]
- Interface Builder & OF [openFrameworks, News] Todd has just posted this video on vimeo of alternative gui system for openFrameworks using Apple's Interface Builder, part of XCode. This is quite interesting as until now most of the gui you had to buid yourself untilÂ Memo provided SimpleGui as a part of ofxmsaof (OF addon). There have also been a number of attempts by others to create an easy to use GUI addon for OF to avoid always having to recreate the GUI for your OF applications. Â Interface builder option for OF is an interesting one but we'll have to wait and see how easy it is to implement in your OF Applications. You can download the source […]
- Pocketball [iPhone, Games] Pocketball is a themed UI physics puzzle game by Big Bucket Software just released in the AppStore. Your goal is to guide the colored balls into their corresponding pockets. By drawing ropes between pegs, you navigate the balls around boosters, gravity wells, pesky nukes and more. The game includes 30 stages, all wrapped in a wood themed interface with wonderful subtle animations. I have played a few levels and can see myself spending hours. For now, only full version is available but I have no doubt a demo (lite) will follow pretty soon. Features: • Auto-saves so that returning to a game feels like you never left. • Want to start over? Simply shake to remove all ropes and try again. • Full stereo sound. For more info + screens, see bigbucketsoftware.com/pocketball/ Platform: iPhone Version: 1.0 Cost: $1.99 Developer: […]
- The HyperCard Legacy [Theory, Mac] In 1963, my dad was looking for a job. Born in England and raised in Africa, he ended up in London after a few years of travel by ship and train. In those pre-pre-Craigslist days, people still searched for employment in newspapers, and an unusual listing in a London Newspaper caught his eye: a listing looking for computer operators. For my father, the listing raised two immediate questions: What is a computer? And how do you operate it? (A similar reaction would have come from job listings for auto mechanics in 1914 or web designers in 1994). Responding to that listing turned out to be a life-changing decision for my dad, who has spent the last 40 years working with computers and technology. A very similar directional moment came for me 24 years later, in 1987, when my dad arrived home from work with a Macintosh SE computer HyperCard, Revisited The Mac SE was actually not as important to my life (and career) as was the software that came with it for free - in particular, an unusual and innovative application called HyperCard. HyperCard was a tool for making tools - Mac users could use Hypercard to build their own mini-programs to balance their taxes, manage sports statistics, make music - all kinds of individualized software that would be useful (or fun) for individual users. These little programs were called stacks, and were built as a system of cards that could be hyperlinked together. Building a HyperCard stack was remarkably easy, and the application quickly developed a devoted following. HyperCard was the brain child of Bill Atkinson, one of Apple's earliest employees, and the software engineer responsible for (among other things) the drop-down menu, the selection tool, and tabbed navigation. Bill played a big role in making the Mac what the Mac was - a personal computer that made the whole process of computing easy for the general public. HyperCard represented perhaps the bravest part of this 'computing for the people' philosophy, as it enabled users to go past the pre-built software that came on the machines, and to program and build software of their own. Assuming that a typical computer would and could learn how to may program seem like a mad idea, but its one that has a long legacy. When personal computers were first envisioned in the 1960s, scenarios included the owners of these machines making their own software. The small group of people who were working in computing probably couldn't imagine why anyone would want a computer if they didn't know how to program it! With HyperCard, the learning process was facilitated by pre-built UI elements, and a simple drag & drop interface. Maybe most important, though, was HyperCard's unique, innovative, and very easy to use programming language, HyperTalk. Say That again, in English? Reading programming instructions written in some languages can be confusing. Statements in HyperTalk, on the other hand, tend to read like sentences in English. For example, if I wanted to create a variable called â€˜nameâ€™ with the string 'bob dole' in it, I would write this: put 'bob dole' into name If I wanted to put the last name into a list of last names that I had already created, I could do this: put the second word of name into last_names And if I wanted to display the name on screen, I would simply write: put name into field 'name_display' This type of plain-language programming makes sense, particularly in an application that was designed specifically for