diff --git a/docs/assets/data/cacheBust.js b/docs/assets/data/cacheBust.js deleted file mode 100755 index 40618b02..00000000 --- a/docs/assets/data/cacheBust.js +++ /dev/null @@ -1,20 +0,0 @@ -const md5File = require('md5-file'); - -const cacheBust = () => { - // A "map" of files to cache bust - const files = { - mainCss: './src/compiled-assets/main.css', - mainJs: './src/assets/scripts/main.js', - }; - - return Object.entries(files).reduce((acc, [key, path]) => { - const now = Date.now(); - const bust = process.env.ELEVENTY_ENV === 'production' ? md5File.sync(path, (_err, hash) => hash) : now; - - acc[key] = bust; - - return acc; - }, {}); -}; - -module.exports = cacheBust; diff --git a/docs/assets/data/gdwFragen.json b/docs/assets/data/gdwFragen.json deleted file mode 100755 index 29a6f5e0..00000000 --- a/docs/assets/data/gdwFragen.json +++ /dev/null @@ -1,104 +0,0 @@ -{ - "Das Web": [ - "Was ist «das Web»?", - "Was meint der Begriff «Netz Neutralität»?", - "Was versteht man unter dem Konzept «Big is Beautiful» im Kontext des Webs.", - "Was versteht man unter dem Prinzip «Bottom Up» im Kontext des Webs.", - "Was ist der «AAA Slogan»?", - "Inwiefern wirkt der Grundsatz der «Offenheit» im Web." - ], - "Grundlegende Begriffe des Web": [ - "Was charakterisiert eine Ressource im Web und was unterscheidet eine Ressource von deren Repräsentation?", - "Was ist eine URI?", - "Was unterscheidet eine URL von einer URN?", - "Was versteht man unter einem RFC und wofür wird ein RFC im Kontext des Webs eingesetzt?", - "Was meint «eine Ressource muss nicht immer den gleichen Inhalt haben, aber eine Ressource bezeichnet inhaltlich immer das gleiche»?", - "Wie ist eine URL aufgebaut?", - "Was könnte die Repräsentation einer Ressource sein?", - "Was unterscheidet die Repräsentation einer Ressource von der Präsentation derselben?", - "Was versteht man unter HTTP?", - "Skizzieren Sie einen kompletten HTTP Request-Response Cycle.", - "Was versteht man unter dem Begriff «Hypertext» und welche Idee steckt hinter dem Konzept?", - "Was unterscheidet ein Protokoll von einem Dienst und wie sind beide zu charakterisieren?", - "Welche Mechanik steckt hinter mehrerer Repräsentation einer Ressource?" - ], - "Grundlegende Begriffe verteilter Systeme": [ - "Was unterscheidet eine Softwarekomponente von einem Dienst?", - "Was versteht man unter einem «verteilen System»?", - "Wozu dient ein Kontrakt bei verteilten Systemen?", - "Welcher Mechanismus steckt hinter dem Publish-Subscribe Paradigma?", - "Wodurch ist das Paradigma der Synchronität gekennzeichnet?" - ], - "Webservices": [ - "Was unterscheidet einen Internetdienst von einem Webservice?", - "Was wird mit dem Begriff «Endpunkt» bezeichnet?", - "Was versteht man unter einem «Microservice» und welche Vor- und Nachteile bringt dieses Konzept mit sich?", - "Was sollte bei der Nutzung von Drittanbieterdiensten berücksichtigt werden?", - "Was ist der Unterschied zwischen der Anwendungs- und der Präsentationslogik? Warum ist des sinnvoll diese voneinander zu trennen?", - "Was versteht man unter dem Akronym «API»?" - ], - "(Daten-)/modellierung":[ - - "Warum ist es bei der Entwicklung komplexerer Anwendungen wichtig, zunächst ein Domänenmodell zu entwickeln?", - "Erklären Sie die Unterschiede geläufiger «Standards für Zeichensätze» im Web.", - "Erklären Sie das Konzept von «Auszeichnungssprachen» (Markup Languages).", - "Was versteht man unter «Marshalling»?", - "Erklären Sie die Rolle und Bedeutung von «Schemasprachen» für den Datenaustausch im Web.", - "Erklären Sie den Unterschied zwischen «Wohlgeformtheit» und «Gültigkeit» von XML Dokumenten.", - "Was ist ein «Element» in einem XML Dokument.", - "Erklären Sie das Konzept der «Namespaces».", - "Was versteht man unter dem Begriff/ Konzept «Ubiquitous Language» im Kontext von *Domain-Driven Design*?", - "Was ist ein Domänenmodell? Was sind Assoziationen darin?", - "Was ist ein «Bounded Context» in einem Domänenmodell?", - "Was meint «lose Kopplung» und was ist der Vorteil dieser Idee?", - "Was sind Merkmale einer losen Kupplung?", - "Warum wird die lose Kopplung von Softwarekomponenten propagiert und was sind Elemente der losen Kopplung?", - "Warum ist es wichtig bei der Modellierung mit einem Domänenmodell zu beginnen?" - ], - - "REST": [ - "Was verbirgt sich hinter dem Akronym «REST»?", - "Was sind die REST Prinzipien?", - "Erklären Sie in drei Sätzen die Grundidee von REST.", - "Was unterscheidet eine Architekturstil von einem Standard?", - "Charakterisieren Sie die Beziehung zwischen einer Ressource und ihren Repräsentationen.", - "Was versteht man unter Idempotenz von HTTP Verben?", - "Unter welchen Bedingungen wird ein HTTP Verb als sicher bezeichnet?", - "Was ist mit dem Begriff „Web as a application platform“ gemeint?", - "Erklären Sie die wesentlichen REST Prinzipien.", - "Erklären Sie «Richardson’s maturity model».", - "Warum ist es wichtig dass Anwendungen die beabsichtigte Semantik von http Verben befolgen?", - "Was versteht man unter «URI tunneling»?", - "Warum klassifiziert man «POX applications» als «level 0» und «URI-Tunneling applications» als «level 1»?", - "Wie kann das Konzept der «http status codes» adäquat in REST Anwendungen eingesetzt werden?", - "Was spricht für und gegen die Verwendung von selbstdefinierten Verben bei der Konzeption eines REST Service?", - "Welche Information sollte das «location»-Feld des http headers in der Antwort auf einen POST Request beinhalten?", - "Erklären Sie den Unterschied zwischen der Nutzung von http als «transport protocol» und der Nutzung als «application protocol».", - "Wenn man die Beschreibung eines Web Service als «contract» betrachtet: welche Informationen müssen dann in einem Überblick über den contract eines RESTful Web Service enthalten sein?", - "Nennen Sie Konventionen, die helfen zu entscheiden, ob zur Übermittlung von Daten vom Client an den Server PUT oder POST verwendet werden soll.", - "Unter welchen Bedingungen bezeichnet man ein http Verb als «idempotent», unter welchen als «safe»?", - "Zu welchem Zweck werden «Entity Tags» (ETags) in RESTful Architekturen verwendet?", - "Stellen Sie ein Beispiel detailliert dar, bei dem es zu Konflikten bei der Veränderung des Zustandes von Ressourcen kommen kann! Das Beispiel kann gerne auch aus Ihrer Workshop Anwendung abgeleitet sein.", - "Welche Werte kann das rel-Attribut von Links in REST Anwendungen annehmen?", - "Erklären Sie inwiefern die Verwendung von Hypermedia in REST Architekturen zur losen Kopplung von Dienstanbieter und Dienstnutzer beiträgt!", - "Erklären Sie warum für Hypermediaformate in XML als content type nicht application/XML angegeben werden sollte.", - "Was versteht man unter Primär-, Listen- und Subressourcen?" - ], - "Asynchrone Kommunikation": [ - "Erklären Sie Sinn und Funktionsweise von AJAX. Gehen Sie auch darauf ein, welche Vorgänge asynchron sind.", - "Erklären Sie die Möglichkeiten auf der Basis von http asynchrone Kommunikation umzusetzen.", - "Erklären Sie die Unterschiede zwischen «Fat Ping» und «Light Ping».", - "Was versteht man unter einen Queuing System?", - "Was sind die Vorteile von «zeitlich entkoppelter» und «referenziell entkoppelter» Kommunikation?", - "Erklären Sie die Grundidee von Publish/subscribe?", - "Was sind die Besonderheiten von Push Diensten auf mobilen Endgeräten.", - "Erklären Sie die grundsätzlichen Abläufe bei der Einrichtung und Nutzung einer auf «Firebase Cloud Messaging» basierenden Kommunikation.", - "Erklären Sie die Architektur eines auf XMPP basierenden Systems.", - "Erklären Sie, wie XML zur Kommunikation in XMPP genutzt wird.", - "Was versteht man unter den «stanza» element Namen «message», «presence», und «iq»?", - "Wie kann eine «Multi-Party-Kommunikation» mit XMPP verwirklicht werden?", - "Wie wird eine Publish/Subscribe Kommunikation in XMPP verwirklicht?", - "Grenzen Sie Publish/Subribe- und Client-Server voneinander ab.", - "Wie kommt man von einem Domänenmodell zu REST?", - "Wie funktioniert asynchrone Kommunikation bei HTTP?" - ]} \ No newline at end of file diff --git a/docs/assets/data/project.json b/docs/assets/data/project.json deleted file mode 100755 index adbe9c26..00000000 --- a/docs/assets/data/project.json +++ /dev/null @@ -1,3 +0,0 @@ -{ - "baseTitle": "Screendesign" -} \ No newline at end of file diff --git a/docs/assets/fonts/Barlow/Barlow-Black.ttf b/docs/assets/fonts/Barlow/Barlow-Black.ttf deleted file mode 100755 index 4d9bb93b..00000000 Binary files a/docs/assets/fonts/Barlow/Barlow-Black.ttf and /dev/null differ diff --git a/docs/assets/fonts/Barlow/Barlow-BlackItalic.ttf b/docs/assets/fonts/Barlow/Barlow-BlackItalic.ttf deleted file mode 100755 index 1947969e..00000000 Binary files a/docs/assets/fonts/Barlow/Barlow-BlackItalic.ttf and /dev/null differ diff --git a/docs/assets/fonts/Barlow/Barlow-Bold.ttf b/docs/assets/fonts/Barlow/Barlow-Bold.ttf deleted file mode 100755 index 86f237c6..00000000 Binary files a/docs/assets/fonts/Barlow/Barlow-Bold.ttf and /dev/null differ diff --git a/docs/assets/fonts/Barlow/Barlow-BoldItalic.ttf b/docs/assets/fonts/Barlow/Barlow-BoldItalic.ttf deleted file mode 100755 index bc59eaf3..00000000 Binary files a/docs/assets/fonts/Barlow/Barlow-BoldItalic.ttf and /dev/null differ diff --git a/docs/assets/fonts/Barlow/Barlow-ExtraBold.ttf b/docs/assets/fonts/Barlow/Barlow-ExtraBold.ttf deleted file mode 100755 index 0da03830..00000000 Binary files a/docs/assets/fonts/Barlow/Barlow-ExtraBold.ttf and /dev/null differ diff --git a/docs/assets/fonts/Barlow/Barlow-ExtraBoldItalic.ttf b/docs/assets/fonts/Barlow/Barlow-ExtraBoldItalic.ttf deleted file mode 100755 index a1f1612f..00000000 Binary files a/docs/assets/fonts/Barlow/Barlow-ExtraBoldItalic.ttf and /dev/null differ diff --git a/docs/assets/fonts/Barlow/Barlow-ExtraLight.ttf b/docs/assets/fonts/Barlow/Barlow-ExtraLight.ttf deleted file mode 100755 index b70214d1..00000000 Binary files a/docs/assets/fonts/Barlow/Barlow-ExtraLight.ttf and /dev/null differ diff --git a/docs/assets/fonts/Barlow/Barlow-ExtraLightItalic.ttf b/docs/assets/fonts/Barlow/Barlow-ExtraLightItalic.ttf deleted file mode 100755 index a5f9351b..00000000 Binary files a/docs/assets/fonts/Barlow/Barlow-ExtraLightItalic.ttf and /dev/null differ diff --git a/docs/assets/fonts/Barlow/Barlow-Italic.ttf b/docs/assets/fonts/Barlow/Barlow-Italic.ttf deleted file mode 100755 index 987594e7..00000000 Binary files a/docs/assets/fonts/Barlow/Barlow-Italic.ttf and /dev/null differ diff --git a/docs/assets/fonts/Barlow/Barlow-Light.ttf b/docs/assets/fonts/Barlow/Barlow-Light.ttf deleted file mode 100755 index a6f71f27..00000000 Binary files a/docs/assets/fonts/Barlow/Barlow-Light.ttf and /dev/null differ diff --git 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b/docs/assets/fonts/Barlow/OFL.txt deleted file mode 100755 index 264ffc52..00000000 --- a/docs/assets/fonts/Barlow/OFL.txt +++ /dev/null @@ -1,93 +0,0 @@ -Copyright 2017 The Barlow Project Authors (https://github.com/jpt/barlow) - -This Font Software is licensed under the SIL Open Font License, Version 1.1. -This license is copied below, and is also available with a FAQ at: -http://scripts.sil.org/OFL - - ------------------------------------------------------------ -SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 ------------------------------------------------------------ - -PREAMBLE -The goals of the Open Font License (OFL) are to stimulate worldwide -development of collaborative font projects, to support the font creation -efforts of academic and linguistic communities, and to provide a free and -open framework in which fonts may be shared and improved in partnership -with others. - -The OFL allows the licensed fonts to be used, studied, modified and -redistributed freely as long as they are not sold by themselves. The -fonts, including any derivative works, can be bundled, embedded, -redistributed and/or sold with any software provided that any reserved -names are not used by derivative works. The fonts and derivatives, -however, cannot be released under any other type of license. The -requirement for fonts to remain under this license does not apply -to any document created using the fonts or their derivatives. - -DEFINITIONS -"Font Software" refers to the set of files released by the Copyright -Holder(s) under this license and clearly marked as such. This may -include source files, build scripts and documentation. - -"Reserved Font Name" refers to any names specified as such after the -copyright statement(s). - -"Original Version" refers to the collection of Font Software components as -distributed by the Copyright Holder(s). - -"Modified Version" refers to any derivative made by adding to, deleting, -or substituting -- in part or in whole -- any of the components of the -Original Version, by changing formats or by porting the Font Software to a -new environment. - -"Author" refers to any designer, engineer, programmer, technical -writer or other person who contributed to the Font Software. - -PERMISSION & CONDITIONS -Permission is hereby granted, free of charge, to any person obtaining -a copy of the Font Software, to use, study, copy, merge, embed, modify, -redistribute, and sell modified and unmodified copies of the Font -Software, subject to the following conditions: - -1) Neither the Font Software nor any of its individual components, -in Original or Modified Versions, may be sold by itself. - -2) Original or Modified Versions of the Font Software may be bundled, -redistributed and/or sold with any software, provided that each copy -contains the above copyright notice and this license. These can be -included either as stand-alone text files, human-readable headers or -in the appropriate machine-readable metadata fields within text or -binary files as long as those fields can be easily viewed by the user. - -3) No Modified Version of the Font Software may use the Reserved Font -Name(s) unless explicit written permission is granted by the corresponding -Copyright Holder. This restriction only applies to the primary font name as -presented to the users. - -4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font -Software shall not be used to promote, endorse or advertise any -Modified Version, except to acknowledge the contribution(s) of the -Copyright Holder(s) and the Author(s) or with their explicit written -permission. - -5) The Font Software, modified or unmodified, in part or in whole, -must be distributed entirely under this license, and must not be -distributed under any other license. The requirement for fonts to -remain under this license does not apply to any document created -using the Font Software. - -TERMINATION -This license becomes null and void if any of the above conditions are -not met. - -DISCLAIMER -THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, -EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF -MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT -OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE -COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, -INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL -DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING -FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM -OTHER DEALINGS IN THE FONT SOFTWARE. diff --git a/docs/assets/fonts/IBM_Plex_Sans/IBMPlexSans-Bold.ttf b/docs/assets/fonts/IBM_Plex_Sans/IBMPlexSans-Bold.ttf deleted file mode 100755 index 94717b8b..00000000 Binary files a/docs/assets/fonts/IBM_Plex_Sans/IBMPlexSans-Bold.ttf and /dev/null differ diff --git a/docs/assets/fonts/IBM_Plex_Sans/IBMPlexSans-Bold.woff2 b/docs/assets/fonts/IBM_Plex_Sans/IBMPlexSans-Bold.woff2 deleted file mode 100755 index f86a4f4e..00000000 Binary files a/docs/assets/fonts/IBM_Plex_Sans/IBMPlexSans-Bold.woff2 and /dev/null differ diff --git a/docs/assets/fonts/IBM_Plex_Sans/IBMPlexSans-BoldItalic.ttf b/docs/assets/fonts/IBM_Plex_Sans/IBMPlexSans-BoldItalic.ttf 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IBM Corp. with Reserved Font Name "Plex" - -This Font Software is licensed under the SIL Open Font License, Version 1.1. -This license is copied below, and is also available with a FAQ at: -http://scripts.sil.org/OFL - - ------------------------------------------------------------ -SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 ------------------------------------------------------------ - -PREAMBLE -The goals of the Open Font License (OFL) are to stimulate worldwide -development of collaborative font projects, to support the font creation -efforts of academic and linguistic communities, and to provide a free and -open framework in which fonts may be shared and improved in partnership -with others. - -The OFL allows the licensed fonts to be used, studied, modified and -redistributed freely as long as they are not sold by themselves. The -fonts, including any derivative works, can be bundled, embedded, -redistributed and/or sold with any software provided that any reserved -names are not used by derivative works. The fonts and derivatives, -however, cannot be released under any other type of license. The -requirement for fonts to remain under this license does not apply -to any document created using the fonts or their derivatives. - -DEFINITIONS -"Font Software" refers to the set of files released by the Copyright -Holder(s) under this license and clearly marked as such. This may -include source files, build scripts and documentation. - -"Reserved Font Name" refers to any names specified as such after the -copyright statement(s). - -"Original Version" refers to the collection of Font Software components as -distributed by the Copyright Holder(s). - -"Modified Version" refers to any derivative made by adding to, deleting, -or substituting -- in part or in whole -- any of the components of the -Original Version, by changing formats or by porting the Font Software to a -new environment. - -"Author" refers to any designer, engineer, programmer, technical -writer or other person who contributed to the Font Software. - -PERMISSION & CONDITIONS -Permission is hereby granted, free of charge, to any person obtaining -a copy of the Font Software, to use, study, copy, merge, embed, modify, -redistribute, and sell modified and unmodified copies of the Font -Software, subject to the following conditions: - -1) Neither the Font Software nor any of its individual components, -in Original or Modified Versions, may be sold by itself. - -2) Original or Modified Versions of the Font Software may be bundled, -redistributed and/or sold with any software, provided that each copy -contains the above copyright notice and this license. These can be -included either as stand-alone text files, human-readable headers or -in the appropriate machine-readable metadata fields within text or -binary files as long as those fields can be easily viewed by the user. - -3) No Modified Version of the Font Software may use the Reserved Font -Name(s) unless explicit written permission is granted by the corresponding -Copyright Holder. This restriction only applies to the primary font name as -presented to the users. - -4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font -Software shall not be used to promote, endorse or advertise any -Modified Version, except to acknowledge the contribution(s) of the -Copyright Holder(s) and the Author(s) or with their explicit written -permission. - -5) The Font Software, modified or unmodified, in part or in whole, -must be distributed entirely under this license, and must not be -distributed under any other license. The requirement for fonts to -remain under this license does not apply to any document created -using the Font Software. - -TERMINATION -This license becomes null and void if any of the above conditions are -not met. - -DISCLAIMER -THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, -EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF -MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT -OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE -COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, -INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL -DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING -FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM -OTHER DEALINGS IN THE FONT SOFTWARE. diff --git a/docs/assets/fonts/IBM_Plex_Sans/fonts.txt b/docs/assets/fonts/IBM_Plex_Sans/fonts.txt deleted file mode 100755 index 14658e0a..00000000 --- a/docs/assets/fonts/IBM_Plex_Sans/fonts.txt +++ /dev/null @@ -1,33 +0,0 @@ -total 7136 --rw-rw-r--@ 1 cnoss staff 181468 11 Mär 2018 IBMPlexSans-Bold.ttf --rw-r--r--@ 1 cnoss staff 56592 2 Sep 2020 IBMPlexSans-Bold.woff2 --rw-rw-r--@ 1 cnoss staff 190220 11 Mär 2018 IBMPlexSans-BoldItalic.ttf --rw-r--r--@ 1 cnoss staff 60472 2 Sep 2020 IBMPlexSans-BoldItalic.woff2 --rw-rw-r--@ 1 cnoss staff 184948 11 Mär 2018 IBMPlexSans-ExtraLight.ttf --rw-r--r--@ 1 cnoss staff 60188 2 Sep 2020 IBMPlexSans-ExtraLight.woff2 --rw-rw-r--@ 1 cnoss staff 193096 11 Mär 2018 IBMPlexSans-ExtraLightItalic.ttf --rw-r--r--@ 1 cnoss staff 64248 2 Sep 2020 IBMPlexSans-ExtraLightItalic.woff2 --rw-rw-r--@ 1 cnoss staff 190172 11 Mär 2018 IBMPlexSans-Italic.ttf --rw-r--r--@ 1 cnoss staff 60772 2 Sep 2020 IBMPlexSans-Italic.woff2 --rw-rw-r--@ 1 cnoss staff 183676 11 Mär 2018 IBMPlexSans-Light.ttf --rw-r--r--@ 1 cnoss staff 59980 2 Sep 2020 IBMPlexSans-Light.woff2 --rw-rw-r--@ 1 cnoss staff 192436 11 Mär 2018 IBMPlexSans-LightItalic.ttf --rw-r--r--@ 1 cnoss staff 64188 2 Sep 2020 IBMPlexSans-LightItalic.woff2 --rw-rw-r--@ 1 cnoss staff 182716 11 Mär 2018 IBMPlexSans-Medium.ttf --rw-r--r--@ 1 cnoss staff 59912 2 Sep 2020 IBMPlexSans-Medium.woff2 --rw-rw-r--@ 1 cnoss staff 191396 11 Mär 2018 IBMPlexSans-MediumItalic.ttf --rw-r--r--@ 1 cnoss staff 64632 2 Sep 2020 IBMPlexSans-MediumItalic.woff2 --rw-rw-r--@ 1 cnoss staff 181492 11 Mär 2018 IBMPlexSans-Regular.ttf --rw-r--r--@ 1 cnoss staff 56516 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(http://www.paratype.com/public), -with Reserved Font Names "PT Sans" and "ParaType". - -This Font Software is licensed under the SIL Open Font License, Version 1.1. -This license is copied below, and is also available with a FAQ at: -http://scripts.sil.org/OFL - - ------------------------------------------------------------ -SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 ------------------------------------------------------------ - -PREAMBLE -The goals of the Open Font License (OFL) are to stimulate worldwide -development of collaborative font projects, to support the font creation -efforts of academic and linguistic communities, and to provide a free and -open framework in which fonts may be shared and improved in partnership -with others. - -The OFL allows the licensed fonts to be used, studied, modified and -redistributed freely as long as they are not sold by themselves. The -fonts, including any derivative works, can be bundled, embedded, -redistributed and/or sold with any software provided that any reserved -names are not used by derivative works. The fonts and derivatives, -however, cannot be released under any other type of license. The -requirement for fonts to remain under this license does not apply -to any document created using the fonts or their derivatives. - -DEFINITIONS -"Font Software" refers to the set of files released by the Copyright -Holder(s) under this license and clearly marked as such. This may -include source files, build scripts and documentation. - -"Reserved Font Name" refers to any names specified as such after the -copyright statement(s). - -"Original Version" refers to the collection of Font Software components as -distributed by the Copyright Holder(s). - -"Modified Version" refers to any derivative made by adding to, deleting, -or substituting -- in part or in whole -- any of the components of the -Original Version, by changing formats or by porting the Font Software to a -new environment. - -"Author" refers to any designer, engineer, programmer, technical -writer or other person who contributed to the Font Software. - -PERMISSION & CONDITIONS -Permission is hereby granted, free of charge, to any person obtaining -a copy of the Font Software, to use, study, copy, merge, embed, modify, -redistribute, and sell modified and unmodified copies of the Font -Software, subject to the following conditions: - -1) Neither the Font Software nor any of its individual components, -in Original or Modified Versions, may be sold by itself. - -2) Original or Modified Versions of the Font Software may be bundled, -redistributed and/or sold with any software, provided that each copy -contains the above copyright notice and this license. These can be -included either as stand-alone text files, human-readable headers or -in the appropriate machine-readable metadata fields within text or -binary files as long as those fields can be easily viewed by the user. - -3) No Modified Version of the Font Software may use the Reserved Font -Name(s) unless explicit written permission is granted by the corresponding -Copyright Holder. This restriction only applies to the primary font name as -presented to the users. - -4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font -Software shall not be used to promote, endorse or advertise any -Modified Version, except to acknowledge the contribution(s) of the -Copyright Holder(s) and the Author(s) or with their explicit written -permission. - -5) The Font Software, modified or unmodified, in part or in whole, -must be distributed entirely under this license, and must not be -distributed under any other license. The requirement for fonts to -remain under this license does not apply to any document created -using the Font Software. - -TERMINATION -This license becomes null and void if any of the above conditions are -not met. - -DISCLAIMER -THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, -EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF -MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT -OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE -COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, -INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL -DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING -FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM -OTHER DEALINGS IN THE FONT SOFTWARE. diff --git a/docs/assets/fonts/PT_Sans/PTSans-Bold.ttf b/docs/assets/fonts/PT_Sans/PTSans-Bold.ttf deleted file mode 100755 index 7f2bddb5..00000000 Binary files a/docs/assets/fonts/PT_Sans/PTSans-Bold.ttf and /dev/null differ diff --git a/docs/assets/fonts/PT_Sans/PTSans-BoldItalic.ttf b/docs/assets/fonts/PT_Sans/PTSans-BoldItalic.ttf deleted file mode 100755 index c4b6a521..00000000 Binary files a/docs/assets/fonts/PT_Sans/PTSans-BoldItalic.ttf and /dev/null differ diff --git a/docs/assets/fonts/PT_Sans/PTSans-Italic.ttf b/docs/assets/fonts/PT_Sans/PTSans-Italic.ttf deleted file mode 100755 index 130fa710..00000000 Binary files a/docs/assets/fonts/PT_Sans/PTSans-Italic.ttf and /dev/null differ diff --git a/docs/assets/fonts/PT_Sans/PTSans-Regular.ttf b/docs/assets/fonts/PT_Sans/PTSans-Regular.ttf deleted file mode 100755 index 5222968f..00000000 Binary files a/docs/assets/fonts/PT_Sans/PTSans-Regular.ttf and /dev/null differ diff --git a/docs/assets/fonts/PT_Serif/OFL.txt b/docs/assets/fonts/PT_Serif/OFL.txt deleted file mode 100755 index 164074b6..00000000 --- a/docs/assets/fonts/PT_Serif/OFL.txt +++ /dev/null @@ -1,94 +0,0 @@ -Copyright (c) 2010, ParaType Ltd. (http://www.paratype.com/public), -with Reserved Font Names "PT Sans", "PT Serif" and "ParaType". - -This Font Software is licensed under the SIL Open Font License, Version 1.1. -This license is copied below, and is also available with a FAQ at: -http://scripts.sil.org/OFL - - ------------------------------------------------------------ -SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 ------------------------------------------------------------ - -PREAMBLE -The goals of the Open Font License (OFL) are to stimulate worldwide -development of collaborative font projects, to support the font creation -efforts of academic and linguistic communities, and to provide a free and -open framework in which fonts may be shared and improved in partnership -with others. - -The OFL allows the licensed fonts to be used, studied, modified and -redistributed freely as long as they are not sold by themselves. The -fonts, including any derivative works, can be bundled, embedded, -redistributed and/or sold with any software provided that any reserved -names are not used by derivative works. The fonts and derivatives, -however, cannot be released under any other type of license. The -requirement for fonts to remain under this license does not apply -to any document created using the fonts or their derivatives. - -DEFINITIONS -"Font Software" refers to the set of files released by the Copyright -Holder(s) under this license and clearly marked as such. This may -include source files, build scripts and documentation. - -"Reserved Font Name" refers to any names specified as such after the -copyright statement(s). - -"Original Version" refers to the collection of Font Software components as -distributed by the Copyright Holder(s). - -"Modified Version" refers to any derivative made by adding to, deleting, -or substituting -- in part or in whole -- any of the components of the -Original Version, by changing formats or by porting the Font Software to a -new environment. - -"Author" refers to any designer, engineer, programmer, technical -writer or other person who contributed to the Font Software. - -PERMISSION & CONDITIONS -Permission is hereby granted, free of charge, to any person obtaining -a copy of the Font Software, to use, study, copy, merge, embed, modify, -redistribute, and sell modified and unmodified copies of the Font -Software, subject to the following conditions: - -1) Neither the Font Software nor any of its individual components, -in Original or Modified Versions, may be sold by itself. - -2) Original or Modified Versions of the Font Software may be bundled, -redistributed and/or sold with any software, provided that each copy -contains the above copyright notice and this license. These can be -included either as stand-alone text files, human-readable headers or -in the appropriate machine-readable metadata fields within text or -binary files as long as those fields can be easily viewed by the user. - -3) No Modified Version of the Font Software may use the Reserved Font -Name(s) unless explicit written permission is granted by the corresponding -Copyright Holder. This restriction only applies to the primary font name as -presented to the users. - -4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font -Software shall not be used to promote, endorse or advertise any -Modified Version, except to acknowledge the contribution(s) of the -Copyright Holder(s) and the Author(s) or with their explicit written -permission. - -5) The Font Software, modified or unmodified, in part or in whole, -must be distributed entirely under this license, and must not be -distributed under any other license. The requirement for fonts to -remain under this license does not apply to any document created -using the Font Software. - -TERMINATION -This license becomes null and void if any of the above conditions are -not met. - -DISCLAIMER -THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, -EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF -MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT -OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE -COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, -INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL -DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING -FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM -OTHER DEALINGS IN THE FONT SOFTWARE. diff --git a/docs/assets/fonts/PT_Serif/PTSerif-Italic.ttf b/docs/assets/fonts/PT_Serif/PTSerif-Italic.ttf deleted file mode 100755 index e53ac86f..00000000 Binary files a/docs/assets/fonts/PT_Serif/PTSerif-Italic.ttf and /dev/null differ diff --git a/docs/assets/fonts/PT_Serif/PTSerif-Regular.ttf b/docs/assets/fonts/PT_Serif/PTSerif-Regular.ttf deleted file mode 100755 index 24af4785..00000000 Binary files a/docs/assets/fonts/PT_Serif/PTSerif-Regular.ttf and /dev/null differ diff --git a/docs/assets/fonts/Roboto_Mono/RobotoMono-Regular.ttf b/docs/assets/fonts/Roboto_Mono/RobotoMono-Regular.ttf deleted file mode 100755 index 7c4ce36a..00000000 Binary files a/docs/assets/fonts/Roboto_Mono/RobotoMono-Regular.ttf and /dev/null differ diff --git a/docs/assets/fonts/Roboto_Slab/README.txt b/docs/assets/fonts/Roboto_Slab/README.txt deleted file mode 100755 index c2b50739..00000000 --- a/docs/assets/fonts/Roboto_Slab/README.txt +++ /dev/null @@ -1,71 +0,0 @@ -Roboto Slab Variable Font -========================= - -This download contains Roboto Slab as both a variable font and static fonts. - -Roboto Slab is a variable font with this axis: - wght - -This means all the styles are contained in a single file: - RobotoSlab-VariableFont_wght.ttf - -If your app fully supports variable fonts, you can now pick intermediate styles -that aren’t available as static fonts. Not all apps support variable fonts, and -in those cases you can use the static font files for Roboto Slab: - static/RobotoSlab-Thin.ttf - static/RobotoSlab-ExtraLight.ttf - static/RobotoSlab-Light.ttf - static/RobotoSlab-Regular.ttf - static/RobotoSlab-Medium.ttf - static/RobotoSlab-SemiBold.ttf - static/RobotoSlab-Bold.ttf - static/RobotoSlab-ExtraBold.ttf - static/RobotoSlab-Black.ttf - -Get started ------------ - -1. Install the font files you want to use - -2. Use your app's font picker to view the font family and all the -available styles - -Learn more about variable fonts -------------------------------- - - https://developers.google.com/web/fundamentals/design-and-ux/typography/variable-fonts - https://variablefonts.typenetwork.com - https://medium.com/variable-fonts - -In desktop apps - - https://theblog.adobe.com/can-variable-fonts-illustrator-cc - https://helpx.adobe.com/nz/photoshop/using/fonts.html#variable_fonts - -Online - - https://developers.google.com/fonts/docs/getting_started - https://developer.mozilla.org/en-US/docs/Web/CSS/CSS_Fonts/Variable_Fonts_Guide - https://developer.microsoft.com/en-us/microsoft-edge/testdrive/demos/variable-fonts - -Installing fonts - - MacOS: https://support.apple.com/en-us/HT201749 - Linux: https://www.google.com/search?q=how+to+install+a+font+on+gnu%2Blinux - Windows: https://support.microsoft.com/en-us/help/314960/how-to-install-or-remove-a-font-in-windows - -Android Apps - - https://developers.google.com/fonts/docs/android - https://developer.android.com/guide/topics/ui/look-and-feel/downloadable-fonts - -License -------- -Please read the full license text (LICENSE.txt) to understand the permissions, -restrictions and requirements for usage, redistribution, and modification. - -You can use them freely in your products & projects - print or digital, -commercial or otherwise. However, you can't sell the fonts on their own. - -This isn't legal advice, please consider consulting a lawyer and see the full -license for all details. diff --git a/docs/assets/fonts/Roboto_Slab/RobotoSlab-Black.ttf b/docs/assets/fonts/Roboto_Slab/RobotoSlab-Black.ttf deleted file mode 100755 index 024b7b79..00000000 Binary files a/docs/assets/fonts/Roboto_Slab/RobotoSlab-Black.ttf and /dev/null differ diff --git a/docs/assets/fonts/Roboto_Slab/RobotoSlab-Bold.ttf b/docs/assets/fonts/Roboto_Slab/RobotoSlab-Bold.ttf deleted file mode 100755 index 463745ac..00000000 Binary files a/docs/assets/fonts/Roboto_Slab/RobotoSlab-Bold.ttf and /dev/null differ diff --git a/docs/assets/fonts/Roboto_Slab/RobotoSlab-Medium.ttf b/docs/assets/fonts/Roboto_Slab/RobotoSlab-Medium.ttf deleted file mode 100755 index c6982215..00000000 Binary files a/docs/assets/fonts/Roboto_Slab/RobotoSlab-Medium.ttf and /dev/null differ diff --git a/docs/assets/fonts/Roboto_Slab/RobotoSlab-SemiBold.ttf b/docs/assets/fonts/Roboto_Slab/RobotoSlab-SemiBold.ttf deleted file mode 100755 index 7989f071..00000000 Binary files a/docs/assets/fonts/Roboto_Slab/RobotoSlab-SemiBold.ttf and /dev/null differ diff --git a/docs/assets/images/cnoss.jpeg b/docs/assets/images/cnoss.jpeg deleted file mode 100755 index f4ec102f..00000000 Binary files a/docs/assets/images/cnoss.jpeg and /dev/null differ diff --git a/docs/assets/images/outline_face_black_24dp.png b/docs/assets/images/outline_face_black_24dp.png deleted file mode 100755 index db948e39..00000000 Binary files a/docs/assets/images/outline_face_black_24dp.png and /dev/null differ diff --git a/docs/assets/images/preview_black_24dp.svg b/docs/assets/images/preview_black_24dp.svg deleted file mode 100755 index 61ab204c..00000000 --- a/docs/assets/images/preview_black_24dp.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/docs/assets/main.css b/docs/assets/main.css deleted file mode 100644 index 0f49e8c7..00000000 --- a/docs/assets/main.css +++ /dev/null @@ -1 +0,0 @@ -*,*::before,*::after{box-sizing:border-box}body,h1,h2,h3,h4,p,ul[class],ol[class],li,figure,figcaption,blockquote,dl,dd{margin:0}body{min-height:100vh;line-height:1.5;scroll-behavior:smooth;text-rendering:optimizeSpeed}ul[class],ol[class]{padding:0;list-style:none}a:not([class]){text-decoration-skip-ink:auto}img{display:block;max-width:100%}article>*+*{margin-top:1em}input,button,textarea,select{font:inherit}.reveal .slides{text-align:left}.reveal .controls{transform:scale(0.8)}.reveal .controls .highlight{animation:none !important}.reveal .progress 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option{font-size:var(--xxs)}#questionSelector:hover{opacity:1}.is-black{color:var(--darkest)}.is-blue{color:var(--mi-blau)}.is-important{font-weight:var(--fw-medium)}a.is-black{color:var(--darkest)}a.is-black:hover{color:var(--color-accent)}.mi-slide{position:relative;width:100vw;height:95vh}.mi-slide>section{height:100%}.intro{padding:var(--m)}.intro h1{display:block;width:100%;padding-top:0;padding-bottom:var(--half);margin-top:0;color:var(--lightest);font-size:var(--xxxl)}.intro h2{padding-top:0;color:rgba(255,255,255,.6);font-size:var(--m)}.outro-avatar{display:flex;align-items:center;color:var(--lightest)}.outro-avatar img{border-radius:50%;width:100%;max-width:10vw;margin-right:var(--m);border:solid var(--border-width-m) var(--mi-gruen)}.outro-avatar figcaption{font-size:var(--l)}.outro-avatar figcaption .small{font-size:var(--s);color:var(--dark)}.outro-avatar figcaption p{margin-bottom:var(--half)}.cite{display:flex !important;align-items:center;justify-content:center}.cite blockquote{max-width:60rem}.cite blockquote cite{display:block;margin-bottom:var(--half);color:var(--dark);color:var(--mi-lila);font-size:var(--xs)}.cite blockquote p{position:relative;display:inline-block;margin-bottom:var(--xl);font-family:var(--ff-serif);font-size:var(--xl);hyphens:none;line-height:var(--lh-tight)}.cite blockquote p::before{position:absolute;left:calc(1ch * -1);color:var(--mi-lila);content:"« "}.cite blockquote p::after{color:var(--mi-lila);content:"»"}.screenshot{display:flex !important;align-items:center;justify-content:center}.screenshot figure{display:flex;height:100%;max-height:100vh;align-items:center;justify-content:center;aspect-ratio:16/9;overflow:auto}.screenshot figure img,.screenshot figure svg{max-width:90%;max-height:90%;object-fit:contain}.screenshot figure img{box-shadow:var(--shadow-xl)}.screenshot figure.zoom{box-shadow:var(--shadow-xl);align-items:normal}.screenshot figure.zoom img,.screenshot figure.zoom svg{height:max-content;max-height:none}.screenshot.no-shadow figure{box-shadow:none}.screenshot.no-shadow figure img{box-shadow:none}.video{display:flex !important;align-items:center;justify-content:center}.video figure{width:100%;max-width:90vw;height:100%;max-height:80vh}.video figure iframe{width:100%;height:100%;aspect-ratio:16/9;box-shadow:var(--shadow-xl);object-fit:contain}.video .bu{top:auto;bottom:var(--m);background-color:transparent}.statement{display:flex !important;align-items:center;justify-content:center}.statement div{max-width:80vw}.statement div h1{padding-bottom:var(--s);font-size:var(--xl);font-family:var(--ff-normal)}.statement div p{margin-bottom:var(--xl);color:var(--darker);font-size:var(--l);line-height:var(--lh-tight)}.statement.is-green{background-color:var(--mi-gruen)}.statement.is-green *{color:var(--lightest)}.statement.is-purple{background-color:var(--mi-lila)}.statement.is-purple *{color:var(--lightest)}.statement.is-blue{background-color:var(--mi-blau)}.statement.is-blue *{color:var(--lightest)}.interlude{display:flex !important;align-items:center;justify-content:center}.interlude .title{font-size:var(--xxl);padding:0;color:var(--lightest)}.interlude .title strong{font-weight:var(--fw-bold)}.interlude .subtitle{padding:0;font-family:var(--ff-normal);color:var(--darkest);opacity:var(--op-medium)}.interlude .subtitle strong{font-weight:var(--fw-bold)}.interlude a{color:var(--lightest);opacity:var(--op-medium)}.interlude a:hover{opacity:1}.shout{display:flex !important;align-items:center;justify-content:center}.shout blockquote{max-width:60rem;transition:all var(--tr-slow)}.shout blockquote cite{display:block;margin-bottom:var(--half);color:var(--dark);color:var(--mi-lila);font-size:var(--xs);font-style:normal}.shout blockquote p{position:relative;display:inline-block;margin-bottom:var(--xl);font-family:var(--ff-headline);font-size:var(--xl);hyphens:none;line-height:var(--lh-tight)}.shout blockquote.is-passive{transform:scale(0.5);transform-origin:center right}.shout .info{position:absolute;top:0;left:0;font-size:var(--s);padding:var(--l);background-color:var(--lighter);color:var(--dark);border-radius:50%;line-height:var(--lh-normal);overflow-y:auto;transform-origin:top left;max-width:calc(var(--s) * 30);transform:scale(0.1) translateX(-50%) translateY(-50%);transition:all var(--tr-fast)}.shout .info:hover{top:0;left:0;cursor:pointer;transform:scale(0.1) translateX(-25%) translateY(-25%)}.shout .info.is-active{top:0;left:0;transform:scale(1) translateX(0) translateY(0);height:100vh;border-radius:0;color:var(--darkest)}.question{display:flex !important;align-items:center;justify-content:center}.question div{text-align:center}.question div .title{padding:0;padding-bottom:var(--half)}.question div .subtitle{font-family:var(--ff-normal);color:var(--mi-lila);font-size:var(--m);padding:0}.simple{display:flex !important;align-items:center;justify-content:center}.simple div>*{max-width:calc(var(--m) * 40)}.simple div h1{padding:0;padding-bottom:var(--s);margin-bottom:var(--s)}.simple div h2{padding:0;padding-bottom:0;margin-bottom:var(--xxs);color:var(--mi-blau);font-family:var(--ff-normal);font-size:var(--l)}.simple div p{margin-bottom:var(--xl);color:var(--darker);font-size:var(--l);line-height:var(--lh-tight)}.simple div p+ul{margin-bottom:var(--xl)}.simple div p+ul li{font-size:var(--l);display:block}.simple div blockquote{border-left:solid var(--border-width-l) var(--mi-blau);padding:var(--m) var(--m) var(--l) var(--m);background-color:var(--darken);margin-bottom:var(--l)}.simple div blockquote *{font-weight:var(--fw-medium)}.simple div blockquote p:last-child{margin-bottom:0}.qa{display:flex !important;align-items:center;justify-content:center;max-height:90vh}.qa-wrap{display:grid !important;max-width:90vw;grid-template-columns:33% 1fr;grid-gap:var(--m)}.qa-question{padding:0;font-family:var(--ff-normal);font-size:var(--m) !important;line-height:var(--lh-normal);font-weight:var(--fw-medium);text-align:right;color:var(--mi-lila)}.qa h2{padding:0;padding-bottom:0;margin-bottom:var(--xxs);color:var(--mi-blau);font-family:var(--ff-normal);font-size:var(--l);text-align:right}.qa p{color:var(--darker);font-size:var(--m);line-height:var(--lh-normal)}.wrap h1{font-family:var(--ff-normal);font-size:var(--l);font-weight:var(--fw-medium)}.overview .slides .mi-slide{width:400px !important;height:300px !important}/*# sourceMappingURL=main.css.map */ diff --git a/docs/assets/scripts/gdw.js b/docs/assets/scripts/gdw.js deleted file mode 100755 index 27c31017..00000000 --- a/docs/assets/scripts/gdw.js +++ /dev/null @@ -1,127 +0,0 @@ -/* Config -============================================================================ */ - -const urlQuestions = "/assets/data/gdwFragen.json"; - - -/* Functions -============================================================================ */ - -const fetchData = async function(url) { - try { - const response = await fetch(url); - - if (!response.ok) { - throw new Error(`HTTP error! status: ${response.status}`); - } - - return await response.json(); - } catch (e) { - // eslint-disable-next-line no-console - console.error(e); - } - - return true; -} - -const generateCurrentQuestion = (questions) => { - const params = new URLSearchParams(window.location.search); - const targetQuestion = document.getElementById("question"); - const targetQuestionCount = document.getElementById("questionCount"); - const targetBlock = document.getElementById("block"); - const blockID = params.has('block') ? params.get('block') - 1: 0; - const questionID = params.has('question') ? params.get('question') - 1 : 0; - const keys = Object.keys(questions); - const block = keys[blockID]; - let question = questions[block][questionID]; - question = question.replace(/«(.*?)»/, (x) => { return `${x}`; }); - - targetQuestion.innerHTML = question; - targetBlock.innerHTML = `${block}${blockID+1}` ; - targetQuestionCount.innerHTML = questionID+1; -} - -const changeQuestion = (newQuestionID) => { - const params = new URLSearchParams(window.location.search); - const blockID = params.has('block') ? params.get('block') : 0; - const pathname = window.location.pathname; - - const newURL = `${pathname}?block=${blockID}&question=${newQuestionID}`; - window.location.replace(newURL); -} - -const getRandomInt = (max) => { - return Math.floor(Math.random() * max); -} - -const generateQuestionDropdown = (questions) => { - const params = new URLSearchParams(window.location.search); - const targetQuestionSelector= document.getElementById("questionSelector"); - const blockID = params.has('block') ? params.get('block') - 1: 0; - const keys = Object.keys(questions); - const block = keys[blockID]; - let questionsHTML= [""]; - - for (question in questions[block]) { - const c = question * 1 + 1; - questionsHTML.push(``) - } - questionsHTML.push(``) - - targetQuestionSelector.innerHTML = questionsHTML.join("\n"); - - targetQuestionSelector.addEventListener("change", (event) => { - let newQuestionID = event.target.value; - - if(newQuestionID === "r"){ - newQuestionID = getRandomInt(questions[block].length -1) + 1; - } - changeQuestion(newQuestionID); - }); - - document.addEventListener('keydown', (event) => { - const keyName = event.key; - if(keyName === "r"){ - const newQuestionID = getRandomInt(questions[block].length -1) + 1; - changeQuestion(newQuestionID); - } - }); - -} - - - -const getQuestions = async function () { - const questions = await fetchData(urlQuestions); - - generateCurrentQuestion(questions); - generateQuestionDropdown(questions); - - const frageHTML = []; - /* praxisprojekte.forEach(item => { - const praxisprojektCard = ` -
  • -
    - ${item.bildcredits} -
    -

