a handbook of cognition for ux designers

写给用户体验设计师的认知手册 1

写给用户体验设计师的认知手册 A Handbook of Cognition for UX Designers

目录 Table of Contents 介绍 Introduction .................................................................................................................................... 2 知觉 Perception ....................................................................................................................................... 3 组织性 Grouping ............................................................................................................................. 3 三维投射 Three-Dimensional Projection ................................................................................ 6 色觉 Color perception .................................................................................................................... 6 物体识别 Object Recognition .................................................................................................... 7 人脸识别 Face Recognition ........................................................................................................ 8 对比偏见 Contrast bias ................................................................................................................ 9 预期偏见 Expectation Bias ......................................................................................................... 9 视觉偏好 Visual Preferences .................................................................................................. 10 恒常性 Constancy ........................................................................................................................ 12 时间要求 Time Requirement ................................................................................................. 13

注意 Attention ....................................................................................................................................... 14 注意很容易被转移 Easily Diverted Attention ................................................................. 14 集中注意的方法 Tools to Focus Attention ....................................................................... 15 可预期的模式 Predictable Patterns .................................................................................... 16

记忆 Memory .......................................................................................................................................... 17 辨认比回想容易 Recognition over Recall ......................................................................... 17 助记方法 Mnemonic Devices ................................................................................................. 17

阅读 Reading .......................................................................................................................................... 20 阅读能力不一 Reading skills are different ....................................................................... 20 眼运动模式 Eye movement Patterns .................................................................................. 21

思维 Thinking ........................................................................................................................................ 22 从经验中学习是容易的 Learning from experience is easy ....................................... 22 解决问题很难 Problem solving is hard .............................................................................. 23 做决定是不理性的 Decision-‐making is irrational ......................................................... 23 环境效应 Environment Effect ................................................................................................ 24


介绍 Introduction 这本手册是我们为用户体验设计师编写的认知知识概要。我

们希望它能成为你喜欢的设计工具之一，并让你的作品更

加直观并更加符合人类认知。当然，如果你已经对此非常熟

悉，就权当休闲性的阅读吧。

This handbook is about general cognition knowledge we summarized for UX designers. We hope that this would become one of your favorite tools while designing, and make your work more intuitive and more accord with human cognition. And if you already know everything, just read it for fun.

现在来谈谈我们的思路。首先，我们按照心理活动从低级到

高级的顺序将认知划分为五个话题，即知觉、注意、记忆、

阅读和思维。其次，对于每个话题，我们都总结了其基本

的特征，包括优缺点和我们的观点。后，我们列出了能够

对每一特征作进一步解释的设计原则。

Now, let’s talk about our way of thinking. Firstly, we divided cognition into five topics, which are perception, attention, memory, reading and thinking from lower to higher mental processes. Secondly, we concluded the most basic features for each topic, including strengths, weaknesses and our opinions. And at last, we listed every design principle that could explain more about these features.

另外，这本手册是完全公开的，我们会对其进行持续更新。

如果你发现了任何有用的信息，请发邮件告诉我们。我们能

够合力把它做得更好。

Besides, this handbook is totally open. We are going to update it continually. And if you find anything that is really useful, do not hesitate to email us. We can make this better together.


知觉 Perception 知觉是对感觉信息的组织、识别和解释的过程，从而反映和

理解我们周围的环境。

Perception is the process of organization, identification, and interpretation of sensory information in order to represent and understand the environment.

人的知觉非常神奇。我们能够看到结构化的事物，能够看到

三维立体的事物，能够识别物体和人脸。同时，人的知觉并

不是对世界的真实反映。它总是受到周围环境，个人预期，

视觉偏好等因素的影响。

Human perception is very amazing. We can see things as structured, three-dimensional; we can recognize objects or faces. At the same time, our perception is also not a real response to the world. It is always biased by context, expectations, visual preferences and other factors.

我们先来谈谈知觉的强项。 Let’s talk about its strengths first.