non-programmers. I have been teaching programming to designers and artists for nearly a decade, and I find the largest concern for learners to be not with the conceptual hurdles involved in writing a program, but with obscure and confusing syntax requirements. I would love to be able to teach HyperTalk to my students, as a smooth on-road to more complex languages like Java or ActionScript. HyperTalk wasn't just easy, it was also fairly powerful. Complex object structures could be built to handle complicated tasks, and the base language could be expanded by a variety of available externdal commands and functions (XCMDs and XFCNs, respectively), which were precursors to the modern plug-in. Programming for the People This combination of ease of use and power resonated with the HyperCard user base, who developed and shared thousands of unique stacks (all in a time before the web). A visit to a BBS in the late 80s and early 90s could give a modem-owner access to thousands of unique, often home-made tools and applications. Stacks were made to record basketball statistics, to teach music theory, and to build complex databases. The revolutionary non-linear game Myst first appeared as a HyperCard stack, and the Beatles even got into the scene, with an official stack A Hard Days Night. During the same time, developers made hundreds of extensions. Some let HyperCard stacks talk to other applications on your computer (opening the door to the first computer virus, 'Concept', in 1993). Other let you communicate to the outside world - BeeHive Technology's ADB I/) box was a kind of â€˜Arduino for the 80's, and let stack-makers connect to sensors and send commands to electronics. A large community formed around HyperCard, providing tips & resources as well as a distribution channel for home-brew software makers. The HyperCard Legacy Over the last few years, we've seen many exciting projects that work in the spirit of HyperCard - projects that offer free and simple ways to create custom software tools. Replace the word 'HyperCard' in the paragraphs above with 'Processing' and the word 'stack' with the word'sketch', and many of the innovations and advantages described can be moved 20 years into the future without much of a re-write. HyperCard was the first real hyper-media program, paving the way for the web, and everything that came with it. It was used by thousands of people, and by most accounts, seemed to have been a fairly successful piece of software. Which, of course, begs the question: What happened to HyperCard? A small project in the larger suite of Mac software, HyperCard never really saw the type of development commitment that it would need to remain current as the Mac OS advanced. The small, black-and white application looked more and more antiquated as screens got bigger and more colorful. To compound matters, the project was shuffled back and forth between Mac and its software subsidiary Claris and seemed never to get any kind of sure footing. Though a second version of Hypercard was released in 1990, the project had made few advances since its release five years earlier. Ultimately, HyperCard would disappear from Mac computers by the mid-nineties, eclipsed by web browsers and other applications which it had itself inspired. The last copy of HyperCard was sold by Apple in 2004. The Importance of Middle Ground In new media, practitioners are often identified with the specific tools that they use. I started out as a 'Flash guy' and over the last few years have been connected more and more with the open source software project Processing. Though I originally came to Processing to escape the Flash Player's then sluggish performance, I value the platform as much for its ease of use and its teachability as I do for its ability to quickly add floating point numbers. Lately, I've been asked the same question, over and over again: 'Why don't you move to OpenFrameworks? It's much faster!' It is true that projects built in OF run faster than those built in Processing. This question, though, seems to be missing a key point: faster does not always equal better. Does every pianist want to play the pipe organ because it has more keys? Is a car better than a bicycle? In my case, choosing a platform to work with involves as much consideration to simplicity as it does to complexity. I am an educator, and when I work on a project I am always thinking about how the things that are learned in the process can be packaged and shared with my students and with the public. Which brings us to the broader concept of accessibility. HyperCard effectively disappeared a decade a go, making way for supposedly bigger and better things. But in my mind, the end of HyperCard left a huge gap that desperately needs to be filled - a space for an easy to use, intuitive tool that will once again let average computer users make their own tools. Such a project would have huge benefits for all of us, wether we are artists, educators, entrepreneurs, or enthusiasts. HyperCard, Revisited Over