    ${item.title}

    - -

    ${item.date}, ${item.autor}

    -
    -
    -
    • - `; - praxisprojekteHTML.push(praxisprojektCard); - }); - - const containerPraxisprojekte = document.getElementById("praxisprojekte"); - containerPraxisprojekte.innerHTML = praxisprojekteHTML.join(" "); - new Expander(containerPraxisprojekte);*/ -} - -/* Main -============================================================================ */ - -document.addEventListener('DOMContentLoaded', () => { - getQuestions(); -}); \ No newline at end of file diff --git a/docs/assets/scripts/libs/fittext.js b/docs/assets/scripts/libs/fittext.js deleted file mode 100755 index 75928c3b..00000000 --- a/docs/assets/scripts/libs/fittext.js +++ /dev/null @@ -1,60 +0,0 @@ -/*! -* FitText.js 1.0 jQuery free version -* -* Copyright 2011, Dave Rupert http://daverupert.com -* Released under the WTFPL license -* http://sam.zoy.org/wtfpl/ -* Modified by Slawomir Kolodziej http://slawekk.info -* -* Date: Tue Aug 09 2011 10:45:54 GMT+0200 (CEST) -*/ -(function(){ - - var addEvent = function (el, type, fn) { - if (el.addEventListener) - el.addEventListener(type, fn, false); - else - el.attachEvent('on'+type, fn); - }; - - var extend = function(obj,ext){ - for(var key in ext) - if(ext.hasOwnProperty(key)) - obj[key] = ext[key]; - return obj; - }; - - window.fitText = function (el, kompressor, options) { - - var settings = extend({ - 'minFontSize' : -1/0, - 'maxFontSize' : 1/0 - },options); - - var fit = function (el) { - var compressor = kompressor || 1; - - var resizer = function () { - el.style.fontSize = Math.max(Math.min(el.clientWidth / (compressor*10), parseFloat(settings.maxFontSize)), parseFloat(settings.minFontSize)) + 'px'; - }; - - // Call once to set. - resizer(); - - // Bind events - // If you have any js library which support Events, replace this part - // and remove addEvent function (or use original jQuery version) - addEvent(window, 'resize', resizer); - addEvent(window, 'orientationchange', resizer); - }; - - if (el.length) - for(var i=0; i { - - const figures = document.querySelectorAll(".slide figure"); - figures.forEach(figure => { - figure.addEventListener("dblclick", (ev) => { - figure.classList.toggle("zoom"); - }); - }); - - const info = document.querySelector(".info"); - if (info) { - info.addEventListener("click", (ev) => { - info.classList.toggle("is-active"); - info.parentNode.querySelector("blockquote").classList.toggle("is-passive"); - }); - } -} ); - -Reveal.on('slidechanged', event => { - fitTextElements.forEach(ele=>{ - window.fitText( ele ); - }); - - const BUs = event.currentSlide.querySelectorAll(".bu"); - BUs.forEach(bu => { - bu.classList.add("is-active"); - }); - - const delayedItems = event.currentSlide.querySelectorAll(".js-delay"); - delayedItems.forEach(item => { - item.classList.add("has-delay"); - }); - - if (!event.previousSlide) return; - - const lastBUs = event.previousSlide.querySelectorAll(".bu"); - lastBUs.forEach(bu => { - bu.classList.remove("is-active"); - }); - - const lastDelayedItems = event.previousSlide.querySelectorAll(".js-delay"); - lastDelayedItems.forEach(item => { - item.classList.remove("has-delay"); - }); - - /* const lastFigures = event.previousSlide.querySelectorAll("figure"); - lastFigures.forEach(figure => { - figure.removeEventListener("click", (ev) => { - toggleZoom(figure); - }, true); - });*/ -} ); \ No newline at end of file diff --git a/docs/assets/scripts/modules/comments.js b/docs/assets/scripts/modules/comments.js deleted file mode 100755 index 59e83f0d..00000000 --- a/docs/assets/scripts/modules/comments.js +++ /dev/null @@ -1,62 +0,0 @@ -/* eslint-disable import/extensions */ -import fetchData from './fetchData.js'; - -export default class Comments { - constructor(url) { - this.url = url; - this.target = document.querySelector('[data-js-comment-list]'); - } - - async fetchData() { - try { - const response = await fetch(this.url); - - if (!response.ok) { - throw new Error(`HTTP error! status: ${response.status}`); - } - - return await response.json(); - } catch (e) { - // eslint-disable-next-line no-console - console.error(e); - } - - return true; - } - - async init() { - if (this.target) { - const data = await fetchData(this.url); - if (data) { - this.renderData(data); - } else { - // eslint-disable-next-line no-console - console.error('Fehler beim Erzeugen der Kommentare.'); - } - } - return true; - } - - renderError(error) { - this.target.innerHTML = `
  • Die Kommentare konnten leider nicht geladen werden. Fehler: ${error}
    • `; - } - - renderData(data) { - const html = []; - data.forEach((entry) => { - html.push(` -
  • -
    - -
    -

    ${entry.firstname} ${entry.lastname}, ${entry.date}

    -

    ${entry.comment}

    -
    -
    -
    • - `); - }); - - this.target.innerHTML = html.join('\n'); - } -} diff --git a/docs/assets/scripts/modules/dropdown.js b/docs/assets/scripts/modules/dropdown.js deleted file mode 100755 index 3170a686..00000000 --- a/docs/assets/scripts/modules/dropdown.js +++ /dev/null @@ -1,25 +0,0 @@ -export default class Dropdown { - constructor() { - this.trigger = document.querySelectorAll('[data-js-dropdown]'); - } - - init() { - this.trigger.forEach( - (ele) => { - const element = ele; - element.addEventListener('click', (event) => { - const dropDownTargetName = event.currentTarget.dataset.jsDropdown; - const dropDownTarget = document.querySelector(`[data-js-dropdown-target=${dropDownTargetName}]`); - - if (dropDownTarget.dataset.state === 'active') { - dropDownTarget.dataset.state = 'closed'; - element.dataset.state = 'closed'; - } else { - dropDownTarget.dataset.state = 'active'; - element.dataset.state = 'active'; - } - }); - }, - ); - } -} diff --git a/docs/assets/scripts/modules/fetchData.js b/docs/assets/scripts/modules/fetchData.js deleted file mode 100755 index f18dcd8f..00000000 --- a/docs/assets/scripts/modules/fetchData.js +++ /dev/null @@ -1,16 +0,0 @@ -export default async function fetchData(url) { - try { - const response = await fetch(url); - - if (!response.ok) { - throw new Error(`HTTP error! status: ${response.status}`); - } - - return await response.json(); - } catch (e) { - // eslint-disable-next-line no-console - console.error(e); - } - - return true; -} diff --git a/docs/assets/scripts/modules/navigation.js b/docs/assets/scripts/modules/navigation.js deleted file mode 100755 index 9138bc8f..00000000 --- a/docs/assets/scripts/modules/navigation.js +++ /dev/null @@ -1,53 +0,0 @@ -export default class Navigation { - constructor() { - this.slug = window.location.pathname; - this.navItems = document.querySelectorAll('[data-js-navitem]'); - this.submenu = false; - this.currentNavElement = false; - } - - createSubmenu() { - const elements = document.querySelectorAll('[data-js-scrollspy]'); - const submenuItems = []; - elements.forEach((element) => { - const link = `#${element.id}`; - const linktext = element.querySelector('[data-js-linktext]').innerText; - const item = ` -
  • - ${linktext} -
    • - `; - - submenuItems.push(item); - }); - - const submenu = ` - - `; - - this.submenu = submenu; - } - - getCurrentPage() { - this.navItems.forEach((item) => { - const anchor = item.querySelector('[href]'); - - if (!anchor.href.match(this.slug)) return; - item.setAttribute('data-state', 'active'); - - const wrapper = document.createElement('div'); - wrapper.innerHTML = this.submenu; - item.appendChild(wrapper); - - if (!item.querySelector('.subnavbar')) return; - item.querySelector('.subnavbar').setAttribute('data-state', 'active'); - }); - } - - init() { - this.createSubmenu(); - this.getCurrentPage(); - } -} diff --git a/docs/assets/scripts/modules/scrollspy.js b/docs/assets/scripts/modules/scrollspy.js deleted file mode 100755 index b33ea704..00000000 --- a/docs/assets/scripts/modules/scrollspy.js +++ /dev/null @@ -1,32 +0,0 @@ -export default class ScrollSpy { - constructor(menu, sections) { - this.menu = menu; - this.sections = sections; - this.lastActiveItem = false; - } - - init() { - const imageObserver = new IntersectionObserver((entries) => { - entries.forEach((entry) => { - if (entry.isIntersecting) { - this.refreshNavigation(entry); - } - }); - }); - - this.sections.forEach((section) => { - imageObserver.observe(section); - }); - } - - refreshNavigation(targetNavElement) { - const { id } = targetNavElement.target; - const pattern = `[href$=${id}]`; - const anchor = this.menu.querySelector(pattern); - const menuItem = anchor.closest('.subnavbar__item'); - - if (this.lastActiveItem) { this.lastActiveItem.removeAttribute('data-state'); } - menuItem.setAttribute('data-state', 'active'); - this.lastActiveItem = menuItem; - } -} diff --git a/docs/gdw-frage/index.html b/docs/gdw-frage/index.html deleted file mode 100644 index 54fa16ac..00000000 --- a/docs/gdw-frage/index.html +++ /dev/null @@ -1,21 +0,0 @@ - - - - - - - Frage - - - - - -
    -

    -
    - -
    - - - \ No newline at end of file diff --git a/docs/gdw-fragen-list/index.html b/docs/gdw-fragen-list/index.html deleted file mode 100644 index 03df52fd..00000000 --- a/docs/gdw-fragen-list/index.html +++ /dev/null @@ -1,129 +0,0 @@ - - - - Prüfung Grundlagen des Web - - - - - - - - - - -
    -

    Prüfung Grundlagen des Web

    -

    Das Web1

    -
      -
    1. Was ist «das Web»?
      2. -
    2. Was meint der Begriff «Netz Neutralität»?
      3. -
    3. Was versteht man unter dem Konzept «Big is Beautiful» im Kontext des Webs.
      4. -
    4. Was versteht man unter dem Prinzip «Bottom Up» im Kontext des Webs.
      5. -
    5. Was ist der «AAA Slogan»?
      6. -
    6. Inwiefern wirkt der Grundsatz der «Offenheit» im Web.
      7. -
    -

    Grundlegende Begriffe des Web2

    -
      -
    1. Was charakterisiert eine Ressource im Web und was unterscheidet eine Ressource von deren Repräsentation?
      2. -
    2. Was ist eine URI?
      3. -
    3. Was unterscheidet eine URL von einer URN?
      4. -
    4. Was versteht man unter einem RFC und wofür wird ein RFC im Kontext des Webs eingesetzt?
      5. -
    5. Was meint «eine Ressource muss nicht immer den gleichen Inhalt haben, aber eine Ressource bezeichnet inhaltlich immer das gleiche»?
      6. -
    6. Wie ist eine URL aufgebaut?
      7. -
    7. Was könnte die Repräsentation einer Ressource sein?
      8. -
    8. Was unterscheidet die Repräsentation einer Ressource von der Präsentation derselben?
      9. -
    9. Was versteht man unter HTTP?
      10. -
    10. Skizzieren Sie einen kompletten HTTP Request-Response Cycle.
      11. -
    11. Was versteht man unter dem Begriff «Hypertext» und welche Idee steckt hinter dem Konzept?
      12. -
    12. Was unterscheidet ein Protokoll von einem Dienst und wie sind beide zu charakterisieren?
      13. -
    13. Welche Mechanik steckt hinter mehrerer Repräsentation einer Ressource?
      14. -
    -

    Grundlegende Begriffe verteilter Systeme3

    -
      -
    1. Was unterscheidet eine Softwarekomponente von einem Dienst?
      2. -
    2. Was versteht man unter einem «verteilen System»?
      3. -
    3. Wozu dient ein Kontrakt bei verteilten Systemen?
      4. -
    4. Welcher Mechanismus steckt hinter dem Publish-Subscribe Paradigma?
      5. -
    5. Wodurch ist das Paradigma der Synchronität gekennzeichnet?
      6. -
    -

    Webservices4

    -
      -
    1. Was unterscheidet einen Internetdienst von einem Webservice?
      2. -
    2. Was wird mit dem Begriff «Endpunkt» bezeichnet?
      3. -
    3. Was versteht man unter einem «Microservice» und welche Vor- und Nachteile bringt dieses Konzept mit sich?
      4. -
    4. Was sollte bei der Nutzung von Drittanbieterdiensten berücksichtigt werden?
      5. -
    5. Was ist der Unterschied zwischen der Anwendungs- und der Präsentationslogik? Warum ist des sinnvoll diese voneinander zu trennen?
      6. -
    6. Was versteht man unter dem Akronym «API»?
      7. -
    -

    (Daten-)/modellierung5

    -
      -
    1. Warum ist es bei der Entwicklung komplexerer Anwendungen wichtig, zunächst ein Domänenmodell zu entwickeln?
      2. -
    2. Erklären Sie die Unterschiede geläufiger «Standards für Zeichensätze» im Web.
      3. -
    3. Erklären Sie das Konzept von «Auszeichnungssprachen» (Markup Languages).
      4. -
    4. Was versteht man unter «Marshalling»?
      5. -
    5. Erklären Sie die Rolle und Bedeutung von «Schemasprachen» für den Datenaustausch im Web.
      6. -
    6. Erklären Sie den Unterschied zwischen «Wohlgeformtheit» und «Gültigkeit» von XML Dokumenten.
      7. -
    7. Was ist ein «Element» in einem XML Dokument.
      8. -
    8. Erklären Sie das Konzept der «Namespaces».
      9. -
    9. Was versteht man unter dem Begriff/ Konzept «Ubiquitous Language» im Kontext von *Domain-Driven Design*?
      10. -
    10. Was ist ein Domänenmodell? Was sind Assoziationen darin?
      11. -
    11. Was ist ein «Bounded Context» in einem Domänenmodell?
      12. -
    12. Was meint «lose Kopplung» und was ist der Vorteil dieser Idee?
      13. -
    13. Was sind Merkmale einer losen Kupplung?
      14. -
    14. Warum wird die lose Kopplung von Softwarekomponenten propagiert und was sind Elemente der losen Kopplung?
      15. -
    15. Warum ist es wichtig bei der Modellierung mit einem Domänenmodell zu beginnen?
      16. -
    -

    REST6

    -
      -
    1. Was verbirgt sich hinter dem Akronym «REST»?
      2. -
    2. Was sind die REST Prinzipien?
      3. -
    3. Erklären Sie in drei Sätzen die Grundidee von REST.
      4. -
    4. Was unterscheidet eine Architekturstil von einem Standard?
      5. -
    5. Charakterisieren Sie die Beziehung zwischen einer Ressource und ihren Repräsentationen.
      6. -
    6. Was versteht man unter Idempotenz von HTTP Verben?
      7. -
    7. Unter welchen Bedingungen wird ein HTTP Verb als sicher bezeichnet?
      8. -
    8. Was ist mit dem Begriff „Web as a application platform“ gemeint?
      9. -
    9. Erklären Sie die wesentlichen REST Prinzipien.
      10. -
    10. Erklären Sie «Richardson’s maturity model».
      11. -
    11. Warum ist es wichtig dass Anwendungen die beabsichtigte Semantik von http Verben befolgen?
      12. -
    12. Was versteht man unter «URI tunneling»?
      13. -
    13. Warum klassifiziert man «POX applications» als «level 0» und «URI-Tunneling applications» als «level 1»?
      14. -
    14. Wie kann das Konzept der «http status codes» adäquat in REST Anwendungen eingesetzt werden?
      15. -
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    22. Stellen Sie ein Beispiel detailliert dar, bei dem es zu Konflikten bei der Veränderung des Zustandes von Ressourcen kommen kann! Das Beispiel kann gerne auch aus Ihrer Workshop Anwendung abgeleitet sein.
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    24. Erklären Sie inwiefern die Verwendung von Hypermedia in REST Architekturen zur losen Kopplung von Dienstanbieter und Dienstnutzer beiträgt!
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

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    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

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    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

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    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Viel zu tun

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/misc/demo/100-orientierung/index.html b/docs/presentations/misc/demo/100-orientierung/index.html deleted file mode 100644 index 0cebaff5..00000000 --- a/docs/presentations/misc/demo/100-orientierung/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Orientierung // Christian Noss - - - - - - - - - - - - - - - - -
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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/misc/demo/110-orientierung-karte/index.html b/docs/presentations/misc/demo/110-orientierung-karte/index.html deleted file mode 100644 index 82b2668f..00000000 --- a/docs/presentations/misc/demo/110-orientierung-karte/index.html +++ /dev/null @@ -1,328 +0,0 @@ - - - - Orientierung // Christian Noss - - - - - - - - - - - - - - - - -
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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

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      -
    • reduzieren: Unwichtiges weglassen
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    • strukturieren: Muster bilden
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    • hierarchisieren: Bezüge herstellen
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    Orientierung schaffen

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    • reduzieren
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    • strukturieren
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    • hierarchisieren
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    Orientierung schaffen

    - aber wie? -
    -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
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    -
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    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
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    -
    - - -
    - - -
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    -

    Orientierung schaffen

    - aber wie? -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
    -
    -
    - - -
    - - -
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    -
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    Orientierung schaffen

    - aber wie? -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
    -
    -
    - - -
    - - -
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    Orientierung schaffen

    - aber wie? -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
    -
    -
    - - -
    - - -
    -
    -
    -

    Orientierung schaffen

    - aber wie? -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
    -
    -
    - - -
    - - -
    -
    -
    -

    Orientierung schaffen

    - aber wie? -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
    -
    -
    - - -
    - - -
    -
    -
    -

    Orientierung schaffen

    - aber wie? -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
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    -
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    Orientierung schaffen

    -
      -
    • reduzieren
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    • strukturieren
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    • hierarchisieren
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    - - -
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/misc/demo/330-lindgaard/index.html b/docs/presentations/misc/demo/330-lindgaard/index.html deleted file mode 100644 index e692d97c..00000000 --- a/docs/presentations/misc/demo/330-lindgaard/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Gitte Lindgaard // Christian Noss - - - - - - - - - - - - - - - - -
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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    - - -
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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    - - -
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    Danke für's Mitmachen

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    https://christiannoss.de

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    Nix zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    kleiner Aufmerksamkeitstest

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Hey, da ist ja auch ne rechte Hirnhälfte!

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    Christian Noss

    Designer // Kommunikationsdesign in der Medieninformatik // Geschäftsführender Gesellschafter der Klickmeister GmbH

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    Davon muss ich mir erst mal ein Bild machen.

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    Mission Statement // MI Bachelor

    Absolventen der Medieninformatik analysieren, realisieren, betreiben und evaluieren informationstechnische Prozesse und Systeme zur Gestaltung, Produktion, Bearbeitung, Distribution und Nutzung medienbasierter Informationen.

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    Das Studium der Medieninformatik zielt somit im Kern auf die Vermittlung entsprechender Methoden, Techniken und Denkweisen der Informatik. Absolvent*innen der Medieninformatik arbeiten dabei vorwiegend in Teams und müssen dort ihre erworbenen Kompetenzen einbringen können – hier ist Interdisziplinarität gefragt, erwünscht und gefordert. Auch darauf bereitet das Studium der Medieninformatik vor: es vermittelt Sichtweisen und Techniken aus verschiedenen Fachgebieten, von Computergrafik über Mensch-Computer-Interaktion bis Videoproduktion, von Kommunikationsdesign über Programmentwicklung bis Marketing.

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    Was ist ein System?

    A group of things, pieces of equipment, etc. that are connected or work together.
    Cambridge Dictionary

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    Unter Prozess versteht man die Gesamtheit aufeinander einwirkender Vorgänge innerhalb eines Systems. So werden mittels Prozessen Materialien, Energien oder auch Informationen zu neuen Formen transformiert, gespeichert oder aber allererst transportiert.
    Gabler Wirtschaftslexikon

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    Was ist ein Prozess?

    A series of actions that you take in order to achieve a result.
    Cambridge Dictionary

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    Mike Rode Matrix

    Legen Sie eine Mike Rode Matrix an. Variieren Sie auf der X-Achse die Form der Augenbrauen und auf der Y-Achse die Form des Mundes in jeweils 5 Schritten. Ziel ist es, verschiedene Ausdrucksmöglichkeiten für Emotionen zu gewinnen.

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    Die Mike Rode Matrix nutzt übrigens das Konzept des Morphologischen Kastens.

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    10 Minuten Bearbeitungszeit

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    Gefühle/ Emoticons

    Zeichnen Sie jeweils zwei eher männliche und zwei eher weibliche Emoticons für folgende Emotionen:

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    Nehmen Sie ein DIN A4 Blatt und falten Sie es mittig über die lange Seite. Zeichnen Sie dann im oberen Teil ein einfaches, aber möglichst charakteristisches Portrait von sich selbst. Danach zeichnen Sie auf der Rückseite eines von Ihrem Nebenmann/-frau.

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    Tauschen Sie sich aus, vergleichen Sie die Portraits, wählen Sie das, welches Sie am Besten wieder gibt.

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    Zeichnen Sie jeweils 3 Varianten von den aufgeführten Begriffen. Die erste Variante sollte stets die einfachste/ reduzierteste sein. Die zweite und dritte Variante dürfen jeweils mehr Details enthalten.

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    Smartphone, Server, Baum, Werkzeugkiste, Flugzeug, TV, Katze, Geschäft, Laptop, Geld, WLAN, Glühbirne, Plan, Netzwerk

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    Visualisieren Sie folgende verwandschaftlichen Beziehungen:

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    Tom ist 42 Jahre alt und hat zwei Schwestern: Lea und Martha. Lea ist 40 und hat drei Kinder: Simon (12) und die Zwillinge Josuha und Paul, beide sind (6) Jahre alt. Leas erster Mann starb bei einem Autounfall. Leas zweiter Mann heißt Michael und ist 44 Jahre alt. Michael hat aus seiner ersten Ehe mit Claire zwei Töchter: Rachel und July. Rachel ist 9 und July 13 Jahre alt. Martha ist 36 Jahre alt und lebt mit Ihrer Partnerin Liss zusammen. Tom ist mit Rebecca (39) verheiratet. Sie haben ein Kind: Toby (8).

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    Hey, da ist ja auch ne rechte Hirnhälfte!

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    Christian Noss

    Designer // Kommunikationsdesign in der Medieninformatik // Geschäftsführender Gesellschafter der Klickmeister GmbH

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    Was guckst Du?

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    Davon muss ich mir erst mal ein Bild machen.

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    Mission Statement // MI Bachelor

    Absolventen der Medieninformatik analysieren, realisieren, betreiben und evaluieren informationstechnische Prozesse und Systeme zur Gestaltung, Produktion, Bearbeitung, Distribution und Nutzung medienbasierter Informationen.

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    Das Studium der Medieninformatik zielt somit im Kern auf die Vermittlung entsprechender Methoden, Techniken und Denkweisen der Informatik. Absolvent*innen der Medieninformatik arbeiten dabei vorwiegend in Teams und müssen dort ihre erworbenen Kompetenzen einbringen können – hier ist Interdisziplinarität gefragt, erwünscht und gefordert. Auch darauf bereitet das Studium der Medieninformatik vor: es vermittelt Sichtweisen und Techniken aus verschiedenen Fachgebieten, von Computergrafik über Mensch-Computer-Interaktion bis Videoproduktion, von Kommunikationsdesign über Programmentwicklung bis Marketing.

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    Was ist ein System?

    A group of things, pieces of equipment, etc. that are connected or work together.
    Cambridge Dictionary

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    Was ist ein Prozess?

    Unter Prozess versteht man die Gesamtheit aufeinander einwirkender Vorgänge innerhalb eines Systems. So werden mittels Prozessen Materialien, Energien oder auch Informationen zu neuen Formen transformiert, gespeichert oder aber allererst transportiert.
    Gabler Wirtschaftslexikon

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    Was ist ein Prozess?

    A series of actions that you take in order to achieve a result.
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    Lean forward

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    Frank, 55 Jahre alt, Banker
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    Sebastian, 37 Jahre alt, Gärtner
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    Selbstportrait

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    Vokabeln

    Zeichnen Sie jeweils 3 Varianten von den aufgeführten Begriffen. Die erste Variante sollte stets die einfachste/ reduzierteste sein. Die zweite und dritte Variante dürfen jeweils mehr Details enthalten.

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    Smartphone, Server, Baum, Werkzeugkiste, Flugzeug, TV, Katze, Geschäft, Laptop, Geld, WLAN, Glühbirne, Plan, Netzwerk

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    Verwandtschaftliche Beziehungen

    Visualisieren Sie folgende verwandschaftlichen Beziehungen:

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    Stehen, Gehen, Ausflippen, Geld holen, Telefonieren, Sitzen, Kochen, Fliegen, Nachdenken

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    Prozess/ Journey – Inventar

    Visualisieren Sie den Ablauf beim Ticketkauf für ein Konzert. Dabei soll folgender Prozess visualisiert werden:

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    Das Ticket wird online via Computer oder Tablet gekauft. Nach dem Kauf erhält die Käuferin ein Online Ticket mit QR Code. Selbiges muss -ausgedruckt mit zum Konzert gebracht werden. Hier wird das Ticket eingescannt und der Zugang ermöglicht.

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    Prozess/ Journey

    Ablauf

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Team

    Calvin Hinzer, Christian Hahn, Volker Schaefer, Christian Noss

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    Nehmen Sie ein DIN A4 Blatt, falten Sie es mittig über die lange Seite, so dass ein Seitenverhältnis im gefalteten Zustand von 105x297mm entsteht. Nutzen Sie das Resultat hochkant. Platzieren Sie oben eine kleine, einfache Portraitskizze von sich, notieren Sie darunter (in Ihrer allerschönsten Handschrift!) folgende Angaben:

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    Dive.is Verteilerseite

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    Was hat Identität mit diesem Modul zu tun?

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    Typo

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    Screendesign

    5CP // 150 Stunden Workload // keine Klausur, sondern ein Projekt mit abschließender Projektpräsentationsprüfung // 2er Teams // viel Praxis // viel Ausprobieren // mitmachen erforderlich // macht Spaß, aber auch Arbeit // macht trotzdem Spaß // wir nutzen Figma als Tool // keine Klausur, hab ich gesagt, oder?

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    Geschmack

    ich finde // uns gefällt …

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    Über das Modul

    Team

    Calvin Hinzer, Volker Schaefer, Christian Noss

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    Material

    Website zum Modul, Kurs im Ilias

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    Prüfungselemente

    Gestaltungsportfolio & Projekt mit Projektpräsentationsprüfung

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    Modulziele

    Die Studierenden kennen wesentliche Begriffe der visuellen Kommunikation und können diese anwenden um Briefings, Angebote oder Korrekturwünsche im Design-Kontext zu verstehen oder zu verfassen.

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    Die Studierenden können Gestaltungslösungen und -kontexte analysieren, argumentieren, diskutieren, dokumentieren und bewerten, um eigene Lösungen innerhalb eines Gestaltungskontextes generieren zu können.

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    Die Studierenden können in einem gegebenen Gestaltungskontext unter Berücksichtigung von Gestaltungsregeln (Raster, Layout, Typographie, etc.) eigene Gestaltungslösungen entwickeln, systematisch variieren und argumentieren um gegebene funktionale und/oder kommunikative Ziele zu erreichen.

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    Evaluation

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    Leitfaden

    für ein schmerzfreies Modul

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    Was wollen wir sehen?

    Bei Screendesign geht es darum Denkweise und Vokabular des Designs kennen zu lernen. Denn Medieninformatiker:innen arbeiten häufig in interdisziplinären Teams mit Gestalter:innen, sie sind häufig in der Aufgabe, Gestaltungskonzepte auf ein Medium zu transferieren, sie weiter zu entwickeln und zu implementieren. Dazu ist es unabdingbar und äußerst vorteilhaft zu wissen, wovon die Gestalter:in spricht und welche Ziele für ihn im Vordergrund stehen. Ein weiteres Ziel ist die Entwicklung einer eigenen gestalterischen Grundkompetenz, denn nicht selten werden sie in die Situation kommen eigene und eigenständige Gestaltungslösungen zu entwickeln.

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    Warum sind die Übungen oft so schwammig formuliert?

    Es kommt vor, dass Übungen unvollständig, vielleicht sogar unzureichend formuliert werden. Es gibt im Grunde zwei Wege damit umzugehen …

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    Möglichkeit 1

    Sie regen sich darüber auf, sprechen sich mit Kommilitonen ab, versuchen das Briefing irgendwie zu komplettieren und die Aufgabe zu lösen und merken im schlechtesten Fall bei der Präsentation, dass Sie das falsche und davon viel zu viel gemacht haben.

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    Möglichkeit 2

    Sie stellen schlaue Fragen und versuchen so die Übungenstellung zu komplettieren, bevor Sie richtig anfangen.

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    Warum sind die Übungen oft so schwammig formuliert?

    Unvollständige Übungenstellung sind keine Finte, sondern Alltag. Sie werden im Job ständig damit konfrontiert, nicht weil ihr Kunde Sie ärgern möchte, sondern weil er anders denkt, die Aufgabe schon durchdacht oder angedacht hat und er schlichtweg vergisst, Ihnen alle Informationen zu geben, die Sie brauchen, zumal er auch gar nicht weiß, welche Information Sie brauchen. Also stellen Sie die richtigen Fragen. Fragen sind die Antwort.

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    Warum ändere ich so oft meine Meinung?

    Ja, ich ändere bezogen auf Gestaltungsvorschläge oft meine Meinung, und das hat mehrere Gründe. Der erste Grund ist der, dass dies eine Grundvorraussetzung ist, um neue Lösungen zu finden. Neue Lösungen, sind häufig interessanter und spannender als althergebrachte und bekannte Lösungen und werden daher von Gestaltern gesucht. Also ist es für sie notwendig, Aufgaben und Lösungsansätze aus mehreren Perspektiven zu sehen, was zwangsläufig dazu führt, dass die Meinung zu einem Entwurf häufig um weitere Meinungen, die nicht selten gegensätzlich sind, ergänzt wird.

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    Warum ändere ich so oft meine Meinung?

    Ein weiterer Grund ist, dass es in dieser Domäne selten die eine beste Lösung gibt. Es gibt schlechte Lösungen und gute Lösungen, es gibt sehr gute Lösungen und es gibt perfekte Lösungen, was nicht heißt, dass es zu einem Problem nicht auch viele perfekte Lösungen geben kann. Gestaltungslösungen sind nie binär. Darum ist eine zentrale Frage stets: Was sind alternative Lösungen und Lösungsansätze und warum ist der gewählte Ansatz besser, als die Alternativen? Wer auf diese Frage keine Antwort hat, weil er entweder keine Alternativen entwickelt hat, oder nicht weiß, warum er welche Ansatz bevorzugt, hat keine Argumente und somit einen schlechten Stand.

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    Warum ändere ich so oft meine Meinung?

    Ein weiterer Grund ist, dass häufig ein Gestaltungsziel darin liegt, ausbalancierte Lösungen zu entwickeln. Das führt nicht selten dazu, dass eine guter und gut ausbalancierter Entwurf aus dem Gleichgewicht gerät, sobald ein Element hinzukommt oder wegfällt und der Entwurf daher komplett überdacht oder zumindest stark angepasst wird, ich meine Meinung also mal wieder ändere.

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    Kurzfassung

    versuchen Sie unvollständige Briefungs durch gute Fragen zu komplettieren

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    Gestaltungslösungen sind nicht binär

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    entwickeln Sie stets Alternativen und dokumentieren diese um nachweisen zu können, dass die gewählte Lösung die Beste (zumindest aus ihren Varianten) ist

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    entwickeln Sie Sachargumente und Begründungszusammenhänge für Ihre Gestaltungen

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    entscheiden und bewerten Sie nicht nach persönlichem Geschmack!

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    Bitte schreiben Sie mir keine E-Mails.

    Ich hab schon genug davon!

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    Themen Phase 1

    In der ersten Phase befassen wir uns mit den Gestaltungsgrundlagen und deren handwerklicher Umsetzung. Die Übungen in dieser Phase werden einzeln bearbeitet. Die Ergebnisse sind Teil des Gestaltungsportfolios.

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    Punkt, Linie, Fläche & Farbe

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    Wahrnehmungsarbeit, Reduktion, Strukturierung & Hierachisierung

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    Gestaltgesetze, Räumlichkeit & Wahrnehmungsphänomene

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    Typographie & Textsatz

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    Layout

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    Flow & Transition

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    Den Abschluss bildet das Gestaltungsportfolio als Individualleistung.

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    Themen Phase 2

    In der zweiten Phase befassen wir uns mit komplexeren gestalterischen Fragen. Hier wenden wir die Gestaltungsgrundlagen aus Phase 1 an. Die Phase dient zur konkreten Vorbereitung des Projekts. Die Übungen in dieser Phase können einzeln oder in 2er Teams bearbeitet werden.

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    Gestaltungsziele, Identität & komplexe Layouts

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    Barrierearmes Design

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    Advanced Prototyping

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    Veranstaltungsarten

    und deren Ziele

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    Vorträge

    geben Überblick über ein Themengebiet // zeigen theoretische Grundlagen // sind interaktiv und initiieren Diskurs

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    Trainings

    trainieren den Umgang mit Domänen-spezifischer Software (Figma) // zeigen und trainieren Best-Practices // bauen handwerkliche Fertigkeiten auf

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    Workshops

    bringen Theorie und Praxis zusammen // schulen und trainieren in einem bestimmten Themenfeld // bieten Platz zum Experimentieren und für komplexe Fragestellungen

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    Feedbacks

    geben Ihnen die Chance, Rückmeldung zu Ihrer Arbeit, dem aktuellen Stand und Ihrem Fortschritt zu bekommen // müssen von Ihnen gut vorbereitet sein // sollten von Ihnen dokumentiert werden

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    About Screendesign

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    Worum geht es in diesem Modul?

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    De·kom·po·si·ti·on

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    Team

    Calvin Hinzer, Christian Hahn, Volker Schaefer, Christian Noss

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    Take Aways

    Nehmen Sie ein DIN A4 Blatt, falten Sie es mittig über die lange Seite, so dass ein Seitenverhältnis im gefalteten Zustand von 105x297mm entsteht. Nutzen Sie das Resultat hochkant. Platzieren Sie oben eine kleine, einfache Portraitskizze von sich, notieren Sie darunter (in Ihrer allerschönsten Handschrift!) folgende Angaben:

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    Sie haben 15 Minuten Zeit

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    Dataforest Designkonzept

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    Call to Action

    Dataforest Designkonzept

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    Formular

    Dataforest Designkonzept

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    Zuganzeiger

    Deutsche Bahn

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    Dive.is Verteilerseite

    für kleine Viewports

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    Identität

    Was hat Identität mit diesem Modul zu tun?

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    Wenn man eine Reise tut

    dann hat wan viel zu wählen.

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    Goldhandel

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    EDV Service

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    Typo

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    Screendesign

    5CP // 150 Stunden Workload // keine Klausur, sondern ein Projekt mit abschließender Projektpräsentationsprüfung // 2er Teams // viel Praxis // viel Ausprobieren // mitmachen erforderlich // macht Spaß, aber auch Arbeit // macht trotzdem Spaß // wir nutzen Figma als Tool // keine Klausur, hab ich gesagt, oder?

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    Geschmack

    ich finde // uns gefällt …

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    Über das Modul

    Team

    Calvin Hinzer, Volker Schaefer, Christian Noss

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    Material

    Website zum Modul, Kurs im Ilias

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    Prüfungselemente

    Gestaltungsportfolio & Projekt mit Projektpräsentationsprüfung

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    Modulziele

    Die Studierenden kennen wesentliche Begriffe der visuellen Kommunikation und können diese anwenden um Briefings, Angebote oder Korrekturwünsche im Design-Kontext zu verstehen oder zu verfassen.

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    Die Studierenden können Gestaltungslösungen und -kontexte analysieren, argumentieren, diskutieren, dokumentieren und bewerten, um eigene Lösungen innerhalb eines Gestaltungskontextes generieren zu können.

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    Die Studierenden können in einem gegebenen Gestaltungskontext unter Berücksichtigung von Gestaltungsregeln (Raster, Layout, Typographie, etc.) eigene Gestaltungslösungen entwickeln, systematisch variieren und argumentieren um gegebene funktionale und/oder kommunikative Ziele zu erreichen.

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    Evaluation

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    Leitfaden

    für ein schmerzfreies Modul

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    Was wollen wir sehen?

    Bei Screendesign geht es darum Denkweise und Vokabular des Designs kennen zu lernen. Denn Medieninformatiker:innen arbeiten häufig in interdisziplinären Teams mit Gestalter:innen, sie sind häufig in der Aufgabe, Gestaltungskonzepte auf ein Medium zu transferieren, sie weiter zu entwickeln und zu implementieren. Dazu ist es unabdingbar und äußerst vorteilhaft zu wissen, wovon die Gestalter:in spricht und welche Ziele für ihn im Vordergrund stehen. Ein weiteres Ziel ist die Entwicklung einer eigenen gestalterischen Grundkompetenz, denn nicht selten werden sie in die Situation kommen eigene und eigenständige Gestaltungslösungen zu entwickeln.

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    Warum sind die Übungen oft so schwammig formuliert?

    Es kommt vor, dass Übungen unvollständig, vielleicht sogar unzureichend formuliert werden. Es gibt im Grunde zwei Wege damit umzugehen …

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    Möglichkeit 1

    Sie regen sich darüber auf, sprechen sich mit Kommilitonen ab, versuchen das Briefing irgendwie zu komplettieren und die Aufgabe zu lösen und merken im schlechtesten Fall bei der Präsentation, dass Sie das falsche und davon viel zu viel gemacht haben.

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    Möglichkeit 2

    Sie stellen schlaue Fragen und versuchen so die Übungenstellung zu komplettieren, bevor Sie richtig anfangen.

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    Warum sind die Übungen oft so schwammig formuliert?

    Unvollständige Übungenstellung sind keine Finte, sondern Alltag. Sie werden im Job ständig damit konfrontiert, nicht weil ihr Kunde Sie ärgern möchte, sondern weil er anders denkt, die Aufgabe schon durchdacht oder angedacht hat und er schlichtweg vergisst, Ihnen alle Informationen zu geben, die Sie brauchen, zumal er auch gar nicht weiß, welche Information Sie brauchen. Also stellen Sie die richtigen Fragen. Fragen sind die Antwort.

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    Warum ändere ich so oft meine Meinung?

    Ja, ich ändere bezogen auf Gestaltungsvorschläge oft meine Meinung, und das hat mehrere Gründe. Der erste Grund ist der, dass dies eine Grundvorraussetzung ist, um neue Lösungen zu finden. Neue Lösungen, sind häufig interessanter und spannender als althergebrachte und bekannte Lösungen und werden daher von Gestaltern gesucht. Also ist es für sie notwendig, Aufgaben und Lösungsansätze aus mehreren Perspektiven zu sehen, was zwangsläufig dazu führt, dass die Meinung zu einem Entwurf häufig um weitere Meinungen, die nicht selten gegensätzlich sind, ergänzt wird.

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    Warum ändere ich so oft meine Meinung?

    Ein weiterer Grund ist, dass es in dieser Domäne selten die eine beste Lösung gibt. Es gibt schlechte Lösungen und gute Lösungen, es gibt sehr gute Lösungen und es gibt perfekte Lösungen, was nicht heißt, dass es zu einem Problem nicht auch viele perfekte Lösungen geben kann. Gestaltungslösungen sind nie binär. Darum ist eine zentrale Frage stets: Was sind alternative Lösungen und Lösungsansätze und warum ist der gewählte Ansatz besser, als die Alternativen? Wer auf diese Frage keine Antwort hat, weil er entweder keine Alternativen entwickelt hat, oder nicht weiß, warum er welche Ansatz bevorzugt, hat keine Argumente und somit einen schlechten Stand.

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    Warum ändere ich so oft meine Meinung?

    Ein weiterer Grund ist, dass häufig ein Gestaltungsziel darin liegt, ausbalancierte Lösungen zu entwickeln. Das führt nicht selten dazu, dass eine guter und gut ausbalancierter Entwurf aus dem Gleichgewicht gerät, sobald ein Element hinzukommt oder wegfällt und der Entwurf daher komplett überdacht oder zumindest stark angepasst wird, ich meine Meinung also mal wieder ändere.

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    Kurzfassung

    versuchen Sie unvollständige Briefungs durch gute Fragen zu komplettieren

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    Gestaltungslösungen sind nicht binär

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    entwickeln Sie stets Alternativen und dokumentieren diese um nachweisen zu können, dass die gewählte Lösung die Beste (zumindest aus ihren Varianten) ist

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    entwickeln Sie Sachargumente und Begründungszusammenhänge für Ihre Gestaltungen

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    entscheiden und bewerten Sie nicht nach persönlichem Geschmack!

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    Ich hab schon genug davon!

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    Themen Phase 1

    In der ersten Phase befassen wir uns mit den Gestaltungsgrundlagen und deren handwerklicher Umsetzung. Die Übungen in dieser Phase werden einzeln bearbeitet. Die Ergebnisse sind Teil des Gestaltungsportfolios.

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    Punkt, Linie, Fläche & Farbe

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    Wahrnehmungsarbeit, Reduktion, Strukturierung & Hierachisierung

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    Gestaltgesetze, Räumlichkeit & Wahrnehmungsphänomene

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    Typographie & Textsatz

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    Layout

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    Flow & Transition

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    Den Abschluss bildet das Gestaltungsportfolio als Individualleistung.

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    Themen Phase 2

    In der zweiten Phase befassen wir uns mit komplexeren gestalterischen Fragen. Hier wenden wir die Gestaltungsgrundlagen aus Phase 1 an. Die Phase dient zur konkreten Vorbereitung des Projekts. Die Übungen in dieser Phase können einzeln oder in 2er Teams bearbeitet werden.

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    Gestaltungsziele, Identität & komplexe Layouts

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    Barrierearmes Design

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    Advanced Prototyping

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    Veranstaltungsarten

    und deren Ziele

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    Vorträge

    geben Überblick über ein Themengebiet // zeigen theoretische Grundlagen // sind interaktiv und initiieren Diskurs

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    Trainings

    trainieren den Umgang mit Domänen-spezifischer Software (Figma) // zeigen und trainieren Best-Practices // bauen handwerkliche Fertigkeiten auf

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    Workshops

    bringen Theorie und Praxis zusammen // schulen und trainieren in einem bestimmten Themenfeld // bieten Platz zum Experimentieren und für komplexe Fragestellungen

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    Feedbacks

    geben Ihnen die Chance, Rückmeldung zu Ihrer Arbeit, dem aktuellen Stand und Ihrem Fortschritt zu bekommen // müssen von Ihnen gut vorbereitet sein // sollten von Ihnen dokumentiert werden

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    Wahrnehmungsarbeit

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    Linie

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Was ist Design?

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    Was hat Design in diesem Studiengang für eine Berechtigung?

    Absolventen der Medieninformatik analysieren, realisieren, betreiben und evaluieren informationstechnische Prozesse und Systeme zur Gestaltung, Produktion, Bearbeitung, Distribution und Nutzung medienbasierter Informationen.

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    Das Studium der Medieninformatik zielt somit im Kern auf die Vermittlung entsprechender Methoden, Techniken und Denkweisen der Informatik. Absolvent*innen der Medieninformatik arbeiten dabei vorwiegend in Teams und müssen dort ihre erworbenen Kompetenzen einbringen können – hier ist Interdisziplinarität gefragt, erwünscht und gefordert. Auch darauf bereitet das Studium der Medieninformatik vor: es vermittelt Sichtweisen und Techniken aus verschiedenen Fachgebieten, von Computergrafik über Mensch-Computer-Interaktion bis Videoproduktion, von Kommunikationsdesign über Programmentwicklung bis Marketing. -

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    Ziele

    Rolle von Design in der Medieninformatik.

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    Grundbegriffe klären.

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    Grundsätzliche Herangehensweisen und Sichtweisen klären.

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    Oder anders gefragt: nach welchen Kriterien würde Sie bewerten?

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    Design is ...

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    Desing is...

    making things pretty?

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    Desing is...

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    Desing is...

    asking the right questions.

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    Desing is...

    identifying and solving problems.

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    Was wären die richtigen Fragen am Anfang eines Designprozesses?

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    Wie können wir Probleme identifizieren?

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    Woran erkennen wir gutes Design?

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    Good Design is innovative

    The possibilities for innovation are not, by any means, exhausted. Technological development is always offering new opportunities for innovative design. But innovative design always develops in tandem with innovative technology, and can never be an end in itself.
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    The aesthetic quality of a product is integral to its usefulness because products we use every day affect our person and our well-being. But only well-executed objects can be beautiful.
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    Good design makes a product useful

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    Good design makes a product understandable

    It clarifies the product’s structure. Better still, it can make the product talk. At best, it is self-explanatory.
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    Good design is unobtrusive

    Products fulfilling a purpose are like tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user’s self-expression.
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    Good design is honest

    It does not make a product more innovative, powerful or valuable than it really is. It does not attempt to manipulate the consumer with promises that cannot be kept.
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    Good design is long-lasting

    It avoids being fashionable and therefore never appears antiquated. Unlike fashionable design, it lasts many years – even in today’s throwaway society.
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    Good design is thorough down to the last detail

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    Good design is environmentally-friendly

    Design makes an important contribution to the preservation of the environment. It conserves resources and minimizes physical and visual pollution throughout the lifecycle of the product.
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    Rams Kriterien

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    Rams Kriterien //
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    Rams Kriterien //
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    Rams Kriterien //
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    Rams Kriterien //
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    Rams Kriterien //
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    Zum Start

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    versuchen Sie offen zu sein

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    Gestaltungslösungen sind nicht binär

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    versuchen Sie unvollständige Übungenstellung durch gute Fragen zu komplettieren

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    entwickeln Sie stets Alternativen und dokumentieren diese um nachweisen zu können, dass die gewählte Lösung die Beste (zumindest aus ihren Varianten) ist

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    entwickeln Sie Argumente und Begründungszusammenhänge für Ihre Gestaltungen

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    Zielsetzung & Zielgruppe

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design? Was ist der Unterschied?