组织性 Grouping 人类天生就具有将事物元素识别为有组织的模式和物体的能力。我们

不仅能够将元素分组，同时还能去除模糊性并降低其复杂性。 Human has the ability to perceive elements as organized patterns and objects by nature. We can not only organize elements into groups, but also resolve ambiguity and reduce complexity.

组织性原则是由格式塔心理学家首次提出的一系列原则的集合。包括

如下几种： The principles of grouping are a set of principles proposed by Gestalt psychologists first. These principles are organized into categories as follows.

首先来谈谈能够促进事物组织性的原则。 Firstly, let’s talk about principles that would promote our perception of grouping.


临近性 Proximity 同一界面元素的相对位置会影响我们对事物组织性的识别。越相邻的元素越被认

为是组成的整体。 The relative distance between elements in a display affects our perception of whether and how the elements are organized into groups. Elements that are close together are perceived to be more related than elements that are not.

相似性 Similarity 相似性是另一个影响我们对事物组织性识别的原则。越相似的元素越被认为是组

成的整体。 Similarity is another factor that affects our perception about grouping. Elements that are similar are perceived to be more related than elements that are not.

一致性 Consistency

一致性同样影响着我们对事物组织性的识别。元素在形状、模式、颜色等方面具

有相同或相似的属性越被认为是组成的整体。 Consistency also affects our perception about grouping. Elements that are consistent in forms of the same or similar shape, pattern, color and other aspects are perceived to be more related.

第二，我们的知觉能够去除模糊并将事物看成整体。 Secondly, our perception also has the ability to resolve ambiguity and perceive things as a whole.

闭合性 Closure

我们的视觉系统能够连接起不完整的图形，从而将一系列零散的元素看成是单一

可识别的物体或模式。 Our vision system has the ability of closing open figures in order to perceive a set of individual elements as a single, recognizable object or pattern, rather than multiple, individual elements.

连续性 Continuation 我们倾向于将事物识别为连续的形式，而非不相关的部分。必要时能够通过补充

缺失数据实现事物的连续性。 Our vision system tends to perceive continuous forms rather than disconnected segments, even by adding missing data if necessary.

第三，我们倾向于通过某种方式分解复杂图形以降低其复杂性。这是

因为，我们的视觉系统对同一事物往往存在多种解释方式，但通常自

动选择将其简化或识别为对称的图形，以赋予图形意义。 Thirdly, we tend to parse complicated figures in a way that reduces complexity. This is because that the data in our visual field always has more than one interpretation, but our vision automatically


interprets the data in simple or symmetry way in order to help the mind create meaning. 简单性 Simplicity

将模糊复杂的图形简化，而非复杂化。 A tendency to interpret ambiguous or complex images as simple ones.

对称性 Symmetry

将模糊复杂的图形解释为对称的形状。 A tendency to interpret ambiguous or complex images as symmetrical shapes.

第四，我们同样能够分辨主体与背景。 Fourthly, we can also distinguish figures and grounds.

主体-背景关系 Figure-Ground Relationship

元素要么被识别为主体，即物体的焦点；要么被识别为背景，即除焦点外的视觉

空间。一般来说，主体与背景的对比越鲜明，主体就越突出从而成为我们的视觉

焦点。同时，这一原则总会受到场景特征和观察者关注点的影响。 Elements are perceived as either figures, which are the objects of focus, or ground which is the rest of the perceptual field. Generally speaking, the more striking the contrast of figure and ground will be, the figure will be more prominent and become the focus of our vision. And the principle is always influenced by the characteristics of the scene and the viewer’s focus of attention.

第五，组织性原则不仅仅讨论静止的物体，同时也讨论运动的物体。 Fifth, the principle of grouping is not only talking about static objects, but also moving things. 共同方向运动 Common Fate 朝着同一方向运动的元素被认为是组成的整体。 Elements that move in the same direction are perceived to be more related than elements that move in different directions.

后是一些有关组织性原则在用户体验设计中的具体应用。 At last, there are still some useful principles that can be seen as further explanations of the principles of grouping.