the years, there have been several attempts to revive HyperCard, most recently on the web. TileStack is HyperCard for a social media world, a site in which users can build their own stacks, program them with HyperTalk, and share them with friends. It's a bit of a time capsule, with many classic HyperCard stacks available to satisfy any nostalgic cravings for B&W pixel art you may be harbouring. Unfortunately, HyperCard, as much as we might love it, is 25 years old. These big initiatives to revive it directly end up looking and feeling antiquated. I could imagine a new version of HyperCard being built from the ground up around its core functional properties: HyperTalk, easy to use UI elements, and a framework for extensions. It's the kind of open source project that could happen, but with so much investment already existing in other initiatives such as Processing and OpenFrameworks, it might not be the best use of resources. So, let's forget for now about a resurrection. Instead of thinking bigger, let's think smaller. HyperCard for the iPhone? It might not be as crazy as you think. Imagine having a single, meta app that could be used to make smaller ones. This 'App-Builder App', like HyperCard, could combine easy to use, draggable user interface elements with an intuitive, plain language scripting language. As a quick visit to the App Store will show you, many or most of the apps available today could be built without complex coding. You don't need Objective C to make a stock ticker, or a unit converter, or a fart machine. These home-made apps could be shared and adapted, cross-bred and mutated to create generation after generation of useful (and not so useful programs). By putting the tools of creation into the hands of the broader userbase, we would allow for the creation of ultra-specific personalized apps that, aside from a few exceptions, don't exist today. We'd also get access to a vastly larger creative pool. There are undoubtedly many excellent and innovative ideas out there, in the heads of people who don't (yet) have the programming skills to realize them. The next Myst is waiting to be built, along with countless other novel tools and applications. With the developer restrictions and extreme proprietism of the iPhone App Store, it's hard to remember the Apple of the 80s. Steve Jobs, Bill Atkinson and their team had a vision to not only bring computers to the people, but also to bring computer programming to the public - to make makers out of the masses. At Apple, this philosophy, along with HyperCard seems to have mostly been lost. In the open source community, though, this ideal is alive and well - it may be that by reviving some ideas from the past we might be able to create a HyperCard for the […]
- Iconclock [iPhone] Something very simple but fun for the fans. Created by Tokyo based forYou,inc ran by Shinya Kaneda, Iconclock is a clock app for your iPhone that takes the old skool Apple OS6/7 spinning clock to show time/date/set alarms + 'remember the good old days'. Here are some features: - Four background colors to choose from and you can also choose your favorite photo from your device to use as a desktop picture. - Pinch in, pinch out icon to change size of clock. - Support the device's landscaping and reverse portrait position. - Tap and hold the clock icon to move it around. - Automatically disable screen auto-locking. - Good Ol' alarm sound ! - One more thing Absolutley love it....as simple as it is. Platform: iPhone Version: 1.0 Cost: $0.99 Developer: forYou […]
- ofxUI – New GUI addon for your openFrameworks projects [openFrameworks] ofxUI is an addon for openFrameworks (version 07) by Reza Ali that easily allows for the creation of user interfaces aka GUIs. ofxUI also takes care of widget layout, spacing, font loading, and widget callbacks. ofxUI can be easily customized (colors, font & widget sizes, padding, layout, etc).ofxUI is a GL based GUI and uses openFramework’s drawings calls to render its widgets. It integrates into openFrameworks projects very easily since it was designed specifically for OF. Just drag and drop the addon into your project, copy the GUI folder from an example project’s data folder into your data folder. The README in the ofxUI addon folder includes a step by step tutorial on how to use the library in your projects in under 10 minutes. There are many examples included in the download that show how to add widgets, customize their placement, get values from different types of widgets, set widget values, add callback functions for gui events, and more. It has been tested on OSX and iOS (OF 07). It should work on linux and windows, since its only dependency is openFrameworks. ofxUI is open source under an MIT License, therefore you can use it in commercial and non-commercial projects. If you plan to use it in a commercial project please consider donating to help support this addon and future releases/fixes/features. Project Page | […]
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