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    Funktion & Zielgruppe: gutes Design? Was ist der Unterschied?

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    Was ist der Unterschied?

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    Wie beschreiben wir ein Layout?

    Gutes Auge, präzise Sprache

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    Wie beschreiben wir ein Layout?

    Nach welcher Systematik können wir vorgehen?

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    Wie beschreiben wir ein Layout?

    Welche visuellen Elementtypen gibt es eigentlich?

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    Wie beschreiben wir ein Layout?

    Welche visuellen Eigenschaften kann ein Element haben?

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    Punkt // Linie // Fläche // Form

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    Punkt // Linie // Fläche // Form

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    Notieren Sie visuelle Eigenschaften für die folgenden Beispiele.

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    Gutes Auge, präzise Sprache

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    Zusammenfassung

    Design macht den Unterschied.

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    Design ist ein »wicked problem«.

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    Design stellt Fragen.

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    Medieninformatiker können entscheidende Rollen in Teams übernehmen.

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    Wir gestalten in der Regel nicht für uns selbst.

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    Danke für's Mitmachen

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    Design in der Medieninformatik

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    Was ist Design?

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    Was hat Design in diesem Studiengang für eine Berechtigung?

    Absolventen der Medieninformatik analysieren, realisieren, betreiben und evaluieren informationstechnische Prozesse und Systeme zur Gestaltung, Produktion, Bearbeitung, Distribution und Nutzung medienbasierter Informationen.

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    Das Studium der Medieninformatik zielt somit im Kern auf die Vermittlung entsprechender Methoden, Techniken und Denkweisen der Informatik. Absolvent*innen der Medieninformatik arbeiten dabei vorwiegend in Teams und müssen dort ihre erworbenen Kompetenzen einbringen können – hier ist Interdisziplinarität gefragt, erwünscht und gefordert. Auch darauf bereitet das Studium der Medieninformatik vor: es vermittelt Sichtweisen und Techniken aus verschiedenen Fachgebieten, von Computergrafik über Mensch-Computer-Interaktion bis Videoproduktion, von Kommunikationsdesign über Programmentwicklung bis Marketing. -

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    Wir entwicklern Software!

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    Ziele

    Rolle von Design in der Medieninformatik.

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    Grundbegriffe klären.

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    Grundsätzliche Herangehensweisen und Sichtweisen klären.

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    How to create Digital Products?

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    Typical Product Team

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    Different Types of Design(ers)

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    Wie würden Sie die folgenden Designs bewerten?

    Oder anders gefragt: nach welchen Kriterien würde Sie bewerten?

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    Design is ...

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    Desing is...

    making things pretty?

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    Desing is...

    moving pixels around?

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    Desing is...

    asking the right questions.

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    Desing is...

    identifying and solving problems.

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    Was wären die richtigen Fragen am Anfang eines Designprozesses?

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    Wie können wir Probleme identifizieren?

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    Pause

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    Woran erkennen wir gutes Design?

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    Good Design is innovative

    The possibilities for innovation are not, by any means, exhausted. Technological development is always offering new opportunities for innovative design. But innovative design always develops in tandem with innovative technology, and can never be an end in itself.
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    Good design is aesthetic -

    The aesthetic quality of a product is integral to its usefulness because products we use every day affect our person and our well-being. But only well-executed objects can be beautiful.
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    Good design makes a product useful

    A product is bought to be used. It has to satisfy certain criteria, not only functional, but also psychological and aesthetic. Good design emphasizes the usefulness of a product whilst disregarding anything that could possibly detract from it.
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    Good design makes a product understandable

    It clarifies the product’s structure. Better still, it can make the product talk. At best, it is self-explanatory.
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    Good design is unobtrusive

    Products fulfilling a purpose are like tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user’s self-expression.
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    Good design is honest

    It does not make a product more innovative, powerful or valuable than it really is. It does not attempt to manipulate the consumer with promises that cannot be kept.
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    Good design is long-lasting

    It avoids being fashionable and therefore never appears antiquated. Unlike fashionable design, it lasts many years – even in today’s throwaway society.
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    Good design is thorough down to the last detail

    Nothing must be arbitrary or left to chance. Care and accuracy in the design process show respect towards the user.
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    Good design is environmentally-friendly

    Design makes an important contribution to the preservation of the environment. It conserves resources and minimizes physical and visual pollution throughout the lifecycle of the product.
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    Good design is as little design as possible

    Less, but better – because it concentrates on the essential aspects, and the products are not burdened with non-essentials. -Back to purity, back to simplicity.
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    Dieter Rams
    Industrial Designer

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    Rams Kriterien

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    innovative

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    aesthetic

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    makes a product useful

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    makes a product understandable

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    unobtrusive

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    honest

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    long-lasting

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    thorough down to the last detail

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    environmentally-friendly

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    as little design as possible

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    Rams Kriterien //
    Was ist hier die Designleistung?

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    Rams Kriterien //
    Was ist hier die Designleistung?

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    Rams Kriterien //
    Was ist hier die Designleistung?

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    Rams Kriterien //
    Was ist hier die Designleistung?

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    Rams Kriterien //
    Was ist hier die Designleistung?

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    Design Basics

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    Zum Start

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    versuchen Sie offen zu sein

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    Gestaltungslösungen sind nicht binär

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    versuchen Sie unvollständige Übungenstellung durch gute Fragen zu komplettieren

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    entwickeln Sie stets Alternativen und dokumentieren diese um nachweisen zu können, dass die gewählte Lösung die Beste (zumindest aus ihren Varianten) ist

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    entwickeln Sie Argumente und Begründungszusammenhänge für Ihre Gestaltungen

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    Beschreiben Sie Funktion und Zielgruppe?

    Zielsetzung & Zielgruppe

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    Henne & Ei Problem

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design?

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    Funktion & Zielgruppe: gutes Design? Was ist der Unterschied?

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    Funktion & Zielgruppe: gutes Design? Was ist der Unterschied?

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    Was ist der Unterschied?

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    Wie beschreiben wir ein Layout?

    Gutes Auge, präzise Sprache

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    Wie beschreiben wir ein Layout?

    Nach welcher Systematik können wir vorgehen?

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    Wie beschreiben wir ein Layout?

    Welche visuellen Elementtypen gibt es eigentlich?

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    Wie beschreiben wir ein Layout?

    Welche visuellen Eigenschaften kann ein Element haben?

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    Punkt // Linie // Fläche // Form

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    Punkt // Linie // Fläche // Form

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    Notieren Sie visuelle Eigenschaften für die folgenden Beispiele.

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    Gutes Auge, präzise Sprache

    Wie beschreiben wir ein Layout?

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    Zusammenfassung

    Design macht den Unterschied.

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    Design ist ein »wicked problem«.

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    Design stellt Fragen.

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    Medieninformatiker können entscheidende Rollen in Teams übernehmen.

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    Wir gestalten in der Regel nicht für uns selbst.

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Räumlichkeit

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    About Screendesign

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    Wahrnehmungsarbeit

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    Eindeutigkeit

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    Ordnen Sie Elemente so eindeutig wie möglich an.

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    Semiotik

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    Lehre von Zeichen und Zeichensystemen

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    Der Punkt

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    Das kleinste und einfachste Gestaltungselement

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    Linie

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    zusammenhängendes, eindimensionales geometrisches Gebilde ohne Querausdehnung 😀

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    Design in der Medieninformatik

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    Eindeutigkeit

    Betrachter:innen sucht Bezüge zwischen Elementen und verknüpft gedanklich ähnliche Elemente. Helfen Sie dabei durch Eindeutigkeit in der Anordnung und Einfachheit in der Ausprägung.

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    Beispiele aus der Literatur

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    Wie könnte eindeutiger angeordnet werden?

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    Eindeutigkeit

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    Ordnen Sie Elemente so eindeutig wie möglich an.

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    Eindeutigkeit

    Betrachter:innen sucht Bezüge zwischen Elementen und verknüpft gedanklich ähnliche Elemente. Helfen Sie dabei durch Eindeutigkeit in der Anordnung und Einfachheit in der Ausprägung.

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    Beispiele aus der Veranstaltung

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    ./images/030-eindeutigkeit.004.jpeg

    Wie könnte eindeutiger angeordnet werden?

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    ./images/030-eindeutigkeit.005.jpeg

    Auf welcher Ebene ist das Zeichen?

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    ./images/030-eindeutigkeit.006.jpeg

    Auf welcher Ebene ist das Zeichen?

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    ./images/030-eindeutigkeit.007.jpeg

    Auf welcher Ebene ist das Zeichen?

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    ./images/030-eindeutigkeit.008.jpeg

    Auf welcher Ebene ist das Zeichen?

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Räumlichkeit

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    About Screendesign

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    Wahrnehmungsarbeit

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    Semiotik

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    Lehre von Zeichen und Zeichensystemen

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    Der Punkt

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    Das kleinste und einfachste Gestaltungselement

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    Linie

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    zusammenhängendes, eindimensionales geometrisches Gebilde ohne Querausdehnung 😀

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    Design in der Medieninformatik

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    Fläche und Form

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    Demo Präsentation

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    Demo Präsentation

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    Demo Präsentation

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    Demo Präsentation

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    Demo Präsentation

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    Demo Präsentation

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    Demo Präsentation

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    Corporate Color

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    Corporate Color

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    Corporate Color

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    Corporate Color

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    ./images/farbe/der-gleiche-farbwert.png

    Der gleiche Farbwert

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    Verläufe

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    Verläufe

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    Verläufe

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    Verläufe

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    Farbspektrum

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    Farbspektrum

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    Farbspektrum

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    Farbspektrum

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    Farbmischung

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    Farbmischung

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    Farbkreis

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    Sättigung

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    Sättigung

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    Sättigung und Helligekeit

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    Hue, Saturation and Brightness

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    Farbkreise

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    Komplementärkontrast

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    Komplementärkontrast

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    Komplementärkontrast

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    - Relevare -

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    Komplementärkontrast

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    Bunt-Unbunt Kontrast

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    Hell-Dunkel Kontrast

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    Hell-Dunkel Kontrast

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    Hell-Dunkel Kontrast

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    Hell-Dunkel Kontrast

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    - cda -

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    Hell-Dunkel Kontrast

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    Hell-Dunkel Kontrast

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    Hell-Dunkel Kontrast

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    Kalt-Warm Kontrast

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    Kalt-Warm Kontrast

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    Kalt-Warm Kontrast

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    Kalt-Warm Kontrast

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    Kalt-Warm Kontrast

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    Kalt-Warm Kontrast

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    Kalt-Warm Kontrast

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    Kalt-Warm Kontrast

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    Qualitätskontrast

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    Qualitätskontrast

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    Qualitätskontrast

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    Simultankontrast

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    Simultankontrast

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    Simultankontrast

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    Simultankontrast

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    Flimmern

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    Flimmern

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    Dieselbe Farbe wirkt auf dunklem Hintergrund leuchtender.

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    Liegen benachbarte Farben nahe bei einander, so schwächen sie sich ab.

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    Treffen Komplementärfarben eng bei einander, so verstärken sie sich gegenseitig.

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    Flimmern

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    Flimmern

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    Farbwirkung

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    Farbklimata

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    Farbklimata

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    Ich mache immer alles blau.
    Blau finden alle gut.

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    Farbharmonie

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    Farbharmonie

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    Farbkreis

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    Windows Farbschema

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    Windows Farbschema

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    Windows Farbschema

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    Windows Farbschema

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    Windows Farbschema

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    Windows Farbschema

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    Lesbarkeit

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    Die Farben sollten aufeinander abgestimmt sein und es sollten nicht mehr als 4 Grundfarben verwendet werden.

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    Ein kontrastreicher Einsatz von Farben sichert eine konturenscharfe Darstellung und z. B. eine gute Lesbarkeit.

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    Je farbiger ein Text, umso unleserlicher wird er.

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    Farbe

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    ./images/farbe/corporate-color-01.png

    Corporate Color

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    ./images/farbe/corporate-color-02.png

    Corporate Color

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    Corporate Color

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    ./images/farbe/corporate-color-04.png

    Corporate Color

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    ./images/farbe/der-gleiche-farbwert.png

    Der gleiche Farbwert

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    ./images/farbe/verlaeufe-01.png

    Verläufe

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    ./images/farbe/verlaeufe-02.png

    Verläufe

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    Verläufe

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    Verläufe

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    Grundlagen

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    ./images/grundlagen/farbspektrum-01.png

    Farbspektrum

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    ./images/grundlagen/farbmodelle-01.png

    Farbspektrum

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    ./images/grundlagen/farbmodelle-02.png

    Farbspektrum

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    ./images/grundlagen/farbmodelle-03.png

    Farbspektrum

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    ./images/grundlagen/farbmischung-01.png

    Farbmischung

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    ./images/grundlagen/farbmischung-02.png

    Farbmischung

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    ./images/grundlagen/farbkreis-01.png

    Farbkreis

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    ./images/grundlagen/saettigung-01.png

    Sättigung

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    ./images/grundlagen/saettigung-02.png

    Sättigung

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    ./images/grundlagen/saettigung-helligkeit-01.png

    Sättigung und Helligekeit

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    ./images/grundlagen/hue-saturation-brightness-01.png

    Hue, Saturation and Brightness

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    ./images/grundlagen/farbklima-01.png

    Farbklima

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    ./images/grundlagen/farbkreise-01.png

    Farbkreise

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    Wechselwirkungen und Farbkontraste

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    Komplementärkontrast

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    ./images/kontraste/komplementaer-kontrast-01.png

    Komplementärkontrast

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    ./images/kontraste/komplementaer-kontrast-02.png

    Komplementärkontrast

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    ./images/kontraste/komplementaer-kontrast-03.png

    Komplementärkontrast

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    Komplementärkontrast

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    - Relevare -

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    Komplementärkontrast

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    - Wodniack -

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    Komplementärkontrast

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    - Bambini -

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    Komplementärkontrast

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    - Map of the Market -

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    Farbe-an-sich Kontrast

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    ./images/kontraste/farbe-an-sich-kontrast-01.png

    Farbe-an-sich Kontrast

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    Farbe-an-sich Kontrast

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    - Mayersche -

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    Farbe-an-sich Kontrast

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    - Nintendo -

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    Farbe-an-sich Kontrast

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    - Kika -

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    ./images/kontraste/farbe-an-sich-kontrast-05.png

    Farbe-an-sich Kontrast

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    Farbe-an-sich Kontrast

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    - web.archive.org -

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    Quantitätskontrast

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    ./images/kontraste/quantitaets-kontrast-01.png

    Quantitätskontrast

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    Quantitätskontrast

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    - Nach dem Film -

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    Quantitätskontrast

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    - Caterpillar -

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    Bunt-Unbunt Kontrast

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    ./images/kontraste/bunt-unbunt-kontrast-01.png

    Bunt-Unbunt Kontrast

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    Farbe-an-sich Kontrast

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    - Th Köln -

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    Farbe-an-sich Kontrast

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    - Bauhaus -

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    Farbe-an-sich Kontrast

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    - Vue.Js -

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    Farbe-an-sich Kontrast

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    - Sushi Bikes -

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    ./images/kontraste/bunt-unbunt-kontrast-06.png

    Bunt-Unbunt Kontrast

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    ./images/kontraste/bunt-unbunt-kontrast-07.png

    Bunt-Unbunt Kontrast

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    Hell-Dunkel Kontrast

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    ./images/kontraste/hell-dunkel-kontrast-01.png

    Hell-Dunkel Kontrast

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    Hell-Dunkel Kontrast

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    - Kurzgesagt -

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    Hell-Dunkel Kontrast

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    - cda -

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    Hell-Dunkel Kontrast

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    - Jetbrains -

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    Hell-Dunkel Kontrast

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    - Bega -

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    ./images/kontraste/hell-dunkel-kontrast-06.png

    Hell-Dunkel Kontrast

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    Kalt-Warm Kontrast

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    ./images/kontraste/kalt-warm-kontrast-01.png

    Kalt-Warm Kontrast

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    ./images/kontraste/kalt-warm-kontrast-02.png

    Kalt-Warm Kontrast

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    ./images/kontraste/kalt-warm-kontrast-03.png

    Kalt-Warm Kontrast

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    ./images/kontraste/kalt-warm-kontrast-04.png

    Kalt-Warm Kontrast

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    ./images/kontraste/kalt-warm-kontrast-05.png

    Kalt-Warm Kontrast

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    ./images/kontraste/kalt-warm-kontrast-06.png

    Kalt-Warm Kontrast

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    ./images/kontraste/kalt-warm-kontrast-07.png

    Kalt-Warm Kontrast

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    Qualitätskontrast

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    ./images/kontraste/qualitaets-kontrast-01.png

    Qualitätskontrast

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    ./images/kontraste/qualitaets-kontrast-02.png

    Qualitätskontrast

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    Simultankontrast

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    ./images/kontraste/simultan-kontrast-01.png

    Simultankontrast

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    ./images/kontraste/simultan-kontrast-02.png

    Simultankontrast

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    ./images/kontraste/simultan-kontrast-03.png

    Simultankontrast

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    ./images/kontraste/uebersicht-01.png

    Simultankontrast

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    Flimmern

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    ./images/kontraste/flimmern-01.png

    Flimmern

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    Dieselbe Farbe wirkt auf dunklem Hintergrund leuchtender.

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    Liegen benachbarte Farben nahe bei einander, so schwächen sie sich ab.

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    Treffen Komplementärfarben eng bei einander, so verstärken sie sich gegenseitig.

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    Bei zu kleinem Helligkeitsunterschied entsteht ein Flimmern.

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    ./images/kontraste/flimmern-02.png

    Flimmern

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    ./images/kontraste/flimmern-03.png

    Flimmern

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    Farbwirkung

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    ./images/farbwirkung/farbklimata-01.png

    Farbklimata

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    ./images/farbwirkung/farbklimata-02.png

    Farbklimata

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    ./images/farbwirkung/pixel-01-a.png
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    ./images/farbwirkung/pixel-01-b.png
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    ./images/farbwirkung/pixel-02-a.png
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    ./images/farbwirkung/pixel-02-b.png
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    ./images/farbwirkung/pixel-03-a.png
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    ./images/farbwirkung/pixel-03-b.png
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    ./images/farbwirkung/pixel-04-a.png
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    ./images/farbwirkung/pixel-04-b.png
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    ./images/farbwirkung/pixel-05-a.png
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    ./images/farbwirkung/pixel-05-b.png
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    Ich mache immer alles blau.
    Blau finden alle gut.

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    ./images/farbwirkung/farbharmonie-01.png

    Farbharmonie

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    ./images/farbwirkung/farbharmonie-02.png

    Farbharmonie

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    ./images/farbwirkung/farbkreis-01.png

    Farbkreis

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    ./images/farbwirkung/farb-bedeutung-rot.png
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    ./images/farbwirkung/farb-bedeutung-orange.png
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    ./images/farbwirkung/farb-bedeutung-gelb.png
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    ./images/farbwirkung/farb-bedeutung-gruen.png
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    ./images/farbwirkung/farb-bedeutung-cyan.png
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    ./images/farbwirkung/farb-bedeutung-blau.png
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    ./images/farbwirkung/farb-bedeutung-violett.png
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    ./images/farbwirkung/farb-bedeutung-weiss.png
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    ./images/farbwirkung/farb-bedeutung-grau.png
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    ./images/farbwirkung/farb-bedeutung-schwarz.png
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    Windows Farbschema

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    ./images/farbwirkung/windows-farbe-02.png

    Windows Farbschema

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    ./images/farbwirkung/windows-farbe-03.png

    Windows Farbschema

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    Windows Farbschema

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    ./images/farbwirkung/windows-farbe-05.png

    Windows Farbschema

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    ./images/farbwirkung/windows-farbe-06.png

    Windows Farbschema

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    Lesbarkeit

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    ./images/lesbarkeit/flimmern-01.png

    Flimmern

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    ./images/lesbarkeit/fernwirkung-01.png

    Fernwirkung nach Heller

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    ./images/lesbarkeit/nahwirkung-01.png

    Nahnwirkung nach Heller

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    Farbenlesen

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    Farbe zum Orientieren

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    Das Netz der Stadt

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    Farbe zum Orientieren

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    Farbe zum Orientieren

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    - Green Planet Energy -

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    Farbe zum Orientieren

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    - Green Planet Energy -

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    Farbe zum Orientieren

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    - Electronic Book Review -

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    Farbe zum Orientieren

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    - Electronic Book Review -

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    Farbe zum Orientieren

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    - Electronic Book Review -

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    Farbe zum Orientieren

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    - Electronic Book Review -

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    Probleme?

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    ./images/orientierung/farbstrahl-01.png

    Farbe zum Orientieren

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    ./images/orientierung/farbstrahl-02.png

    Farbe zum Orientieren

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    ./images/orientierung/farbstrahl-03.png

    Farbe zum Orientieren

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    ./images/orientierung/farbstrahl-04.png

    Farbe zum Orientieren

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    Farbe zum Orientieren

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    Farbe zum Strukturieren

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    Farbe zum Strukturieren

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    Farbe zum Strukturieren

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    Farbe zum Strukturieren

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    Farbe zum Strukturieren

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    Farbe zum Strukturieren

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    - Audi -

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    Farbe zum Strukturieren

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    - Merten -

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    Farbe zum Strukturieren

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    Farbe zum Akzentuieren

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    ./images/akzentuierung/akzentuieren-01.png

    Farbe zum Akzentuieren

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    Farbe zum Akzentuieren

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    Farbe zum Akzentuieren

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    Farbe zum Akzentuieren

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    Farbe zum Akzentuieren

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    Farbe zum Akzentuieren

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    Farbe zum Akzentuieren

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    Farbe zum Akzentuieren

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    Farbe zum Akzentuieren

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    Farbe zum Akzentuieren

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    Farbe zum Akzentuieren

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    Farbe zum

    Farben sollten besonnen und wenn möglich sparsam eingesetzt werden.

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    Ein Farbklima aus zwei Grundfarben reicht meist aus.

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    Die Farben sollten aufeinander abgestimmt sein und es sollten nicht mehr als 4 Grundfarben verwendet werden.

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    Ein kontrastreicher Einsatz von Farben sichert eine konturenscharfe Darstellung und z. B. eine gute Lesbarkeit.

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    Die Vordergrundfarbe sollte sich ausreichend vom Hintergrund abheben.

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    Farbe zum Akzentuieren

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    Die Wahrnehmung einfacher geometrischer Gestalten ist uns Menschen schon evolutionsgenetisch angelegt.

    Kinder können schon im ersten Lebensjahr die Grundelemente unterscheiden.

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    Piet Mondrian - Komposition mit Rot, Gelb, Blau und Schwarz, 1921

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    Merkmale von Figur und Grund

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    Wahrnehmungsarbeit

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    Lehre von Zeichen und Zeichensystemen

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    Merkmale von Figur und Grund

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    einen eher konvexen Rand

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    Die Wahrnehmung einfacher geometrischer Gestalten ist uns Menschen schon evolutionsgenetisch angelegt.

    Kinder können schon im ersten Lebensjahr die Grundelemente unterscheiden.

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    Piet Mondrian - Komposition mit Rot, Gelb, Blau und Schwarz, 1921

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    Fläche und Form

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    ./images/formen-01.png
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    Die Wahrnehmung einfacher geometrischer Gestalten ist uns Menschen schon evolutionsgenetisch angelegt.

    Kinder können schon im ersten Lebensjahr die Grundelemente unterscheiden.

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    ./images/traffic-sign.png
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    Piet Mondrian - Komposition mit Rot, Gelb, Blau und Schwarz, 1921

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    Danke für's Mitmachen

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    https://christiannoss.de

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/flow-and-transition/000-intro/index.html b/docs/presentations/screendesign/flow-and-transition/000-intro/index.html deleted file mode 100644 index 5d7a00f1..00000000 --- a/docs/presentations/screendesign/flow-and-transition/000-intro/index.html +++ /dev/null @@ -1,272 +0,0 @@ - - - - Wahrnehmungsarbeit // Christian Noss - - - - - - - - - - - - - - - - -
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    Räumlichkeit

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    Wie funktioniert visuelle Tiefenstaffelung?

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    - - -
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    About Screendesign

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    Worum geht es in diesem Modul?

    -
    - - -
    - - -
    -
    -

    Wahrnehmungsarbeit

    -
    - - -
    - - -
    -
    -

    Eindeutigkeit

    -

    Ordnen Sie Elemente so eindeutig wie möglich an.

    -
    - - -
    - - -
    -
    -

    Semiotik

    -

    Lehre von Zeichen und Zeichensystemen

    -
    - - -
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    Der Punkt

    -

    Das kleinste und einfachste Gestaltungselement

    -
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    - - -
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    Linie

    -

    zusammenhängendes, eindimensionales geometrisches Gebilde ohne Querausdehnung 😀

    -
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    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
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    - - -
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    Design in der Medieninformatik

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    ---

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    Farbe

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    ---

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    Figur und Grund

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    ---

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    Fläche und Form

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    --

    -
    - - -
    - - -
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    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - -
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/flow-and-transition/9999-outro/index.html b/docs/presentations/screendesign/flow-and-transition/9999-outro/index.html deleted file mode 100644 index 7ffda695..00000000 --- a/docs/presentations/screendesign/flow-and-transition/9999-outro/index.html +++ /dev/null @@ -1,300 +0,0 @@ - - - - About Screendesign // Christian Noss - - - - - - - - - - - - - - - - -
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    Danke für's Mitmachen

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    https://christiannoss.de

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    - - -
    - - -
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    -
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    Danke für's Mitmachen

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    https://christiannoss.de

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    -
    -
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    - - -
    - - -
    -

    -
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    - -
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    Danke für's Mitmachen

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    https://christiannoss.de

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    -
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    - - -
    - - -
    -

    -
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    - -
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    Danke für's Mitmachen

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    https://christiannoss.de

    -
    -
    -
    -
    - - -
    - - -
    -

    -
    -
    - -
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    Danke für's Mitmachen

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    https://christiannoss.de

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    -
    -
    -
    - - -
    - - -
    -

    -
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    - -
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    Danke für's Mitmachen

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    https://christiannoss.de

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    -
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    - - -
    - - -
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    -
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    - -
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    Danke für's Mitmachen

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    https://christiannoss.de

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    -
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    -
    - - -
    - - -
    -

    -
    -
    - -
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    Danke für's Mitmachen

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    https://christiannoss.de

    -
    -
    -
    -
    - - -
    - - -
    -

    -
    -
    - -
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    Danke für's Mitmachen

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    https://christiannoss.de

    -
    -
    -
    -
    - - -
    - - -
    -

    -
    -
    - -
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    Danke für's Mitmachen

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    https://christiannoss.de

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    -
    -
    -
    - - -
    - - -
    -

    -
    -
    - -
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    Danke für's Mitmachen

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    https://christiannoss.de

    -
    -
    -
    -
    - - -
    - - -
    -

    -
    -
    - -
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    Danke für's Mitmachen

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    https://christiannoss.de

    -
    -
    -
    -
    - - -
    - - -
    -

    -
    -
    - -
    -

    Danke für's Mitmachen

    -

    https://christiannoss.de

    -
    -
    -
    -
    - - -
    - - -
    -

    -
    -
    - -
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    Danke für's Mitmachen

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    https://christiannoss.de

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/flow-and-transition/index.html b/docs/presentations/screendesign/flow-and-transition/index.html deleted file mode 100644 index 191e9222..00000000 --- a/docs/presentations/screendesign/flow-and-transition/index.html +++ /dev/null @@ -1,85 +0,0 @@ - - - - Flow & Transistion (WIP) // Christian Noss - - - - - - - - - - - - - - - - -
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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -

    -
    -
    - -
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    Danke für's Mitmachen

    -

    https://christiannoss.de

    -
    -
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    -
    - - -
    - - -
    - - - -
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    -
    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/gestaltgesetze/000-intro/index.html b/docs/presentations/screendesign/gestaltgesetze/000-intro/index.html deleted file mode 100644 index 5d7a00f1..00000000 --- a/docs/presentations/screendesign/gestaltgesetze/000-intro/index.html +++ /dev/null @@ -1,272 +0,0 @@ - - - - Wahrnehmungsarbeit // Christian Noss - - - - - - - - - - - - - - - - -
    -
    - -
    -
    -

    Räumlichkeit

    -

    Wie funktioniert visuelle Tiefenstaffelung?

    -
    - - - -
    - - -
    -
    -

    About Screendesign

    -

    Worum geht es in diesem Modul?

    -
    - - -
    - - -
    -
    -

    Wahrnehmungsarbeit

    -
    - - -
    - - -
    -
    -

    Eindeutigkeit

    -

    Ordnen Sie Elemente so eindeutig wie möglich an.

    -
    - - -
    - - -
    -
    -

    Semiotik

    -

    Lehre von Zeichen und Zeichensystemen

    -
    - - -
    - - -
    -
    -

    Der Punkt

    -

    Das kleinste und einfachste Gestaltungselement

    -
    - - -
    - - -
    -
    -

    Linie

    -

    zusammenhängendes, eindimensionales geometrisches Gebilde ohne Querausdehnung 😀

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - - -
    - - -
    -
    -

    Design in der Medieninformatik

    -

    ---

    -
    - - - -
    - - -
    -
    -

    Farbe

    -

    ---

    -
    - - - -
    - - -
    -
    -

    Figur und Grund

    -

    ---

    -
    - - - -
    - - -
    -
    -

    Fläche und Form

    -

    --

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/gestaltgesetze/010-cite/index.html b/docs/presentations/screendesign/gestaltgesetze/010-cite/index.html deleted file mode 100644 index 60a0247a..00000000 --- a/docs/presentations/screendesign/gestaltgesetze/010-cite/index.html +++ /dev/null @@ -1,111 +0,0 @@ - - - - Cite // Christian Noss - - - - - - - - - - - - - - - - -
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/gestaltgesetze/020-watzlawick/index.html b/docs/presentations/screendesign/gestaltgesetze/020-watzlawick/index.html deleted file mode 100644 index cd0d7613..00000000 --- a/docs/presentations/screendesign/gestaltgesetze/020-watzlawick/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Cite with Image // Christian Noss - - - - - - - - - - - - - - - - -
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Man kann nicht nicht kommunizieren.

    -Paul Watzlawick, Philosoph, Psychotherapeut und Kommunikationswissenschaftler
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

    -

    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

    -
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    Nix zu tun

    -

    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

    -

    - Josh Soto // Unsplash

    -
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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

    -
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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

    -
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    Nix zu tun

    -

    - Sensei Minimal // Unsplash -

    -
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    - - - -
    - - -
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    -
    -

    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

    -

    - Josh Soto // Unsplash

    -
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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

    -

    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

    -
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    Nix zu tun

    -

    - Sensei Minimal // Unsplash -

    -
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    - - - -
    - - -
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    -
    -

    Viel zu tun

    -

    - Andreas M // Unsplash

    -
    -
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    -

    Viel zu tun

    -

    - Josh Soto // Unsplash

    -
    -
    -
    -
    -

    Viel zu tun

    -

    - Iwona Castiello d'Antonio // Unsplash

    -
    -
    -
    -
    -

    Viel zu tun

    -

    Dan Freeman // Unsplash

    -
    -
    -
    -
    -

    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

    -
    -
    -
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    -

    Nix zu tun

    -

    - Sensei Minimal // Unsplash -

    -
    -
    - - - -
    - - -
    -
    -
    -

    Viel zu tun

    -

    - Andreas M // Unsplash

    -
    -
    -
    -
    -

    Viel zu tun

    -

    - Josh Soto // Unsplash

    -
    -
    -
    -
    -

    Viel zu tun

    -

    - Iwona Castiello d'Antonio // Unsplash

    -
    -
    -
    -
    -

    Viel zu tun

    -

    Dan Freeman // Unsplash

    -
    -
    -
    -
    -

    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

    -
    -
    -
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    -

    Nix zu tun

    -

    - Sensei Minimal // Unsplash -

    -
    -
    - - - -
    - - -
    -
    -
    -

    Viel zu tun

    -

    - Andreas M // Unsplash

    -
    -
    -
    -
    -

    Viel zu tun

    -

    - Josh Soto // Unsplash

    -
    -
    -
    -
    -

    Viel zu tun

    -

    - Iwona Castiello d'Antonio // Unsplash

    -
    -
    -
    -
    -

    Viel zu tun

    -

    Dan Freeman // Unsplash

    -
    -
    -
    -
    -

    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

    -
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    Nix zu tun

    -

    - Sensei Minimal // Unsplash -

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    - - - -
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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

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    Orientierung

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    Orientierung

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    Orientierung

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    Orientierung

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    Orientierung

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/gestaltgesetze/330-lindgaard/index.html b/docs/presentations/screendesign/gestaltgesetze/330-lindgaard/index.html deleted file mode 100644 index e692d97c..00000000 --- a/docs/presentations/screendesign/gestaltgesetze/330-lindgaard/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Gitte Lindgaard // Christian Noss - - - - - - - - - - - - - - - - -
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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    kleiner Aufmerksamkeitstest

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Räumlichkeit

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    About Screendesign

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    Wahrnehmungsarbeit

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    Eindeutigkeit

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    Ordnen Sie Elemente so eindeutig wie möglich an.

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    Semiotik

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    Lehre von Zeichen und Zeichensystemen

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    Der Punkt

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    Design in der Medieninformatik

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    Farbe

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    Fläche und Form

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Demo Präsentation

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    Demo Präsentation

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Interface Inventar aufbauen und visualisieren

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    Design Manual

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    Konsistenz

    Konsistenz ist eine fundamentale Anforderung in der Gestaltung. Gleiche Linienstärken, Farben, Füllungen, Texturen, Anschnitte, Motive, Formate usw. sorgen für eine stilistische Zusammengehörigkeit der Bildelemente und eine schnelle Vergleichbarkeit von Abbildungen. Damit wird die Aufmerksamkeit des Betrachters schnell auf Veränderungen von Bildinhalten gelenkt. Vor allem in der Rezeption von Bildfolgen ist der Nutzer auf das Spiel von Konsistenz und Veränderung angewiesen.
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    Ziele

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    Konsistente GUI sicherstellen

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    Werkzeug für Designer und Entwickler

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    Anforderungen

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    Bilder und deren Größen

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    Typographie & Satz

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    Interaktion & Gestaltungselemente

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    Interaktion & Gestaltungselemente

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    (Trenn)-linien

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    Interaktionen

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    Übergänge

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    Komponenten

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    Wie strukturieren wir die Dokumentation?

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    Praxisbeispiel

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    Pattern Library

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    Base Unwichtiges weglassen

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    Atoms Muster bilden

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    Molecules Bezüge herstellen

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    Organisms Kombinationen aus Molekülen und Atomen

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    Composition Raster, Layout

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    Behavior Flow, Transition, Microinteraction, Reaktion auf Viewports

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Interface Inventar aufbauen und visualisieren

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    Design Manual

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    Styleguide

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    Pattern Lab

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    UI Patterns

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    Living Styleguide

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    Konsistenz

    Konsistenz ist eine fundamentale Anforderung in der Gestaltung. Gleiche Linienstärken, Farben, Füllungen, Texturen, Anschnitte, Motive, Formate usw. sorgen für eine stilistische Zusammengehörigkeit der Bildelemente und eine schnelle Vergleichbarkeit von Abbildungen. Damit wird die Aufmerksamkeit des Betrachters schnell auf Veränderungen von Bildinhalten gelenkt. Vor allem in der Rezeption von Bildfolgen ist der Nutzer auf das Spiel von Konsistenz und Veränderung angewiesen.
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    Ziele

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    Werkzeug für Designer und Entwickler

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    Systematik und Grundgedanken des Gestaltungskonzept abbilden und erklären

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    Anforderungen

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    Welchen Anforderungen muss eine Design Dokumentation gerecht werden?

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    Was sollte dokumentiert werden?

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    Gestaltungsziel

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    Form & Space

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    Form & Space

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    Spalten

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    Raster

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    Abstände

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    Hierarchisierung

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    Farbskalen

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    Sättigung, Helligkeit

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    Farbkombinatorik

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    Besondere Ausprägung: Transparenzen, Rasterungen, Verläufe

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    Media

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    Bilder und deren Größen

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    Grafiken und deren Größe

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    Zuschnitt

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    Farbgebung

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    Kombination mit anderen Elementen

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    Typographie & Satz

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    Typographie & Satz

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    Schriftart

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    Schriftgrößen

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    Schriftschnitte

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    Zeilenabstand

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    Schriftstile

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    Textausrichtung

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    Satzart

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    Interaktion & Gestaltungselemente

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    Interaktion & Gestaltungselemente

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    (Trenn)-linien

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    Rahmen

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    Interaktionen

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    Übergänge

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    Komponenten

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    Komponenten

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    Navigation, Cards, Forms, Buttons, Button Groups, Tables, Lists, Grid Lists, Menues, Pickers, Progress & Activity, Slider, Tabs, Toolsbars, Tooltips

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    Wie strukturieren wir die Dokumentation?

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    ./images/struktur/struktur-02.png
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    Praxisbeispiel

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    Pattern Library

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    Base Unwichtiges weglassen

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    Atoms Muster bilden

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    Molecules Bezüge herstellen

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    Organisms Kombinationen aus Molekülen und Atomen

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    Composition Raster, Layout

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    Behavior Flow, Transition, Microinteraction, Reaktion auf Viewports

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Räumlichkeit

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    Wie funktioniert visuelle Tiefenstaffelung?

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    About Screendesign

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    Worum geht es in diesem Modul?

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    Wahrnehmungsarbeit

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    Eindeutigkeit

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    Ordnen Sie Elemente so eindeutig wie möglich an.

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    Semiotik

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    Lehre von Zeichen und Zeichensystemen

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    Der Punkt

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    Das kleinste und einfachste Gestaltungselement

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    Linie

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    zusammenhängendes, eindimensionales geometrisches Gebilde ohne Querausdehnung 😀

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Design in der Medieninformatik

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    Farbe

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    Fläche und Form

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/layout/010-cite/index.html b/docs/presentations/screendesign/layout/010-cite/index.html deleted file mode 100644 index 60a0247a..00000000 --- a/docs/presentations/screendesign/layout/010-cite/index.html +++ /dev/null @@ -1,111 +0,0 @@ - - - - Cite // Christian Noss - - - - - - - - - - - - - - - - -
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/layout/020-watzlawick/index.html b/docs/presentations/screendesign/layout/020-watzlawick/index.html deleted file mode 100644 index cd0d7613..00000000 --- a/docs/presentations/screendesign/layout/020-watzlawick/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Cite with Image // Christian Noss - - - - - - - - - - - - - - - - -
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Man kann nicht nicht kommunizieren.

    -Paul Watzlawick, Philosoph, Psychotherapeut und Kommunikationswissenschaftler
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/layout/040-bilder-wo-es-voll-ist/index.html b/docs/presentations/screendesign/layout/040-bilder-wo-es-voll-ist/index.html deleted file mode 100644 index 967da71a..00000000 --- a/docs/presentations/screendesign/layout/040-bilder-wo-es-voll-ist/index.html +++ /dev/null @@ -1,456 +0,0 @@ - - - - Bilder wo et voll ist // Christian Noss - - - - - - - - - - - - - - - - -
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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/layout/060-aufmerksamkeitstest/index.html b/docs/presentations/screendesign/layout/060-aufmerksamkeitstest/index.html deleted file mode 100644 index 9237e27f..00000000 --- a/docs/presentations/screendesign/layout/060-aufmerksamkeitstest/index.html +++ /dev/null @@ -1,176 +0,0 @@ - - - - Aufmerksamkeitstest // Christian Noss - - - - - - - - - - - - - - - - -
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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/layout/100-orientierung/index.html b/docs/presentations/screendesign/layout/100-orientierung/index.html deleted file mode 100644 index 0cebaff5..00000000 --- a/docs/presentations/screendesign/layout/100-orientierung/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Orientierung // Christian Noss - - - - - - - - - - - - - - - - -
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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung schaffen

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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    • strukturieren: Muster bilden
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    • hierarchisieren: Bezüge herstellen
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    Orientierung schaffen

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    • reduzieren
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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    • strukturieren: Muster bilden
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    Orientierung schaffen

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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/layout/330-lindgaard/index.html b/docs/presentations/screendesign/layout/330-lindgaard/index.html deleted file mode 100644 index e692d97c..00000000 --- a/docs/presentations/screendesign/layout/330-lindgaard/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Gitte Lindgaard // Christian Noss - - - - - - - - - - - - - - - - -
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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Hier wird ein Zitat hübsch angezeigt.

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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    kleiner Aufmerksamkeitstest

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    Wie beschreiben wir ein Layout?

    Gutes Auge, präzise Sprache

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    ./images/layout-01.png
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    Wie beschreiben wir ein Layout?

    Nach welcher Systematik können wir vorgehen?

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    ./images/layout-02.png
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    Wie beschreiben wir ein Layout?

    Welche visuellen Elementtypen gibt es eigentlich?

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    Wie beschreiben wir ein Layout?

    Welche visuellen Eigenschaften kann ein Element haben?

    -

    Punkt // Linie // Fläche // Form

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    ./images/layout-13.png
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    ./images/layout-14.png
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    Wie beschreiben wir ein Layout? -

    Welche visuellen Eigenschaften kann ein Element haben?

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    ./images/layout-15.png

    Punkt // Linie // Fläche // Form

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
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    • strukturieren: Muster bilden
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    • hierarchisieren: Bezüge herstellen
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    Orientierung schaffen

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    Gutes Auge, präzise Sprache

    Wie beschreiben wir ein Layout?

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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
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    Danke für's Mitmachen

    -

    https://christiannoss.de

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    Räumlichkeit

    -

    Wie funktioniert visuelle Tiefenstaffelung?

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    About Screendesign

    -

    Worum geht es in diesem Modul?

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    Wahrnehmungsarbeit

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    - - -
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    Eindeutigkeit

    -

    Ordnen Sie Elemente so eindeutig wie möglich an.

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    Semiotik

    -

    Lehre von Zeichen und Zeichensystemen

    -
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    Der Punkt

    -

    Das kleinste und einfachste Gestaltungselement

    -
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    Linie

    -

    zusammenhängendes, eindimensionales geometrisches Gebilde ohne Querausdehnung 😀

    -
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    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Design in der Medieninformatik

    -

    ---

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    Farbe

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    ---

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    Figur und Grund

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    ---

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    Fläche und Form

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Gestaltungsparameter Übersicht

    Übersicht der Gestaltungsparameter für den Punkt.

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    Position

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    Gestaltungsparameter Übersicht

    Übersicht der Gestaltungsparameter für die Line.

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    Position

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    Auf Linien in einer Gestaltung wirken folgende Kräfte.
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    Sinus Täuschung

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    ./images/040-Linie.017.jpeg
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    Sander-Parallelogramm

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    Müller-Lyia Täuschung

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    Linie

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    zusammenhängendes, eindimensionales geometrisches Gebilde ohne Querausdehnung 😀

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    Gestaltungsparameter Übersicht

    Übersicht der Gestaltungsparameter für den Punkt.

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    Position

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    Anzahl

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    Tonwert

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    Farbe

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    Transparenz

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    Größe

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    Gestaltungsparameter Übersicht

    Übersicht der Gestaltungsparameter für die Line.

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    Position

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    Anzahl

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    Tonwert

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    Farbe

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    Transparenz

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    Richtung

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    Kräfte

    Auf Linien in einer Gestaltung wirken folgende Kräfte.
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    ./images/040-Linie.014.jpeg
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    ./images/040-Linie.015.jpeg
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    ./images/040-Linie.016.jpeg

    Sinus Täuschung

    -
    ./images/040-Linie.017.jpeg
    -
    ./images/040-Linie.018.jpeg

    Sander-Parallelogramm

    -
    ./images/040-Linie.019.jpeg
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    ./images/040-Linie.020.jpeg

    Müller-Lyia Täuschung

    - - -
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    -

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    Danke für's Mitmachen

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    https://christiannoss.de

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/proportionen-und-abstaende/000-intro/index.html b/docs/presentations/screendesign/proportionen-und-abstaende/000-intro/index.html deleted file mode 100644 index 5d7a00f1..00000000 --- a/docs/presentations/screendesign/proportionen-und-abstaende/000-intro/index.html +++ /dev/null @@ -1,272 +0,0 @@ - - - - Wahrnehmungsarbeit // Christian Noss - - - - - - - - - - - - - - - - -
    -
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    Räumlichkeit

    -

    Wie funktioniert visuelle Tiefenstaffelung?

    -
    - - - -
    - - -
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    About Screendesign

    -

    Worum geht es in diesem Modul?

    -
    - - -
    - - -
    -
    -

    Wahrnehmungsarbeit

    -
    - - -
    - - -
    -
    -

    Eindeutigkeit

    -

    Ordnen Sie Elemente so eindeutig wie möglich an.