层级结构 Hierarchy

层级结构是识别和理解复杂性简单的结构化方式，同时也是学习系统有效的

方式之一。层级结构包括三种基本方式：树形结构，网状结构，梯形结构。 Hierarchical organization is the simplest structure for visualizing and understanding complexity. And it is also one of the most effective ways to learn the system. There are three basic ways to visually represent hierarchy: trees, nests, and stairs.


分层 Layering 分层是将信息组织成若干部分并在同一时间只展示特定部分的过程；其目的是管

理复杂并加强信息间的关联性。分层包括两种基本方式：二维分层和三维分层。 Layering is the process of organizing information into related groupings and then presenting only certain groupings at one time. It is used to manage complexity and reinforce relationships in the information. There are two basic kinds of layering: two-dimensional and three-dimensional.

对齐 Alignment 对齐讨论的是在设计中元素按照行列或居中的对齐位置。它能够增强一致性并提

高设计的整体美感。同时也能够帮助用户完成从左到右或从上到下的阅读轨迹。 Alignment is about the placement of aligning elements into rows and columns or along a centerline. It not only creates a sense of consistency and contributes to the design’s overall aesthetic, but also leads the eyes left-right and top-bottom accordingly.

三维投射 Three-Dimensional Projection 我们能够将二维图形识别为三维物体或模式，特别是在某些视觉线索

的帮助下。 We have the ability to see two-dimensional images as three-dimensional objects or patterns; especially certain visual cues are present.

以下视觉线索通常用来增强三维视觉。包括：介入、大小、高度、线

性透视、纹理梯度、阴影、大气透视。 The following visual cues are commonly used to enhance the perception of three-dimensional relationships. Such as: interposition, size, elevation, linear perspective, texture gradient, shading, and atmospheric perspective.

色觉 Color perception 人类的色觉既有强项也有弱点。它能帮助我们区分主体及其背景，能

让我们更加容易地分辨物体间的细微差别。在设计中，色彩通常用来

吸引注意力，组织元素，揭示意义并增强美感。 Human color perception has both strengths and limitations. Color vision helps us to distinguish between a figure and its background; and makes it easier for us to recognize fine discriminations among objects. In design, color is commonly used to attract attention, group elements, indicate meaning, and enhance aesthetics.

色彩对比 Color Contrasts


我们的视觉能够发现颜色对比度，而非其绝对值。通常情况下，我们选择通过饱

和度、亮度和色相分辨颜色。（有关色彩的进一步知识，我们推荐您阅读日本作

者原田玲仁的《每天懂一点色彩心理学》）在设计中，设计师们通常会避免微小

的颜色差别，保证颜色间的对比度很高。 Our vision tends to detect color contrast, not absoluteness. Usually, we choose to distinguish colors by saturation and brightness as well as hue. (For further knowledge about color, we recommend you with the book named “Learn color psychology everyday” by a Japanese author Reiji Harada.) In design, designers usually avoid subtle color differences and make sure the contrast between colors is high.

红色效应 Red Effect

红色是非常具有吸引力的颜色。我们通常认为认为穿红色衣服的女士更有吸引力，

而穿红色衣服的男士更有气场。 Red is very attractive color. We are likely to perceive women wearing red as more attractive and men wearing red as more dominate.

色盲 Color Blindness

在正常光线条件下，有些人不能识别颜色及其区别或识别能力降低。设计师们应

当注意到这一缺陷影响着大部分人群。 Under normal lighting conditions, some people fail to see color or perceive color differences or the ability decreases. And this inability affects a significant percentage of the population, which designers need to pay attention to.

以下颜色组是色盲人群所不能识别的。包括深红色与黑色，深红色与深绿色，绿

色与紫色，浅绿色与白色。 Here’re some color pairs that color-blind people cannot distinguish. Such pairs include dark red versus black, dark red versus dark green, blue versus purple, light green versus white.

