Case Study: Expert Evaluations of Complex UIs - Cross-Cultural Human-Computer Interaction and User Experience Design - page 51

(b) Alternatively look through the menu items (especially in what seemed
as most related: Image - > Adjustments, and Filter - > Distort) for

a relative command (it was found under Filter - Lens

correction). (A window with a live preview, “Remove distortion”
sliders, and “Transform” sliders appears.)

> Distort - >

(2) Drag the sliders to set the needed parameters.
(3) Click “OK” to apply the changes.
(4) From the menu select “Filter -

Shear” for an additional cor-
rection. (A window “Shear” appears with a draggable curve, and a live
preview.)
(5) Drag the curve to provide the intended distortion. See the proposed results
in the preview.
(6) Click “OK” to apply the changes.
(7) Save changes to the file.

> Distort - >

HE analysis
Visible interfaces/WYSIWYG.
The lens correction function was not present on the toolbar, and was only accessible
through the menu bar. Since it is one of the advertised features, it should be accessible
as readily as possible.

Direct manipulation/see and point.
To make any changes to the image perspective the user can't interact with the image
directly. Instead, he or she is presented with a window containing a set of controllers.
All the actions are only visible in the preview window.

Modelessness.
By presenting the user with a “lens correction” window the user is not able to interact
freely with the image. In order to continue working he or she must dismiss the dialog
window first (see Figures 4.5 and 4.6). A better solution seems to be using standard
controls and not introducing a different working environment. By doing so, we would
also eliminate the extra step of applying the changes.

SA analysis
Actors, audience, paradigm.
All of the objects involved in the interaction pertain to the leading paradigm of
“window, icon, menu, pointing device” (WIMP). The paradigm is constituted by the
menu bar, toolbars, main window containing the image, dialog windows, icons, and
pointer. The paradigm is bound to the GUI metaphor. Adobe Photoshop is meant for
professionals. This distinction of audience is manifested implicitly by the channel
of distribution (commercial software) and explicitly in the marketing documenta-
tion (Adobe Photoshop's slogan reads: “The professional standard in desktop digital
imaging” (Adobe, 2005)). The menu paradigm is constructed by combining noun-
verb or verb-noun items, which seems deliberate (only one model should be chosen.)