    -
    - - -
    - - -
    -
    -

    Semiotik

    -

    Lehre von Zeichen und Zeichensystemen

    -
    - - -
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    Der Punkt

    -

    Das kleinste und einfachste Gestaltungselement

    -
    - - -
    - - -
    -
    -

    Linie

    -

    zusammenhängendes, eindimensionales geometrisches Gebilde ohne Querausdehnung 😀

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - - -
    - - -
    -
    -

    Design in der Medieninformatik

    -

    ---

    -
    - - - -
    - - -
    -
    -

    Farbe

    -

    ---

    -
    - - - -
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    -
    -

    Figur und Grund

    -

    ---

    -
    - - - -
    - - -
    -
    -

    Fläche und Form

    -

    --

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - -
    -
    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/proportionen-und-abstaende/010-cite/index.html b/docs/presentations/screendesign/proportionen-und-abstaende/010-cite/index.html deleted file mode 100644 index 60a0247a..00000000 --- a/docs/presentations/screendesign/proportionen-und-abstaende/010-cite/index.html +++ /dev/null @@ -1,111 +0,0 @@ - - - - Cite // Christian Noss - - - - - - - - - - - - - - - - -
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    -

    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/proportionen-und-abstaende/020-watzlawick/index.html b/docs/presentations/screendesign/proportionen-und-abstaende/020-watzlawick/index.html deleted file mode 100644 index cd0d7613..00000000 --- a/docs/presentations/screendesign/proportionen-und-abstaende/020-watzlawick/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Cite with Image // Christian Noss - - - - - - - - - - - - - - - - -
    -
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Man kann nicht nicht kommunizieren.

    -Paul Watzlawick, Philosoph, Psychotherapeut und Kommunikationswissenschaftler
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
    - - -
    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
    - - -
    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
    - - -
    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
    - - -
    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
    - - -
    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
    - - -
    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/proportionen-und-abstaende/040-bilder-wo-es-voll-ist/index.html b/docs/presentations/screendesign/proportionen-und-abstaende/040-bilder-wo-es-voll-ist/index.html deleted file mode 100644 index 967da71a..00000000 --- a/docs/presentations/screendesign/proportionen-und-abstaende/040-bilder-wo-es-voll-ist/index.html +++ /dev/null @@ -1,456 +0,0 @@ - - - - Bilder wo et voll ist // Christian Noss - - - - - - - - - - - - - - - - -
    -
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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

    -

    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

    -

    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

    -
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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/proportionen-und-abstaende/050-online-viel-zu-tun/index.html b/docs/presentations/screendesign/proportionen-und-abstaende/050-online-viel-zu-tun/index.html deleted file mode 100644 index d70e5c72..00000000 --- a/docs/presentations/screendesign/proportionen-und-abstaende/050-online-viel-zu-tun/index.html +++ /dev/null @@ -1,376 +0,0 @@ - - - - Komplexe Layouts online // Christian Noss - - - - - - - - - - - - - - - - -
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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/proportionen-und-abstaende/060-aufmerksamkeitstest/index.html b/docs/presentations/screendesign/proportionen-und-abstaende/060-aufmerksamkeitstest/index.html deleted file mode 100644 index 9237e27f..00000000 --- a/docs/presentations/screendesign/proportionen-und-abstaende/060-aufmerksamkeitstest/index.html +++ /dev/null @@ -1,176 +0,0 @@ - - - - Aufmerksamkeitstest // Christian Noss - - - - - - - - - - - - - - - - -
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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/proportionen-und-abstaende/100-orientierung/index.html b/docs/presentations/screendesign/proportionen-und-abstaende/100-orientierung/index.html deleted file mode 100644 index 0cebaff5..00000000 --- a/docs/presentations/screendesign/proportionen-und-abstaende/100-orientierung/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Orientierung // Christian Noss - - - - - - - - - - - - - - - - -
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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung schaffen

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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

    -
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      • -
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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
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    Orientierung schaffen

    -
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    • reduzieren
      • -
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    • hierarchisieren
      • -
    -
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    - - -
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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
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    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
    -
    -
    - - -
    - - -
    -
    -
    -

    Orientierung schaffen

    - aber wie? -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
    -
    -
    - - -
    - - -
    -
    -
    -

    Orientierung schaffen

    - aber wie? -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
    -
    -
    - - -
    - - -
    -
    -
    -

    Orientierung schaffen

    - aber wie? -
    -
    -
    -
    -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    • strukturieren: Muster bilden
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    Orientierung schaffen

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    • strukturieren
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    • hierarchisieren
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/proportionen-und-abstaende/330-lindgaard/index.html b/docs/presentations/screendesign/proportionen-und-abstaende/330-lindgaard/index.html deleted file mode 100644 index e692d97c..00000000 --- a/docs/presentations/screendesign/proportionen-und-abstaende/330-lindgaard/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Gitte Lindgaard // Christian Noss - - - - - - - - - - - - - - - - -
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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/proportionen-und-abstaende/9999-outro/index.html b/docs/presentations/screendesign/proportionen-und-abstaende/9999-outro/index.html deleted file mode 100644 index 7ffda695..00000000 --- a/docs/presentations/screendesign/proportionen-und-abstaende/9999-outro/index.html +++ /dev/null @@ -1,300 +0,0 @@ - - - - About Screendesign // Christian Noss - - - - - - - - - - - - - - - - -
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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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a/docs/presentations/screendesign/proportionen-und-abstaende/images/zdf.jpg b/docs/presentations/screendesign/proportionen-und-abstaende/images/zdf.jpg deleted file mode 100755 index 2fdffc8a..00000000 Binary files a/docs/presentations/screendesign/proportionen-und-abstaende/images/zdf.jpg and /dev/null differ diff --git a/docs/presentations/screendesign/proportionen-und-abstaende/index.html b/docs/presentations/screendesign/proportionen-und-abstaende/index.html deleted file mode 100644 index a8ec0019..00000000 --- a/docs/presentations/screendesign/proportionen-und-abstaende/index.html +++ /dev/null @@ -1,264 +0,0 @@ - - - - Proportionen und Abstände (WIP) // Christian Noss - - - - - - - - - - - - - - - - -
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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Hier wird ein Zitat hübsch angezeigt.

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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    kleiner Aufmerksamkeitstest

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung schaffen

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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

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    About Screendesign

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    Worum geht es in diesem Modul?

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    Wahrnehmungsarbeit

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    Eindeutigkeit

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    Ordnen Sie Elemente so eindeutig wie möglich an.

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    Semiotik

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    Lehre von Zeichen und Zeichensystemen

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    Der Punkt

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    Das kleinste und einfachste Gestaltungselement

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    Linie

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    zusammenhängendes, eindimensionales geometrisches Gebilde ohne Querausdehnung 😀

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Design in der Medieninformatik

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    Farbe

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    Welche Regeln werden hier genutzt?

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    Welche Regeln werden hier genutzt?

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    Räumlichkeit

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    Mit zunehmendem Abstand erscheinen uns Dinge:

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    - - - Ich bin die Headline - Ja, wir finden auch, dass man über die Copy noch mal reden sollte. Das hier - kann es jedenfalls nicht sein. Das klingt ja wie auf dem Totenbett getextet. - Da muss wesentlich mehr Produktaussage rein. - -
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    Größe

    Große Elemente werden gegenüber kleinen Elementen als im Vordergrund stehend wahrgenommen.

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    Sättigung

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    Anwendungsbeispiele

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    Welche Regeln werden hier genutzt?

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    Welche Regeln werden hier genutzt?

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    Welche Regeln werden hier genutzt?

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    Welche Regeln werden hier genutzt?

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    Welche Regeln werden hier genutzt?

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    Welche Regeln werden hier genutzt?

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    Welche Regeln werden hier genutzt?

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    ./images/notice-1.jpg
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    ./images/visual-h.jpg

    Welche Regeln werden hier genutzt?

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    Welche Regeln werden hier genutzt?

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Linie

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/010-cite/index.html b/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/010-cite/index.html deleted file mode 100644 index 60a0247a..00000000 --- a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/010-cite/index.html +++ /dev/null @@ -1,111 +0,0 @@ - - - - Cite // Christian Noss - - - - - - - - - - - - - - - - -
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    -

    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
    - - -
    - - -
    -

    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    - - -
    -

    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    -
    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/020-watzlawick/index.html b/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/020-watzlawick/index.html deleted file mode 100644 index cd0d7613..00000000 --- a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/020-watzlawick/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Cite with Image // Christian Noss - - - - - - - - - - - - - - - - -
    -
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Man kann nicht nicht kommunizieren.

    -Paul Watzlawick, Philosoph, Psychotherapeut und Kommunikationswissenschaftler
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
    - - -
    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
    - - -
    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
    - - -
    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
    - - -
    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
    - - -
    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
    - - -
    - - -
    -

    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/040-bilder-wo-es-voll-ist/index.html b/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/040-bilder-wo-es-voll-ist/index.html deleted file mode 100644 index 967da71a..00000000 --- a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/040-bilder-wo-es-voll-ist/index.html +++ /dev/null @@ -1,456 +0,0 @@ - - - - Bilder wo et voll ist // Christian Noss - - - - - - - - - - - - - - - - -
    -
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    Viel zu tun

    -

    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

    -

    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

    -

    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

    -
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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

    -

    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

    -
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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

    -

    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

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    Nix zu tun

    -

    - Sensei Minimal // Unsplash -

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    Viel zu tun

    -

    - Andreas M // Unsplash

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    Viel zu tun

    -

    - Josh Soto // Unsplash

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    -

    Viel zu tun

    -

    - Iwona Castiello d'Antonio // Unsplash

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    -

    Viel zu tun

    -

    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

    -
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    Nix zu tun

    -

    - Sensei Minimal // Unsplash -

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    Viel zu tun

    -

    - Andreas M // Unsplash

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    -

    Viel zu tun

    -

    - Josh Soto // Unsplash

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    -

    Viel zu tun

    -

    - Iwona Castiello d'Antonio // Unsplash

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    -
    -
    -
    -

    Viel zu tun

    -

    Dan Freeman // Unsplash

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    -
    -
    -

    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

    -
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    Nix zu tun

    -

    - Sensei Minimal // Unsplash -

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    - - - -
    - -
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/050-online-viel-zu-tun/index.html b/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/050-online-viel-zu-tun/index.html deleted file mode 100644 index d70e5c72..00000000 --- a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/050-online-viel-zu-tun/index.html +++ /dev/null @@ -1,376 +0,0 @@ - - - - Komplexe Layouts online // Christian Noss - - - - - - - - - - - - - - - - -
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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

    -

    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/060-aufmerksamkeitstest/index.html b/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/060-aufmerksamkeitstest/index.html deleted file mode 100644 index 9237e27f..00000000 --- a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/060-aufmerksamkeitstest/index.html +++ /dev/null @@ -1,176 +0,0 @@ - - - - Aufmerksamkeitstest // Christian Noss - - - - - - - - - - - - - - - - -
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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/100-orientierung/index.html b/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/100-orientierung/index.html deleted file mode 100644 index 0cebaff5..00000000 --- a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/100-orientierung/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Orientierung // Christian Noss - - - - - - - - - - - - - - - - -
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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/110-orientierung-karte/index.html b/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/110-orientierung-karte/index.html deleted file mode 100644 index 82b2668f..00000000 --- a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/110-orientierung-karte/index.html +++ /dev/null @@ -1,328 +0,0 @@ - - - - Orientierung // Christian Noss - - - - - - - - - - - - - - - - -
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    Orientierung schaffen

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    Orientierung schaffen

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      -
    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    • strukturieren: Muster bilden
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      • -
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    Orientierung schaffen

    -
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    • reduzieren
      • -
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      • -
    • hierarchisieren
      • -
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    - - -
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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
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    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
    -
    -
    - - -
    - - -
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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
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    -
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    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
    -
    -
    - - -
    - - -
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    Orientierung schaffen

    - aber wie? -
    -
    -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    • strukturieren: Muster bilden
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    • hierarchisieren: Bezüge herstellen
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    Orientierung schaffen

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    • reduzieren
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    • strukturieren
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    • hierarchisieren
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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    • strukturieren: Muster bilden
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    Orientierung schaffen

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/330-lindgaard/index.html b/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/330-lindgaard/index.html deleted file mode 100644 index e692d97c..00000000 --- a/docs/presentations/screendesign/semantisches-diff-axis-maps-moodboards/330-lindgaard/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Gitte Lindgaard // Christian Noss - - - - - - - - - - - - - - - - -
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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

    -
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    Viel zu tun

    -

    - Iwona Castiello d'Antonio // Unsplash

    -
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    Viel zu tun

    -

    Dan Freeman // Unsplash

    -
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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

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    Nix zu tun

    -

    - Sensei Minimal // Unsplash -

    -
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    Viel zu tun

    -

    - Arngren Electronics -

    -
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    Viel zu tun

    -

    - Ling's Cars -

    -
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    Viel zu tun

    -

    - Yale School of Art -

    -
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    - - - -
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    kleiner Aufmerksamkeitstest

    -
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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

    -
    - - -
    - - -
    -
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    Orientierung schaffen

    - aber wie? -
    -
    -
    -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
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    • strukturieren: Muster bilden
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    • hierarchisieren: Bezüge herstellen
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    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
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    • hierarchisieren
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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
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    -
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    Danke für's Mitmachen

    -

    https://christiannoss.de

    -
    -
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    - - -
    - - -
    - - - -
    - -
    -
    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/semiotik/000-intro/index.html b/docs/presentations/screendesign/semiotik/000-intro/index.html deleted file mode 100644 index 8c4d625b..00000000 --- a/docs/presentations/screendesign/semiotik/000-intro/index.html +++ /dev/null @@ -1,272 +0,0 @@ - - - - Semiotik // Christian Noss - - - - - - - - - - - - - - - - -
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    Räumlichkeit

    -

    Wie funktioniert visuelle Tiefenstaffelung?

    -
    - - - -
    - - -
    -
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    About Screendesign

    -

    Worum geht es in diesem Modul?

    -
    - - -
    - - -
    -
    -

    Wahrnehmungsarbeit

    -
    - - -
    - - -
    -
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    Eindeutigkeit

    -

    Ordnen Sie Elemente so eindeutig wie möglich an.

    -
    - - -
    - - -
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    -

    Semiotik

    -

    Lehre von Zeichen und Zeichensystemen

    -
    - - -
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    -
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    Der Punkt

    -

    Das kleinste und einfachste Gestaltungselement

    -
    - - -
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    Linie

    -

    zusammenhängendes, eindimensionales geometrisches Gebilde ohne Querausdehnung 😀

    -
    - - -
    - - -
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    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
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    Design in der Medieninformatik

    -

    ---

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    Farbe

    -

    ---

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    Figur und Grund

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    ---

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    Fläche und Form

    -

    --

    -
    - - -
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    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
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    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
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    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    - - -
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    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/semiotik/010-kommunikationsmodelle/index.html b/docs/presentations/screendesign/semiotik/010-kommunikationsmodelle/index.html deleted file mode 100644 index a2b3724b..00000000 --- a/docs/presentations/screendesign/semiotik/010-kommunikationsmodelle/index.html +++ /dev/null @@ -1,63 +0,0 @@ - - - - Kommunikationsmodelle // Christian Noss - - - - - - - - - - - - - - - - -
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    Kommunikation

    Was heißt/ ist das?

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    Kommunikationsmodelle

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    ./images/kommunikationsmodell-1.svg
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    ./images/kommunikationsmodell-2.svg
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    ./images/kommunikationsmodell-2a.svg
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    ./images/kommunikationsmodell-3.svg
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    Semiotik

    Lehre von Zeichen und Zeichensystemen.

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    Syntaktik: Anordnung der Zeichen.

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    Semantik: Bedeutung der Zeichen.

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    Pragmatik: Beziehung der Zeichen und ihrer Benutzer.

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    Kleines Beispiel

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    ./images/ampel-1.png

    Was ist das?

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    ./images/ampel-2.png

    Was ist das?
    Syntaktische Ebene

    -
    ./images/ampel-2.png

    Was bedeutet es?
    Semantische Ebene

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    ./images/ampel-3.png

    Was heißt es für mich?
    Pragmatische Ebene

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    ./images/Logo_NIKE.svg

    Auf welcher Ebene ist das Zeichen?

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    ./images/Deutsche-post-horn.svg

    Auf welcher Ebene ist das Zeichen?

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    ./images/Deutsche_Bank_logo_without_wordmark.svg

    Auf welcher Ebene ist das Zeichen?

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    ./images/audi-logo.jpg

    Auf welcher Ebene ist das Zeichen?

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    ./images/twitter-logo.svg

    Auf welcher Ebene ist das Zeichen?

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- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - image/svg+xml - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - diff --git a/docs/presentations/screendesign/semiotik/images/Logo_NIKE.svg b/docs/presentations/screendesign/semiotik/images/Logo_NIKE.svg deleted file mode 100755 index 7ecadfed..00000000 --- a/docs/presentations/screendesign/semiotik/images/Logo_NIKE.svg +++ /dev/null @@ -1,48 +0,0 @@ - -image/svg+xml - - diff --git a/docs/presentations/screendesign/semiotik/images/ampel-1.png b/docs/presentations/screendesign/semiotik/images/ampel-1.png deleted file mode 100755 index 732e8412..00000000 Binary files a/docs/presentations/screendesign/semiotik/images/ampel-1.png and /dev/null differ diff --git a/docs/presentations/screendesign/semiotik/images/ampel-2.png b/docs/presentations/screendesign/semiotik/images/ampel-2.png deleted file mode 100755 index c08ec7f9..00000000 Binary files a/docs/presentations/screendesign/semiotik/images/ampel-2.png and /dev/null differ diff --git a/docs/presentations/screendesign/semiotik/images/ampel-3.png b/docs/presentations/screendesign/semiotik/images/ampel-3.png deleted file mode 100755 index 569a1315..00000000 Binary files a/docs/presentations/screendesign/semiotik/images/ampel-3.png and /dev/null differ diff --git a/docs/presentations/screendesign/semiotik/images/audi-logo.jpg b/docs/presentations/screendesign/semiotik/images/audi-logo.jpg deleted file mode 100755 index 76af2014..00000000 Binary files a/docs/presentations/screendesign/semiotik/images/audi-logo.jpg and /dev/null differ diff --git a/docs/presentations/screendesign/semiotik/images/kommunikationsmodell-1.png b/docs/presentations/screendesign/semiotik/images/kommunikationsmodell-1.png deleted file mode 100755 index 213b11a6..00000000 Binary files a/docs/presentations/screendesign/semiotik/images/kommunikationsmodell-1.png and /dev/null differ diff --git a/docs/presentations/screendesign/semiotik/images/kommunikationsmodell-1.svg b/docs/presentations/screendesign/semiotik/images/kommunikationsmodell-1.svg deleted file mode 100755 index bb2e5c39..00000000 --- a/docs/presentations/screendesign/semiotik/images/kommunikationsmodell-1.svg +++ /dev/null @@ -1,11 +0,0 @@ - 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\ No newline at end of file diff --git a/docs/presentations/screendesign/semiotik/index.html b/docs/presentations/screendesign/semiotik/index.html deleted file mode 100644 index e79b63ad..00000000 --- a/docs/presentations/screendesign/semiotik/index.html +++ /dev/null @@ -1,130 +0,0 @@ - - - - Semiotik // Christian Noss - - - - - - - - - - - - - - - - -
    -
    - -
    -
    -

    Semiotik

    -

    Lehre von Zeichen und Zeichensystemen

    -
    - - -
    - - -
    -

    Kommunikation

    Was heißt/ ist das?

    -

    Kommunikationsmodelle

    -
    ./images/kommunikationsmodell-1.svg
    -
    ./images/kommunikationsmodell-2.svg
    -
    ./images/kommunikationsmodell-2a.svg
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    ./images/kommunikationsmodell-3.svg
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    ./images/kommunikationsmodell-3a.svg
    -
    ./images/kommunikationsmodell-3b.svg
    - - -
    - - -
    -

    Semiotik

    Lehre von Zeichen und Zeichensystemen.

    -

    Syntaktik: Anordnung der Zeichen.

    -

    Semantik: Bedeutung der Zeichen.

    -

    Pragmatik: Beziehung der Zeichen und ihrer Benutzer.

    -
    - - -
    - - -
    -

    Kleines Beispiel

    -
    ./images/ampel-1.png

    Was ist das?

    -
    ./images/ampel-2.png

    Was ist das?
    Syntaktische Ebene

    -
    ./images/ampel-2.png

    Was bedeutet es?
    Semantische Ebene

    -
    ./images/ampel-3.png

    Was heißt es für mich?
    Pragmatische Ebene

    - - - -
    - - -
    -
    ./images/Logo_NIKE.svg

    Auf welcher Ebene ist das Zeichen?

    -
    ./images/Deutsche-post-horn.svg

    Auf welcher Ebene ist das Zeichen?

    -
    ./images/Deutsche_Bank_logo_without_wordmark.svg

    Auf welcher Ebene ist das Zeichen?

    -
    ./images/audi-logo.jpg

    Auf welcher Ebene ist das Zeichen?

    -
    ./images/twitter-logo.svg

    Auf welcher Ebene ist das Zeichen?

    - - - -
    - - -
    -

    -
    -
    - -
    -

    Danke für's Mitmachen

    -

    https://christiannoss.de

    -
    -
    -
    -
    - - -
    - -
    -
    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/textsatz/000-intro/index.html b/docs/presentations/screendesign/textsatz/000-intro/index.html deleted file mode 100644 index 5d7a00f1..00000000 --- a/docs/presentations/screendesign/textsatz/000-intro/index.html +++ /dev/null @@ -1,272 +0,0 @@ - - - - Wahrnehmungsarbeit // Christian Noss - - - - - - - - - - - - - - - - -
    -
    - -
    -
    -

    Räumlichkeit

    -

    Wie funktioniert visuelle Tiefenstaffelung?

    -
    - - - -
    - - -
    -
    -

    About Screendesign

    -

    Worum geht es in diesem Modul?

    -
    - - -
    - - -
    -
    -

    Wahrnehmungsarbeit

    -
    - - -
    - - -
    -
    -

    Eindeutigkeit

    -

    Ordnen Sie Elemente so eindeutig wie möglich an.

    -
    - - -
    - - -
    -
    -

    Semiotik

    -

    Lehre von Zeichen und Zeichensystemen

    -
    - - -
    - - -
    -
    -

    Der Punkt

    -

    Das kleinste und einfachste Gestaltungselement

    -
    - - -
    - - -
    -
    -

    Linie

    -

    zusammenhängendes, eindimensionales geometrisches Gebilde ohne Querausdehnung 😀

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - - -
    - - -
    -
    -

    Design in der Medieninformatik

    -

    ---

    -
    - - - -
    - - -
    -
    -

    Farbe

    -

    ---

    -
    - - - -
    - - -
    -
    -

    Figur und Grund

    -

    ---

    -
    - - - -
    - - -
    -
    -

    Fläche und Form

    -

    --

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

    -
    - - -
    - - -
    -
    -

    Demo Präsentation

    -

    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/textsatz/010-cite/index.html b/docs/presentations/screendesign/textsatz/010-cite/index.html deleted file mode 100644 index 60a0247a..00000000 --- a/docs/presentations/screendesign/textsatz/010-cite/index.html +++ /dev/null @@ -1,111 +0,0 @@ - - - - Cite // Christian Noss - - - - - - - - - - - - - - - - -
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/textsatz/020-watzlawick/index.html b/docs/presentations/screendesign/textsatz/020-watzlawick/index.html deleted file mode 100644 index cd0d7613..00000000 --- a/docs/presentations/screendesign/textsatz/020-watzlawick/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Cite with Image // Christian Noss - - - - - - - - - - - - - - - - -
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Man kann nicht nicht kommunizieren.

    -Paul Watzlawick, Philosoph, Psychotherapeut und Kommunikationswissenschaftler
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    - - -
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    - - -
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    - - -
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    - - -
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    - - -
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/textsatz/040-bilder-wo-es-voll-ist/index.html b/docs/presentations/screendesign/textsatz/040-bilder-wo-es-voll-ist/index.html deleted file mode 100644 index 967da71a..00000000 --- a/docs/presentations/screendesign/textsatz/040-bilder-wo-es-voll-ist/index.html +++ /dev/null @@ -1,456 +0,0 @@ - - - - Bilder wo et voll ist // Christian Noss - - - - - - - - - - - - - - - - -
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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

    -

    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

    -

    Dan Freeman // Unsplash

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    Nicht so viel zu tun

    -

    - Juan Davila // Unsplash -

    -
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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/textsatz/050-online-viel-zu-tun/index.html b/docs/presentations/screendesign/textsatz/050-online-viel-zu-tun/index.html deleted file mode 100644 index d70e5c72..00000000 --- a/docs/presentations/screendesign/textsatz/050-online-viel-zu-tun/index.html +++ /dev/null @@ -1,376 +0,0 @@ - - - - Komplexe Layouts online // Christian Noss - - - - - - - - - - - - - - - - -
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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/textsatz/060-aufmerksamkeitstest/index.html b/docs/presentations/screendesign/textsatz/060-aufmerksamkeitstest/index.html deleted file mode 100644 index 9237e27f..00000000 --- a/docs/presentations/screendesign/textsatz/060-aufmerksamkeitstest/index.html +++ /dev/null @@ -1,176 +0,0 @@ - - - - Aufmerksamkeitstest // Christian Noss - - - - - - - - - - - - - - - - -
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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    kleiner Aufmerksamkeitstest

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/textsatz/100-orientierung/index.html b/docs/presentations/screendesign/textsatz/100-orientierung/index.html deleted file mode 100644 index 0cebaff5..00000000 --- a/docs/presentations/screendesign/textsatz/100-orientierung/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Orientierung // Christian Noss - - - - - - - - - - - - - - - - -
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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung schaffen

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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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      -
    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
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    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
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    Orientierung schaffen

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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
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    • strukturieren: Muster bilden
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    Orientierung schaffen

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    • hierarchisieren
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    Orientierung schaffen

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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
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    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
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    -
    - - -
    - - -
    -
    -
    -

    Orientierung schaffen

    - aber wie? -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
    -
    -
    - - -
    - - -
    -
    -
    -

    Orientierung schaffen

    - aber wie? -
    -
    -
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    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
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    Orientierung schaffen

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    • reduzieren
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    • strukturieren
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    • hierarchisieren
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    - - -
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/textsatz/330-lindgaard/index.html b/docs/presentations/screendesign/textsatz/330-lindgaard/index.html deleted file mode 100644 index e692d97c..00000000 --- a/docs/presentations/screendesign/textsatz/330-lindgaard/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Gitte Lindgaard // Christian Noss - - - - - - - - - - - - - - - - -
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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/textsatz/9999-outro/index.html b/docs/presentations/screendesign/textsatz/9999-outro/index.html deleted file mode 100644 index 7ffda695..00000000 --- a/docs/presentations/screendesign/textsatz/9999-outro/index.html +++ /dev/null @@ -1,300 +0,0 @@ - - - - About Screendesign // Christian Noss - - - - - - - - - - - - - - - - -
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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Hier wird ein Zitat hübsch angezeigt.

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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    - Arngren Electronics -

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    Viel zu tun

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    - Ling's Cars -

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    Viel zu tun

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    - Yale School of Art -

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    kleiner Aufmerksamkeitstest

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Wahrnehmungsarbeit

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    Lehre von Zeichen und Zeichensystemen

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    Der Punkt

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    Das kleinste und einfachste Gestaltungselement

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    Hier wird ein Zitat hübsch angezeigt.

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    Hier wird ein Zitat hübsch angezeigt.

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    Hier wird ein Zitat hübsch angezeigt.

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    Hier wird ein Zitat hübsch angezeigt.

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    Hier wird ein Zitat hübsch angezeigt.

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    Hier wird ein Zitat hübsch angezeigt.

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    Hier wird ein Zitat hübsch angezeigt.

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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Man kann nicht nicht kommunizieren.

    -Paul Watzlawick, Philosoph, Psychotherapeut und Kommunikationswissenschaftler
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Nicht so viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Nicht so viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    Nix zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Nicht so viel zu tun

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    • strukturieren: Muster bilden
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    Orientierung schaffen

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    • reduzieren
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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    • strukturieren: Muster bilden
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    • hierarchisieren: Bezüge herstellen
      • -
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    Orientierung schaffen

    -
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    • reduzieren
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    • strukturieren
      • -
    • hierarchisieren
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    - - -
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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
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    Orientierung schaffen

    -
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    • reduzieren
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    • strukturieren
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    • hierarchisieren
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    - - -
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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
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    Orientierung schaffen

    -
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    • reduzieren
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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
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    • hierarchisieren: Bezüge herstellen
      • -
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    Orientierung schaffen

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    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
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    - - -
    - - -
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    Orientierung schaffen

    - aber wie? -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
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    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
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    -
    - - -
    - - -
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    Orientierung schaffen

    - aber wie? -
    -
    -
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    -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
      • -
    • hierarchisieren: Bezüge herstellen
      • -
    -
    -
    -
    -
    -
    -

    Orientierung schaffen

    -
      -
    • reduzieren
      • -
    • strukturieren
      • -
    • hierarchisieren
      • -
    -
    -
    - - -
    - - -
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    Orientierung schaffen

    - aber wie? -
    -
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    Orientierung schaffen

    -
      -
    • reduzieren: Unwichtiges weglassen
      • -
    • strukturieren: Muster bilden
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    • hierarchisieren: Bezüge herstellen
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    Orientierung schaffen

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    • reduzieren
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    • strukturieren
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    - - - - - - - - - - - \ No newline at end of file diff --git a/docs/presentations/screendesign/typographie/330-lindgaard/index.html b/docs/presentations/screendesign/typographie/330-lindgaard/index.html deleted file mode 100644 index e692d97c..00000000 --- a/docs/presentations/screendesign/typographie/330-lindgaard/index.html +++ /dev/null @@ -1,120 +0,0 @@ - - - - Gitte Lindgaard // Christian Noss - - - - - - - - - - - - - - - - -
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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Hier wird ein Zitat hübsch angezeigt.

    -Max Mustermann, Beispiel
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    kleiner Aufmerksamkeitstest

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung schaffen

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    Orientierung schaffen

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    Orientierung schaffen

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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Danke für's Mitmachen

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    https://christiannoss.de

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    About Screendesign

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    Wahrnehmungsarbeit

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    Eindeutigkeit

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    Ordnen Sie Elemente so eindeutig wie möglich an.

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    Semiotik

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    Lehre von Zeichen und Zeichensystemen

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    Der Punkt

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    Linie

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    zusammenhängendes, eindimensionales geometrisches Gebilde ohne Querausdehnung 😀

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    Design in der Medieninformatik

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    Fläche und Form

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Demo Präsentation

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    Hier sieht man die verschiedenen Slidetypen und Shotcodes im Einsatz

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    Die maßgebene Norm für den Wert eines grafischen Designs sind die Gesamtkosten der Wahrnehmungsarbeit.

    -Abraham Moles, Informationstheoretiker
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Man kann nicht nicht kommunizieren.

    -Paul Watzlawick, Philosoph, Psychotherapeut und Kommunikationswissenschaftler
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Cite. Diesmal mit Bild, was im Front Matter angegeben werden kann. Gleiches gilt für die Quelle.

    -Max Mustermann, Beispiel
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Jedes mal, wenn wir die Augen öffnen, haben wir ein Problem.

    -Uwe Stoklossa, Designer
    Stoklossa, Uwe & Rempen, Thomas (2005). Blicktricks: Anleitung zur visuellen Verführung. Schmidt (Hermann), Mainz
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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Nicht so viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Nicht so viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Nicht so viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Nicht so viel zu tun

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    Nix zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Nicht so viel zu tun

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    Nix zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    kleiner Aufmerksamkeitstest

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    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung

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    Was ist unwichtig? Was kann weg? Worauf können wir verzichten und worauf nicht?

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    Strukturieren

    Muster bilden … wie gehts das? Was können wir zusammen fassen? Wie machen wir das?

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    Die maßgebene Norm für den Wert eines grafischen Designs sind die Gesamtkosten der Wahrnehmungsarbeit.

    -Abraham Moles, Informationstheoretiker
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    Qualität ist keine Geschmackssache!

    -Kerstin Alexander, Designerin & Künstlerin
    Alexander, K. (2013): Kompendium der visuellen Information und Kommunikation. Springer, Berlin Heidelberg New York, 2007, 2. Auflage 2013
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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
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    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

    - - -
    - - -
    -

    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Wahrnehmungsarbeit

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    Die maßgebene Norm für den Wert eines grafischen Designs sind die Gesamtkosten der Wahrnehmungsarbeit.

    -Abraham Moles, Informationstheoretiker
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    Man kann nicht nicht kommunizieren.

    -Paul Watzlawick, Philosoph, Psychotherapeut und Kommunikationswissenschaftler
    Watzlawick, Paul (2016): Man kann nicht nicht kommunizieren. Das Lesebuch. 2., unveränderte Auflage. Hg. v. Trude Trunk. Bern: Hogrefe. Online verfügbar unter http://d-nb.info/1079675604/04.
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    Jedes mal, wenn wir die Augen öffnen, haben wir ein Problem.

    -Uwe Stoklossa, Designer
    Stoklossa, Uwe & Rempen, Thomas (2005). Blicktricks: Anleitung zur visuellen Verführung. Schmidt (Hermann), Mainz
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    Viel zu tun

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    - Andreas M // Unsplash

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    Viel zu tun

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    - Josh Soto // Unsplash

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    Viel zu tun

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    - Iwona Castiello d'Antonio // Unsplash

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    Viel zu tun

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    Dan Freeman // Unsplash

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    Nicht so viel zu tun

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    - Juan Davila // Unsplash -

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    Nix zu tun

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    - Sensei Minimal // Unsplash -

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    Viel zu tun

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    Viel zu tun

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    Viel zu tun

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    - Yale School of Art -

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    kleiner Aufmerksamkeitstest

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    Orientierung

    ist die handlungs- und bedeutungsbezogene, menschliche Sicht der Welt.

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    Orientierung schaffen

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    Orientierung schaffen

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    • reduzieren: Unwichtiges weglassen
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    Orientierung schaffen

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    Reduzieren

    Was ist unwichtig? Was kann weg? Worauf können wir verzichten und worauf nicht?

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    Strukturieren

    Muster bilden … wie gehts das? Was können wir zusammen fassen? Wie machen wir das?

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    Hierarchisieren

    Was ist eine Hierarchie und wie lässt sich diese visuell erzeugen?

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    Wie ist die Hierarchie der Elemente?

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    - Kronenzeitung (2021) // - epaper.krone.at -

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    Wie ist die Hierarchie der Elemente?

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    - Bild (2021) // - dwdl.de -

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    Wie ist die Hierarchie der Elemente?

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    - t3n Magazin (2021) // - t3n.de -

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    Wie ist die Hierarchie der Elemente?

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    Wie ist die Hierarchie der Elemente?

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    - amazon.de -

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    Wie ist die Hierarchie der Elemente?

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    Wie ist die Hierarchie der Elemente?

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    Die maßgebene Norm für den Wert eines grafischen Designs sind die Gesamtkosten der Wahrnehmungsarbeit.

    -Abraham Moles, Informationstheoretiker
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    Qualität ist keine Geschmackssache!

    -Kerstin Alexander, Designerin & Künstlerin
    Alexander, K. (2013): Kompendium der visuellen Information und Kommunikation. Springer, Berlin Heidelberg New York, 2007, 2. Auflage 2013
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    Attention (web) designers: you have 50 milliseconds to make a good first impression!

    -Gitte Lindgaard, Psychologin
    Lindgaard, G., Fernandes, G., Dudek, C. & Brown, J. (2005). Attention web designers: You have 50 milliseconds to make a good first impression! Behaviour & Information Technology (in Press).

    Three studies were conducted to ascertain how quickly people form an opinion about web page visual appeal and its relation to several design features. In the first study, 22 participants twice rated the visual appeal of web pages presented for 500msecs each. Thirty-one participants took part in the second study, which replicated the first, but participants also rated each web page on seven design dimensions. Visual appeal was found to be closely related to several design features.

    Forty participants took part in study 3, which replicated studies 1 and 2, but employed a 50msec condition to allow comparisons between exposure times. Throughout, visual appeal ratings were highly correlated from one trial to the next as were the correlations between the 50msec and 500msec conditions.

    Thus, visual appeal is assessed within 50msecs. These findings suggest that web designers have about 50msecs to make a good first impression.

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    Danke für's Mitmachen

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    https://christiannoss.de

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    Wahrnehmungsarbeit

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    Was hat Wahrnehmung mit Arbeit zu tun?