物体识别 Object Recognition 人类能够轻松地识别众多物体的图形，即便它们在视角、大小、比例

发生了某些变化，甚至发生了平移、变形或被部分遮盖。 Humans has the ability to recognize numerous objects in images with little effort, despite the fact that the image of the objects may vary somehow in different viewpoints, sizes, scales or even when they are translated or rotated. Objects can even be recognized when they are partially covered from views.

模式识别 Pattern Recognition

我们能够快速而准确地辨认出物体，即便他们在方向、大小、形态等方面发生了

变化。这是因为人类的视觉系统非常灵活，我们能够将记忆中存储的信息与视觉

捕捉到的信息相匹配。


We have the ability to recognize objects rapidly and accurately across considerable variations in orientation, size, form and other aspects. This is because that human vision system is very flexible, and we can match information from the visual field with the information stored in our memory.

另外，如果设计师们更多地关注物体的属性；那么，它们就能够更好

地被识别和利用。 Furthermore, objects can be recognized and used better if designers pay more attention to their properties.

拟态 Mimicry

复制熟悉的物体、机制或环境以便让人们通过其属性认识到其特殊的优势。 The act of copying properties of familiar objects, organisms, or environments so that we can realize specific strengths afforded by those properties.

功能可见性 Affordance

物体、机制或环境的物体属性影响着其功能。通常情况下，常见的物体图像能够

增强设计的可用性。 The physical properties of an object, organism or environment influence its function. Generally, images of common physical objects can enhance the usability of a design.

拟人化形态 Anthropomorphic Form

我们趋向于发现类人形状的物体并认为其更具吸引力。 We tend to find forms that appear humanoid or represent humanlike properties more appealing.

恐怖谷理论Uncanny Valley

当物体与真人形象非常相似时会令人毛骨悚然；反之，则会更吸引人。 We tend to perceive objects more appealing when they are dissimilar or to humans, but less appealing and even creepy when they are very similar to humans.

人脸识别 Face Recognition 我们能够通过人脸的比例和表情来解释并判断其出身、情感倾向、健

康状况和社会信息。 We have the ability to interpret and identify origins, emotional tendencies, health qualities, and social information from the proportions and expressions of human faces.

平均脸型效应 Most Average Facial Appearance Effect

人们喜欢大众脸，即其五官和其他脸部特征都接近于大多数人群的脸部特征。


We prefer most average faces in which the eyes, nose, lips, and other features are close to the average of the population.

魅力偏见Attractiveness Bias

我们倾向于认为有漂亮脸蛋的人就越有智慧，竞争力和道德感并具有更强的社交

能力。 We tend to perceive people with attractive faces as more intelligent, competent, moral, and sociable than those with unattractive faces.

娃娃脸偏见 Baby-Face Bias

我们趋向于认为娃娃脸的人更加幼稚、无助和诚实。 We tend to perceive people with baby-like faces as more naive, helpless, and honest than those with mature faces.

我们的知觉的确很神奇吧？我认为是的！不过，它也有自身的局限和

缺点。 Our perception is really amazing, isn’t it? I believe so! Anyway, it stills has its own limitations and weaknesses.

对比偏见 Contrast bias 我们对物体或事件属性的认知会受到环境对比影响。这里的环境既包

括周边物理环境的物体或事件，也包括先前对物体或事件的感知记忆。 The perceived qualities of an object or event can be biased by the qualities of context contrast. This context includes nearby perceived objects or events, and perceptual memories of previously perceived objects or events.

同时对比 Simultaneous contrast

即两种具有不同颜色的相邻物体其颜失会相互影响的现象。这种影响在互补色间

尤其明显。 The phenomenon of two adjacent objects with different colors would affect each other. The effect is more noticeable between objects of complementary color.

连续对比 Successive contrast

对当前物体或事件的感知会受到先前感知记忆的影响。 The perception of currently viewed objects or events will be affected by perceptual memories of previously viewed ones.

预期偏见 Expectation Bias


个人预期会影响对现有物体或事件的感知。具体而言，我们的预期会

过滤知觉，所有与预期不相关的感知将会从意识中清除。 Personal expectations or the expectations of others will affect the currently viewed objects or events. Specifically speaking, our expectations filter our perceptions: things that are not related will be filtered out from our conscious minds.