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n=t.classList.contains("visible");t.classList.add("visible"),t.classList.remove("current-fragment"),a===e&&(this.Reveal.announceStatus(this.Reveal.getStatusText(t)),t.classList.add("current-fragment"),this.Reveal.slideContent.startEmbeddedContent(t)),n||(i.shown.push(t),this.Reveal.dispatchEvent({target:t,type:"visible",bubbles:!1}))}else{let e=t.classList.contains("visible");t.classList.remove("visible"),t.classList.remove("current-fragment"),e&&(this.Reveal.slideContent.stopEmbeddedContent(t),i.hidden.push(t),this.Reveal.dispatchEvent({target:t,type:"hidden",bubbles:!1}))}})),e="number"==typeof e?e:-1,e=Math.max(Math.min(e,n),-1),a.setAttribute("data-fragment",e)}return i}sync(e=this.Reveal.getCurrentSlide()){return this.sort(e.querySelectorAll(".fragment"))}goto(e,t=0){let i=this.Reveal.getCurrentSlide();if(i&&this.Reveal.getConfig().fragments){let a=this.sort(i.querySelectorAll(".fragment:not(.disabled)"));if(a.length){if("number"!=typeof e){let t=this.sort(i.querySelectorAll(".fragment:not(.disabled).visible")).pop();e=t?parseInt(t.getAttribute("data-fragment-index")||0,10):-1}e+=t;let n=this.update(e,a);return n.hidden.length&&this.Reveal.dispatchEvent({type:"fragmenthidden",data:{fragment:n.hidden[0],fragments:n.hidden}}),n.shown.length&&this.Reveal.dispatchEvent({type:"fragmentshown",data:{fragment:n.shown[0],fragments:n.shown}}),this.Reveal.controls.update(),this.Reveal.progress.update(),this.Reveal.getConfig().fragmentInURL&&this.Reveal.location.writeURL(),!(!n.shown.length&&!n.hidden.length)}}return!1}next(){return this.goto(null,1)}prev(){return this.goto(null,-1)}}class P{constructor(e){this.Reveal=e,this.active=!1,this.onSlideClicked=this.onSlideClicked.bind(this)}activate(){if(this.Reveal.getConfig().overview&&!this.isActive()){this.active=!0,this.Reveal.getRevealElement().classList.add("overview"),this.Reveal.cancelAutoSlide(),this.Reveal.getSlidesElement().appendChild(this.Reveal.getBackgroundsElement()),a(this.Reveal.getRevealElement(),".slides section").forEach((e=>{e.classList.contains("stack")||e.addEventListener("click",this.onSlideClicked,!0)}));const e=70,t=this.Reveal.getComputedSlideSize();this.overviewSlideWidth=t.width+e,this.overviewSlideHeight=t.height+e,this.Reveal.getConfig().rtl&&(this.overviewSlideWidth=-this.overviewSlideWidth),this.Reveal.updateSlidesVisibility(),this.layout(),this.update(),this.Reveal.layout();const 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-{"version":3,"file":"reveal.esm.js","sources":["../js/utils/constants.js","../js/utils/util.js","../js/utils/device.js","../node_modules/fitty/dist/fitty.module.js","../js/controllers/slidecontent.js","../js/controllers/slidenumber.js","../js/utils/color.js","../js/controllers/backgrounds.js","../js/controllers/autoanimate.js","../js/controllers/fragments.js","../js/controllers/overview.js","../js/controllers/keyboard.js","../js/controllers/location.js","../js/controllers/controls.js","../js/controllers/progress.js","../js/controllers/pointer.js","../js/utils/loader.js","../js/controllers/plugins.js","../js/controllers/print.js","../js/controllers/touch.js","../js/controllers/focus.js","../js/controllers/notes.js","../js/components/playback.js","../js/config.js","../js/reveal.js","../js/index.js"],"sourcesContent":["\nexport const SLIDES_SELECTOR = '.slides section';\nexport const HORIZONTAL_SLIDES_SELECTOR = '.slides>section';\nexport const VERTICAL_SLIDES_SELECTOR = '.slides>section.present>section';\n\n// Methods that may not be invoked via the postMessage API\nexport const POST_MESSAGE_METHOD_BLACKLIST = /registerPlugin|registerKeyboardShortcut|addKeyBinding|addEventListener/;\n\n// Regex for retrieving the fragment style from a class attribute\nexport const FRAGMENT_STYLE_REGEX = /fade-(down|up|right|left|out|in-then-out|in-then-semi-out)|semi-fade-out|current-visible|shrink|grow/;","/**\n * Extend object a with the properties of object b.\n * If there's a conflict, object b takes precedence.\n *\n * @param {object} a\n * @param {object} b\n */\nexport const extend = ( a, b ) => {\n\n\tfor( let i in b ) {\n\t\ta[ i ] = b[ i ];\n\t}\n\n\treturn a;\n\n}\n\n/**\n * querySelectorAll but returns an Array.\n */\nexport const queryAll = ( el, selector ) => {\n\n\treturn Array.from( el.querySelectorAll( selector ) );\n\n}\n\n/**\n * classList.toggle() with cross browser support\n */\nexport const toggleClass = ( el, className, value ) => {\n\tif( value ) {\n\t\tel.classList.add( className );\n\t}\n\telse {\n\t\tel.classList.remove( className );\n\t}\n}\n\n/**\n * Utility for deserializing a value.\n *\n * @param {*} value\n * @return {*}\n */\nexport const deserialize = ( value ) => {\n\n\tif( typeof value === 'string' ) {\n\t\tif( value === 'null' ) return null;\n\t\telse if( value === 'true' ) return true;\n\t\telse if( value === 'false' ) return false;\n\t\telse if( value.match( /^-?[\\d\\.]+$/ ) ) return parseFloat( value );\n\t}\n\n\treturn value;\n\n}\n\n/**\n * Measures the distance in pixels between point a\n * and point b.\n *\n * @param {object} a point with x/y properties\n * @param {object} b point with x/y properties\n *\n * @return {number}\n */\nexport const distanceBetween = ( a, b ) => {\n\n\tlet dx = a.x - b.x,\n\t\tdy = a.y - b.y;\n\n\treturn Math.sqrt( dx*dx + dy*dy );\n\n}\n\n/**\n * Applies a CSS transform to the target element.\n *\n * @param {HTMLElement} element\n * @param {string} transform\n */\nexport const transformElement = ( element, transform ) => {\n\n\telement.style.transform = transform;\n\n}\n\n/**\n * Element.matches with IE support.\n *\n * @param {HTMLElement} target The element to match\n * @param {String} selector The CSS selector to match\n * the element against\n *\n * @return {Boolean}\n */\nexport const matches = ( target, selector ) => {\n\n\tlet matchesMethod = target.matches || target.matchesSelector || target.msMatchesSelector;\n\n\treturn !!( matchesMethod && matchesMethod.call( target, selector ) );\n\n}\n\n/**\n * Find the closest parent that matches the given\n * selector.\n *\n * @param {HTMLElement} target The child element\n * @param {String} selector The CSS selector to match\n * the parents against\n *\n * @return {HTMLElement} The matched parent or null\n * if no matching parent was found\n */\nexport const closest = ( target, selector ) => {\n\n\t// Native Element.closest\n\tif( typeof target.closest === 'function' ) {\n\t\treturn target.closest( selector );\n\t}\n\n\t// Polyfill\n\twhile( target ) {\n\t\tif( matches( target, selector ) ) {\n\t\t\treturn target;\n\t\t}\n\n\t\t// Keep searching\n\t\ttarget = target.parentNode;\n\t}\n\n\treturn null;\n\n}\n\n/**\n * Handling the fullscreen functionality via the fullscreen API\n *\n * @see http://fullscreen.spec.whatwg.org/\n * @see https://developer.mozilla.org/en-US/docs/DOM/Using_fullscreen_mode\n */\nexport const enterFullscreen = element => {\n\n\telement = element || document.documentElement;\n\n\t// Check which implementation is available\n\tlet requestMethod = element.requestFullscreen ||\n\t\t\t\t\t\telement.webkitRequestFullscreen ||\n\t\t\t\t\t\telement.webkitRequestFullScreen ||\n\t\t\t\t\t\telement.mozRequestFullScreen ||\n\t\t\t\t\t\telement.msRequestFullscreen;\n\n\tif( requestMethod ) {\n\t\trequestMethod.apply( element );\n\t}\n\n}\n\n/**\n * Creates an HTML element and returns a reference to it.\n * If the element already exists the existing instance will\n * be returned.\n *\n * @param {HTMLElement} container\n * @param {string} tagname\n * @param {string} classname\n * @param {string} innerHTML\n *\n * @return {HTMLElement}\n */\nexport const createSingletonNode = ( container, tagname, classname, innerHTML='' ) => {\n\n\t// Find all nodes matching the description\n\tlet nodes = container.querySelectorAll( '.' + classname );\n\n\t// Check all matches to find one which is a direct child of\n\t// the specified container\n\tfor( let i = 0; i < nodes.length; i++ ) {\n\t\tlet testNode = nodes[i];\n\t\tif( testNode.parentNode === container ) {\n\t\t\treturn testNode;\n\t\t}\n\t}\n\n\t// If no node was found, create it now\n\tlet node = document.createElement( tagname );\n\tnode.className = classname;\n\tnode.innerHTML = innerHTML;\n\tcontainer.appendChild( node );\n\n\treturn node;\n\n}\n\n/**\n * Injects the given CSS styles into the DOM.\n *\n * @param {string} value\n */\nexport const createStyleSheet = ( value ) => {\n\n\tlet tag = document.createElement( 'style' );\n\ttag.type = 'text/css';\n\n\tif( value && value.length > 0 ) {\n\t\tif( tag.styleSheet ) {\n\t\t\ttag.styleSheet.cssText = value;\n\t\t}\n\t\telse {\n\t\t\ttag.appendChild( document.createTextNode( value ) );\n\t\t}\n\t}\n\n\tdocument.head.appendChild( tag );\n\n\treturn tag;\n\n}\n\n/**\n * Returns a key:value hash of all query params.\n */\nexport const getQueryHash = () => {\n\n\tlet query = {};\n\n\tlocation.search.replace( /[A-Z0-9]+?=([\\w\\.%-]*)/gi, a => {\n\t\tquery[ a.split( '=' ).shift() ] = a.split( '=' ).pop();\n\t} );\n\n\t// Basic deserialization\n\tfor( let i in query ) {\n\t\tlet value = query[ i ];\n\n\t\tquery[ i ] = deserialize( unescape( value ) );\n\t}\n\n\t// Do not accept new dependencies via query config to avoid\n\t// the potential of malicious script injection\n\tif( typeof query['dependencies'] !== 'undefined' ) delete query['dependencies'];\n\n\treturn query;\n\n}\n\n/**\n * Returns the remaining height within the parent of the\n * target element.\n *\n * remaining height = [ configured parent height ] - [ current parent height ]\n *\n * @param {HTMLElement} element\n * @param {number} [height]\n */\nexport const getRemainingHeight = ( element, height = 0 ) => {\n\n\tif( element ) {\n\t\tlet newHeight, oldHeight = element.style.height;\n\n\t\t// Change the .stretch element height to 0 in order find the height of all\n\t\t// the other elements\n\t\telement.style.height = '0px';\n\n\t\t// In Overview mode, the parent (.slide) height is set of 700px.\n\t\t// Restore it temporarily to its natural height.\n\t\telement.parentNode.style.height = 'auto';\n\n\t\tnewHeight = height - element.parentNode.offsetHeight;\n\n\t\t// Restore the old height, just in case\n\t\telement.style.height = oldHeight + 'px';\n\n\t\t// Clear the parent (.slide) height. .removeProperty works in IE9+\n\t\telement.parentNode.style.removeProperty('height');\n\n\t\treturn newHeight;\n\t}\n\n\treturn height;\n\n}","const UA = navigator.userAgent;\nconst testElement = document.createElement( 'div' );\n\nexport const isMobile = /(iphone|ipod|ipad|android)/gi.test( UA ) ||\n\t\t\t\t\t\t( navigator.platform === 'MacIntel' && navigator.maxTouchPoints > 1 ); // iPadOS\n\nexport const isChrome = /chrome/i.test( UA ) && !/edge/i.test( UA );\n\nexport const isAndroid = /android/gi.test( UA );\n\n// Flags if we should use zoom instead of transform to scale\n// up slides. Zoom produces crisper results but has a lot of\n// xbrowser quirks so we only use it in whitelisted browsers.\nexport const supportsZoom = 'zoom' in testElement.style && !isMobile &&\n\t\t\t\t( isChrome || /Version\\/[\\d\\.]+.*Safari/.test( UA ) );","/*\n * fitty v2.3.3 - Snugly resizes text to fit its parent container\n * Copyright (c) 2020 Rik Schennink (https://pqina.nl/)\n */\n'use strict';\n\nObject.defineProperty(exports, \"__esModule\", {\n value: true\n});\n\nvar _extends = Object.assign || function (target) { for (var i = 1; i < arguments.length; i++) { var source = arguments[i]; for (var key in source) { if (Object.prototype.hasOwnProperty.call(source, key)) { target[key] = source[key]; } } } return target; };\n\nexports.default = function (w) {\n\n // no window, early exit\n if (!w) return;\n\n // node list to array helper method\n var toArray = function toArray(nl) {\n return [].slice.call(nl);\n };\n\n // states\n var DrawState = {\n IDLE: 0,\n DIRTY_CONTENT: 1,\n DIRTY_LAYOUT: 2,\n DIRTY: 3\n };\n\n // all active fitty elements\n var fitties = [];\n\n // group all redraw calls till next frame, we cancel each frame request when a new one comes in. If no support for request animation frame, this is an empty function and supports for fitty stops.\n var redrawFrame = null;\n var requestRedraw = 'requestAnimationFrame' in w ? function () {\n w.cancelAnimationFrame(redrawFrame);\n redrawFrame = w.requestAnimationFrame(function () {\n return redraw(fitties.filter(function (f) {\n return f.dirty && f.active;\n }));\n });\n } : function () {};\n\n // sets all fitties to dirty so they are redrawn on the next redraw loop, then calls redraw\n var redrawAll = function redrawAll(type) {\n return function () {\n fitties.forEach(function (f) {\n return f.dirty = type;\n });\n requestRedraw();\n };\n };\n\n // redraws fitties so they nicely fit their parent container\n var redraw = function redraw(fitties) {\n\n // getting info from the DOM at this point should not trigger a reflow, let's gather as much intel as possible before triggering a reflow\n\n // check if styles of all fitties have been computed\n fitties.filter(function (f) {\n return !f.styleComputed;\n }).forEach(function (f) {\n f.styleComputed = computeStyle(f);\n });\n\n // restyle elements that require pre-styling, this triggers a reflow, please try to prevent by adding CSS rules (see docs)\n fitties.filter(shouldPreStyle).forEach(applyStyle);\n\n // we now determine which fitties should be redrawn\n var fittiesToRedraw = fitties.filter(shouldRedraw);\n\n // we calculate final styles for these fitties\n fittiesToRedraw.forEach(calculateStyles);\n\n // now we apply the calculated styles from our previous loop\n fittiesToRedraw.forEach(function (f) {\n applyStyle(f);\n markAsClean(f);\n });\n\n // now we dispatch events for all restyled fitties\n fittiesToRedraw.forEach(dispatchFitEvent);\n };\n\n var markAsClean = function markAsClean(f) {\n return f.dirty = DrawState.IDLE;\n };\n\n var calculateStyles = function calculateStyles(f) {\n\n // get available width from parent node\n f.availableWidth = f.element.parentNode.clientWidth;\n\n // the space our target element uses\n f.currentWidth = f.element.scrollWidth;\n\n // remember current font size\n f.previousFontSize = f.currentFontSize;\n\n // let's calculate the new font size\n f.currentFontSize = Math.min(Math.max(f.minSize, f.availableWidth / f.currentWidth * f.previousFontSize), f.maxSize);\n\n // if allows wrapping, only wrap when at minimum font size (otherwise would break container)\n f.whiteSpace = f.multiLine && f.currentFontSize === f.minSize ? 'normal' : 'nowrap';\n };\n\n // should always redraw if is not dirty layout, if is dirty layout, only redraw if size has changed\n var shouldRedraw = function shouldRedraw(f) {\n return f.dirty !== DrawState.DIRTY_LAYOUT || f.dirty === DrawState.DIRTY_LAYOUT && f.element.parentNode.clientWidth !== f.availableWidth;\n };\n\n // every fitty element is tested for invalid styles\n var computeStyle = function computeStyle(f) {\n\n // get style properties\n var style = w.getComputedStyle(f.element, null);\n\n // get current font size in pixels (if we already calculated it, use the calculated version)\n f.currentFontSize = parseFloat(style.getPropertyValue('font-size'));\n\n // get display type and wrap mode\n f.display = style.getPropertyValue('display');\n f.whiteSpace = style.getPropertyValue('white-space');\n };\n\n // determines if this fitty requires initial styling, can be prevented by applying correct styles through CSS\n var shouldPreStyle = function shouldPreStyle(f) {\n\n var preStyle = false;\n\n // if we already tested for prestyling we don't have to do it again\n if (f.preStyleTestCompleted) return false;\n\n // should have an inline style, if not, apply\n if (!/inline-/.test(f.display)) {\n preStyle = true;\n f.display = 'inline-block';\n }\n\n // to correctly calculate dimensions the element should have whiteSpace set to nowrap\n if (f.whiteSpace !== 'nowrap') {\n preStyle = true;\n f.whiteSpace = 'nowrap';\n }\n\n // we don't have to do this twice\n f.preStyleTestCompleted = true;\n\n return preStyle;\n };\n\n // apply styles to single fitty\n var applyStyle = function applyStyle(f) {\n f.element.style.whiteSpace = f.whiteSpace;\n f.element.style.display = f.display;\n f.element.style.fontSize = f.currentFontSize + 'px';\n };\n\n // dispatch a fit event on a fitty\n var dispatchFitEvent = function dispatchFitEvent(f) {\n f.element.dispatchEvent(new CustomEvent('fit', {\n detail: {\n oldValue: f.previousFontSize,\n newValue: f.currentFontSize,\n scaleFactor: f.currentFontSize / f.previousFontSize\n }\n }));\n };\n\n // fit method, marks the fitty as dirty and requests a redraw (this will also redraw any other fitty marked as dirty)\n var fit = function fit(f, type) {\n return function () {\n f.dirty = type;\n if (!f.active) return;\n requestRedraw();\n };\n };\n\n var init = function init(f) {\n\n // save some of the original CSS properties before we change them\n f.originalStyle = {\n whiteSpace: f.element.style.whiteSpace,\n display: f.element.style.display,\n fontSize: f.element.style.fontSize\n };\n\n // should we observe DOM mutations\n observeMutations(f);\n\n // this is a new fitty so we need to validate if it's styles are in order\n f.newbie = true;\n\n // because it's a new fitty it should also be dirty, we want it to redraw on the first loop\n f.dirty = true;\n\n // we want to be able to update this fitty\n fitties.push(f);\n };\n\n var destroy = function destroy(f) {\n return function () {\n\n // remove from fitties array\n fitties = fitties.filter(function (_) {\n return _.element !== f.element;\n });\n\n // stop observing DOM\n if (f.observeMutations) f.observer.disconnect();\n\n // reset the CSS properties we changes\n f.element.style.whiteSpace = f.originalStyle.whiteSpace;\n f.element.style.display = f.originalStyle.display;\n f.element.style.fontSize = f.originalStyle.fontSize;\n };\n };\n\n // add a new fitty, does not redraw said fitty\n var subscribe = function subscribe(f) {\n return function () {\n if (f.active) return;\n f.active = true;\n requestRedraw();\n };\n };\n\n // remove an existing fitty\n var unsubscribe = function unsubscribe(f) {\n return function () {\n return f.active = false;\n };\n };\n\n var observeMutations = function observeMutations(f) {\n\n // no observing?\n if (!f.observeMutations) return;\n\n // start observing mutations\n f.observer = new MutationObserver(fit(f, DrawState.DIRTY_CONTENT));\n\n // start observing\n f.observer.observe(f.element, f.observeMutations);\n };\n\n // default mutation observer settings\n var mutationObserverDefaultSetting = {\n subtree: true,\n childList: true,\n characterData: true\n };\n\n // default fitty options\n var defaultOptions = {\n minSize: 16,\n maxSize: 512,\n multiLine: true,\n observeMutations: 'MutationObserver' in w ? mutationObserverDefaultSetting : false\n };\n\n // array of elements in, fitty instances out\n function fittyCreate(elements, options) {\n\n // set options object\n var fittyOptions = _extends({}, defaultOptions, options);\n\n // create fitties\n var publicFitties = elements.map(function (element) {\n\n // create fitty instance\n var f = _extends({}, fittyOptions, {\n\n // internal options for this fitty\n element: element,\n active: true\n });\n\n // initialise this fitty\n init(f);\n\n // expose API\n return {\n element: element,\n fit: fit(f, DrawState.DIRTY),\n unfreeze: subscribe(f),\n freeze: unsubscribe(f),\n unsubscribe: destroy(f)\n };\n });\n\n // call redraw on newly initiated fitties\n requestRedraw();\n\n // expose fitties\n return publicFitties;\n }\n\n // fitty creation function\n function fitty(target) {\n var options = arguments.length > 1 && arguments[1] !== undefined ? arguments[1] : {};\n\n\n // if target is a string\n return typeof target === 'string' ?\n\n // treat it as a querySelector\n fittyCreate(toArray(document.querySelectorAll(target)), options) :\n\n // create single fitty\n fittyCreate([target], options)[0];\n }\n\n // handles viewport changes, redraws all fitties, but only does so after a timeout\n var resizeDebounce = null;\n var onWindowResized = function onWindowResized() {\n w.clearTimeout(resizeDebounce);\n resizeDebounce = w.setTimeout(redrawAll(DrawState.DIRTY_LAYOUT), fitty.observeWindowDelay);\n };\n\n // define observe window property, so when we set it to true or false events are automatically added and removed\n var events = ['resize', 'orientationchange'];\n Object.defineProperty(fitty, 'observeWindow', {\n set: function set(enabled) {\n var method = (enabled ? 'add' : 'remove') + 'EventListener';\n events.forEach(function (e) {\n w[method](e, onWindowResized);\n });\n }\n });\n\n // fitty global properties (by setting observeWindow to true the events above get added)\n fitty.observeWindow = true;\n fitty.observeWindowDelay = 100;\n\n // public fit all method, will force redraw no matter what\n fitty.fitAll = redrawAll(DrawState.DIRTY);\n\n // export our fitty function, we don't want to keep it to our selves\n return fitty;\n}(typeof window === 'undefined' ? null : window);","import { HORIZONTAL_SLIDES_SELECTOR, VERTICAL_SLIDES_SELECTOR } from '../utils/constants.js'\nimport { extend, queryAll, closest } from '../utils/util.js'\nimport { isMobile } from '../utils/device.js'\n\nimport fitty from 'fitty';\n\n/**\n * Handles loading, unloading and playback of slide\n * content such as images, videos and iframes.\n */\nexport default class SlideContent {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t\tthis.startEmbeddedIframe = this.startEmbeddedIframe.bind( this );\n\n\t}\n\n\t/**\n\t * Should the given element be preloaded?\n\t * Decides based on local element attributes and global config.\n\t *\n\t * @param {HTMLElement} element\n\t */\n\tshouldPreload( element ) {\n\n\t\t// Prefer an explicit global preload setting\n\t\tlet preload = this.Reveal.getConfig().preloadIframes;\n\n\t\t// If no global setting is available, fall back on the element's\n\t\t// own preload setting\n\t\tif( typeof preload !== 'boolean' ) {\n\t\t\tpreload = element.hasAttribute( 'data-preload' );\n\t\t}\n\n\t\treturn preload;\n\t}\n\n\t/**\n\t * Called when the given slide is within the configured view\n\t * distance. Shows the slide element and loads any content\n\t * that is set to load lazily (data-src).\n\t *\n\t * @param {HTMLElement} slide Slide to show\n\t */\n\tload( slide, options = {} ) {\n\n\t\t// Show the slide element\n\t\tslide.style.display = this.Reveal.getConfig().display;\n\n\t\t// Media elements with data-src attributes\n\t\tqueryAll( slide, 'img[data-src], video[data-src], audio[data-src], iframe[data-src]' ).forEach( element => {\n\t\t\tif( element.tagName !== 'IFRAME' || this.shouldPreload( element ) ) {\n\t\t\t\telement.setAttribute( 'src', element.getAttribute( 'data-src' ) );\n\t\t\t\telement.setAttribute( 'data-lazy-loaded', '' );\n\t\t\t\telement.removeAttribute( 'data-src' );\n\t\t\t}\n\t\t} );\n\n\t\t// Media elements with children\n\t\tqueryAll( slide, 'video, audio' ).forEach( media => {\n\t\t\tlet sources = 0;\n\n\t\t\tqueryAll( media, 'source[data-src]' ).forEach( source => {\n\t\t\t\tsource.setAttribute( 'src', source.getAttribute( 'data-src' ) );\n\t\t\t\tsource.removeAttribute( 'data-src' );\n\t\t\t\tsource.setAttribute( 'data-lazy-loaded', '' );\n\t\t\t\tsources += 1;\n\t\t\t} );\n\n\t\t\t// Enable inline video playback in mobile Safari\n\t\t\tif( isMobile && media.tagName === 'VIDEO' ) {\n\t\t\t\tmedia.setAttribute( 'playsinline', '' );\n\t\t\t}\n\n\t\t\t// If we rewrote sources for this video/audio element, we need\n\t\t\t// to manually tell it to load from its new origin\n\t\t\tif( sources > 0 ) {\n\t\t\t\tmedia.load();\n\t\t\t}\n\t\t} );\n\n\n\t\t// Show the corresponding background element\n\t\tlet background = slide.slideBackgroundElement;\n\t\tif( background ) {\n\t\t\tbackground.style.display = 'block';\n\n\t\t\tlet backgroundContent = slide.slideBackgroundContentElement;\n\t\t\tlet backgroundIframe = slide.getAttribute( 'data-background-iframe' );\n\n\t\t\t// If the background contains media, load it\n\t\t\tif( background.hasAttribute( 'data-loaded' ) === false ) {\n\t\t\t\tbackground.setAttribute( 'data-loaded', 'true' );\n\n\t\t\t\tlet backgroundImage = slide.getAttribute( 'data-background-image' ),\n\t\t\t\t\tbackgroundVideo = slide.getAttribute( 'data-background-video' ),\n\t\t\t\t\tbackgroundVideoLoop = slide.hasAttribute( 'data-background-video-loop' ),\n\t\t\t\t\tbackgroundVideoMuted = slide.hasAttribute( 'data-background-video-muted' );\n\n\t\t\t\t// Images\n\t\t\t\tif( backgroundImage ) {\n\t\t\t\t\tbackgroundContent.style.backgroundImage = backgroundImage.split( ',' ).map( background => {\n\t\t\t\t\t\treturn `url(${encodeURI(background.trim())})`;\n\t\t\t\t\t}).join( ',' );\n\t\t\t\t}\n\t\t\t\t// Videos\n\t\t\t\telse if ( backgroundVideo && !this.Reveal.isSpeakerNotes() ) {\n\t\t\t\t\tlet video = document.createElement( 'video' );\n\n\t\t\t\t\tif( backgroundVideoLoop ) {\n\t\t\t\t\t\tvideo.setAttribute( 'loop', '' );\n\t\t\t\t\t}\n\n\t\t\t\t\tif( backgroundVideoMuted ) {\n\t\t\t\t\t\tvideo.muted = true;\n\t\t\t\t\t}\n\n\t\t\t\t\t// Enable inline playback in mobile Safari\n\t\t\t\t\t//\n\t\t\t\t\t// Mute is required for video to play when using\n\t\t\t\t\t// swipe gestures to navigate since they don't\n\t\t\t\t\t// count as direct user actions :'(\n\t\t\t\t\tif( isMobile ) {\n\t\t\t\t\t\tvideo.muted = true;\n\t\t\t\t\t\tvideo.setAttribute( 'playsinline', '' );\n\t\t\t\t\t}\n\n\t\t\t\t\t// Support comma separated lists of video sources\n\t\t\t\t\tbackgroundVideo.split( ',' ).forEach( source => {\n\t\t\t\t\t\tvideo.innerHTML += '';\n\t\t\t\t\t} );\n\n\t\t\t\t\tbackgroundContent.appendChild( video );\n\t\t\t\t}\n\t\t\t\t// Iframes\n\t\t\t\telse if( backgroundIframe && options.excludeIframes !== true ) {\n\t\t\t\t\tlet iframe = document.createElement( 'iframe' );\n\t\t\t\t\tiframe.setAttribute( 'allowfullscreen', '' );\n\t\t\t\t\tiframe.setAttribute( 'mozallowfullscreen', '' );\n\t\t\t\t\tiframe.setAttribute( 'webkitallowfullscreen', '' );\n\t\t\t\t\tiframe.setAttribute( 'allow', 'autoplay' );\n\n\t\t\t\t\tiframe.setAttribute( 'data-src', backgroundIframe );\n\n\t\t\t\t\tiframe.style.width = '100%';\n\t\t\t\t\tiframe.style.height = '100%';\n\t\t\t\t\tiframe.style.maxHeight = '100%';\n\t\t\t\t\tiframe.style.maxWidth = '100%';\n\n\t\t\t\t\tbackgroundContent.appendChild( iframe );\n\t\t\t\t}\n\t\t\t}\n\n\t\t\t// Start loading preloadable iframes\n\t\t\tlet backgroundIframeElement = backgroundContent.querySelector( 'iframe[data-src]' );\n\t\t\tif( backgroundIframeElement ) {\n\n\t\t\t\t// Check if this iframe is eligible to be preloaded\n\t\t\t\tif( this.shouldPreload( background ) && !/autoplay=(1|true|yes)/gi.test( backgroundIframe ) ) {\n\t\t\t\t\tif( backgroundIframeElement.getAttribute( 'src' ) !== backgroundIframe ) {\n\t\t\t\t\t\tbackgroundIframeElement.setAttribute( 'src', backgroundIframe );\n\t\t\t\t\t}\n\t\t\t\t}\n\n\t\t\t}\n\n\t\t}\n\n\t\tthis.layout( slide );\n\n\t}\n\n\t/**\n\t * Applies JS-dependent layout helpers for the given slide,\n\t * if there are any.\n\t */\n\tlayout( slide ) {\n\n\t\t// Autosize text with the r-fit-text class based on the\n\t\t// size of its container. This needs to happen after the\n\t\t// slide is visible in order to measure the text.\n\t\tArray.from( slide.querySelectorAll( '.r-fit-text' ) ).forEach( element => {\n\t\t\tfitty( element, {\n\t\t\t\tminSize: 24,\n\t\t\t\tmaxSize: this.Reveal.getConfig().height * 0.8,\n\t\t\t\tobserveMutations: false,\n\t\t\t\tobserveWindow: false\n\t\t\t} );\n\t\t} );\n\n\t}\n\n\t/**\n\t * Unloads and hides the given slide. This is called when the\n\t * slide is moved outside of the configured view distance.\n\t *\n\t * @param {HTMLElement} slide\n\t */\n\tunload( slide ) {\n\n\t\t// Hide the slide element\n\t\tslide.style.display = 'none';\n\n\t\t// Hide the corresponding background element\n\t\tlet background = this.Reveal.getSlideBackground( slide );\n\t\tif( background ) {\n\t\t\tbackground.style.display = 'none';\n\n\t\t\t// Unload any background iframes\n\t\t\tqueryAll( background, 'iframe[src]' ).forEach( element => {\n\t\t\t\telement.removeAttribute( 'src' );\n\t\t\t} );\n\t\t}\n\n\t\t// Reset lazy-loaded media elements with src attributes\n\t\tqueryAll( slide, 'video[data-lazy-loaded][src], audio[data-lazy-loaded][src], iframe[data-lazy-loaded][src]' ).forEach( element => {\n\t\t\telement.setAttribute( 'data-src', element.getAttribute( 'src' ) );\n\t\t\telement.removeAttribute( 'src' );\n\t\t} );\n\n\t\t// Reset lazy-loaded media elements with children\n\t\tqueryAll( slide, 'video[data-lazy-loaded] source[src], audio source[src]' ).forEach( source => {\n\t\t\tsource.setAttribute( 'data-src', source.getAttribute( 'src' ) );\n\t\t\tsource.removeAttribute( 'src' );\n\t\t} );\n\n\t}\n\n\t/**\n\t * Enforces origin-specific format rules for embedded media.\n\t */\n\tformatEmbeddedContent() {\n\n\t\tlet _appendParamToIframeSource = ( sourceAttribute, sourceURL, param ) => {\n\t\t\tqueryAll( this.Reveal.getSlidesElement(), 'iframe['+ sourceAttribute +'*=\"'+ sourceURL +'\"]' ).forEach( el => {\n\t\t\t\tlet src = el.getAttribute( sourceAttribute );\n\t\t\t\tif( src && src.indexOf( param ) === -1 ) {\n\t\t\t\t\tel.setAttribute( sourceAttribute, src + ( !/\\?/.test( src ) ? '?' : '&' ) + param );\n\t\t\t\t}\n\t\t\t});\n\t\t};\n\n\t\t// YouTube frames must include \"?enablejsapi=1\"\n\t\t_appendParamToIframeSource( 'src', 'youtube.com/embed/', 'enablejsapi=1' );\n\t\t_appendParamToIframeSource( 'data-src', 'youtube.com/embed/', 'enablejsapi=1' );\n\n\t\t// Vimeo frames must include \"?api=1\"\n\t\t_appendParamToIframeSource( 'src', 'player.vimeo.com/', 'api=1' );\n\t\t_appendParamToIframeSource( 'data-src', 'player.vimeo.com/', 'api=1' );\n\n\t}\n\n\t/**\n\t * Start playback of any embedded content inside of\n\t * the given element.\n\t *\n\t * @param {HTMLElement} element\n\t */\n\tstartEmbeddedContent( element ) {\n\n\t\tif( element && !this.Reveal.isSpeakerNotes() ) {\n\n\t\t\t// Restart GIFs\n\t\t\tqueryAll( element, 'img[src$=\".gif\"]' ).forEach( el => {\n\t\t\t\t// Setting the same unchanged source like this was confirmed\n\t\t\t\t// to work in Chrome, FF & Safari\n\t\t\t\tel.setAttribute( 'src', el.getAttribute( 'src' ) );\n\t\t\t} );\n\n\t\t\t// HTML5 media elements\n\t\t\tqueryAll( element, 'video, audio' ).forEach( el => {\n\t\t\t\tif( closest( el, '.fragment' ) && !closest( el, '.fragment.visible' ) ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\n\t\t\t\t// Prefer an explicit global autoplay setting\n\t\t\t\tlet autoplay = this.Reveal.getConfig().autoPlayMedia;\n\n\t\t\t\t// If no global setting is available, fall back on the element's\n\t\t\t\t// own autoplay setting\n\t\t\t\tif( typeof autoplay !== 'boolean' ) {\n\t\t\t\t\tautoplay = el.hasAttribute( 'data-autoplay' ) || !!closest( el, '.slide-background' );\n\t\t\t\t}\n\n\t\t\t\tif( autoplay && typeof el.play === 'function' ) {\n\n\t\t\t\t\t// If the media is ready, start playback\n\t\t\t\t\tif( el.readyState > 1 ) {\n\t\t\t\t\t\tthis.startEmbeddedMedia( { target: el } );\n\t\t\t\t\t}\n\t\t\t\t\t// Mobile devices never fire a loaded event so instead\n\t\t\t\t\t// of waiting, we initiate playback\n\t\t\t\t\telse if( isMobile ) {\n\t\t\t\t\t\tlet promise = el.play();\n\n\t\t\t\t\t\t// If autoplay does not work, ensure that the controls are visible so\n\t\t\t\t\t\t// that the viewer can start the media on their own\n\t\t\t\t\t\tif( promise && typeof promise.catch === 'function' && el.controls === false ) {\n\t\t\t\t\t\t\tpromise.catch( () => {\n\t\t\t\t\t\t\t\tel.controls = true;\n\n\t\t\t\t\t\t\t\t// Once the video does start playing, hide the controls again\n\t\t\t\t\t\t\t\tel.addEventListener( 'play', () => {\n\t\t\t\t\t\t\t\t\tel.controls = false;\n\t\t\t\t\t\t\t\t} );\n\t\t\t\t\t\t\t} );\n\t\t\t\t\t\t}\n\t\t\t\t\t}\n\t\t\t\t\t// If the media isn't loaded, wait before playing\n\t\t\t\t\telse {\n\t\t\t\t\t\tel.removeEventListener( 'loadeddata', this.startEmbeddedMedia ); // remove first to avoid dupes\n\t\t\t\t\t\tel.addEventListener( 'loadeddata', this.startEmbeddedMedia );\n\t\t\t\t\t}\n\n\t\t\t\t}\n\t\t\t} );\n\n\t\t\t// Normal iframes\n\t\t\tqueryAll( element, 'iframe[src]' ).forEach( el => {\n\t\t\t\tif( closest( el, '.fragment' ) && !closest( el, '.fragment.visible' ) ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\n\t\t\t\tthis.startEmbeddedIframe( { target: el } );\n\t\t\t} );\n\n\t\t\t// Lazy loading iframes\n\t\t\tqueryAll( element, 'iframe[data-src]' ).forEach( el => {\n\t\t\t\tif( closest( el, '.fragment' ) && !closest( el, '.fragment.visible' ) ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\n\t\t\t\tif( el.getAttribute( 'src' ) !== el.getAttribute( 'data-src' ) ) {\n\t\t\t\t\tel.removeEventListener( 'load', this.startEmbeddedIframe ); // remove first to avoid dupes\n\t\t\t\t\tel.addEventListener( 'load', this.startEmbeddedIframe );\n\t\t\t\t\tel.setAttribute( 'src', el.getAttribute( 'data-src' ) );\n\t\t\t\t}\n\t\t\t} );\n\n\t\t}\n\n\t}\n\n\t/**\n\t * Starts playing an embedded video/audio element after\n\t * it has finished loading.\n\t *\n\t * @param {object} event\n\t */\n\tstartEmbeddedMedia( event ) {\n\n\t\tlet isAttachedToDOM = !!closest( event.target, 'html' ),\n\t\t\tisVisible \t\t= !!closest( event.target, '.present' );\n\n\t\tif( isAttachedToDOM && isVisible ) {\n\t\t\tevent.target.currentTime = 0;\n\t\t\tevent.target.play();\n\t\t}\n\n\t\tevent.target.removeEventListener( 'loadeddata', this.startEmbeddedMedia );\n\n\t}\n\n\t/**\n\t * \"Starts\" the content of an embedded iframe using the\n\t * postMessage API.\n\t *\n\t * @param {object} event\n\t */\n\tstartEmbeddedIframe( event ) {\n\n\t\tlet iframe = event.target;\n\n\t\tif( iframe && iframe.contentWindow ) {\n\n\t\t\tlet isAttachedToDOM = !!closest( event.target, 'html' ),\n\t\t\t\tisVisible \t\t= !!closest( event.target, '.present' );\n\n\t\t\tif( isAttachedToDOM && isVisible ) {\n\n\t\t\t\t// Prefer an explicit global autoplay setting\n\t\t\t\tlet autoplay = this.Reveal.getConfig().autoPlayMedia;\n\n\t\t\t\t// If no global setting is available, fall back on the element's\n\t\t\t\t// own autoplay setting\n\t\t\t\tif( typeof autoplay !== 'boolean' ) {\n\t\t\t\t\tautoplay = iframe.hasAttribute( 'data-autoplay' ) || !!closest( iframe, '.slide-background' );\n\t\t\t\t}\n\n\t\t\t\t// YouTube postMessage API\n\t\t\t\tif( /youtube\\.com\\/embed\\//.test( iframe.getAttribute( 'src' ) ) && autoplay ) {\n\t\t\t\t\tiframe.contentWindow.postMessage( '{\"event\":\"command\",\"func\":\"playVideo\",\"args\":\"\"}', '*' );\n\t\t\t\t}\n\t\t\t\t// Vimeo postMessage API\n\t\t\t\telse if( /player\\.vimeo\\.com\\//.test( iframe.getAttribute( 'src' ) ) && autoplay ) {\n\t\t\t\t\tiframe.contentWindow.postMessage( '{\"method\":\"play\"}', '*' );\n\t\t\t\t}\n\t\t\t\t// Generic postMessage API\n\t\t\t\telse {\n\t\t\t\t\tiframe.contentWindow.postMessage( 'slide:start', '*' );\n\t\t\t\t}\n\n\t\t\t}\n\n\t\t}\n\n\t}\n\n\t/**\n\t * Stop playback of any embedded content inside of\n\t * the targeted slide.\n\t *\n\t * @param {HTMLElement} element\n\t */\n\tstopEmbeddedContent( element, options = {} ) {\n\n\t\toptions = extend( {\n\t\t\t// Defaults\n\t\t\tunloadIframes: true\n\t\t}, options );\n\n\t\tif( element && element.parentNode ) {\n\t\t\t// HTML5 media elements\n\t\t\tqueryAll( element, 'video, audio' ).forEach( el => {\n\t\t\t\tif( !el.hasAttribute( 'data-ignore' ) && typeof el.pause === 'function' ) {\n\t\t\t\t\tel.setAttribute('data-paused-by-reveal', '');\n\t\t\t\t\tel.pause();\n\t\t\t\t}\n\t\t\t} );\n\n\t\t\t// Generic postMessage API for non-lazy loaded iframes\n\t\t\tqueryAll( element, 'iframe' ).forEach( el => {\n\t\t\t\tif( el.contentWindow ) el.contentWindow.postMessage( 'slide:stop', '*' );\n\t\t\t\tel.removeEventListener( 'load', this.startEmbeddedIframe );\n\t\t\t});\n\n\t\t\t// YouTube postMessage API\n\t\t\tqueryAll( element, 'iframe[src*=\"youtube.com/embed/\"]' ).forEach( el => {\n\t\t\t\tif( !el.hasAttribute( 'data-ignore' ) && el.contentWindow && typeof el.contentWindow.postMessage === 'function' ) {\n\t\t\t\t\tel.contentWindow.postMessage( '{\"event\":\"command\",\"func\":\"pauseVideo\",\"args\":\"\"}', '*' );\n\t\t\t\t}\n\t\t\t});\n\n\t\t\t// Vimeo postMessage API\n\t\t\tqueryAll( element, 'iframe[src*=\"player.vimeo.com/\"]' ).forEach( el => {\n\t\t\t\tif( !el.hasAttribute( 'data-ignore' ) && el.contentWindow && typeof el.contentWindow.postMessage === 'function' ) {\n\t\t\t\t\tel.contentWindow.postMessage( '{\"method\":\"pause\"}', '*' );\n\t\t\t\t}\n\t\t\t});\n\n\t\t\tif( options.unloadIframes === true ) {\n\t\t\t\t// Unload lazy-loaded iframes\n\t\t\t\tqueryAll( element, 'iframe[data-src]' ).forEach( el => {\n\t\t\t\t\t// Only removing the src doesn't actually unload the frame\n\t\t\t\t\t// in all browsers (Firefox) so we set it to blank first\n\t\t\t\t\tel.setAttribute( 'src', 'about:blank' );\n\t\t\t\t\tel.removeAttribute( 'src' );\n\t\t\t\t} );\n\t\t\t}\n\t\t}\n\n\t}\n\n}","/**\n * Handles the display of reveal.js' optional slide number.\n */\nexport default class SlideNumber {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t}\n\n\trender() {\n\n\t\tthis.element = document.createElement( 'div' );\n\t\tthis.element.className = 'slide-number';\n\t\tthis.Reveal.getRevealElement().appendChild( this.element );\n\n\t}\n\n\t/**\n\t * Called when the reveal.js config is updated.\n\t */\n\tconfigure( config, oldConfig ) {\n\n\t\tlet slideNumberDisplay = 'none';\n\t\tif( config.slideNumber && !this.Reveal.isPrintingPDF() ) {\n\t\t\tif( config.showSlideNumber === 'all' ) {\n\t\t\t\tslideNumberDisplay = 'block';\n\t\t\t}\n\t\t\telse if( config.showSlideNumber === 'speaker' && this.Reveal.isSpeakerNotes() ) {\n\t\t\t\tslideNumberDisplay = 'block';\n\t\t\t}\n\t\t}\n\n\t\tthis.element.style.display = slideNumberDisplay;\n\n\t}\n\n\t/**\n\t * Updates the slide number to match the current slide.\n\t */\n\tupdate() {\n\n\t\t// Update slide number if enabled\n\t\tif( this.Reveal.getConfig().slideNumber && this.element ) {\n\t\t\tthis.element.innerHTML = this.getSlideNumber();\n\t\t}\n\n\t}\n\n\t/**\n\t * Returns the HTML string corresponding to the current slide\n\t * number, including formatting.\n\t */\n\tgetSlideNumber( slide = this.Reveal.getCurrentSlide() ) {\n\n\t\tlet config = this.Reveal.getConfig();\n\t\tlet value;\n\t\tlet format = 'h.v';\n\n\t\tif ( typeof config.slideNumber === 'function' ) {\n\t\t\tvalue = config.slideNumber( slide );\n\t\t} else {\n\t\t\t// Check if a custom number format is available\n\t\t\tif( typeof config.slideNumber === 'string' ) {\n\t\t\t\tformat = config.slideNumber;\n\t\t\t}\n\n\t\t\t// If there are ONLY vertical slides in this deck, always use\n\t\t\t// a flattened slide number\n\t\t\tif( !/c/.test( format ) && this.Reveal.getHorizontalSlides().length === 1 ) {\n\t\t\t\tformat = 'c';\n\t\t\t}\n\n\t\t\t// Offset the current slide number by 1 to make it 1-indexed\n\t\t\tlet horizontalOffset = slide && slide.dataset.visibility === 'uncounted' ? 0 : 1;\n\n\t\t\tvalue = [];\n\t\t\tswitch( format ) {\n\t\t\t\tcase 'c':\n\t\t\t\t\tvalue.push( this.Reveal.getSlidePastCount( slide ) + horizontalOffset );\n\t\t\t\t\tbreak;\n\t\t\t\tcase 'c/t':\n\t\t\t\t\tvalue.push( this.Reveal.getSlidePastCount( slide ) + horizontalOffset, '/', this.Reveal.getTotalSlides() );\n\t\t\t\t\tbreak;\n\t\t\t\tdefault:\n\t\t\t\t\tlet indices = this.Reveal.getIndices( slide );\n\t\t\t\t\tvalue.push( indices.h + horizontalOffset );\n\t\t\t\t\tlet sep = format === 'h/v' ? '/' : '.';\n\t\t\t\t\tif( this.Reveal.isVerticalSlide( slide ) ) value.push( sep, indices.v + 1 );\n\t\t\t}\n\t\t}\n\n\t\tlet url = '#' + this.Reveal.location.getHash( slide );\n\t\treturn this.formatNumber( value[0], value[1], value[2], url );\n\n\t}\n\n\t/**\n\t * Applies HTML formatting to a slide number before it's\n\t * written to the DOM.\n\t *\n\t * @param {number} a Current slide\n\t * @param {string} delimiter Character to separate slide numbers\n\t * @param {(number|*)} b Total slides\n\t * @param {HTMLElement} [url='#'+locationHash()] The url to link to\n\t * @return {string} HTML string fragment\n\t */\n\tformatNumber( a, delimiter, b, url = '#' + this.Reveal.location.getHash() ) {\n\n\t\tif( typeof b === 'number' && !isNaN( b ) ) {\n\t\t\treturn `\n\t\t\t\t\t${a}\n\t\t\t\t\t${delimiter}\n\t\t\t\t\t${b}\n\t\t\t\t\t`;\n\t\t}\n\t\telse {\n\t\t\treturn `\n\t\t\t\t\t${a}\n\t\t\t\t\t`;\n\t\t}\n\n\t}\n\n}","/**\n * Converts various color input formats to an {r:0,g:0,b:0} object.\n *\n * @param {string} color The string representation of a color\n * @example\n * colorToRgb('#000');\n * @example\n * colorToRgb('#000000');\n * @example\n * colorToRgb('rgb(0,0,0)');\n * @example\n * colorToRgb('rgba(0,0,0)');\n *\n * @return {{r: number, g: number, b: number, [a]: number}|null}\n */\nexport const colorToRgb = ( color ) => {\n\n\tlet hex3 = color.match( /^#([0-9a-f]{3})$/i );\n\tif( hex3 && hex3[1] ) {\n\t\thex3 = hex3[1];\n\t\treturn {\n\t\t\tr: parseInt( hex3.charAt( 0 ), 16 ) * 0x11,\n\t\t\tg: parseInt( hex3.charAt( 1 ), 16 ) * 0x11,\n\t\t\tb: parseInt( hex3.charAt( 2 ), 16 ) * 0x11\n\t\t};\n\t}\n\n\tlet hex6 = color.match( /^#([0-9a-f]{6})$/i );\n\tif( hex6 && hex6[1] ) {\n\t\thex6 = hex6[1];\n\t\treturn {\n\t\t\tr: parseInt( hex6.substr( 0, 2 ), 16 ),\n\t\t\tg: parseInt( hex6.substr( 2, 2 ), 16 ),\n\t\t\tb: parseInt( hex6.substr( 4, 2 ), 16 )\n\t\t};\n\t}\n\n\tlet rgb = color.match( /^rgb\\s*\\(\\s*(\\d+)\\s*,\\s*(\\d+)\\s*,\\s*(\\d+)\\s*\\)$/i );\n\tif( rgb ) {\n\t\treturn {\n\t\t\tr: parseInt( rgb[1], 10 ),\n\t\t\tg: parseInt( rgb[2], 10 ),\n\t\t\tb: parseInt( rgb[3], 10 )\n\t\t};\n\t}\n\n\tlet rgba = color.match( /^rgba\\s*\\(\\s*(\\d+)\\s*,\\s*(\\d+)\\s*,\\s*(\\d+)\\s*\\,\\s*([\\d]+|[\\d]*.[\\d]+)\\s*\\)$/i );\n\tif( rgba ) {\n\t\treturn {\n\t\t\tr: parseInt( rgba[1], 10 ),\n\t\t\tg: parseInt( rgba[2], 10 ),\n\t\t\tb: parseInt( rgba[3], 10 ),\n\t\t\ta: parseFloat( rgba[4] )\n\t\t};\n\t}\n\n\treturn null;\n\n}\n\n/**\n * Calculates brightness on a scale of 0-255.\n *\n * @param {string} color See colorToRgb for supported formats.\n * @see {@link colorToRgb}\n */\nexport const colorBrightness = ( color ) => {\n\n\tif( typeof color === 'string' ) color = colorToRgb( color );\n\n\tif( color ) {\n\t\treturn ( color.r * 299 + color.g * 587 + color.b * 114 ) / 1000;\n\t}\n\n\treturn null;\n\n}","import { queryAll } from '../utils/util.js'\nimport { colorToRgb, colorBrightness } from '../utils/color.js'\n\n/**\n * Creates and updates slide backgrounds.\n */\nexport default class Backgrounds {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t}\n\n\trender() {\n\n\t\tthis.element = document.createElement( 'div' );\n\t\tthis.element.className = 'backgrounds';\n\t\tthis.Reveal.getRevealElement().appendChild( this.element );\n\n\t}\n\n\t/**\n\t * Creates the slide background elements and appends them\n\t * to the background container. One element is created per\n\t * slide no matter if the given slide has visible background.\n\t */\n\tcreate() {\n\n\t\t// Clear prior backgrounds\n\t\tthis.element.innerHTML = '';\n\t\tthis.element.classList.add( 'no-transition' );\n\n\t\t// Iterate over all horizontal slides\n\t\tthis.Reveal.getHorizontalSlides().forEach( slideh => {\n\n\t\t\tlet backgroundStack = this.createBackground( slideh, this.element );\n\n\t\t\t// Iterate over all vertical slides\n\t\t\tqueryAll( slideh, 'section' ).forEach( slidev => {\n\n\t\t\t\tthis.createBackground( slidev, backgroundStack );\n\n\t\t\t\tbackgroundStack.classList.add( 'stack' );\n\n\t\t\t} );\n\n\t\t} );\n\n\t\t// Add parallax background if specified\n\t\tif( this.Reveal.getConfig().parallaxBackgroundImage ) {\n\n\t\t\tthis.element.style.backgroundImage = 'url(\"' + this.Reveal.getConfig().parallaxBackgroundImage + '\")';\n\t\t\tthis.element.style.backgroundSize = this.Reveal.getConfig().parallaxBackgroundSize;\n\t\t\tthis.element.style.backgroundRepeat = this.Reveal.getConfig().parallaxBackgroundRepeat;\n\t\t\tthis.element.style.backgroundPosition = this.Reveal.getConfig().parallaxBackgroundPosition;\n\n\t\t\t// Make sure the below properties are set on the element - these properties are\n\t\t\t// needed for proper transitions to be set on the element via CSS. To remove\n\t\t\t// annoying background slide-in effect when the presentation starts, apply\n\t\t\t// these properties after short time delay\n\t\t\tsetTimeout( () => {\n\t\t\t\tthis.Reveal.getRevealElement().classList.add( 'has-parallax-background' );\n\t\t\t}, 1 );\n\n\t\t}\n\t\telse {\n\n\t\t\tthis.element.style.backgroundImage = '';\n\t\t\tthis.Reveal.getRevealElement().classList.remove( 'has-parallax-background' );\n\n\t\t}\n\n\t}\n\n\t/**\n\t * Creates a background for the given slide.\n\t *\n\t * @param {HTMLElement} slide\n\t * @param {HTMLElement} container The element that the background\n\t * should be appended to\n\t * @return {HTMLElement} New background div\n\t */\n\tcreateBackground( slide, container ) {\n\n\t\t// Main slide background element\n\t\tlet element = document.createElement( 'div' );\n\t\telement.className = 'slide-background ' + slide.className.replace( /present|past|future/, '' );\n\n\t\t// Inner background element that wraps images/videos/iframes\n\t\tlet contentElement = document.createElement( 'div' );\n\t\tcontentElement.className = 'slide-background-content';\n\n\t\telement.appendChild( contentElement );\n\t\tcontainer.appendChild( element );\n\n\t\tslide.slideBackgroundElement = element;\n\t\tslide.slideBackgroundContentElement = contentElement;\n\n\t\t// Syncs the background to reflect all current background settings\n\t\tthis.sync( slide );\n\n\t\treturn element;\n\n\t}\n\n\t/**\n\t * Renders all of the visual properties of a slide background\n\t * based on the various background attributes.\n\t *\n\t * @param {HTMLElement} slide\n\t */\n\tsync( slide ) {\n\n\t\tconst element = slide.slideBackgroundElement,\n\t\t\tcontentElement = slide.slideBackgroundContentElement;\n\n\t\tconst data = {\n\t\t\tbackground: slide.getAttribute( 'data-background' ),\n\t\t\tbackgroundSize: slide.getAttribute( 'data-background-size' ),\n\t\t\tbackgroundImage: slide.getAttribute( 'data-background-image' ),\n\t\t\tbackgroundVideo: slide.getAttribute( 'data-background-video' ),\n\t\t\tbackgroundIframe: slide.getAttribute( 'data-background-iframe' ),\n\t\t\tbackgroundColor: slide.getAttribute( 'data-background-color' ),\n\t\t\tbackgroundRepeat: slide.getAttribute( 'data-background-repeat' ),\n\t\t\tbackgroundPosition: slide.getAttribute( 'data-background-position' ),\n\t\t\tbackgroundTransition: slide.getAttribute( 'data-background-transition' ),\n\t\t\tbackgroundOpacity: slide.getAttribute( 'data-background-opacity' ),\n\t\t};\n\n\t\tconst dataPreload = slide.hasAttribute( 'data-preload' );\n\n\t\t// Reset the prior background state in case this is not the\n\t\t// initial sync\n\t\tslide.classList.remove( 'has-dark-background' );\n\t\tslide.classList.remove( 'has-light-background' );\n\n\t\telement.removeAttribute( 'data-loaded' );\n\t\telement.removeAttribute( 'data-background-hash' );\n\t\telement.removeAttribute( 'data-background-size' );\n\t\telement.removeAttribute( 'data-background-transition' );\n\t\telement.style.backgroundColor = '';\n\n\t\tcontentElement.style.backgroundSize = '';\n\t\tcontentElement.style.backgroundRepeat = '';\n\t\tcontentElement.style.backgroundPosition = '';\n\t\tcontentElement.style.backgroundImage = '';\n\t\tcontentElement.style.opacity = '';\n\t\tcontentElement.innerHTML = '';\n\n\t\tif( data.background ) {\n\t\t\t// Auto-wrap image urls in url(...)\n\t\t\tif( /^(http|file|\\/\\/)/gi.test( data.background ) || /\\.(svg|png|jpg|jpeg|gif|bmp)([?#\\s]|$)/gi.test( data.background ) ) {\n\t\t\t\tslide.setAttribute( 'data-background-image', data.background );\n\t\t\t}\n\t\t\telse {\n\t\t\t\telement.style.background = data.background;\n\t\t\t}\n\t\t}\n\n\t\t// Create a hash for this combination of background settings.\n\t\t// This is used to determine when two slide backgrounds are\n\t\t// the same.\n\t\tif( data.background || data.backgroundColor || data.backgroundImage || data.backgroundVideo || data.backgroundIframe ) {\n\t\t\telement.setAttribute( 'data-background-hash', data.background +\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tdata.backgroundSize +\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tdata.backgroundImage +\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tdata.backgroundVideo +\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tdata.backgroundIframe +\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tdata.backgroundColor +\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tdata.backgroundRepeat +\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tdata.backgroundPosition +\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tdata.backgroundTransition +\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tdata.backgroundOpacity );\n\t\t}\n\n\t\t// Additional and optional background properties\n\t\tif( data.backgroundSize ) element.setAttribute( 'data-background-size', data.backgroundSize );\n\t\tif( data.backgroundColor ) element.style.backgroundColor = data.backgroundColor;\n\t\tif( data.backgroundTransition ) element.setAttribute( 'data-background-transition', data.backgroundTransition );\n\n\t\tif( dataPreload ) element.setAttribute( 'data-preload', '' );\n\n\t\t// Background image options are set on the content wrapper\n\t\tif( data.backgroundSize ) contentElement.style.backgroundSize = data.backgroundSize;\n\t\tif( data.backgroundRepeat ) contentElement.style.backgroundRepeat = data.backgroundRepeat;\n\t\tif( data.backgroundPosition ) contentElement.style.backgroundPosition = data.backgroundPosition;\n\t\tif( data.backgroundOpacity ) contentElement.style.opacity = data.backgroundOpacity;\n\n\t\t// If this slide has a background color, we add a class that\n\t\t// signals if it is light or dark. If the slide has no background\n\t\t// color, no class will be added\n\t\tlet contrastColor = data.backgroundColor;\n\n\t\t// If no bg color was found, or it cannot be converted by colorToRgb, check the computed background\n\t\tif( !contrastColor || !colorToRgb( contrastColor ) ) {\n\t\t\tlet computedBackgroundStyle = window.getComputedStyle( element );\n\t\t\tif( computedBackgroundStyle && computedBackgroundStyle.backgroundColor ) {\n\t\t\t\tcontrastColor = computedBackgroundStyle.backgroundColor;\n\t\t\t}\n\t\t}\n\n\t\tif( contrastColor ) {\n\t\t\tconst rgb = colorToRgb( contrastColor );\n\n\t\t\t// Ignore fully transparent backgrounds. Some browsers return\n\t\t\t// rgba(0,0,0,0) when reading the computed background color of\n\t\t\t// an element with no background\n\t\t\tif( rgb && rgb.a !== 0 ) {\n\t\t\t\tif( colorBrightness( contrastColor ) < 128 ) {\n\t\t\t\t\tslide.classList.add( 'has-dark-background' );\n\t\t\t\t}\n\t\t\t\telse {\n\t\t\t\t\tslide.classList.add( 'has-light-background' );\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\n\t}\n\n\t/**\n\t * Updates the background elements to reflect the current\n\t * slide.\n\t *\n\t * @param {boolean} includeAll If true, the backgrounds of\n\t * all vertical slides (not just the present) will be updated.\n\t */\n\tupdate( includeAll = false ) {\n\n\t\tlet currentSlide = this.Reveal.getCurrentSlide();\n\t\tlet indices = this.Reveal.getIndices();\n\n\t\tlet currentBackground = null;\n\n\t\t// Reverse past/future classes when in RTL mode\n\t\tlet horizontalPast = this.Reveal.getConfig().rtl ? 'future' : 'past',\n\t\t\thorizontalFuture = this.Reveal.getConfig().rtl ? 'past' : 'future';\n\n\t\t// Update the classes of all backgrounds to match the\n\t\t// states of their slides (past/present/future)\n\t\tArray.from( this.element.childNodes ).forEach( ( backgroundh, h ) => {\n\n\t\t\tbackgroundh.classList.remove( 'past', 'present', 'future' );\n\n\t\t\tif( h < indices.h ) {\n\t\t\t\tbackgroundh.classList.add( horizontalPast );\n\t\t\t}\n\t\t\telse if ( h > indices.h ) {\n\t\t\t\tbackgroundh.classList.add( horizontalFuture );\n\t\t\t}\n\t\t\telse {\n\t\t\t\tbackgroundh.classList.add( 'present' );\n\n\t\t\t\t// Store a reference to the current background element\n\t\t\t\tcurrentBackground = backgroundh;\n\t\t\t}\n\n\t\t\tif( includeAll || h === indices.h ) {\n\t\t\t\tqueryAll( backgroundh, '.slide-background' ).forEach( ( backgroundv, v ) => {\n\n\t\t\t\t\tbackgroundv.classList.remove( 'past', 'present', 'future' );\n\n\t\t\t\t\tif( v < indices.v ) {\n\t\t\t\t\t\tbackgroundv.classList.add( 'past' );\n\t\t\t\t\t}\n\t\t\t\t\telse if ( v > indices.v ) {\n\t\t\t\t\t\tbackgroundv.classList.add( 'future' );\n\t\t\t\t\t}\n\t\t\t\t\telse {\n\t\t\t\t\t\tbackgroundv.classList.add( 'present' );\n\n\t\t\t\t\t\t// Only if this is the present horizontal and vertical slide\n\t\t\t\t\t\tif( h === indices.h ) currentBackground = backgroundv;\n\t\t\t\t\t}\n\n\t\t\t\t} );\n\t\t\t}\n\n\t\t} );\n\n\t\t// Stop content inside of previous backgrounds\n\t\tif( this.previousBackground ) {\n\n\t\t\tthis.Reveal.slideContent.stopEmbeddedContent( this.previousBackground, { unloadIframes: !this.Reveal.slideContent.shouldPreload( this.previousBackground ) } );\n\n\t\t}\n\n\t\t// Start content in the current background\n\t\tif( currentBackground ) {\n\n\t\t\tthis.Reveal.slideContent.startEmbeddedContent( currentBackground );\n\n\t\t\tlet currentBackgroundContent = currentBackground.querySelector( '.slide-background-content' );\n\t\t\tif( currentBackgroundContent ) {\n\n\t\t\t\tlet backgroundImageURL = currentBackgroundContent.style.backgroundImage || '';\n\n\t\t\t\t// Restart GIFs (doesn't work in Firefox)\n\t\t\t\tif( /\\.gif/i.test( backgroundImageURL ) ) {\n\t\t\t\t\tcurrentBackgroundContent.style.backgroundImage = '';\n\t\t\t\t\twindow.getComputedStyle( currentBackgroundContent ).opacity;\n\t\t\t\t\tcurrentBackgroundContent.style.backgroundImage = backgroundImageURL;\n\t\t\t\t}\n\n\t\t\t}\n\n\t\t\t// Don't transition between identical backgrounds. This\n\t\t\t// prevents unwanted flicker.\n\t\t\tlet previousBackgroundHash = this.previousBackground ? this.previousBackground.getAttribute( 'data-background-hash' ) : null;\n\t\t\tlet currentBackgroundHash = currentBackground.getAttribute( 'data-background-hash' );\n\t\t\tif( currentBackgroundHash && currentBackgroundHash === previousBackgroundHash && currentBackground !== this.previousBackground ) {\n\t\t\t\tthis.element.classList.add( 'no-transition' );\n\t\t\t}\n\n\t\t\tthis.previousBackground = currentBackground;\n\n\t\t}\n\n\t\t// If there's a background brightness flag for this slide,\n\t\t// bubble it to the .reveal container\n\t\tif( currentSlide ) {\n\t\t\t[ 'has-light-background', 'has-dark-background' ].forEach( classToBubble => {\n\t\t\t\tif( currentSlide.classList.contains( classToBubble ) ) {\n\t\t\t\t\tthis.Reveal.getRevealElement().classList.add( classToBubble );\n\t\t\t\t}\n\t\t\t\telse {\n\t\t\t\t\tthis.Reveal.getRevealElement().classList.remove( classToBubble );\n\t\t\t\t}\n\t\t\t}, this );\n\t\t}\n\n\t\t// Allow the first background to apply without transition\n\t\tsetTimeout( () => {\n\t\t\tthis.element.classList.remove( 'no-transition' );\n\t\t}, 1 );\n\n\t}\n\n\t/**\n\t * Updates the position of the parallax background based\n\t * on the current slide index.\n\t */\n\tupdateParallax() {\n\n\t\tlet indices = this.Reveal.getIndices();\n\n\t\tif( this.Reveal.getConfig().parallaxBackgroundImage ) {\n\n\t\t\tlet horizontalSlides = this.Reveal.getHorizontalSlides(),\n\t\t\t\tverticalSlides = this.Reveal.getVerticalSlides();\n\n\t\t\tlet backgroundSize = this.element.style.backgroundSize.split( ' ' ),\n\t\t\t\tbackgroundWidth, backgroundHeight;\n\n\t\t\tif( backgroundSize.length === 1 ) {\n\t\t\t\tbackgroundWidth = backgroundHeight = parseInt( backgroundSize[0], 10 );\n\t\t\t}\n\t\t\telse {\n\t\t\t\tbackgroundWidth = parseInt( backgroundSize[0], 10 );\n\t\t\t\tbackgroundHeight = parseInt( backgroundSize[1], 10 );\n\t\t\t}\n\n\t\t\tlet slideWidth = this.element.offsetWidth,\n\t\t\t\thorizontalSlideCount = horizontalSlides.length,\n\t\t\t\thorizontalOffsetMultiplier,\n\t\t\t\thorizontalOffset;\n\n\t\t\tif( typeof this.Reveal.getConfig().parallaxBackgroundHorizontal === 'number' ) {\n\t\t\t\thorizontalOffsetMultiplier = this.Reveal.getConfig().parallaxBackgroundHorizontal;\n\t\t\t}\n\t\t\telse {\n\t\t\t\thorizontalOffsetMultiplier = horizontalSlideCount > 1 ? ( backgroundWidth - slideWidth ) / ( horizontalSlideCount-1 ) : 0;\n\t\t\t}\n\n\t\t\thorizontalOffset = horizontalOffsetMultiplier * indices.h * -1;\n\n\t\t\tlet slideHeight = this.element.offsetHeight,\n\t\t\t\tverticalSlideCount = verticalSlides.length,\n\t\t\t\tverticalOffsetMultiplier,\n\t\t\t\tverticalOffset;\n\n\t\t\tif( typeof this.Reveal.getConfig().parallaxBackgroundVertical === 'number' ) {\n\t\t\t\tverticalOffsetMultiplier = this.Reveal.getConfig().parallaxBackgroundVertical;\n\t\t\t}\n\t\t\telse {\n\t\t\t\tverticalOffsetMultiplier = ( backgroundHeight - slideHeight ) / ( verticalSlideCount-1 );\n\t\t\t}\n\n\t\t\tverticalOffset = verticalSlideCount > 0 ? verticalOffsetMultiplier * indices.v : 0;\n\n\t\t\tthis.element.style.backgroundPosition = horizontalOffset + 'px ' + -verticalOffset + 'px';\n\n\t\t}\n\n\t}\n\n}\n","import { queryAll, extend, createStyleSheet, matches, closest } from '../utils/util.js'\nimport { FRAGMENT_STYLE_REGEX } from '../utils/constants.js'\n\n// Counter used to generate unique IDs for auto-animated elements\nlet autoAnimateCounter = 0;\n\n/**\n * Automatically animates matching elements across\n * slides with the [data-auto-animate] attribute.\n */\nexport default class AutoAnimate {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t}\n\n\t/**\n\t * Runs an auto-animation between the given slides.\n\t *\n\t * @param {HTMLElement} fromSlide\n\t * @param {HTMLElement} toSlide\n\t */\n\trun( fromSlide, toSlide ) {\n\n\t\t// Clean up after prior animations\n\t\tthis.reset();\n\n\t\tlet allSlides = this.Reveal.getSlides();\n\t\tlet toSlideIndex = allSlides.indexOf( toSlide );\n\t\tlet fromSlideIndex = allSlides.indexOf( fromSlide );\n\n\t\t// Ensure that both slides are auto-animate targets with the same data-auto-animate-id value\n\t\t// (including null if absent on both) and that data-auto-animate-restart isn't set on the\n\t\t// physically latter slide (independent of slide direction)\n\t\tif( fromSlide.hasAttribute( 'data-auto-animate' ) && toSlide.hasAttribute( 'data-auto-animate' )\n\t\t\t\t&& fromSlide.getAttribute( 'data-auto-animate-id' ) === toSlide.getAttribute( 'data-auto-animate-id' ) \n\t\t\t\t&& !( toSlideIndex > fromSlideIndex ? toSlide : fromSlide ).hasAttribute( 'data-auto-animate-restart' ) ) {\n\n\t\t\t// Create a new auto-animate sheet\n\t\t\tthis.autoAnimateStyleSheet = this.autoAnimateStyleSheet || createStyleSheet();\n\n\t\t\tlet animationOptions = this.getAutoAnimateOptions( toSlide );\n\n\t\t\t// Set our starting state\n\t\t\tfromSlide.dataset.autoAnimate = 'pending';\n\t\t\ttoSlide.dataset.autoAnimate = 'pending';\n\n\t\t\t// Flag the navigation direction, needed for fragment buildup\n\t\t\tanimationOptions.slideDirection = toSlideIndex > fromSlideIndex ? 'forward' : 'backward';\n\n\t\t\t// Inject our auto-animate styles for this transition\n\t\t\tlet css = this.getAutoAnimatableElements( fromSlide, toSlide ).map( elements => {\n\t\t\t\treturn this.autoAnimateElements( elements.from, elements.to, elements.options || {}, animationOptions, autoAnimateCounter++ );\n\t\t\t} );\n\n\t\t\t// Animate unmatched elements, if enabled\n\t\t\tif( toSlide.dataset.autoAnimateUnmatched !== 'false' && this.Reveal.getConfig().autoAnimateUnmatched === true ) {\n\n\t\t\t\t// Our default timings for unmatched elements\n\t\t\t\tlet defaultUnmatchedDuration = animationOptions.duration * 0.8,\n\t\t\t\t\tdefaultUnmatchedDelay = animationOptions.duration * 0.2;\n\n\t\t\t\tthis.getUnmatchedAutoAnimateElements( toSlide ).forEach( unmatchedElement => {\n\n\t\t\t\t\tlet unmatchedOptions = this.getAutoAnimateOptions( unmatchedElement, animationOptions );\n\t\t\t\t\tlet id = 'unmatched';\n\n\t\t\t\t\t// If there is a duration or delay set specifically for this\n\t\t\t\t\t// element our unmatched elements should adhere to those\n\t\t\t\t\tif( unmatchedOptions.duration !== animationOptions.duration || unmatchedOptions.delay !== animationOptions.delay ) {\n\t\t\t\t\t\tid = 'unmatched-' + autoAnimateCounter++;\n\t\t\t\t\t\tcss.push( `[data-auto-animate=\"running\"] [data-auto-animate-target=\"${id}\"] { transition: opacity ${unmatchedOptions.duration}s ease ${unmatchedOptions.delay}s; }` );\n\t\t\t\t\t}\n\n\t\t\t\t\tunmatchedElement.dataset.autoAnimateTarget = id;\n\n\t\t\t\t}, this );\n\n\t\t\t\t// Our default transition for unmatched elements\n\t\t\t\tcss.push( `[data-auto-animate=\"running\"] [data-auto-animate-target=\"unmatched\"] { transition: opacity ${defaultUnmatchedDuration}s ease ${defaultUnmatchedDelay}s; }` );\n\n\t\t\t}\n\n\t\t\t// Setting the whole chunk of CSS at once is the most\n\t\t\t// efficient way to do this. Using sheet.insertRule\n\t\t\t// is multiple factors slower.\n\t\t\tthis.autoAnimateStyleSheet.innerHTML = css.join( '' );\n\n\t\t\t// Start the animation next cycle\n\t\t\trequestAnimationFrame( () => {\n\t\t\t\tif( this.autoAnimateStyleSheet ) {\n\t\t\t\t\t// This forces our newly injected styles to be applied in Firefox\n\t\t\t\t\tgetComputedStyle( this.autoAnimateStyleSheet ).fontWeight;\n\n\t\t\t\t\ttoSlide.dataset.autoAnimate = 'running';\n\t\t\t\t}\n\t\t\t} );\n\n\t\t\tthis.Reveal.dispatchEvent({\n\t\t\t\ttype: 'autoanimate',\n\t\t\t\tdata: {\n\t\t\t\t\tfromSlide,\n\t\t\t\t\ttoSlide,\n\t\t\t\t\tsheet: this.autoAnimateStyleSheet\n\t\t\t\t}\n\t\t\t});\n\n\t\t}\n\n\t}\n\n\t/**\n\t * Rolls back all changes that we've made to the DOM so\n\t * that as part of animating.\n\t */\n\treset() {\n\n\t\t// Reset slides\n\t\tqueryAll( this.Reveal.getRevealElement(), '[data-auto-animate]:not([data-auto-animate=\"\"])' ).forEach( element => {\n\t\t\telement.dataset.autoAnimate = '';\n\t\t} );\n\n\t\t// Reset elements\n\t\tqueryAll( this.Reveal.getRevealElement(), '[data-auto-animate-target]' ).forEach( element => {\n\t\t\tdelete element.dataset.autoAnimateTarget;\n\t\t} );\n\n\t\t// Remove the animation sheet\n\t\tif( this.autoAnimateStyleSheet && this.autoAnimateStyleSheet.parentNode ) {\n\t\t\tthis.autoAnimateStyleSheet.parentNode.removeChild( this.autoAnimateStyleSheet );\n\t\t\tthis.autoAnimateStyleSheet = null;\n\t\t}\n\n\t}\n\n\t/**\n\t * Creates a FLIP animation where the `to` element starts out\n\t * in the `from` element position and animates to its original\n\t * state.\n\t *\n\t * @param {HTMLElement} from\n\t * @param {HTMLElement} to\n\t * @param {Object} elementOptions Options for this element pair\n\t * @param {Object} animationOptions Options set at the slide level\n\t * @param {String} id Unique ID that we can use to identify this\n\t * auto-animate element in the DOM\n\t */\n\tautoAnimateElements( from, to, elementOptions, animationOptions, id ) {\n\n\t\t// 'from' elements are given a data-auto-animate-target with no value,\n\t\t// 'to' elements are are given a data-auto-animate-target with an ID\n\t\tfrom.dataset.autoAnimateTarget = '';\n\t\tto.dataset.autoAnimateTarget = id;\n\n\t\t// Each element may override any of the auto-animate options\n\t\t// like transition easing, duration and delay via data-attributes\n\t\tlet options = this.getAutoAnimateOptions( to, animationOptions );\n\n\t\t// If we're using a custom element matcher the element options\n\t\t// may contain additional transition overrides\n\t\tif( typeof elementOptions.delay !== 'undefined' ) options.delay = elementOptions.delay;\n\t\tif( typeof elementOptions.duration !== 'undefined' ) options.duration = elementOptions.duration;\n\t\tif( typeof elementOptions.easing !== 'undefined' ) options.easing = elementOptions.easing;\n\n\t\tlet fromProps = this.getAutoAnimatableProperties( 'from', from, elementOptions ),\n\t\t\ttoProps = this.getAutoAnimatableProperties( 'to', to, elementOptions );\n\n\t\t// Maintain fragment visibility for matching elements when\n\t\t// we're navigating forwards, this way the viewer won't need\n\t\t// to step through the same fragments twice\n\t\tif( to.classList.contains( 'fragment' ) ) {\n\n\t\t\t// Don't auto-animate the opacity of fragments to avoid\n\t\t\t// conflicts with fragment animations\n\t\t\tdelete toProps.styles['opacity'];\n\n\t\t\tif( from.classList.contains( 'fragment' ) ) {\n\n\t\t\t\tlet fromFragmentStyle = ( from.className.match( FRAGMENT_STYLE_REGEX ) || [''] )[0];\n\t\t\t\tlet toFragmentStyle = ( to.className.match( FRAGMENT_STYLE_REGEX ) || [''] )[0];\n\n\t\t\t\t// Only skip the fragment if the fragment animation style\n\t\t\t\t// remains unchanged\n\t\t\t\tif( fromFragmentStyle === toFragmentStyle && animationOptions.slideDirection === 'forward' ) {\n\t\t\t\t\tto.classList.add( 'visible', 'disabled' );\n\t\t\t\t}\n\n\t\t\t}\n\n\t\t}\n\n\t\t// If translation and/or scaling are enabled, css transform\n\t\t// the 'to' element so that it matches the position and size\n\t\t// of the 'from' element\n\t\tif( elementOptions.translate !== false || elementOptions.scale !== false ) {\n\n\t\t\tlet presentationScale = this.Reveal.getScale();\n\n\t\t\tlet delta = {\n\t\t\t\tx: ( fromProps.x - toProps.x ) / presentationScale,\n\t\t\t\ty: ( fromProps.y - toProps.y ) / presentationScale,\n\t\t\t\tscaleX: fromProps.width / toProps.width,\n\t\t\t\tscaleY: fromProps.height / toProps.height\n\t\t\t};\n\n\t\t\t// Limit decimal points to avoid 0.0001px blur and stutter\n\t\t\tdelta.x = Math.round( delta.x * 1000 ) / 1000;\n\t\t\tdelta.y = Math.round( delta.y * 1000 ) / 1000;\n\t\t\tdelta.scaleX = Math.round( delta.scaleX * 1000 ) / 1000;\n\t\t\tdelta.scaleX = Math.round( delta.scaleX * 1000 ) / 1000;\n\n\t\t\tlet translate = elementOptions.translate !== false && ( delta.x !== 0 || delta.y !== 0 ),\n\t\t\t\tscale = elementOptions.scale !== false && ( delta.scaleX !== 0 || delta.scaleY !== 0 );\n\n\t\t\t// No need to transform if nothing's changed\n\t\t\tif( translate || scale ) {\n\n\t\t\t\tlet transform = [];\n\n\t\t\t\tif( translate ) transform.push( `translate(${delta.x}px, ${delta.y}px)` );\n\t\t\t\tif( scale ) transform.push( `scale(${delta.scaleX}, ${delta.scaleY})` );\n\n\t\t\t\tfromProps.styles['transform'] = transform.join( ' ' );\n\t\t\t\tfromProps.styles['transform-origin'] = 'top left';\n\n\t\t\t\ttoProps.styles['transform'] = 'none';\n\n\t\t\t}\n\n\t\t}\n\n\t\t// Delete all unchanged 'to' styles\n\t\tfor( let propertyName in toProps.styles ) {\n\t\t\tconst toValue = toProps.styles[propertyName];\n\t\t\tconst fromValue = fromProps.styles[propertyName];\n\n\t\t\tif( toValue === fromValue ) {\n\t\t\t\tdelete toProps.styles[propertyName];\n\t\t\t}\n\t\t\telse {\n\t\t\t\t// If these property values were set via a custom matcher providing\n\t\t\t\t// an explicit 'from' and/or 'to' value, we always inject those values.\n\t\t\t\tif( toValue.explicitValue === true ) {\n\t\t\t\t\ttoProps.styles[propertyName] = toValue.value;\n\t\t\t\t}\n\n\t\t\t\tif( fromValue.explicitValue === true ) {\n\t\t\t\t\tfromProps.styles[propertyName] = fromValue.value;\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\n\t\tlet css = '';\n\n\t\tlet toStyleProperties = Object.keys( toProps.styles );\n\n\t\t// Only create animate this element IF at least one style\n\t\t// property has changed\n\t\tif( toStyleProperties.length > 0 ) {\n\n\t\t\t// Instantly move to the 'from' state\n\t\t\tfromProps.styles['transition'] = 'none';\n\n\t\t\t// Animate towards the 'to' state\n\t\t\ttoProps.styles['transition'] = `all ${options.duration}s ${options.easing} ${options.delay}s`;\n\t\t\ttoProps.styles['transition-property'] = toStyleProperties.join( ', ' );\n\t\t\ttoProps.styles['will-change'] = toStyleProperties.join( ', ' );\n\n\t\t\t// Build up our custom CSS. We need to override inline styles\n\t\t\t// so we need to make our styles vErY IMPORTANT!1!!\n\t\t\tlet fromCSS = Object.keys( fromProps.styles ).map( propertyName => {\n\t\t\t\treturn propertyName + ': ' + fromProps.styles[propertyName] + ' !important;';\n\t\t\t} ).join( '' );\n\n\t\t\tlet toCSS = Object.keys( toProps.styles ).map( propertyName => {\n\t\t\t\treturn propertyName + ': ' + toProps.styles[propertyName] + ' !important;';\n\t\t\t} ).join( '' );\n\n\t\t\tcss = \t'[data-auto-animate-target=\"'+ id +'\"] {'+ fromCSS +'}' +\n\t\t\t\t\t'[data-auto-animate=\"running\"] [data-auto-animate-target=\"'+ id +'\"] {'+ toCSS +'}';\n\n\t\t}\n\n\t\treturn css;\n\n\t}\n\n\t/**\n\t * Returns the auto-animate options for the given element.\n\t *\n\t * @param {HTMLElement} element Element to pick up options\n\t * from, either a slide or an animation target\n\t * @param {Object} [inheritedOptions] Optional set of existing\n\t * options\n\t */\n\tgetAutoAnimateOptions( element, inheritedOptions ) {\n\n\t\tlet options = {\n\t\t\teasing: this.Reveal.getConfig().autoAnimateEasing,\n\t\t\tduration: this.Reveal.getConfig().autoAnimateDuration,\n\t\t\tdelay: 0\n\t\t};\n\n\t\toptions = extend( options, inheritedOptions );\n\n\t\t// Inherit options from parent elements\n\t\tif( element.parentNode ) {\n\t\t\tlet autoAnimatedParent = closest( element.parentNode, '[data-auto-animate-target]' );\n\t\t\tif( autoAnimatedParent ) {\n\t\t\t\toptions = this.getAutoAnimateOptions( autoAnimatedParent, options );\n\t\t\t}\n\t\t}\n\n\t\tif( element.dataset.autoAnimateEasing ) {\n\t\t\toptions.easing = element.dataset.autoAnimateEasing;\n\t\t}\n\n\t\tif( element.dataset.autoAnimateDuration ) {\n\t\t\toptions.duration = parseFloat( element.dataset.autoAnimateDuration );\n\t\t}\n\n\t\tif( element.dataset.autoAnimateDelay ) {\n\t\t\toptions.delay = parseFloat( element.dataset.autoAnimateDelay );\n\t\t}\n\n\t\treturn options;\n\n\t}\n\n\t/**\n\t * Returns an object containing all of the properties\n\t * that can be auto-animated for the given element and\n\t * their current computed values.\n\t *\n\t * @param {String} direction 'from' or 'to'\n\t */\n\tgetAutoAnimatableProperties( direction, element, elementOptions ) {\n\n\t\tlet config = this.Reveal.getConfig();\n\n\t\tlet properties = { styles: [] };\n\n\t\t// Position and size\n\t\tif( elementOptions.translate !== false || elementOptions.scale !== false ) {\n\t\t\tlet bounds;\n\n\t\t\t// Custom auto-animate may optionally return a custom tailored\n\t\t\t// measurement function\n\t\t\tif( typeof elementOptions.measure === 'function' ) {\n\t\t\t\tbounds = elementOptions.measure( element );\n\t\t\t}\n\t\t\telse {\n\t\t\t\tif( config.center ) {\n\t\t\t\t\t// More precise, but breaks when used in combination\n\t\t\t\t\t// with zoom for scaling the deck ¯\\_(ツ)_/¯\n\t\t\t\t\tbounds = element.getBoundingClientRect();\n\t\t\t\t}\n\t\t\t\telse {\n\t\t\t\t\tlet scale = this.Reveal.getScale();\n\t\t\t\t\tbounds = {\n\t\t\t\t\t\tx: element.offsetLeft * scale,\n\t\t\t\t\t\ty: element.offsetTop * scale,\n\t\t\t\t\t\twidth: element.offsetWidth * scale,\n\t\t\t\t\t\theight: element.offsetHeight * scale\n\t\t\t\t\t};\n\t\t\t\t}\n\t\t\t}\n\n\t\t\tproperties.x = bounds.x;\n\t\t\tproperties.y = bounds.y;\n\t\t\tproperties.width = bounds.width;\n\t\t\tproperties.height = bounds.height;\n\t\t}\n\n\t\tconst computedStyles = getComputedStyle( element );\n\n\t\t// CSS styles\n\t\t( elementOptions.styles || config.autoAnimateStyles ).forEach( style => {\n\t\t\tlet value;\n\n\t\t\t// `style` is either the property name directly, or an object\n\t\t\t// definition of a style property\n\t\t\tif( typeof style === 'string' ) style = { property: style };\n\n\t\t\tif( typeof style.from !== 'undefined' && direction === 'from' ) {\n\t\t\t\tvalue = { value: style.from, explicitValue: true };\n\t\t\t}\n\t\t\telse if( typeof style.to !== 'undefined' && direction === 'to' ) {\n\t\t\t\tvalue = { value: style.to, explicitValue: true };\n\t\t\t}\n\t\t\telse {\n\t\t\t\tvalue = computedStyles[style.property];\n\t\t\t}\n\n\t\t\tif( value !== '' ) {\n\t\t\t\tproperties.styles[style.property] = value;\n\t\t\t}\n\t\t} );\n\n\t\treturn properties;\n\n\t}\n\n\t/**\n\t * Get a list of all element pairs that we can animate\n\t * between the given slides.\n\t *\n\t * @param {HTMLElement} fromSlide\n\t * @param {HTMLElement} toSlide\n\t *\n\t * @return {Array} Each value is an array where [0] is\n\t * the element we're animating from and [1] is the\n\t * element we're animating to\n\t */\n\tgetAutoAnimatableElements( fromSlide, toSlide ) {\n\n\t\tlet matcher = typeof this.Reveal.getConfig().autoAnimateMatcher === 'function' ? this.Reveal.getConfig().autoAnimateMatcher : this.getAutoAnimatePairs;\n\n\t\tlet pairs = matcher.call( this, fromSlide, toSlide );\n\n\t\tlet reserved = [];\n\n\t\t// Remove duplicate pairs\n\t\treturn pairs.filter( ( pair, index ) => {\n\t\t\tif( reserved.indexOf( pair.to ) === -1 ) {\n\t\t\t\treserved.push( pair.to );\n\t\t\t\treturn true;\n\t\t\t}\n\t\t} );\n\n\t}\n\n\t/**\n\t * Identifies matching elements between slides.\n\t *\n\t * You can specify a custom matcher function by using\n\t * the `autoAnimateMatcher` config option.\n\t */\n\tgetAutoAnimatePairs( fromSlide, toSlide ) {\n\n\t\tlet pairs = [];\n\n\t\tconst codeNodes = 'pre';\n\t\tconst textNodes = 'h1, h2, h3, h4, h5, h6, p, li';\n\t\tconst mediaNodes = 'img, video, iframe';\n\n\t\t// Eplicit matches via data-id\n\t\tthis.findAutoAnimateMatches( pairs, fromSlide, toSlide, '[data-id]', node => {\n\t\t\treturn node.nodeName + ':::' + node.getAttribute( 'data-id' );\n\t\t} );\n\n\t\t// Text\n\t\tthis.findAutoAnimateMatches( pairs, fromSlide, toSlide, textNodes, node => {\n\t\t\treturn node.nodeName + ':::' + node.innerText;\n\t\t} );\n\n\t\t// Media\n\t\tthis.findAutoAnimateMatches( pairs, fromSlide, toSlide, mediaNodes, node => {\n\t\t\treturn node.nodeName + ':::' + ( node.getAttribute( 'src' ) || node.getAttribute( 'data-src' ) );\n\t\t} );\n\n\t\t// Code\n\t\tthis.findAutoAnimateMatches( pairs, fromSlide, toSlide, codeNodes, node => {\n\t\t\treturn node.nodeName + ':::' + node.innerText;\n\t\t} );\n\n\t\tpairs.forEach( pair => {\n\n\t\t\t// Disable scale transformations on text nodes, we transition\n\t\t\t// each individual text property instead\n\t\t\tif( matches( pair.from, textNodes ) ) {\n\t\t\t\tpair.options = { scale: false };\n\t\t\t}\n\t\t\t// Animate individual lines of code\n\t\t\telse if( matches( pair.from, codeNodes ) ) {\n\n\t\t\t\t// Transition the code block's width and height instead of scaling\n\t\t\t\t// to prevent its content from being squished\n\t\t\t\tpair.options = { scale: false, styles: [ 'width', 'height' ] };\n\n\t\t\t\t// Lines of code\n\t\t\t\tthis.findAutoAnimateMatches( pairs, pair.from, pair.to, '.hljs .hljs-ln-code', node => {\n\t\t\t\t\treturn node.textContent;\n\t\t\t\t}, {\n\t\t\t\t\tscale: false,\n\t\t\t\t\tstyles: [],\n\t\t\t\t\tmeasure: this.getLocalBoundingBox.bind( this )\n\t\t\t\t} );\n\n\t\t\t\t// Line numbers\n\t\t\t\tthis.findAutoAnimateMatches( pairs, pair.from, pair.to, '.hljs .hljs-ln-line[data-line-number]', node => {\n\t\t\t\t\treturn node.getAttribute( 'data-line-number' );\n\t\t\t\t}, {\n\t\t\t\t\tscale: false,\n\t\t\t\t\tstyles: [ 'width' ],\n\t\t\t\t\tmeasure: this.getLocalBoundingBox.bind( this )\n\t\t\t\t} );\n\n\t\t\t}\n\n\t\t}, this );\n\n\t\treturn pairs;\n\n\t}\n\n\t/**\n\t * Helper method which returns a bounding box based on\n\t * the given elements offset coordinates.\n\t *\n\t * @param {HTMLElement} element\n\t * @return {Object} x, y, width, height\n\t */\n\tgetLocalBoundingBox( element ) {\n\n\t\tconst presentationScale = this.Reveal.getScale();\n\n\t\treturn {\n\t\t\tx: Math.round( ( element.offsetLeft * presentationScale ) * 100 ) / 100,\n\t\t\ty: Math.round( ( element.offsetTop * presentationScale ) * 100 ) / 100,\n\t\t\twidth: Math.round( ( element.offsetWidth * presentationScale ) * 100 ) / 100,\n\t\t\theight: Math.round( ( element.offsetHeight * presentationScale ) * 100 ) / 100\n\t\t};\n\n\t}\n\n\t/**\n\t * Finds matching elements between two slides.\n\t *\n\t * @param {Array} pairs \tList of pairs to push matches to\n\t * @param {HTMLElement} fromScope Scope within the from element exists\n\t * @param {HTMLElement} toScope Scope within the to element exists\n\t * @param {String} selector CSS selector of the element to match\n\t * @param {Function} serializer A function that accepts an element and returns\n\t * a stringified ID based on its contents\n\t * @param {Object} animationOptions Optional config options for this pair\n\t */\n\tfindAutoAnimateMatches( pairs, fromScope, toScope, selector, serializer, animationOptions ) {\n\n\t\tlet fromMatches = {};\n\t\tlet toMatches = {};\n\n\t\t[].slice.call( fromScope.querySelectorAll( selector ) ).forEach( ( element, i ) => {\n\t\t\tconst key = serializer( element );\n\t\t\tif( typeof key === 'string' && key.length ) {\n\t\t\t\tfromMatches[key] = fromMatches[key] || [];\n\t\t\t\tfromMatches[key].push( element );\n\t\t\t}\n\t\t} );\n\n\t\t[].slice.call( toScope.querySelectorAll( selector ) ).forEach( ( element, i ) => {\n\t\t\tconst key = serializer( element );\n\t\t\ttoMatches[key] = toMatches[key] || [];\n\t\t\ttoMatches[key].push( element );\n\n\t\t\tlet fromElement;\n\n\t\t\t// Retrieve the 'from' element\n\t\t\tif( fromMatches[key] ) {\n\t\t\t\tconst pimaryIndex = toMatches[key].length - 1;\n\t\t\t\tconst secondaryIndex = fromMatches[key].length - 1;\n\n\t\t\t\t// If there are multiple identical from elements, retrieve\n\t\t\t\t// the one at the same index as our to-element.\n\t\t\t\tif( fromMatches[key][ pimaryIndex ] ) {\n\t\t\t\t\tfromElement = fromMatches[key][ pimaryIndex ];\n\t\t\t\t\tfromMatches[key][ pimaryIndex ] = null;\n\t\t\t\t}\n\t\t\t\t// If there are no matching from-elements at the same index,\n\t\t\t\t// use the last one.