视觉偏好 Visual Preferences 视觉感知总会受到主观偏好的影响，包括颜色、布局、形状和审美。

同时也会受到环境影响。在之前的色觉部分我们已经探讨了颜色对视

觉感知的影响，在这部分我们主要探讨其他方面对视觉感知的影响。 Vision perception is always affected by subjective preference, including color, shape, composition and aesthetics. And it is also affected by environment. We have already discussed about color previously in color perception, and we are going to discuss mainly about other aspects in this part.

首先来谈谈形状对视觉感知的影响。 First is about shapes.

轮廓偏见Contour Bias

人们更喜欢有弧度的物体而非有尖角的物体。 People favor objects with contours over objects with sharp angles or points.

害怕真空Horror Vacui

人们倾向于用物体或元素填补空白而不是留下大片空白。 People favor filling blank spaces with objects and elements over leaving spaces empty.

方向敏感性Orientation Sensitivity

人们对某些线方向的处理和识别更快且更容易。这种方向敏感性基于两种视觉现

象，即斜效应和弹出效应。 People can process and discriminate certain line orientations are more quickly and easily than other line orientations. This orientation sensitivity is based on two phenomena that are observed in visual perception: oblique effect and pop-out effect.

斜效应 The oblique effect

人们能够更加准确识别和判断接近垂直和水平方向的线条，而不是斜线。


People have the ability to more accurately perceive and judge line orientations that are close to vertical and horizontal, than line orientations that are oblique.

弹出效应 The pop-up effect

人们能够更加快速且容易地捕捉到界面中的弹出元素。 People can detect certain elements in a display to pop out as figures more quickly and easily than others that are not.

其次是关于布局对视觉感知的影响。以下这些数学公式都是应用在设

计布局中的通用原则。实践证明，基于这些数学公式的设计更具有自

然美。 Second is about compositions. These mathematical formulas as follows are principles that are universally applied in composition of a design. And practice has proved that designs based on these mathematical formulas are more intrinsically aesthetic.

斐波那契数列 Fibonacci Sequences

从第三项开始，每一项等于前两项之和。斐波那契数列通常与黄金分割比例配合

使用。 A sequence of numbers in which each number is the sum of the preceding two. Fibonacci sequences are generally used in concert with the golden ratio.

黄金分割比例 Golden Ratio

即将整体一分为二，较大部分与较小部分之比等于整体与较大部分之比，其比值

为 1:0.618 或 1.618:1，即长段为全段的 0.618。0.618 被公认为具有审美意义的

比例数字。上述比例是能引起人的美感的比例，因此被称为黄金分割。 A ratio within the elements of a form, such as height to width, approximating 0.618. This ratio is perceived universally as the most aesthetic proportion, which is also the exact reason why it is called the golden ratio.

正态分布 Normal Distribution

正态分布一组关于统计数据的描述，其曲线呈对称的钟形。这是一个在数学和统

计学等领域具有重大影响力的概率分布。 A term used to describe a set of data, when plotted, forms the shape of a symmetrical, bell-shaped curve. This is a very influencing probability distribution in mathematics, statistics and other fields.

三分法 Rule of Thirds

二分为三的布局方式能够为设计中的主要元素增强美感。 A technique of composition in which a medium is divided into thirds in order to create aesthetics for the primary elements of a design.


脸部主义比例 Face-ism Ratio

人脸与身体的比例会影响这个人在整体画面中的视觉感知。 The ratio of face to body in an image will influence the way the person in the image is perceived.

第三是关于审美对视觉感知的影响。 Third is about aesthetics.

美学-可用性效应 Aesthetic-Usability Effect

具有美感的设计被认为更加容易使用。 Aesthetic designs are perceived as easier to use than less-aesthetic designs.

残缺之美 Wabi-Sabi

具有细微缺陷或不完整性的物体或环境反而能够达到更深层次的、更有意义的美

感。 Objects and environments that embody subtle imperfection or imperfection could contrarily achieve a deeper and more meaningful aesthetic.