\n\t\t\t\telse if( fromMatches[key][ secondaryIndex ] ) {\n\t\t\t\t\tfromElement = fromMatches[key][ secondaryIndex ];\n\t\t\t\t\tfromMatches[key][ secondaryIndex ] = null;\n\t\t\t\t}\n\t\t\t}\n\n\t\t\t// If we've got a matching pair, push it to the list of pairs\n\t\t\tif( fromElement ) {\n\t\t\t\tpairs.push({\n\t\t\t\t\tfrom: fromElement,\n\t\t\t\t\tto: element,\n\t\t\t\t\toptions: animationOptions\n\t\t\t\t});\n\t\t\t}\n\t\t} );\n\n\t}\n\n\t/**\n\t * Returns a all elements within the given scope that should\n\t * be considered unmatched in an auto-animate transition. If\n\t * fading of unmatched elements is turned on, these elements\n\t * will fade when going between auto-animate slides.\n\t *\n\t * Note that parents of auto-animate targets are NOT considerd\n\t * unmatched since fading them would break the auto-animation.\n\t *\n\t * @param {HTMLElement} rootElement\n\t * @return {Array}\n\t */\n\tgetUnmatchedAutoAnimateElements( rootElement ) {\n\n\t\treturn [].slice.call( rootElement.children ).reduce( ( result, element ) => {\n\n\t\t\tconst containsAnimatedElements = element.querySelector( '[data-auto-animate-target]' );\n\n\t\t\t// The element is unmatched if\n\t\t\t// - It is not an auto-animate target\n\t\t\t// - It does not contain any auto-animate targets\n\t\t\tif( !element.hasAttribute( 'data-auto-animate-target' ) && !containsAnimatedElements ) {\n\t\t\t\tresult.push( element );\n\t\t\t}\n\n\t\t\tif( element.querySelector( '[data-auto-animate-target]' ) ) {\n\t\t\t\tresult = result.concat( this.getUnmatchedAutoAnimateElements( element ) );\n\t\t\t}\n\n\t\t\treturn result;\n\n\t\t}, [] );\n\n\t}\n\n}\n","import { extend, queryAll } from '../utils/util.js'\n\n/**\n * Handles sorting and navigation of slide fragments.\n * Fragments are elements within a slide that are\n * revealed/animated incrementally.\n */\nexport default class Fragments {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t}\n\n\t/**\n\t * Called when the reveal.js config is updated.\n\t */\n\tconfigure( config, oldConfig ) {\n\n\t\tif( config.fragments === false ) {\n\t\t\tthis.disable();\n\t\t}\n\t\telse if( oldConfig.fragments === false ) {\n\t\t\tthis.enable();\n\t\t}\n\n\t}\n\n\t/**\n\t * If fragments are disabled in the deck, they should all be\n\t * visible rather than stepped through.\n\t */\n\tdisable() {\n\n\t\tqueryAll( this.Reveal.getSlidesElement(), '.fragment' ).forEach( element => {\n\t\t\telement.classList.add( 'visible' );\n\t\t\telement.classList.remove( 'current-fragment' );\n\t\t} );\n\n\t}\n\n\t/**\n\t * Reverse of #disable(). Only called if fragments have\n\t * previously been disabled.\n\t */\n\tenable() {\n\n\t\tqueryAll( this.Reveal.getSlidesElement(), '.fragment' ).forEach( element => {\n\t\t\telement.classList.remove( 'visible' );\n\t\t\telement.classList.remove( 'current-fragment' );\n\t\t} );\n\n\t}\n\n\t/**\n\t * Returns an object describing the available fragment\n\t * directions.\n\t *\n\t * @return {{prev: boolean, next: boolean}}\n\t */\n\tavailableRoutes() {\n\n\t\tlet currentSlide = this.Reveal.getCurrentSlide();\n\t\tif( currentSlide && this.Reveal.getConfig().fragments ) {\n\t\t\tlet fragments = currentSlide.querySelectorAll( '.fragment:not(.disabled)' );\n\t\t\tlet hiddenFragments = currentSlide.querySelectorAll( '.fragment:not(.disabled):not(.visible)' );\n\n\t\t\treturn {\n\t\t\t\tprev: fragments.length - hiddenFragments.length > 0,\n\t\t\t\tnext: !!hiddenFragments.length\n\t\t\t};\n\t\t}\n\t\telse {\n\t\t\treturn { prev: false, next: false };\n\t\t}\n\n\t}\n\n\t/**\n\t * Return a sorted fragments list, ordered by an increasing\n\t * \"data-fragment-index\" attribute.\n\t *\n\t * Fragments will be revealed in the order that they are returned by\n\t * this function, so you can use the index attributes to control the\n\t * order of fragment appearance.\n\t *\n\t * To maintain a sensible default fragment order, fragments are presumed\n\t * to be passed in document order. This function adds a \"fragment-index\"\n\t * attribute to each node if such an attribute is not already present,\n\t * and sets that attribute to an integer value which is the position of\n\t * the fragment within the fragments list.\n\t *\n\t * @param {object[]|*} fragments\n\t * @param {boolean} grouped If true the returned array will contain\n\t * nested arrays for all fragments with the same index\n\t * @return {object[]} sorted Sorted array of fragments\n\t */\n\tsort( fragments, grouped = false ) {\n\n\t\tfragments = Array.from( fragments );\n\n\t\tlet ordered = [],\n\t\t\tunordered = [],\n\t\t\tsorted = [];\n\n\t\t// Group ordered and unordered elements\n\t\tfragments.forEach( fragment => {\n\t\t\tif( fragment.hasAttribute( 'data-fragment-index' ) ) {\n\t\t\t\tlet index = parseInt( fragment.getAttribute( 'data-fragment-index' ), 10 );\n\n\t\t\t\tif( !ordered[index] ) {\n\t\t\t\t\tordered[index] = [];\n\t\t\t\t}\n\n\t\t\t\tordered[index].push( fragment );\n\t\t\t}\n\t\t\telse {\n\t\t\t\tunordered.push( [ fragment ] );\n\t\t\t}\n\t\t} );\n\n\t\t// Append fragments without explicit indices in their\n\t\t// DOM order\n\t\tordered = ordered.concat( unordered );\n\n\t\t// Manually count the index up per group to ensure there\n\t\t// are no gaps\n\t\tlet index = 0;\n\n\t\t// Push all fragments in their sorted order to an array,\n\t\t// this flattens the groups\n\t\tordered.forEach( group => {\n\t\t\tgroup.forEach( fragment => {\n\t\t\t\tsorted.push( fragment );\n\t\t\t\tfragment.setAttribute( 'data-fragment-index', index );\n\t\t\t} );\n\n\t\t\tindex ++;\n\t\t} );\n\n\t\treturn grouped === true ? ordered : sorted;\n\n\t}\n\n\t/**\n\t * Sorts and formats all of fragments in the\n\t * presentation.\n\t */\n\tsortAll() {\n\n\t\tthis.Reveal.getHorizontalSlides().forEach( horizontalSlide => {\n\n\t\t\tlet verticalSlides = queryAll( horizontalSlide, 'section' );\n\t\t\tverticalSlides.forEach( ( verticalSlide, y ) => {\n\n\t\t\t\tthis.sort( verticalSlide.querySelectorAll( '.fragment' ) );\n\n\t\t\t}, this );\n\n\t\t\tif( verticalSlides.length === 0 ) this.sort( horizontalSlide.querySelectorAll( '.fragment' ) );\n\n\t\t} );\n\n\t}\n\n\t/**\n\t * Refreshes the fragments on the current slide so that they\n\t * have the appropriate classes (.visible + .current-fragment).\n\t *\n\t * @param {number} [index] The index of the current fragment\n\t * @param {array} [fragments] Array containing all fragments\n\t * in the current slide\n\t *\n\t * @return {{shown: array, hidden: array}}\n\t */\n\tupdate( index, fragments ) {\n\n\t\tlet changedFragments = {\n\t\t\tshown: [],\n\t\t\thidden: []\n\t\t};\n\n\t\tlet currentSlide = this.Reveal.getCurrentSlide();\n\t\tif( currentSlide && this.Reveal.getConfig().fragments ) {\n\n\t\t\tfragments = fragments || this.sort( currentSlide.querySelectorAll( '.fragment' ) );\n\n\t\t\tif( fragments.length ) {\n\n\t\t\t\tlet maxIndex = 0;\n\n\t\t\t\tif( typeof index !== 'number' ) {\n\t\t\t\t\tlet currentFragment = this.sort( currentSlide.querySelectorAll( '.fragment.visible' ) ).pop();\n\t\t\t\t\tif( currentFragment ) {\n\t\t\t\t\t\tindex = parseInt( currentFragment.getAttribute( 'data-fragment-index' ) || 0, 10 );\n\t\t\t\t\t}\n\t\t\t\t}\n\n\t\t\t\tArray.from( fragments ).forEach( ( el, i ) => {\n\n\t\t\t\t\tif( el.hasAttribute( 'data-fragment-index' ) ) {\n\t\t\t\t\t\ti = parseInt( el.getAttribute( 'data-fragment-index' ), 10 );\n\t\t\t\t\t}\n\n\t\t\t\t\tmaxIndex = Math.max( maxIndex, i );\n\n\t\t\t\t\t// Visible fragments\n\t\t\t\t\tif( i <= index ) {\n\t\t\t\t\t\tlet wasVisible = el.classList.contains( 'visible' )\n\t\t\t\t\t\tel.classList.add( 'visible' );\n\t\t\t\t\t\tel.classList.remove( 'current-fragment' );\n\n\t\t\t\t\t\tif( i === index ) {\n\t\t\t\t\t\t\t// Announce the fragments one by one to the Screen Reader\n\t\t\t\t\t\t\tthis.Reveal.announceStatus( this.Reveal.getStatusText( el ) );\n\n\t\t\t\t\t\t\tel.classList.add( 'current-fragment' );\n\t\t\t\t\t\t\tthis.Reveal.slideContent.startEmbeddedContent( el );\n\t\t\t\t\t\t}\n\n\t\t\t\t\t\tif( !wasVisible ) {\n\t\t\t\t\t\t\tchangedFragments.shown.push( el )\n\t\t\t\t\t\t\tthis.Reveal.dispatchEvent({\n\t\t\t\t\t\t\t\ttarget: el,\n\t\t\t\t\t\t\t\ttype: 'visible',\n\t\t\t\t\t\t\t\tbubbles: false\n\t\t\t\t\t\t\t});\n\t\t\t\t\t\t}\n\t\t\t\t\t}\n\t\t\t\t\t// Hidden fragments\n\t\t\t\t\telse {\n\t\t\t\t\t\tlet wasVisible = el.classList.contains( 'visible' )\n\t\t\t\t\t\tel.classList.remove( 'visible' );\n\t\t\t\t\t\tel.classList.remove( 'current-fragment' );\n\n\t\t\t\t\t\tif( wasVisible ) {\n\t\t\t\t\t\t\tthis.Reveal.slideContent.stopEmbeddedContent( el );\n\t\t\t\t\t\t\tchangedFragments.hidden.push( el );\n\t\t\t\t\t\t\tthis.Reveal.dispatchEvent({\n\t\t\t\t\t\t\t\ttarget: el,\n\t\t\t\t\t\t\t\ttype: 'hidden',\n\t\t\t\t\t\t\t\tbubbles: false\n\t\t\t\t\t\t\t});\n\t\t\t\t\t\t}\n\t\t\t\t\t}\n\n\t\t\t\t} );\n\n\t\t\t\t// Write the current fragment index to the slide
    .\n\t\t\t\t// This can be used by end users to apply styles based on\n\t\t\t\t// the current fragment index.\n\t\t\t\tindex = typeof index === 'number' ? index : -1;\n\t\t\t\tindex = Math.max( Math.min( index, maxIndex ), -1 );\n\t\t\t\tcurrentSlide.setAttribute( 'data-fragment', index );\n\n\t\t\t}\n\n\t\t}\n\n\t\treturn changedFragments;\n\n\t}\n\n\t/**\n\t * Formats the fragments on the given slide so that they have\n\t * valid indices. Call this if fragments are changed in the DOM\n\t * after reveal.js has already initialized.\n\t *\n\t * @param {HTMLElement} slide\n\t * @return {Array} a list of the HTML fragments that were synced\n\t */\n\tsync( slide = this.Reveal.getCurrentSlide() ) {\n\n\t\treturn this.sort( slide.querySelectorAll( '.fragment' ) );\n\n\t}\n\n\t/**\n\t * Navigate to the specified slide fragment.\n\t *\n\t * @param {?number} index The index of the fragment that\n\t * should be shown, -1 means all are invisible\n\t * @param {number} offset Integer offset to apply to the\n\t * fragment index\n\t *\n\t * @return {boolean} true if a change was made in any\n\t * fragments visibility as part of this call\n\t */\n\tgoto( index, offset = 0 ) {\n\n\t\tlet currentSlide = this.Reveal.getCurrentSlide();\n\t\tif( currentSlide && this.Reveal.getConfig().fragments ) {\n\n\t\t\tlet fragments = this.sort( currentSlide.querySelectorAll( '.fragment:not(.disabled)' ) );\n\t\t\tif( fragments.length ) {\n\n\t\t\t\t// If no index is specified, find the current\n\t\t\t\tif( typeof index !== 'number' ) {\n\t\t\t\t\tlet lastVisibleFragment = this.sort( currentSlide.querySelectorAll( '.fragment:not(.disabled).visible' ) ).pop();\n\n\t\t\t\t\tif( lastVisibleFragment ) {\n\t\t\t\t\t\tindex = parseInt( lastVisibleFragment.getAttribute( 'data-fragment-index' ) || 0, 10 );\n\t\t\t\t\t}\n\t\t\t\t\telse {\n\t\t\t\t\t\tindex = -1;\n\t\t\t\t\t}\n\t\t\t\t}\n\n\t\t\t\t// Apply the offset if there is one\n\t\t\t\tindex += offset;\n\n\t\t\t\tlet changedFragments = this.update( index, fragments );\n\n\t\t\t\tif( changedFragments.hidden.length ) {\n\t\t\t\t\tthis.Reveal.dispatchEvent({\n\t\t\t\t\t\ttype: 'fragmenthidden',\n\t\t\t\t\t\tdata: {\n\t\t\t\t\t\t\tfragment: changedFragments.hidden[0],\n\t\t\t\t\t\t\tfragments: changedFragments.hidden\n\t\t\t\t\t\t}\n\t\t\t\t\t});\n\t\t\t\t}\n\n\t\t\t\tif( changedFragments.shown.length ) {\n\t\t\t\t\tthis.Reveal.dispatchEvent({\n\t\t\t\t\t\ttype: 'fragmentshown',\n\t\t\t\t\t\tdata: {\n\t\t\t\t\t\t\tfragment: changedFragments.shown[0],\n\t\t\t\t\t\t\tfragments: changedFragments.shown\n\t\t\t\t\t\t}\n\t\t\t\t\t});\n\t\t\t\t}\n\n\t\t\t\tthis.Reveal.controls.update();\n\t\t\t\tthis.Reveal.progress.update();\n\n\t\t\t\tif( this.Reveal.getConfig().fragmentInURL ) {\n\t\t\t\t\tthis.Reveal.location.writeURL();\n\t\t\t\t}\n\n\t\t\t\treturn !!( changedFragments.shown.length || changedFragments.hidden.length );\n\n\t\t\t}\n\n\t\t}\n\n\t\treturn false;\n\n\t}\n\n\t/**\n\t * Navigate to the next slide fragment.\n\t *\n\t * @return {boolean} true if there was a next fragment,\n\t * false otherwise\n\t */\n\tnext() {\n\n\t\treturn this.goto( null, 1 );\n\n\t}\n\n\t/**\n\t * Navigate to the previous slide fragment.\n\t *\n\t * @return {boolean} true if there was a previous fragment,\n\t * false otherwise\n\t */\n\tprev() {\n\n\t\treturn this.goto( null, -1 );\n\n\t}\n\n}","import { SLIDES_SELECTOR } from '../utils/constants.js'\nimport { extend, queryAll, transformElement } from '../utils/util.js'\n\n/**\n * Handles all logic related to the overview mode\n * (birds-eye view of all slides).\n */\nexport default class Overview {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t\tthis.active = false;\n\n\t\tthis.onSlideClicked = this.onSlideClicked.bind( this );\n\n\t}\n\n\t/**\n\t * Displays the overview of slides (quick nav) by scaling\n\t * down and arranging all slide elements.\n\t */\n\tactivate() {\n\n\t\t// Only proceed if enabled in config\n\t\tif( this.Reveal.getConfig().overview && !this.isActive() ) {\n\n\t\t\tthis.active = true;\n\n\t\t\tthis.Reveal.getRevealElement().classList.add( 'overview' );\n\n\t\t\t// Don't auto-slide while in overview mode\n\t\t\tthis.Reveal.cancelAutoSlide();\n\n\t\t\t// Move the backgrounds element into the slide container to\n\t\t\t// that the same scaling is applied\n\t\t\tthis.Reveal.getSlidesElement().appendChild( this.Reveal.getBackgroundsElement() );\n\n\t\t\t// Clicking on an overview slide navigates to it\n\t\t\tqueryAll( this.Reveal.getRevealElement(), SLIDES_SELECTOR ).forEach( slide => {\n\t\t\t\tif( !slide.classList.contains( 'stack' ) ) {\n\t\t\t\t\tslide.addEventListener( 'click', this.onSlideClicked, true );\n\t\t\t\t}\n\t\t\t} );\n\n\t\t\t// Calculate slide sizes\n\t\t\tconst margin = 70;\n\t\t\tconst slideSize = this.Reveal.getComputedSlideSize();\n\t\t\tthis.overviewSlideWidth = slideSize.width + margin;\n\t\t\tthis.overviewSlideHeight = slideSize.height + margin;\n\n\t\t\t// Reverse in RTL mode\n\t\t\tif( this.Reveal.getConfig().rtl ) {\n\t\t\t\tthis.overviewSlideWidth = -this.overviewSlideWidth;\n\t\t\t}\n\n\t\t\tthis.Reveal.updateSlidesVisibility();\n\n\t\t\tthis.layout();\n\t\t\tthis.update();\n\n\t\t\tthis.Reveal.layout();\n\n\t\t\tconst indices = this.Reveal.getIndices();\n\n\t\t\t// Notify observers of the overview showing\n\t\t\tthis.Reveal.dispatchEvent({\n\t\t\t\ttype: 'overviewshown',\n\t\t\t\tdata: {\n\t\t\t\t\t'indexh': indices.h,\n\t\t\t\t\t'indexv': indices.v,\n\t\t\t\t\t'currentSlide': this.Reveal.getCurrentSlide()\n\t\t\t\t}\n\t\t\t});\n\n\t\t}\n\n\t}\n\n\t/**\n\t * Uses CSS transforms to position all slides in a grid for\n\t * display inside of the overview mode.\n\t */\n\tlayout() {\n\n\t\t// Layout slides\n\t\tthis.Reveal.getHorizontalSlides().forEach( ( hslide, h ) => {\n\t\t\thslide.setAttribute( 'data-index-h', h );\n\t\t\ttransformElement( hslide, 'translate3d(' + ( h * this.overviewSlideWidth ) + 'px, 0, 0)' );\n\n\t\t\tif( hslide.classList.contains( 'stack' ) ) {\n\n\t\t\t\tqueryAll( hslide, 'section' ).forEach( ( vslide, v ) => {\n\t\t\t\t\tvslide.setAttribute( 'data-index-h', h );\n\t\t\t\t\tvslide.setAttribute( 'data-index-v', v );\n\n\t\t\t\t\ttransformElement( vslide, 'translate3d(0, ' + ( v * this.overviewSlideHeight ) + 'px, 0)' );\n\t\t\t\t} );\n\n\t\t\t}\n\t\t} );\n\n\t\t// Layout slide backgrounds\n\t\tArray.from( this.Reveal.getBackgroundsElement().childNodes ).forEach( ( hbackground, h ) => {\n\t\t\ttransformElement( hbackground, 'translate3d(' + ( h * this.overviewSlideWidth ) + 'px, 0, 0)' );\n\n\t\t\tqueryAll( hbackground, '.slide-background' ).forEach( ( vbackground, v ) => {\n\t\t\t\ttransformElement( vbackground, 'translate3d(0, ' + ( v * this.overviewSlideHeight ) + 'px, 0)' );\n\t\t\t} );\n\t\t} );\n\n\t}\n\n\t/**\n\t * Moves the overview viewport to the current slides.\n\t * Called each time the current slide changes.\n\t */\n\tupdate() {\n\n\t\tconst vmin = Math.min( window.innerWidth, window.innerHeight );\n\t\tconst scale = Math.max( vmin / 5, 150 ) / vmin;\n\t\tconst indices = this.Reveal.getIndices();\n\n\t\tthis.Reveal.transformSlides( {\n\t\t\toverview: [\n\t\t\t\t'scale('+ scale +')',\n\t\t\t\t'translateX('+ ( -indices.h * this.overviewSlideWidth ) +'px)',\n\t\t\t\t'translateY('+ ( -indices.v * this.overviewSlideHeight ) +'px)'\n\t\t\t].join( ' ' )\n\t\t} );\n\n\t}\n\n\t/**\n\t * Exits the slide overview and enters the currently\n\t * active slide.\n\t */\n\tdeactivate() {\n\n\t\t// Only proceed if enabled in config\n\t\tif( this.Reveal.getConfig().overview ) {\n\n\t\t\tthis.active = false;\n\n\t\t\tthis.Reveal.getRevealElement().classList.remove( 'overview' );\n\n\t\t\t// Temporarily add a class so that transitions can do different things\n\t\t\t// depending on whether they are exiting/entering overview, or just\n\t\t\t// moving from slide to slide\n\t\t\tthis.Reveal.getRevealElement().classList.add( 'overview-deactivating' );\n\n\t\t\tsetTimeout( () => {\n\t\t\t\tthis.Reveal.getRevealElement().classList.remove( 'overview-deactivating' );\n\t\t\t}, 1 );\n\n\t\t\t// Move the background element back out\n\t\t\tthis.Reveal.getRevealElement().appendChild( this.Reveal.getBackgroundsElement() );\n\n\t\t\t// Clean up changes made to slides\n\t\t\tqueryAll( this.Reveal.getRevealElement(), SLIDES_SELECTOR ).forEach( slide => {\n\t\t\t\ttransformElement( slide, '' );\n\n\t\t\t\tslide.removeEventListener( 'click', this.onSlideClicked, true );\n\t\t\t} );\n\n\t\t\t// Clean up changes made to backgrounds\n\t\t\tqueryAll( this.Reveal.getBackgroundsElement(), '.slide-background' ).forEach( background => {\n\t\t\t\ttransformElement( background, '' );\n\t\t\t} );\n\n\t\t\tthis.Reveal.transformSlides( { overview: '' } );\n\n\t\t\tconst indices = this.Reveal.getIndices();\n\n\t\t\tthis.Reveal.slide( indices.h, indices.v );\n\t\t\tthis.Reveal.layout();\n\t\t\tthis.Reveal.cueAutoSlide();\n\n\t\t\t// Notify observers of the overview hiding\n\t\t\tthis.Reveal.dispatchEvent({\n\t\t\t\ttype: 'overviewhidden',\n\t\t\t\tdata: {\n\t\t\t\t\t'indexh': indices.h,\n\t\t\t\t\t'indexv': indices.v,\n\t\t\t\t\t'currentSlide': this.Reveal.getCurrentSlide()\n\t\t\t\t}\n\t\t\t});\n\n\t\t}\n\t}\n\n\t/**\n\t * Toggles the slide overview mode on and off.\n\t *\n\t * @param {Boolean} [override] Flag which overrides the\n\t * toggle logic and forcibly sets the desired state. True means\n\t * overview is open, false means it's closed.\n\t */\n\ttoggle( override ) {\n\n\t\tif( typeof override === 'boolean' ) {\n\t\t\toverride ? this.activate() : this.deactivate();\n\t\t}\n\t\telse {\n\t\t\tthis.isActive() ? this.deactivate() : this.activate();\n\t\t}\n\n\t}\n\n\t/**\n\t * Checks if the overview is currently active.\n\t *\n\t * @return {Boolean} true if the overview is active,\n\t * false otherwise\n\t */\n\tisActive() {\n\n\t\treturn this.active;\n\n\t}\n\n\t/**\n\t * Invoked when a slide is and we're in the overview.\n\t *\n\t * @param {object} event\n\t */\n\tonSlideClicked( event ) {\n\n\t\tif( this.isActive() ) {\n\t\t\tevent.preventDefault();\n\n\t\t\tlet element = event.target;\n\n\t\t\twhile( element && !element.nodeName.match( /section/gi ) ) {\n\t\t\t\telement = element.parentNode;\n\t\t\t}\n\n\t\t\tif( element && !element.classList.contains( 'disabled' ) ) {\n\n\t\t\t\tthis.deactivate();\n\n\t\t\t\tif( element.nodeName.match( /section/gi ) ) {\n\t\t\t\t\tlet h = parseInt( element.getAttribute( 'data-index-h' ), 10 ),\n\t\t\t\t\t\tv = parseInt( element.getAttribute( 'data-index-v' ), 10 );\n\n\t\t\t\t\tthis.Reveal.slide( h, v );\n\t\t\t\t}\n\n\t\t\t}\n\t\t}\n\n\t}\n\n}","import { enterFullscreen } from '../utils/util.js'\n\n/**\n * Handles all reveal.js keyboard interactions.\n */\nexport default class Keyboard {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t\t// A key:value map of keyboard keys and descriptions of\n\t\t// the actions they trigger\n\t\tthis.shortcuts = {};\n\n\t\t// Holds custom key code mappings\n\t\tthis.bindings = {};\n\n\t\tthis.onDocumentKeyDown = this.onDocumentKeyDown.bind( this );\n\t\tthis.onDocumentKeyPress = this.onDocumentKeyPress.bind( this );\n\n\t}\n\n\t/**\n\t * Called when the reveal.js config is updated.\n\t */\n\tconfigure( config, oldConfig ) {\n\n\t\tif( config.navigationMode === 'linear' ) {\n\t\t\tthis.shortcuts['→ , ↓ , SPACE , N , L , J'] = 'Next slide';\n\t\t\tthis.shortcuts['← , ↑ , P , H , K'] = 'Previous slide';\n\t\t}\n\t\telse {\n\t\t\tthis.shortcuts['N , SPACE'] = 'Next slide';\n\t\t\tthis.shortcuts['P'] = 'Previous slide';\n\t\t\tthis.shortcuts['← , H'] = 'Navigate left';\n\t\t\tthis.shortcuts['→ , L'] = 'Navigate right';\n\t\t\tthis.shortcuts['↑ , K'] = 'Navigate up';\n\t\t\tthis.shortcuts['↓ , J'] = 'Navigate down';\n\t\t}\n\n\t\tthis.shortcuts['Home , Shift ←'] = 'First slide';\n\t\tthis.shortcuts['End , Shift →'] = 'Last slide';\n\t\tthis.shortcuts['B , .'] = 'Pause';\n\t\tthis.shortcuts['F'] = 'Fullscreen';\n\t\tthis.shortcuts['ESC, O'] = 'Slide overview';\n\n\t}\n\n\t/**\n\t * Starts listening for keyboard events.\n\t */\n\tbind() {\n\n\t\tdocument.addEventListener( 'keydown', this.onDocumentKeyDown, false );\n\t\tdocument.addEventListener( 'keypress', this.onDocumentKeyPress, false );\n\n\t}\n\n\t/**\n\t * Stops listening for keyboard events.\n\t */\n\tunbind() {\n\n\t\tdocument.removeEventListener( 'keydown', this.onDocumentKeyDown, false );\n\t\tdocument.removeEventListener( 'keypress', this.onDocumentKeyPress, false );\n\n\t}\n\n\t/**\n\t * Add a custom key binding with optional description to\n\t * be added to the help screen.\n\t */\n\taddKeyBinding( binding, callback ) {\n\n\t\tif( typeof binding === 'object' && binding.keyCode ) {\n\t\t\tthis.bindings[binding.keyCode] = {\n\t\t\t\tcallback: callback,\n\t\t\t\tkey: binding.key,\n\t\t\t\tdescription: binding.description\n\t\t\t};\n\t\t}\n\t\telse {\n\t\t\tthis.bindings[binding] = {\n\t\t\t\tcallback: callback,\n\t\t\t\tkey: null,\n\t\t\t\tdescription: null\n\t\t\t};\n\t\t}\n\n\t}\n\n\t/**\n\t * Removes the specified custom key binding.\n\t */\n\tremoveKeyBinding( keyCode ) {\n\n\t\tdelete this.bindings[keyCode];\n\n\t}\n\n\t/**\n\t * Programmatically triggers a keyboard event\n\t *\n\t * @param {int} keyCode\n\t */\n\ttriggerKey( keyCode ) {\n\n\t\tthis.onDocumentKeyDown( { keyCode } );\n\n\t}\n\n\t/**\n\t * Registers a new shortcut to include in the help overlay\n\t *\n\t * @param {String} key\n\t * @param {String} value\n\t */\n\tregisterKeyboardShortcut( key, value ) {\n\n\t\tthis.shortcuts[key] = value;\n\n\t}\n\n\tgetShortcuts() {\n\n\t\treturn this.shortcuts;\n\n\t}\n\n\tgetBindings() {\n\n\t\treturn this.bindings;\n\n\t}\n\n\t/**\n\t * Handler for the document level 'keypress' event.\n\t *\n\t * @param {object} event\n\t */\n\tonDocumentKeyPress( event ) {\n\n\t\t// Check if the pressed key is question mark\n\t\tif( event.shiftKey && event.charCode === 63 ) {\n\t\t\tthis.Reveal.toggleHelp();\n\t\t}\n\n\t}\n\n\t/**\n\t * Handler for the document level 'keydown' event.\n\t *\n\t * @param {object} event\n\t */\n\tonDocumentKeyDown( event ) {\n\n\t\tlet config = this.Reveal.getConfig();\n\n\t\t// If there's a condition specified and it returns false,\n\t\t// ignore this event\n\t\tif( typeof config.keyboardCondition === 'function' && config.keyboardCondition(event) === false ) {\n\t\t\treturn true;\n\t\t}\n\n\t\t// If keyboardCondition is set, only capture keyboard events\n\t\t// for embedded decks when they are focused\n\t\tif( config.keyboardCondition === 'focused' && !this.Reveal.isFocused() ) {\n\t\t\treturn true;\n\t\t}\n\n\t\t// Shorthand\n\t\tlet keyCode = event.keyCode;\n\n\t\t// Remember if auto-sliding was paused so we can toggle it\n\t\tlet autoSlideWasPaused = !this.Reveal.isAutoSliding();\n\n\t\tthis.Reveal.onUserInput( event );\n\n\t\t// Is there a focused element that could be using the keyboard?\n\t\tlet activeElementIsCE = document.activeElement && document.activeElement.isContentEditable === true;\n\t\tlet activeElementIsInput = document.activeElement && document.activeElement.tagName && /input|textarea/i.test( document.activeElement.tagName );\n\t\tlet activeElementIsNotes = document.activeElement && document.activeElement.className && /speaker-notes/i.test( document.activeElement.className);\n\n\t\t// Whitelist specific modified + keycode combinations\n\t\tlet prevSlideShortcut = event.shiftKey && event.keyCode === 32;\n\t\tlet firstSlideShortcut = event.shiftKey && keyCode === 37;\n\t\tlet lastSlideShortcut = event.shiftKey && keyCode === 39;\n\n\t\t// Prevent all other events when a modifier is pressed\n\t\tlet unusedModifier = \t!prevSlideShortcut && !firstSlideShortcut && !lastSlideShortcut &&\n\t\t\t\t\t\t\t\t( event.shiftKey || event.altKey || event.ctrlKey || event.metaKey );\n\n\t\t// Disregard the event if there's a focused element or a\n\t\t// keyboard modifier key is present\n\t\tif( activeElementIsCE || activeElementIsInput || activeElementIsNotes || unusedModifier ) return;\n\n\t\t// While paused only allow resume keyboard events; 'b', 'v', '.'\n\t\tlet resumeKeyCodes = [66,86,190,191];\n\t\tlet key;\n\n\t\t// Custom key bindings for togglePause should be able to resume\n\t\tif( typeof config.keyboard === 'object' ) {\n\t\t\tfor( key in config.keyboard ) {\n\t\t\t\tif( config.keyboard[key] === 'togglePause' ) {\n\t\t\t\t\tresumeKeyCodes.push( parseInt( key, 10 ) );\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\n\t\tif( this.Reveal.isPaused() && resumeKeyCodes.indexOf( keyCode ) === -1 ) {\n\t\t\treturn false;\n\t\t}\n\n\t\t// Use linear navigation if we're configured to OR if\n\t\t// the presentation is one-dimensional\n\t\tlet useLinearMode = config.navigationMode === 'linear' || !this.Reveal.hasHorizontalSlides() || !this.Reveal.hasVerticalSlides();\n\n\t\tlet triggered = false;\n\n\t\t// 1. User defined key bindings\n\t\tif( typeof config.keyboard === 'object' ) {\n\n\t\t\tfor( key in config.keyboard ) {\n\n\t\t\t\t// Check if this binding matches the pressed key\n\t\t\t\tif( parseInt( key, 10 ) === keyCode ) {\n\n\t\t\t\t\tlet value = config.keyboard[ key ];\n\n\t\t\t\t\t// Callback function\n\t\t\t\t\tif( typeof value === 'function' ) {\n\t\t\t\t\t\tvalue.apply( null, [ event ] );\n\t\t\t\t\t}\n\t\t\t\t\t// String shortcuts to reveal.js API\n\t\t\t\t\telse if( typeof value === 'string' && typeof this.Reveal[ value ] === 'function' ) {\n\t\t\t\t\t\tthis.Reveal[ value ].call();\n\t\t\t\t\t}\n\n\t\t\t\t\ttriggered = true;\n\n\t\t\t\t}\n\n\t\t\t}\n\n\t\t}\n\n\t\t// 2. Registered custom key bindings\n\t\tif( triggered === false ) {\n\n\t\t\tfor( key in this.bindings ) {\n\n\t\t\t\t// Check if this binding matches the pressed key\n\t\t\t\tif( parseInt( key, 10 ) === keyCode ) {\n\n\t\t\t\t\tlet action = this.bindings[ key ].callback;\n\n\t\t\t\t\t// Callback function\n\t\t\t\t\tif( typeof action === 'function' ) {\n\t\t\t\t\t\taction.apply( null, [ event ] );\n\t\t\t\t\t}\n\t\t\t\t\t// String shortcuts to reveal.js API\n\t\t\t\t\telse if( typeof action === 'string' && typeof this.Reveal[ action ] === 'function' ) {\n\t\t\t\t\t\tthis.Reveal[ action ].call();\n\t\t\t\t\t}\n\n\t\t\t\t\ttriggered = true;\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\n\t\t// 3. System defined key bindings\n\t\tif( triggered === false ) {\n\n\t\t\t// Assume true and try to prove false\n\t\t\ttriggered = true;\n\n\t\t\t// P, PAGE UP\n\t\t\tif( keyCode === 80 || keyCode === 33 ) {\n\t\t\t\tthis.Reveal.prev();\n\t\t\t}\n\t\t\t// N, PAGE DOWN\n\t\t\telse if( keyCode === 78 || keyCode === 34 ) {\n\t\t\t\tthis.Reveal.next();\n\t\t\t}\n\t\t\t// H, LEFT\n\t\t\telse if( keyCode === 72 || keyCode === 37 ) {\n\t\t\t\tif( firstSlideShortcut ) {\n\t\t\t\t\tthis.Reveal.slide( 0 );\n\t\t\t\t}\n\t\t\t\telse if( !this.Reveal.overview.isActive() && useLinearMode ) {\n\t\t\t\t\tthis.Reveal.prev();\n\t\t\t\t}\n\t\t\t\telse {\n\t\t\t\t\tthis.Reveal.left();\n\t\t\t\t}\n\t\t\t}\n\t\t\t// L, RIGHT\n\t\t\telse if( keyCode === 76 || keyCode === 39 ) {\n\t\t\t\tif( lastSlideShortcut ) {\n\t\t\t\t\tthis.Reveal.slide( Number.MAX_VALUE );\n\t\t\t\t}\n\t\t\t\telse if( !this.Reveal.overview.isActive() && useLinearMode ) {\n\t\t\t\t\tthis.Reveal.next();\n\t\t\t\t}\n\t\t\t\telse {\n\t\t\t\t\tthis.Reveal.right();\n\t\t\t\t}\n\t\t\t}\n\t\t\t// K, UP\n\t\t\telse if( keyCode === 75 || keyCode === 38 ) {\n\t\t\t\tif( !this.Reveal.overview.isActive() && useLinearMode ) {\n\t\t\t\t\tthis.Reveal.prev();\n\t\t\t\t}\n\t\t\t\telse {\n\t\t\t\t\tthis.Reveal.up();\n\t\t\t\t}\n\t\t\t}\n\t\t\t// J, DOWN\n\t\t\telse if( keyCode === 74 || keyCode === 40 ) {\n\t\t\t\tif( !this.Reveal.overview.isActive() && useLinearMode ) {\n\t\t\t\t\tthis.Reveal.next();\n\t\t\t\t}\n\t\t\t\telse {\n\t\t\t\t\tthis.Reveal.down();\n\t\t\t\t}\n\t\t\t}\n\t\t\t// HOME\n\t\t\telse if( keyCode === 36 ) {\n\t\t\t\tthis.Reveal.slide( 0 );\n\t\t\t}\n\t\t\t// END\n\t\t\telse if( keyCode === 35 ) {\n\t\t\t\tthis.Reveal.slide( Number.MAX_VALUE );\n\t\t\t}\n\t\t\t// SPACE\n\t\t\telse if( keyCode === 32 ) {\n\t\t\t\tif( this.Reveal.overview.isActive() ) {\n\t\t\t\t\tthis.Reveal.overview.deactivate();\n\t\t\t\t}\n\t\t\t\tif( event.shiftKey ) {\n\t\t\t\t\tthis.Reveal.prev();\n\t\t\t\t}\n\t\t\t\telse {\n\t\t\t\t\tthis.Reveal.next();\n\t\t\t\t}\n\t\t\t}\n\t\t\t// TWO-SPOT, SEMICOLON, B, V, PERIOD, LOGITECH PRESENTER TOOLS \"BLACK SCREEN\" BUTTON\n\t\t\telse if( keyCode === 58 || keyCode === 59 || keyCode === 66 || keyCode === 86 || keyCode === 190 || keyCode === 191 ) {\n\t\t\t\tthis.Reveal.togglePause();\n\t\t\t}\n\t\t\t// F\n\t\t\telse if( keyCode === 70 ) {\n\t\t\t\tenterFullscreen( config.embedded ? this.Reveal.getViewportElement() : document.documentElement );\n\t\t\t}\n\t\t\t// A\n\t\t\telse if( keyCode === 65 ) {\n\t\t\t\tif ( config.autoSlideStoppable ) {\n\t\t\t\t\tthis.Reveal.toggleAutoSlide( autoSlideWasPaused );\n\t\t\t\t}\n\t\t\t}\n\t\t\telse {\n\t\t\t\ttriggered = false;\n\t\t\t}\n\n\t\t}\n\n\t\t// If the input resulted in a triggered action we should prevent\n\t\t// the browsers default behavior\n\t\tif( triggered ) {\n\t\t\tevent.preventDefault && event.preventDefault();\n\t\t}\n\t\t// ESC or O key\n\t\telse if( keyCode === 27 || keyCode === 79 ) {\n\t\t\tif( this.Reveal.closeOverlay() === false ) {\n\t\t\t\tthis.Reveal.overview.toggle();\n\t\t\t}\n\n\t\t\tevent.preventDefault && event.preventDefault();\n\t\t}\n\n\t\t// If auto-sliding is enabled we need to cue up\n\t\t// another timeout\n\t\tthis.Reveal.cueAutoSlide();\n\n\t}\n\n}","/**\n * Reads and writes the URL based on reveal.js' current state.\n */\nexport default class Location {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t\t// Delays updates to the URL due to a Chrome thumbnailer bug\n\t\tthis.writeURLTimeout = 0;\n\n\t\tthis.onWindowHashChange = this.onWindowHashChange.bind( this );\n\n\t}\n\n\tbind() {\n\n\t\twindow.addEventListener( 'hashchange', this.onWindowHashChange, false );\n\n\t}\n\n\tunbind() {\n\n\t\twindow.removeEventListener( 'hashchange', this.onWindowHashChange, false );\n\n\t}\n\n\t/**\n\t * Reads the current URL (hash) and navigates accordingly.\n\t */\n\treadURL() {\n\n\t\tlet config = this.Reveal.getConfig();\n\t\tlet indices = this.Reveal.getIndices();\n\t\tlet currentSlide = this.Reveal.getCurrentSlide();\n\n\t\tlet hash = window.location.hash;\n\n\t\t// Attempt to parse the hash as either an index or name\n\t\tlet bits = hash.slice( 2 ).split( '/' ),\n\t\t\tname = hash.replace( /#\\/?/gi, '' );\n\n\t\t// If the first bit is not fully numeric and there is a name we\n\t\t// can assume that this is a named link\n\t\tif( !/^[0-9]*$/.test( bits[0] ) && name.length ) {\n\t\t\tlet element;\n\n\t\t\tlet f;\n\n\t\t\t// Parse named links with fragments (#/named-link/2)\n\t\t\tif( /\\/[-\\d]+$/g.test( name ) ) {\n\t\t\t\tf = parseInt( name.split( '/' ).pop(), 10 );\n\t\t\t\tf = isNaN(f) ? undefined : f;\n\t\t\t\tname = name.split( '/' ).shift();\n\t\t\t}\n\n\t\t\t// Ensure the named link is a valid HTML ID attribute\n\t\t\ttry {\n\t\t\t\telement = document.getElementById( decodeURIComponent( name ) );\n\t\t\t}\n\t\t\tcatch ( error ) { }\n\n\t\t\t// Ensure that we're not already on a slide with the same name\n\t\t\tlet isSameNameAsCurrentSlide = currentSlide ? currentSlide.getAttribute( 'id' ) === name : false;\n\n\t\t\tif( element ) {\n\t\t\t\t// If the slide exists and is not the current slide...\n\t\t\t\tif ( !isSameNameAsCurrentSlide || typeof f !== 'undefined' ) {\n\t\t\t\t\t// ...find the position of the named slide and navigate to it\n\t\t\t\t\tlet slideIndices = this.Reveal.getIndices( element );\n\t\t\t\t\tthis.Reveal.slide( slideIndices.h, slideIndices.v, f );\n\t\t\t\t}\n\t\t\t}\n\t\t\t// If the slide doesn't exist, navigate to the current slide\n\t\t\telse {\n\t\t\t\tthis.Reveal.slide( indices.h || 0, indices.v || 0 );\n\t\t\t}\n\t\t}\n\t\telse {\n\t\t\tlet hashIndexBase = config.hashOneBasedIndex ? 1 : 0;\n\n\t\t\t// Read the index components of the hash\n\t\t\tlet h = ( parseInt( bits[0], 10 ) - hashIndexBase ) || 0,\n\t\t\t\tv = ( parseInt( bits[1], 10 ) - hashIndexBase ) || 0,\n\t\t\t\tf;\n\n\t\t\tif( config.fragmentInURL ) {\n\t\t\t\tf = parseInt( bits[2], 10 );\n\t\t\t\tif( isNaN( f ) ) {\n\t\t\t\t\tf = undefined;\n\t\t\t\t}\n\t\t\t}\n\n\t\t\tif( h !== indices.h || v !== indices.v || f !== undefined ) {\n\t\t\t\tthis.Reveal.slide( h, v, f );\n\t\t\t}\n\t\t}\n\n\t}\n\n\t/**\n\t * Updates the page URL (hash) to reflect the current\n\t * state.\n\t *\n\t * @param {number} delay The time in ms to wait before\n\t * writing the hash\n\t */\n\twriteURL( delay ) {\n\n\t\tlet config = this.Reveal.getConfig();\n\t\tlet currentSlide = this.Reveal.getCurrentSlide();\n\n\t\t// Make sure there's never more than one timeout running\n\t\tclearTimeout( this.writeURLTimeout );\n\n\t\t// If a delay is specified, timeout this call\n\t\tif( typeof delay === 'number' ) {\n\t\t\tthis.writeURLTimeout = setTimeout( this.writeURL, delay );\n\t\t}\n\t\telse if( currentSlide ) {\n\n\t\t\tlet hash = this.getHash();\n\n\t\t\t// If we're configured to push to history OR the history\n\t\t\t// API is not avaialble.\n\t\t\tif( config.history ) {\n\t\t\t\twindow.location.hash = hash;\n\t\t\t}\n\t\t\t// If we're configured to reflect the current slide in the\n\t\t\t// URL without pushing to history.\n\t\t\telse if( config.hash ) {\n\t\t\t\t// If the hash is empty, don't add it to the URL\n\t\t\t\tif( hash === '/' ) {\n\t\t\t\t\twindow.history.replaceState( null, null, window.location.pathname + window.location.search );\n\t\t\t\t}\n\t\t\t\telse {\n\t\t\t\t\twindow.history.replaceState( null, null, '#' + hash );\n\t\t\t\t}\n\t\t\t}\n\t\t\t// UPDATE: The below nuking of all hash changes breaks\n\t\t\t// anchors on pages where reveal.js is running. Removed\n\t\t\t// in 4.0. Why was it here in the first place? ¯\\_(ツ)_/¯\n\t\t\t//\n\t\t\t// If history and hash are both disabled, a hash may still\n\t\t\t// be added to the URL by clicking on a href with a hash\n\t\t\t// target. Counter this by always removing the hash.\n\t\t\t// else {\n\t\t\t// \twindow.history.replaceState( null, null, window.location.pathname + window.location.search );\n\t\t\t// }\n\n\t\t}\n\n\t}\n\n\t/**\n\t * Return a hash URL that will resolve to the given slide location.\n\t *\n\t * @param {HTMLElement} [slide=currentSlide] The slide to link to\n\t */\n\tgetHash( slide ) {\n\n\t\tlet url = '/';\n\n\t\t// Attempt to create a named link based on the slide's ID\n\t\tlet s = slide || this.Reveal.getCurrentSlide();\n\t\tlet id = s ? s.getAttribute( 'id' ) : null;\n\t\tif( id ) {\n\t\t\tid = encodeURIComponent( id );\n\t\t}\n\n\t\tlet index = this.Reveal.getIndices( slide );\n\t\tif( !this.Reveal.getConfig().fragmentInURL ) {\n\t\t\tindex.f = undefined;\n\t\t}\n\n\t\t// If the current slide has an ID, use that as a named link,\n\t\t// but we don't support named links with a fragment index\n\t\tif( typeof id === 'string' && id.length ) {\n\t\t\turl = '/' + id;\n\n\t\t\t// If there is also a fragment, append that at the end\n\t\t\t// of the named link, like: #/named-link/2\n\t\t\tif( index.f >= 0 ) url += '/' + index.f;\n\t\t}\n\t\t// Otherwise use the /h/v index\n\t\telse {\n\t\t\tlet hashIndexBase = this.Reveal.getConfig().hashOneBasedIndex ? 1 : 0;\n\t\t\tif( index.h > 0 || index.v > 0 || index.f >= 0 ) url += index.h + hashIndexBase;\n\t\t\tif( index.v > 0 || index.f >= 0 ) url += '/' + (index.v + hashIndexBase );\n\t\t\tif( index.f >= 0 ) url += '/' + index.f;\n\t\t}\n\n\t\treturn url;\n\n\t}\n\n\t/**\n\t * Handler for the window level 'hashchange' event.\n\t *\n\t * @param {object} [event]\n\t */\n\tonWindowHashChange( event ) {\n\n\t\tthis.readURL();\n\n\t}\n\n}","import { queryAll } from '../utils/util.js'\nimport { isAndroid } from '../utils/device.js'\n\n/**\n * Manages our presentation controls. This includes both\n * the built-in control arrows as well as event monitoring\n * of any elements within the presentation with either of the\n * following helper classes:\n * - .navigate-up\n * - .navigate-right\n * - .navigate-down\n * - .navigate-left\n * - .navigate-next\n * - .navigate-prev\n */\nexport default class Controls {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t\tthis.onNavigateLeftClicked = this.onNavigateLeftClicked.bind( this );\n\t\tthis.onNavigateRightClicked = this.onNavigateRightClicked.bind( this );\n\t\tthis.onNavigateUpClicked = this.onNavigateUpClicked.bind( this );\n\t\tthis.onNavigateDownClicked = this.onNavigateDownClicked.bind( this );\n\t\tthis.onNavigatePrevClicked = this.onNavigatePrevClicked.bind( this );\n\t\tthis.onNavigateNextClicked = this.onNavigateNextClicked.bind( this );\n\n\t}\n\n\trender() {\n\n\t\tconst rtl = this.Reveal.getConfig().rtl;\n\t\tconst revealElement = this.Reveal.getRevealElement();\n\n\t\tthis.element = document.createElement( 'aside' );\n\t\tthis.element.className = 'controls';\n\t\tthis.element.innerHTML =\n\t\t\t`\n\t\t\t\n\t\t\t\n\t\t\t`;\n\n\t\tthis.Reveal.getRevealElement().appendChild( this.element );\n\n\t\t// There can be multiple instances of controls throughout the page\n\t\tthis.controlsLeft = queryAll( revealElement, '.navigate-left' );\n\t\tthis.controlsRight = queryAll( revealElement, '.navigate-right' );\n\t\tthis.controlsUp = queryAll( revealElement, '.navigate-up' );\n\t\tthis.controlsDown = queryAll( revealElement, '.navigate-down' );\n\t\tthis.controlsPrev = queryAll( revealElement, '.navigate-prev' );\n\t\tthis.controlsNext = queryAll( revealElement, '.navigate-next' );\n\n\t\t// The left, right and down arrows in the standard reveal.js controls\n\t\tthis.controlsRightArrow = this.element.querySelector( '.navigate-right' );\n\t\tthis.controlsLeftArrow = this.element.querySelector( '.navigate-left' );\n\t\tthis.controlsDownArrow = this.element.querySelector( '.navigate-down' );\n\n\t}\n\n\t/**\n\t * Called when the reveal.js config is updated.\n\t */\n\tconfigure( config, oldConfig ) {\n\n\t\tthis.element.style.display = config.controls ? 'block' : 'none';\n\n\t\tthis.element.setAttribute( 'data-controls-layout', config.controlsLayout );\n\t\tthis.element.setAttribute( 'data-controls-back-arrows', config.controlsBackArrows );\n\n\t}\n\n\tbind() {\n\n\t\t// Listen to both touch and click events, in case the device\n\t\t// supports both\n\t\tlet pointerEvents = [ 'touchstart', 'click' ];\n\n\t\t// Only support touch for Android, fixes double navigations in\n\t\t// stock browser\n\t\tif( isAndroid ) {\n\t\t\tpointerEvents = [ 'touchstart' ];\n\t\t}\n\n\t\tpointerEvents.forEach( eventName => {\n\t\t\tthis.controlsLeft.forEach( el => el.addEventListener( eventName, this.onNavigateLeftClicked, false ) );\n\t\t\tthis.controlsRight.forEach( el => el.addEventListener( eventName, this.onNavigateRightClicked, false ) );\n\t\t\tthis.controlsUp.forEach( el => el.addEventListener( eventName, this.onNavigateUpClicked, false ) );\n\t\t\tthis.controlsDown.forEach( el => el.addEventListener( eventName, this.onNavigateDownClicked, false ) );\n\t\t\tthis.controlsPrev.forEach( el => el.addEventListener( eventName, this.onNavigatePrevClicked, false ) );\n\t\t\tthis.controlsNext.forEach( el => el.addEventListener( eventName, this.onNavigateNextClicked, false ) );\n\t\t} );\n\n\t}\n\n\tunbind() {\n\n\t\t[ 'touchstart', 'click' ].forEach( eventName => {\n\t\t\tthis.controlsLeft.forEach( el => el.removeEventListener( eventName, this.onNavigateLeftClicked, false ) );\n\t\t\tthis.controlsRight.forEach( el => el.removeEventListener( eventName, this.onNavigateRightClicked, false ) );\n\t\t\tthis.controlsUp.forEach( el => el.removeEventListener( eventName, this.onNavigateUpClicked, false ) );\n\t\t\tthis.controlsDown.forEach( el => el.removeEventListener( eventName, this.onNavigateDownClicked, false ) );\n\t\t\tthis.controlsPrev.forEach( el => el.removeEventListener( eventName, this.onNavigatePrevClicked, false ) );\n\t\t\tthis.controlsNext.forEach( el => el.removeEventListener( eventName, this.onNavigateNextClicked, false ) );\n\t\t} );\n\n\t}\n\n\t/**\n\t * Updates the state of all control/navigation arrows.\n\t */\n\tupdate() {\n\n\t\tlet routes = this.Reveal.availableRoutes();\n\n\t\t// Remove the 'enabled' class from all directions\n\t\t[...this.controlsLeft, ...this.controlsRight, ...this.controlsUp, ...this.controlsDown, ...this.controlsPrev, ...this.controlsNext].forEach( node => {\n\t\t\tnode.classList.remove( 'enabled', 'fragmented' );\n\n\t\t\t// Set 'disabled' attribute on all directions\n\t\t\tnode.setAttribute( 'disabled', 'disabled' );\n\t\t} );\n\n\t\t// Add the 'enabled' class to the available routes; remove 'disabled' attribute to enable buttons\n\t\tif( routes.left ) this.controlsLeft.forEach( el => { el.classList.add( 'enabled' ); el.removeAttribute( 'disabled' ); } );\n\t\tif( routes.right ) this.controlsRight.forEach( el => { el.classList.add( 'enabled' ); el.removeAttribute( 'disabled' ); } );\n\t\tif( routes.up ) this.controlsUp.forEach( el => { el.classList.add( 'enabled' ); el.removeAttribute( 'disabled' ); } );\n\t\tif( routes.down ) this.controlsDown.forEach( el => { el.classList.add( 'enabled' ); el.removeAttribute( 'disabled' ); } );\n\n\t\t// Prev/next buttons\n\t\tif( routes.left || routes.up ) this.controlsPrev.forEach( el => { el.classList.add( 'enabled' ); el.removeAttribute( 'disabled' ); } );\n\t\tif( routes.right || routes.down ) this.controlsNext.forEach( el => { el.classList.add( 'enabled' ); el.removeAttribute( 'disabled' ); } );\n\n\t\t// Highlight fragment directions\n\t\tlet currentSlide = this.Reveal.getCurrentSlide();\n\t\tif( currentSlide ) {\n\n\t\t\tlet fragmentsRoutes = this.Reveal.fragments.availableRoutes();\n\n\t\t\t// Always apply fragment decorator to prev/next buttons\n\t\t\tif( fragmentsRoutes.prev ) this.controlsPrev.forEach( el => { el.classList.add( 'fragmented', 'enabled' ); el.removeAttribute( 'disabled' ); } );\n\t\t\tif( fragmentsRoutes.next ) this.controlsNext.forEach( el => { el.classList.add( 'fragmented', 'enabled' ); el.removeAttribute( 'disabled' ); } );\n\n\t\t\t// Apply fragment decorators to directional buttons based on\n\t\t\t// what slide axis they are in\n\t\t\tif( this.Reveal.isVerticalSlide( currentSlide ) ) {\n\t\t\t\tif( fragmentsRoutes.prev ) this.controlsUp.forEach( el => { el.classList.add( 'fragmented', 'enabled' ); el.removeAttribute( 'disabled' ); } );\n\t\t\t\tif( fragmentsRoutes.next ) this.controlsDown.forEach( el => { el.classList.add( 'fragmented', 'enabled' ); el.removeAttribute( 'disabled' ); } );\n\t\t\t}\n\t\t\telse {\n\t\t\t\tif( fragmentsRoutes.prev ) this.controlsLeft.forEach( el => { el.classList.add( 'fragmented', 'enabled' ); el.removeAttribute( 'disabled' ); } );\n\t\t\t\tif( fragmentsRoutes.next ) this.controlsRight.forEach( el => { el.classList.add( 'fragmented', 'enabled' ); el.removeAttribute( 'disabled' ); } );\n\t\t\t}\n\n\t\t}\n\n\t\tif( this.Reveal.getConfig().controlsTutorial ) {\n\n\t\t\tlet indices = this.Reveal.getIndices();\n\n\t\t\t// Highlight control arrows with an animation to ensure\n\t\t\t// that the viewer knows how to navigate\n\t\t\tif( !this.Reveal.hasNavigatedVertically() && routes.down ) {\n\t\t\t\tthis.controlsDownArrow.classList.add( 'highlight' );\n\t\t\t}\n\t\t\telse {\n\t\t\t\tthis.controlsDownArrow.classList.remove( 'highlight' );\n\n\t\t\t\tif( this.Reveal.getConfig().rtl ) {\n\n\t\t\t\t\tif( !this.Reveal.hasNavigatedHorizontally() && routes.left && indices.v === 0 ) {\n\t\t\t\t\t\tthis.controlsLeftArrow.classList.add( 'highlight' );\n\t\t\t\t\t}\n\t\t\t\t\telse {\n\t\t\t\t\t\tthis.controlsLeftArrow.classList.remove( 'highlight' );\n\t\t\t\t\t}\n\n\t\t\t\t} else {\n\n\t\t\t\t\tif( !this.Reveal.hasNavigatedHorizontally() && routes.right && indices.v === 0 ) {\n\t\t\t\t\t\tthis.controlsRightArrow.classList.add( 'highlight' );\n\t\t\t\t\t}\n\t\t\t\t\telse {\n\t\t\t\t\t\tthis.controlsRightArrow.classList.remove( 'highlight' );\n\t\t\t\t\t}\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t}\n\n\t/**\n\t * Event handlers for navigation control buttons.\n\t */\n\tonNavigateLeftClicked( event ) {\n\n\t\tevent.preventDefault();\n\t\tthis.Reveal.onUserInput();\n\n\t\tif( this.Reveal.getConfig().navigationMode === 'linear' ) {\n\t\t\tthis.Reveal.prev();\n\t\t}\n\t\telse {\n\t\t\tthis.Reveal.left();\n\t\t}\n\n\t}\n\n\tonNavigateRightClicked( event ) {\n\n\t\tevent.preventDefault();\n\t\tthis.Reveal.onUserInput();\n\n\t\tif( this.Reveal.getConfig().navigationMode === 'linear' ) {\n\t\t\tthis.Reveal.next();\n\t\t}\n\t\telse {\n\t\t\tthis.Reveal.right();\n\t\t}\n\n\t}\n\n\tonNavigateUpClicked( event ) {\n\n\t\tevent.preventDefault();\n\t\tthis.Reveal.onUserInput();\n\n\t\tthis.Reveal.up();\n\n\t}\n\n\tonNavigateDownClicked( event ) {\n\n\t\tevent.preventDefault();\n\t\tthis.Reveal.onUserInput();\n\n\t\tthis.Reveal.down();\n\n\t}\n\n\tonNavigatePrevClicked( event ) {\n\n\t\tevent.preventDefault();\n\t\tthis.Reveal.onUserInput();\n\n\t\tthis.Reveal.prev();\n\n\t}\n\n\tonNavigateNextClicked( event ) {\n\n\t\tevent.preventDefault();\n\t\tthis.Reveal.onUserInput();\n\n\t\tthis.Reveal.next();\n\n\t}\n\n\n}","/**\n * Creates a visual progress bar for the presentation.\n */\nexport default class Progress {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t\tthis.onProgressClicked = this.onProgressClicked.bind( this );\n\n\t}\n\n\trender() {\n\n\t\tthis.element = document.createElement( 'div' );\n\t\tthis.element.className = 'progress';\n\t\tthis.Reveal.getRevealElement().appendChild( this.element );\n\n\t\tthis.bar = document.createElement( 'span' );\n\t\tthis.element.appendChild( this.bar );\n\n\t}\n\n\t/**\n\t * Called when the reveal.js config is updated.\n\t */\n\tconfigure( config, oldConfig ) {\n\n\t\tthis.element.style.display = config.progress ? 'block' : 'none';\n\n\t}\n\n\tbind() {\n\n\t\tif( this.Reveal.getConfig().progress && this.element ) {\n\t\t\tthis.element.addEventListener( 'click', this.onProgressClicked, false );\n\t\t}\n\n\t}\n\n\tunbind() {\n\n\t\tif ( this.Reveal.getConfig().progress && this.element ) {\n\t\t\tthis.element.removeEventListener( 'click', this.onProgressClicked, false );\n\t\t}\n\n\t}\n\n\t/**\n\t * Updates the progress bar to reflect the current slide.\n\t */\n\tupdate() {\n\n\t\t// Update progress if enabled\n\t\tif( this.Reveal.getConfig().progress && this.bar ) {\n\n\t\t\tlet scale = this.Reveal.getProgress();\n\n\t\t\t// Don't fill the progress bar if there's only one slide\n\t\t\tif( this.Reveal.getTotalSlides() < 2 ) {\n\t\t\t\tscale = 0;\n\t\t\t}\n\n\t\t\tthis.bar.style.transform = 'scaleX('+ scale +')';\n\n\t\t}\n\n\t}\n\n\tgetMaxWidth() {\n\n\t\treturn this.Reveal.getRevealElement().offsetWidth;\n\n\t}\n\n\t/**\n\t * Clicking on the progress bar results in a navigation to the\n\t * closest approximate horizontal slide using this equation:\n\t *\n\t * ( clickX / presentationWidth ) * numberOfSlides\n\t *\n\t * @param {object} event\n\t */\n\tonProgressClicked( event ) {\n\n\t\tthis.Reveal.onUserInput( event );\n\n\t\tevent.preventDefault();\n\n\t\tlet slides = this.Reveal.getSlides();\n\t\tlet slidesTotal = slides.length;\n\t\tlet slideIndex = Math.floor( ( event.clientX / this.getMaxWidth() ) * slidesTotal );\n\n\t\tif( this.Reveal.getConfig().rtl ) {\n\t\t\tslideIndex = slidesTotal - slideIndex;\n\t\t}\n\n\t\tlet targetIndices = this.Reveal.getIndices(slides[slideIndex]);\n\t\tthis.Reveal.slide( targetIndices.h, targetIndices.v );\n\n\t}\n\n\n}","/**\n * Handles hiding of the pointer/cursor when inactive.\n */\nexport default class Pointer {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t\t// Throttles mouse wheel navigation\n\t\tthis.lastMouseWheelStep = 0;\n\n\t\t// Is the mouse pointer currently hidden from view\n\t\tthis.cursorHidden = false;\n\n\t\t// Timeout used to determine when the cursor is inactive\n\t\tthis.cursorInactiveTimeout = 0;\n\n\t\tthis.onDocumentCursorActive = this.onDocumentCursorActive.bind( this );\n\t\tthis.onDocumentMouseScroll = this.onDocumentMouseScroll.bind( this );\n\n\t}\n\n\t/**\n\t * Called when the reveal.js config is updated.\n\t */\n\tconfigure( config, oldConfig ) {\n\n\t\tif( config.mouseWheel ) {\n\t\t\tdocument.addEventListener( 'DOMMouseScroll', this.onDocumentMouseScroll, false ); // FF\n\t\t\tdocument.addEventListener( 'mousewheel', this.onDocumentMouseScroll, false );\n\t\t}\n\t\telse {\n\t\t\tdocument.removeEventListener( 'DOMMouseScroll', this.onDocumentMouseScroll, false ); // FF\n\t\t\tdocument.removeEventListener( 'mousewheel', this.onDocumentMouseScroll, false );\n\t\t}\n\n\t\t// Auto-hide the mouse pointer when its inactive\n\t\tif( config.hideInactiveCursor ) {\n\t\t\tdocument.addEventListener( 'mousemove', this.onDocumentCursorActive, false );\n\t\t\tdocument.addEventListener( 'mousedown', this.onDocumentCursorActive, false );\n\t\t}\n\t\telse {\n\t\t\tthis.showCursor();\n\n\t\t\tdocument.removeEventListener( 'mousemove', this.onDocumentCursorActive, false );\n\t\t\tdocument.removeEventListener( 'mousedown', this.onDocumentCursorActive, false );\n\t\t}\n\n\t}\n\n\t/**\n\t * Shows the mouse pointer after it has been hidden with\n\t * #hideCursor.\n\t */\n\tshowCursor() {\n\n\t\tif( this.cursorHidden ) {\n\t\t\tthis.cursorHidden = false;\n\t\t\tthis.Reveal.getRevealElement().style.cursor = '';\n\t\t}\n\n\t}\n\n\t/**\n\t * Hides the mouse pointer when it's on top of the .reveal\n\t * container.\n\t */\n\thideCursor() {\n\n\t\tif( this.cursorHidden === false ) {\n\t\t\tthis.cursorHidden = true;\n\t\t\tthis.Reveal.getRevealElement().style.cursor = 'none';\n\t\t}\n\n\t}\n\n\t/**\n\t * Called whenever there is mouse input at the document level\n\t * to determine if the cursor is active or not.\n\t *\n\t * @param {object} event\n\t */\n\tonDocumentCursorActive( event ) {\n\n\t\tthis.showCursor();\n\n\t\tclearTimeout( this.cursorInactiveTimeout );\n\n\t\tthis.cursorInactiveTimeout = setTimeout( this.hideCursor.bind( this ), this.Reveal.getConfig().hideCursorTime );\n\n\t}\n\n\t/**\n\t * Handles mouse wheel scrolling, throttled to avoid skipping\n\t * multiple slides.\n\t *\n\t * @param {object} event\n\t */\n\tonDocumentMouseScroll( event ) {\n\n\t\tif( Date.now() - this.lastMouseWheelStep > 1000 ) {\n\n\t\t\tthis.lastMouseWheelStep = Date.now();\n\n\t\t\tlet delta = event.detail || -event.wheelDelta;\n\t\t\tif( delta > 0 ) {\n\t\t\t\tthis.Reveal.next();\n\t\t\t}\n\t\t\telse if( delta < 0 ) {\n\t\t\t\tthis.Reveal.prev();\n\t\t\t}\n\n\t\t}\n\n\t}\n\n}","/**\n * Loads a JavaScript file from the given URL and executes it.\n *\n * @param {string} url Address of the .js file to load\n * @param {function} callback Method to invoke when the script\n * has loaded and executed\n */\nexport const loadScript = ( url, callback ) => {\n\n\tconst script = document.createElement( 'script' );\n\tscript.type = 'text/javascript';\n\tscript.async = false;\n\tscript.defer = false;\n\tscript.src = url;\n\n\tif( typeof callback === 'function' ) {\n\n\t\t// Success callback\n\t\tscript.onload = script.onreadystatechange = event => {\n\t\t\tif( event.type === 'load' || /loaded|complete/.test( script.readyState ) ) {\n\n\t\t\t\t// Kill event listeners\n\t\t\t\tscript.onload = script.onreadystatechange = script.onerror = null;\n\n\t\t\t\tcallback();\n\n\t\t\t}\n\t\t};\n\n\t\t// Error callback\n\t\tscript.onerror = err => {\n\n\t\t\t// Kill event listeners\n\t\t\tscript.onload = script.onreadystatechange = script.onerror = null;\n\n\t\t\tcallback( new Error( 'Failed loading script: ' + script.src + '\\n' + err ) );\n\n\t\t};\n\n\t}\n\n\t// Append the script at the end of \n\tconst head = document.querySelector( 'head' );\n\thead.insertBefore( script, head.lastChild );\n\n}","import { loadScript } from '../utils/loader.js'\n\n/**\n * Manages loading and registering of reveal.js plugins.\n */\nexport default class Plugins {\n\n\tconstructor( reveal ) {\n\n\t\tthis.Reveal = reveal;\n\n\t\t// Flags our current state (idle -> loading -> loaded)\n\t\tthis.state = 'idle';\n\n\t\t// An id:instance map of currently registed plugins\n\t\tthis.registeredPlugins = {};\n\n\t\tthis.asyncDependencies = [];\n\n\t}\n\n\t/**\n\t * Loads reveal.js dependencies, registers and\n\t * initializes plugins.\n\t *\n\t * Plugins are direct references to a reveal.js plugin\n\t * object that we register and initialize after any\n\t * synchronous dependencies have loaded.\n\t *\n\t * Dependencies are defined via the 'dependencies' config\n\t * option and will be loaded prior to starting reveal.js.\n\t * Some dependencies may have an 'async' flag, if so they\n\t * will load after reveal.js has been started up.\n\t */\n\tload( plugins, dependencies ) {\n\n\t\tthis.state = 'loading';\n\n\t\tplugins.forEach( this.registerPlugin.bind( this ) );\n\n\t\treturn new Promise( resolve => {\n\n\t\t\tlet scripts = [],\n\t\t\t\tscriptsToLoad = 0;\n\n\t\t\tdependencies.forEach( s => {\n\t\t\t\t// Load if there's no condition or the condition is truthy\n\t\t\t\tif( !s.condition || s.condition() ) {\n\t\t\t\t\tif( s.async ) {\n\t\t\t\t\t\tthis.asyncDependencies.push( s );\n\t\t\t\t\t}\n\t\t\t\t\telse {\n\t\t\t\t\t\tscripts.push( s );\n\t\t\t\t\t}\n\t\t\t\t}\n\t\t\t} );\n\n\t\t\tif( scripts.length ) {\n\t\t\t\tscriptsToLoad = scripts.length;\n\n\t\t\t\tconst scriptLoadedCallback = (s) => {\n\t\t\t\t\tif( s && typeof s.callback === 'function' ) s.callback();\n\n\t\t\t\t\tif( --scriptsToLoad === 0 ) {\n\t\t\t\t\t\tthis.initPlugins().then( resolve );\n\t\t\t\t\t}\n\t\t\t\t};\n\n\t\t\t\t// Load synchronous scripts\n\t\t\t\tscripts.forEach( s => {\n\t\t\t\t\tif( typeof s.id === 'string' ) {\n\t\t\t\t\t\tthis.registerPlugin( s );\n\t\t\t\t\t\tscriptLoadedCallback( s );\n\t\t\t\t\t}\n\t\t\t\t\telse if( typeof s.src === 'string' ) {\n\t\t\t\t\t\tloadScript( s.src, () => scriptLoadedCallback(s) );\n\t\t\t\t\t}\n\t\t\t\t\telse {\n\t\t\t\t\t\tconsole.warn( 'Unrecognized plugin format', s );\n\t\t\t\t\t\tscriptLoadedCallback();\n\t\t\t\t\t}\n\t\t\t\t} );\n\t\t\t}\n\t\t\telse {\n\t\t\t\tthis.initPlugins().then( resolve );\n\t\t\t}\n\n\t\t} );\n\n\t}\n\n\t/**\n\t * Initializes our plugins and waits for them to be ready\n\t * before proceeding.\n\t */\n\tinitPlugins() {\n\n\t\treturn new Promise( resolve => {\n\n\t\t\tlet pluginValues = Object.values( this.registeredPlugins );\n\t\t\tlet pluginsToInitialize = pluginValues.length;\n\n\t\t\t// If there are no plugins, skip this step\n\t\t\tif( pluginsToInitialize === 0 ) {\n\t\t\t\tthis.loadAsync().then( resolve );\n\t\t\t}\n\t\t\t// ... otherwise initialize plugins\n\t\t\telse {\n\n\t\t\t\tlet initNextPlugin;\n\n\t\t\t\tlet afterPlugInitialized = () => {\n\t\t\t\t\tif( --pluginsToInitialize === 0 ) {\n\t\t\t\t\t\tthis.loadAsync().then( resolve );\n\t\t\t\t\t}\n\t\t\t\t\telse {\n\t\t\t\t\t\tinitNextPlugin();\n\t\t\t\t\t}\n\t\t\t\t};\n\n\t\t\t\tlet i = 0;\n\n\t\t\t\t// Initialize plugins serially\n\t\t\t\tinitNextPlugin = () => {\n\n\t\t\t\t\tlet plugin = pluginValues[i++];\n\n\t\t\t\t\t// If the plugin has an 'init' method, invoke it\n\t\t\t\t\tif( typeof plugin.init === 'function' ) {\n\t\t\t\t\t\tlet promise = plugin.init( this.Reveal );\n\n\t\t\t\t\t\t// If the plugin returned a Promise, wait for it\n\t\t\t\t\t\tif( promise && typeof promise.then === 'function' ) {\n\t\t\t\t\t\t\tpromise.then( afterPlugInitialized );\n\t\t\t\t\t\t}\n\t\t\t\t\t\telse {\n\t\t\t\t\t\t\tafterPlugInitialized();\n\t\t\t\t\t\t}\n\t\t\t\t\t}\n\t\t\t\t\telse {\n\t\t\t\t\t\tafterPlugInitialized();\n\t\t\t\t\t}\n\n\t\t\t\t}\n\n\t\t\t\tinitNextPlugin();\n\n\t\t\t}\n\n\t\t} )\n\n\t}\n\n\t/**\n\t * Loads all async reveal.js dependencies.\n\t */\n\tloadAsync() {\n\n\t\tthis.state = 'loaded';\n\n\t\tif( this.asyncDependencies.length ) {\n\t\t\tthis.asyncDependencies.forEach( s => {\n\t\t\t\tloadScript( s.src, s.callback );\n\t\t\t} );\n\t\t}\n\n\t\treturn Promise.resolve();\n\n\t}\n\n\t/**\n\t * Registers a new plugin with this reveal.js instance.\n\t *\n\t * reveal.js waits for all regisered plugins to initialize\n\t * before considering itself ready, as long as the plugin\n\t * is registered before calling `Reveal.initialize()`.\n\t */\n\tregisterPlugin( plugin ) {\n\n\t\t// Backwards compatibility to make reveal.js ~3.9.0\n\t\t// plugins work with reveal.js 4.0.0\n\t\tif( arguments.length === 2 && typeof arguments[0] === 'string' ) {\n\t\t\tplugin = arguments[1];\n\t\t\tplugin.id = arguments[0];\n\t\t}\n\t\t// Plugin can optionally be a function which we call\n\t\t// to create an instance of the plugin\n\t\telse if( typeof plugin === 'function' ) {\n\t\t\tplugin = plugin();\n\t\t}\n\n\t\tlet id = plugin.id;\n\n\t\tif( typeof id !== 'string' ) {\n\t\t\tconsole.warn( 'Unrecognized plugin format; can\\'t find plugin.id', plugin );\n\t\t}\n\t\telse if( this.registeredPlugins[id] === undefined ) {\n\t\t\tthis.registeredPlugins[id] = plugin;\n\n\t\t\t// If a plugin is registered after reveal.js is loaded,\n\t\t\t// initialize it right away\n\t\t\tif( this.state === 'loaded' && typeof plugin.init === 'function' ) {\n\t\t\t\tplugin.init( this.Reveal );\n\t\t\t}\n\t\t}\n\t\telse {\n\t\t\tconsole.warn( 'reveal.js: \"'+ id +'\" plugin has already been registered' );\n\t\t}\n\n\t}\n\n\t/**\n\t * Checks if a specific plugin has been registered.\n\t *\n\t * @param {String} id Unique plugin identifier\n\t */\n\thasPlugin( id ) {\n\n\t\treturn !!this.registeredPlugins[id];\n\n\t}\n\n\t/**\n\t * Returns the specific plugin instance, if a plugin\n\t * with the given ID has been registered.\n\t *\n\t * @param {String} id Unique plugin identifier\n\t */\n\tgetPlugin( id ) {\n\n\t\treturn this.registeredPlugins[id];\n\n\t}\n\n\tgetRegisteredPlugins() {\n\n\t\treturn this.registeredPlugins;\n\n\t}\n\n}\n","import { SLIDES_SELECTOR } from '../utils/constants.js'\nimport { queryAll, createStyleSheet } from '../utils/util.js'\n\n/**\n * Setups up our presentation for printing/exporting to PDF.\n */\nexport default class Print {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t}\n\n\t/**\n\t * Configures the presentation for printing to a static\n\t * PDF.\n\t */\n\tasync setupPDF() {\n\n\t\tconst config = this.Reveal.getConfig();\n\t\tconst slides = queryAll( this.Reveal.getRevealElement(), SLIDES_SELECTOR )\n\n\t\t// Compute slide numbers now, before we start duplicating slides\n\t\tconst doingSlideNumbers = config.slideNumber && /all|print/i.test( config.showSlideNumber );\n\n\t\tconst slideSize = this.Reveal.getComputedSlideSize( window.innerWidth, window.innerHeight );\n\n\t\t// Dimensions of the PDF pages\n\t\tconst pageWidth = Math.floor( slideSize.width * ( 1 + config.margin ) ),\n\t\t\tpageHeight = Math.floor( slideSize.height * ( 1 + config.margin ) );\n\n\t\t// Dimensions of slides within the pages\n\t\tconst slideWidth = slideSize.width,\n\t\t\tslideHeight = slideSize.height;\n\n\t\tawait new Promise( requestAnimationFrame );\n\n\t\t// Let the browser know what page size we want to print\n\t\tcreateStyleSheet( '@page{size:'+ pageWidth +'px '+ pageHeight +'px; margin: 0px;}' );\n\n\t\t// Limit the size of certain elements to the dimensions of the slide\n\t\tcreateStyleSheet( '.reveal section>img, .reveal section>video, .reveal section>iframe{max-width: '+ slideWidth +'px; max-height:'+ slideHeight +'px}' );\n\n\t\tdocument.documentElement.classList.add( 'print-pdf' );\n\t\tdocument.body.style.width = pageWidth + 'px';\n\t\tdocument.body.style.height = pageHeight + 'px';\n\n\t\t// Make sure stretch elements fit on slide\n\t\tawait new Promise( requestAnimationFrame );\n\t\tthis.Reveal.layoutSlideContents( slideWidth, slideHeight );\n\n\t\t// Re-run the slide layout so that r-fit-text is applied based on\n\t\t// the printed slide size\n\t\tslides.forEach( slide => this.Reveal.slideContent.layout( slide ) );\n\n\t\t// Batch scrollHeight access to prevent layout thrashing\n\t\tawait new Promise( requestAnimationFrame );\n\n\t\tconst slideScrollHeights = slides.map( slide => slide.scrollHeight );\n\n\t\tconst pages = [];\n\t\tconst pageContainer = slides[0].parentNode;\n\n\t\t// Slide and slide background layout\n\t\tslides.forEach( function( slide, index ) {\n\n\t\t\t// Vertical stacks are not centred since their section\n\t\t\t// children will be\n\t\t\tif( slide.classList.contains( 'stack' ) === false ) {\n\t\t\t\t// Center the slide inside of the page, giving the slide some margin\n\t\t\t\tlet left = ( pageWidth - slideWidth ) / 2;\n\t\t\t\tlet top = ( pageHeight - slideHeight ) / 2;\n\n\t\t\t\tconst contentHeight = slideScrollHeights[ index ];\n\t\t\t\tlet numberOfPages = Math.max( Math.ceil( contentHeight / pageHeight ), 1 );\n\n\t\t\t\t// Adhere to configured pages per slide limit\n\t\t\t\tnumberOfPages = Math.min( numberOfPages, config.pdfMaxPagesPerSlide );\n\n\t\t\t\t// Center slides vertically\n\t\t\t\tif( numberOfPages === 1 && config.center || slide.classList.contains( 'center' ) ) {\n\t\t\t\t\ttop = Math.max( ( pageHeight - contentHeight ) / 2, 0 );\n\t\t\t\t}\n\n\t\t\t\t// Wrap the slide in a page element and hide its overflow\n\t\t\t\t// so that no page ever flows onto another\n\t\t\t\tconst page = document.createElement( 'div' );\n\t\t\t\tpages.push( page );\n\n\t\t\t\tpage.className = 'pdf-page';\n\t\t\t\tpage.style.height = ( ( pageHeight + config.pdfPageHeightOffset ) * numberOfPages ) + 'px';\n\t\t\t\tpage.appendChild( slide );\n\n\t\t\t\t// Position the slide inside of the page\n\t\t\t\tslide.style.left = left + 'px';\n\t\t\t\tslide.style.top = top + 'px';\n\t\t\t\tslide.style.width = slideWidth + 'px';\n\n\t\t\t\tif( slide.slideBackgroundElement ) {\n\t\t\t\t\tpage.insertBefore( slide.slideBackgroundElement, slide );\n\t\t\t\t}\n\n\t\t\t\t// Inject notes if `showNotes` is enabled\n\t\t\t\tif( config.showNotes ) {\n\n\t\t\t\t\t// Are there notes for this slide?\n\t\t\t\t\tconst notes = this.Reveal.getSlideNotes( slide );\n\t\t\t\t\tif( notes ) {\n\n\t\t\t\t\t\tconst notesSpacing = 8;\n\t\t\t\t\t\tconst notesLayout = typeof config.showNotes === 'string' ? config.showNotes : 'inline';\n\t\t\t\t\t\tconst notesElement = document.createElement( 'div' );\n\t\t\t\t\t\tnotesElement.classList.add( 'speaker-notes' );\n\t\t\t\t\t\tnotesElement.classList.add( 'speaker-notes-pdf' );\n\t\t\t\t\t\tnotesElement.setAttribute( 'data-layout', notesLayout );\n\t\t\t\t\t\tnotesElement.innerHTML = notes;\n\n\t\t\t\t\t\tif( notesLayout === 'separate-page' ) {\n\t\t\t\t\t\t\tpages.push( notesElement );\n\t\t\t\t\t\t}\n\t\t\t\t\t\telse {\n\t\t\t\t\t\t\tnotesElement.style.left = notesSpacing + 'px';\n\t\t\t\t\t\t\tnotesElement.style.bottom = notesSpacing + 'px';\n\t\t\t\t\t\t\tnotesElement.style.width = ( pageWidth - notesSpacing*2 ) + 'px';\n\t\t\t\t\t\t\tpage.appendChild( notesElement );\n\t\t\t\t\t\t}\n\n\t\t\t\t\t}\n\n\t\t\t\t}\n\n\t\t\t\t// Inject slide numbers if `slideNumbers` are enabled\n\t\t\t\tif( doingSlideNumbers ) {\n\t\t\t\t\tconst slideNumber = index + 1;\n\t\t\t\t\tconst numberElement = document.createElement( 'div' );\n\t\t\t\t\tnumberElement.classList.add( 'slide-number' );\n\t\t\t\t\tnumberElement.classList.add( 'slide-number-pdf' );\n\t\t\t\t\tnumberElement.innerHTML = slideNumber;\n\t\t\t\t\tpage.appendChild( numberElement );\n\t\t\t\t}\n\n\t\t\t\t// Copy page and show fragments one after another\n\t\t\t\tif( config.pdfSeparateFragments ) {\n\n\t\t\t\t\t// Each fragment 'group' is an array containing one or more\n\t\t\t\t\t// fragments. Multiple fragments that appear at the same time\n\t\t\t\t\t// are part of the same group.\n\t\t\t\t\tconst fragmentGroups = this.Reveal.fragments.sort( page.querySelectorAll( '.fragment' ), true );\n\n\t\t\t\t\tlet previousFragmentStep;\n\n\t\t\t\t\tfragmentGroups.forEach( function( fragments ) {\n\n\t\t\t\t\t\t// Remove 'current-fragment' from the previous group\n\t\t\t\t\t\tif( previousFragmentStep ) {\n\t\t\t\t\t\t\tpreviousFragmentStep.forEach( function( fragment ) {\n\t\t\t\t\t\t\t\tfragment.classList.remove( 'current-fragment' );\n\t\t\t\t\t\t\t} );\n\t\t\t\t\t\t}\n\n\t\t\t\t\t\t// Show the fragments for the current index\n\t\t\t\t\t\tfragments.forEach( function( fragment ) {\n\t\t\t\t\t\t\tfragment.classList.add( 'visible', 'current-fragment' );\n\t\t\t\t\t\t}, this );\n\n\t\t\t\t\t\t// Create a separate page for the current fragment state\n\t\t\t\t\t\tconst clonedPage = page.cloneNode( true );\n\t\t\t\t\t\tpages.push( clonedPage );\n\n\t\t\t\t\t\tpreviousFragmentStep = fragments;\n\n\t\t\t\t\t}, this );\n\n\t\t\t\t\t// Reset the first/original page so that all fragments are hidden\n\t\t\t\t\tfragmentGroups.forEach( function( fragments ) {\n\t\t\t\t\t\tfragments.forEach( function( fragment ) {\n\t\t\t\t\t\t\tfragment.classList.remove( 'visible', 'current-fragment' );\n\t\t\t\t\t\t} );\n\t\t\t\t\t} );\n\n\t\t\t\t}\n\t\t\t\t// Show all fragments\n\t\t\t\telse {\n\t\t\t\t\tqueryAll( page, '.fragment:not(.fade-out)' ).forEach( function( fragment ) {\n\t\t\t\t\t\tfragment.classList.add( 'visible' );\n\t\t\t\t\t} );\n\t\t\t\t}\n\n\t\t\t}\n\n\t\t}, this );\n\n\t\tawait new Promise( requestAnimationFrame );\n\n\t\tpages.forEach( page => pageContainer.appendChild( page ) );\n\n\t\t// Notify subscribers that the PDF layout is good to go\n\t\tthis.Reveal.dispatchEvent({ type: 'pdf-ready' });\n\n\t}\n\n\t/**\n\t * Checks if this instance is being used to print a PDF.\n\t */\n\tisPrintingPDF() {\n\n\t\treturn ( /print-pdf/gi ).test( window.location.search );\n\n\t}\n\n}\n","import { isAndroid } from '../utils/device.js'\nimport { matches } from '../utils/util.js'\n\nconst SWIPE_THRESHOLD = 40;\n\n/**\n * Controls all touch interactions and navigations for\n * a presentation.\n */\nexport default class Touch {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t\t// Holds information about the currently ongoing touch interaction\n\t\tthis.touchStartX = 0;\n\t\tthis.touchStartY = 0;\n\t\tthis.touchStartCount = 0;\n\t\tthis.touchCaptured = false;\n\n\t\tthis.onPointerDown = this.onPointerDown.bind( this );\n\t\tthis.onPointerMove = this.onPointerMove.bind( this );\n\t\tthis.onPointerUp = this.onPointerUp.bind( this );\n\t\tthis.onTouchStart = this.onTouchStart.bind( this );\n\t\tthis.onTouchMove = this.onTouchMove.bind( this );\n\t\tthis.onTouchEnd = this.onTouchEnd.bind( this );\n\n\t}\n\n\t/**\n\t *\n\t */\n\tbind() {\n\n\t\tlet revealElement = this.Reveal.getRevealElement();\n\n\t\tif( 'onpointerdown' in window ) {\n\t\t\t// Use W3C pointer events\n\t\t\trevealElement.addEventListener( 'pointerdown', this.onPointerDown, false );\n\t\t\trevealElement.addEventListener( 'pointermove', this.onPointerMove, false );\n\t\t\trevealElement.addEventListener( 'pointerup', this.onPointerUp, false );\n\t\t}\n\t\telse if( window.navigator.msPointerEnabled ) {\n\t\t\t// IE 10 uses prefixed version of pointer events\n\t\t\trevealElement.addEventListener( 'MSPointerDown', this.onPointerDown, false );\n\t\t\trevealElement.addEventListener( 'MSPointerMove', this.onPointerMove, false );\n\t\t\trevealElement.addEventListener( 'MSPointerUp', this.onPointerUp, false );\n\t\t}\n\t\telse {\n\t\t\t// Fall back to touch events\n\t\t\trevealElement.addEventListener( 'touchstart', this.onTouchStart, false );\n\t\t\trevealElement.addEventListener( 'touchmove', this.onTouchMove, false );\n\t\t\trevealElement.addEventListener( 'touchend', this.onTouchEnd, false );\n\t\t}\n\n\t}\n\n\t/**\n\t *\n\t */\n\tunbind() {\n\n\t\tlet revealElement = this.Reveal.getRevealElement();\n\n\t\trevealElement.removeEventListener( 'pointerdown', this.onPointerDown, false );\n\t\trevealElement.removeEventListener( 'pointermove', this.onPointerMove, false );\n\t\trevealElement.removeEventListener( 'pointerup', this.onPointerUp, false );\n\n\t\trevealElement.removeEventListener( 'MSPointerDown', this.onPointerDown, false );\n\t\trevealElement.removeEventListener( 'MSPointerMove', this.onPointerMove, false );\n\t\trevealElement.removeEventListener( 'MSPointerUp', this.onPointerUp, false );\n\n\t\trevealElement.removeEventListener( 'touchstart', this.onTouchStart, false );\n\t\trevealElement.removeEventListener( 'touchmove', this.onTouchMove, false );\n\t\trevealElement.removeEventListener( 'touchend', this.onTouchEnd, false );\n\n\t}\n\n\t/**\n\t * Checks if the target element prevents the triggering of\n\t * swipe navigation.\n\t */\n\tisSwipePrevented( target ) {\n\n\t\t// Prevent accidental swipes when scrubbing timelines\n\t\tif( matches( target, 'video, audio' ) ) return true;\n\n\t\twhile( target && typeof target.hasAttribute === 'function' ) {\n\t\t\tif( target.hasAttribute( 'data-prevent-swipe' ) ) return true;\n\t\t\ttarget = target.parentNode;\n\t\t}\n\n\t\treturn false;\n\n\t}\n\n\t/**\n\t * Handler for the 'touchstart' event, enables support for\n\t * swipe and pinch gestures.\n\t *\n\t * @param {object} event\n\t */\n\tonTouchStart( event ) {\n\n\t\tif( this.isSwipePrevented( event.target ) ) return true;\n\n\t\tthis.touchStartX = event.touches[0].clientX;\n\t\tthis.touchStartY = event.touches[0].clientY;\n\t\tthis.touchStartCount = event.touches.length;\n\n\t}\n\n\t/**\n\t * Handler for the 'touchmove' event.\n\t *\n\t * @param {object} event\n\t */\n\tonTouchMove( event ) {\n\n\t\tif( this.isSwipePrevented( event.target ) ) return true;\n\n\t\tlet config = this.Reveal.getConfig();\n\n\t\t// Each touch should only trigger one action\n\t\tif( !this.touchCaptured ) {\n\t\t\tthis.Reveal.onUserInput( event );\n\n\t\t\tlet currentX = event.touches[0].clientX;\n\t\t\tlet currentY = event.touches[0].clientY;\n\n\t\t\t// There was only one touch point, look for a swipe\n\t\t\tif( event.touches.length === 1 && this.touchStartCount !== 2 ) {\n\n\t\t\t\tlet availableRoutes = this.Reveal.availableRoutes({ includeFragments: true });\n\n\t\t\t\tlet deltaX = currentX - this.touchStartX,\n\t\t\t\t\tdeltaY = currentY - this.touchStartY;\n\n\t\t\t\tif( deltaX > SWIPE_THRESHOLD && Math.abs( deltaX ) > Math.abs( deltaY ) ) {\n\t\t\t\t\tthis.touchCaptured = true;\n\t\t\t\t\tif( config.navigationMode === 'linear' ) {\n\t\t\t\t\t\tif( config.rtl ) {\n\t\t\t\t\t\t\tthis.Reveal.next();\n\t\t\t\t\t\t}\n\t\t\t\t\t\telse {\n\t\t\t\t\t\t\tthis.Reveal.prev();\n\t\t\t\t\t\t}\n\t\t\t\t\t}\n\t\t\t\t\telse {\n\t\t\t\t\t\tthis.Reveal.left();\n\t\t\t\t\t}\n\t\t\t\t}\n\t\t\t\telse if( deltaX < -SWIPE_THRESHOLD && Math.abs( deltaX ) > Math.abs( deltaY ) ) {\n\t\t\t\t\tthis.touchCaptured = true;\n\t\t\t\t\tif( config.navigationMode === 'linear' ) {\n\t\t\t\t\t\tif( config.rtl ) {\n\t\t\t\t\t\t\tthis.Reveal.prev();\n\t\t\t\t\t\t}\n\t\t\t\t\t\telse {\n\t\t\t\t\t\t\tthis.Reveal.next();\n\t\t\t\t\t\t}\n\t\t\t\t\t}\n\t\t\t\t\telse {\n\t\t\t\t\t\tthis.Reveal.right();\n\t\t\t\t\t}\n\t\t\t\t}\n\t\t\t\telse if( deltaY > SWIPE_THRESHOLD && availableRoutes.up ) {\n\t\t\t\t\tthis.touchCaptured = true;\n\t\t\t\t\tif( config.navigationMode === 'linear' ) {\n\t\t\t\t\t\tthis.Reveal.prev();\n\t\t\t\t\t}\n\t\t\t\t\telse {\n\t\t\t\t\t\tthis.Reveal.up();\n\t\t\t\t\t}\n\t\t\t\t}\n\t\t\t\telse if( deltaY < -SWIPE_THRESHOLD && availableRoutes.down ) {\n\t\t\t\t\tthis.touchCaptured = true;\n\t\t\t\t\tif( config.navigationMode === 'linear' ) {\n\t\t\t\t\t\tthis.Reveal.next();\n\t\t\t\t\t}\n\t\t\t\t\telse {\n\t\t\t\t\t\tthis.Reveal.down();\n\t\t\t\t\t}\n\t\t\t\t}\n\n\t\t\t\t// If we're embedded, only block touch events if they have\n\t\t\t\t// triggered an action\n\t\t\t\tif( config.embedded ) {\n\t\t\t\t\tif( this.touchCaptured || this.Reveal.isVerticalSlide() ) {\n\t\t\t\t\t\tevent.preventDefault();\n\t\t\t\t\t}\n\t\t\t\t}\n\t\t\t\t// Not embedded? Block them all to avoid needless tossing\n\t\t\t\t// around of the viewport in iOS\n\t\t\t\telse {\n\t\t\t\t\tevent.preventDefault();\n\t\t\t\t}\n\n\t\t\t}\n\t\t}\n\t\t// There's a bug with swiping on some Android devices unless\n\t\t// the default action is always prevented\n\t\telse if( isAndroid ) {\n\t\t\tevent.preventDefault();\n\t\t}\n\n\t}\n\n\t/**\n\t * Handler for the 'touchend' event.\n\t *\n\t * @param {object} event\n\t */\n\tonTouchEnd( event ) {\n\n\t\tthis.touchCaptured = false;\n\n\t}\n\n\t/**\n\t * Convert pointer down to touch start.\n\t *\n\t * @param {object} event\n\t */\n\tonPointerDown( event ) {\n\n\t\tif( event.pointerType === event.MSPOINTER_TYPE_TOUCH || event.pointerType === \"touch\" ) {\n\t\t\tevent.touches = [{ clientX: event.clientX, clientY: event.clientY }];\n\t\t\tthis.onTouchStart( event );\n\t\t}\n\n\t}\n\n\t/**\n\t * Convert pointer move to touch move.\n\t *\n\t * @param {object} event\n\t */\n\tonPointerMove( event ) {\n\n\t\tif( event.pointerType === event.MSPOINTER_TYPE_TOUCH || event.pointerType === \"touch\" ) {\n\t\t\tevent.touches = [{ clientX: event.clientX, clientY: event.clientY }];\n\t\t\tthis.onTouchMove( event );\n\t\t}\n\n\t}\n\n\t/**\n\t * Convert pointer up to touch end.\n\t *\n\t * @param {object} event\n\t */\n\tonPointerUp( event ) {\n\n\t\tif( event.pointerType === event.MSPOINTER_TYPE_TOUCH || event.pointerType === \"touch\" ) {\n\t\t\tevent.touches = [{ clientX: event.clientX, clientY: event.clientY }];\n\t\t\tthis.onTouchEnd( event );\n\t\t}\n\n\t}\n\n}","import { closest } from '../utils/util.js'\n\n/**\n * Manages focus when a presentation is embedded. This\n * helps us only capture keyboard from the presentation\n * a user is currently interacting with in a page where\n * multiple presentations are embedded.\n */\n\nconst STATE_FOCUS = 'focus';\nconst STATE_BLUR = 'blur';\n\nexport default class Focus {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t\tthis.onRevealPointerDown = this.onRevealPointerDown.bind( this );\n\t\tthis.onDocumentPointerDown = this.onDocumentPointerDown.bind( this );\n\n\t}\n\n\t/**\n\t * Called when the reveal.js config is updated.\n\t */\n\tconfigure( config, oldConfig ) {\n\n\t\tif( config.embedded ) {\n\t\t\tthis.blur();\n\t\t}\n\t\telse {\n\t\t\tthis.focus();\n\t\t\tthis.unbind();\n\t\t}\n\n\t}\n\n\tbind() {\n\n\t\tif( this.Reveal.getConfig().embedded ) {\n\t\t\tthis.Reveal.getRevealElement().addEventListener( 'pointerdown', this.onRevealPointerDown, false );\n\t\t}\n\n\t}\n\n\tunbind() {\n\n\t\tthis.Reveal.getRevealElement().removeEventListener( 'pointerdown', this.onRevealPointerDown, false );\n\t\tdocument.removeEventListener( 'pointerdown', this.onDocumentPointerDown, false );\n\n\t}\n\n\tfocus() {\n\n\t\tif( this.state !== STATE_FOCUS ) {\n\t\t\tthis.Reveal.getRevealElement().classList.add( 'focused' );\n\t\t\tdocument.addEventListener( 'pointerdown', this.onDocumentPointerDown, false );\n\t\t}\n\n\t\tthis.state = STATE_FOCUS;\n\n\t}\n\n\tblur() {\n\n\t\tif( this.state !== STATE_BLUR ) {\n\t\t\tthis.Reveal.getRevealElement().classList.remove( 'focused' );\n\t\t\tdocument.removeEventListener( 'pointerdown', this.onDocumentPointerDown, false );\n\t\t}\n\n\t\tthis.state = STATE_BLUR;\n\n\t}\n\n\tisFocused() {\n\n\t\treturn this.state === STATE_FOCUS;\n\n\t}\n\n\tonRevealPointerDown( event ) {\n\n\t\tthis.focus();\n\n\t}\n\n\tonDocumentPointerDown( event ) {\n\n\t\tlet revealElement = closest( event.target, '.reveal' );\n\t\tif( !revealElement || revealElement !== this.Reveal.getRevealElement() ) {\n\t\t\tthis.blur();\n\t\t}\n\n\t}\n\n}","/**\n * Handles the showing and \n */\nexport default class Notes {\n\n\tconstructor( Reveal ) {\n\n\t\tthis.Reveal = Reveal;\n\n\t}\n\n\trender() {\n\n\t\tthis.element = document.createElement( 'div' );\n\t\tthis.element.className = 'speaker-notes';\n\t\tthis.element.setAttribute( 'data-prevent-swipe', '' );\n\t\tthis.element.setAttribute( 'tabindex', '0' );\n\t\tthis.Reveal.getRevealElement().appendChild( this.element );\n\n\t}\n\n\t/**\n\t * Called when the reveal.js config is updated.\n\t */\n\tconfigure( config, oldConfig ) {\n\n\t\tif( config.showNotes ) {\n\t\t\tthis.element.setAttribute( 'data-layout', typeof config.showNotes === 'string' ? config.showNotes : 'inline' );\n\t\t}\n\n\t}\n\n\t/**\n\t * Pick up notes from the current slide and display them\n\t * to the viewer.\n\t *\n\t * @see {@link config.showNotes}\n\t */\n\tupdate() {\n\n\t\tif( this.Reveal.getConfig().showNotes && this.element && this.Reveal.getCurrentSlide() && !this.Reveal.print.isPrintingPDF() ) {\n\n\t\t\tthis.element.innerHTML = this.getSlideNotes() || 'No notes on this slide.';\n\n\t\t}\n\n\t}\n\n\t/**\n\t * Updates the visibility of the speaker notes sidebar that\n\t * is used to share annotated slides. The notes sidebar is\n\t * only visible if showNotes is true and there are notes on\n\t * one or more slides in the deck.\n\t */\n\tupdateVisibility() {\n\n\t\tif( this.Reveal.getConfig().showNotes && this.hasNotes() && !this.Reveal.print.isPrintingPDF() ) {\n\t\t\tthis.Reveal.getRevealElement().classList.add( 'show-notes' );\n\t\t}\n\t\telse {\n\t\t\tthis.Reveal.getRevealElement().classList.remove( 'show-notes' );\n\t\t}\n\n\t}\n\n\t/**\n\t * Checks if there are speaker notes for ANY slide in the\n\t * presentation.\n\t */\n\thasNotes() {\n\n\t\treturn this.Reveal.getSlidesElement().querySelectorAll( '[data-notes], aside.notes' ).length > 0;\n\n\t}\n\n\t/**\n\t * Checks if this presentation is running inside of the\n\t * speaker notes window.\n\t *\n\t * @return {boolean}\n\t */\n\tisSpeakerNotesWindow() {\n\n\t\treturn !!window.location.search.match( /receiver/gi );\n\n\t}\n\n\t/**\n\t * Retrieves the speaker notes from a slide. Notes can be\n\t * defined in two ways:\n\t * 1. As a data-notes attribute on the slide
    \n\t * 2. As an