同时，我们的知觉也会受到环境影响。 And also our perception is affected by the environment.

自然效应 Biophilia Effect

具有自然景观或图像的环境能够减少压力并增强注意力。 Environments with natural views or imageries can reduce stress and enhance concentrations.

大草原偏爱 Savanna Preference

相对于其他环境，我们更偏好于大草原环境。这是由于根据早期人类的生存经验，

拥有开阔场地和散落树木的环境比荒漠或茂密的丛林更具生存优势。而这种认识

随着人类的进化更加根深蒂固。 People prefer savanna-like environments to other types of environments. This is because that based on early human experience; people who lived on savannas with open areas and scattered trees enjoyed a survival advantage over humans who lived in desert or dense jungles. And this belief becomes more deep as human evolved.

恒常性 Constancy 我们倾向于认为物体是不变的，即便它们在颜色、大小、形状、位置

或亮度上发生了变化。 People tend to perceive objects as unchanging, despite changes in color, size, shape, location, or lightness.


颜色恒常性 Color constancy

随着光照的变化，我们仍会认为物体呈现同样的颜色。 The tendency for any object to appear to have the same color when the illumination varies.

大小恒常性 Size constancy

随着实际物体大小的变化，我们仍会认为物体呈现同样的大小。 The tendency for any given object to appear the same size when its real size varies.

明度恒常性 Lightness constancy

随着光照的变化，我们仍会认为物体的明度不变。 The tendency of an object to appear the same lightness regardless when the light casting upon it varies.

时间要求 Time Requirement 时间是另一个对知觉来说非常重要的因素，然而却经常被我们无意忽

视。我们对物体的知觉需要时间，而知觉过程的持续时间影响着我们

对系统交互效果的认知。考虑到以上因素，系统应当满足及时需求以

便与知觉的时间要求相同步。 Time is another very important factor about perception, which is always being ignored unconsciously. Our perception needs time, and the durations of perceptual process affect our impression on interaction systems. Based on factors above, the systems must meet timely needs in order to synchronize well with humans’ time requirement.


注意 Attention 注意是选择对环境某方面的注意，同时忽略其他方面的认知

过程。

Attention is the cognitive process of selectively concentrating on one aspect of the environment while ignoring other things.

尽管我们有集中注意力的能力，但是由于我们的注意力是有

限的并同时受到很多因素的影响，设计师们需要运用特定方

法并遵循预期模式以帮助人们集中注意力。 Although we have the ability to focus, but because attention is limited in capacity and also affected by many factors, designers need to use certain tools and follow certain predictable patterns to help people focus attention. 注意很容易被转移 Easily Diverted Attention 我们很难在同一时间将注意力集中在多个事物上。同时也有很多事情

能够转移我们的注意力。 It’s hard for us to pay attention to more than one thing at the same time. And there’re also many things that could divert people’s attention.

无意视盲 Inattentional Blindness

有时尽管某些事物清晰地摆在我们眼前，我们却根本注意不到或对其完全没有印

象。 The failure to perceive certain objects that are presented in clear view, leaving the observer without any memory of the objects.

信噪比 Signal-to-Noise Ratio

即相关信息与非相关信息在同一界面的比例。好的设计中信噪比都非常越高，因

为这会降低非相关信息对人们的干扰从而将注意力集中到相关信息上。 The ratio of relevant to irrelevant information in a display. The highest possible signal-to-noise ratio is always desirable in design. This is because that people can be less interrupted by irrelevant information and focus on relevant ones.

干扰效应 Interference Effects

当两种心理模式相互冲突时，我们的心理过程就会变慢且变得不准确。


When two mental models are competing and interfering with each other, our mental processing will become slower and less accurate.

集中注意的方法 Tools to Focus Attention 我们有能力将注意力仅放在特定视觉、听觉或触觉上。同时设计师运

用以下特定方法以吸引注意力能够使我们的这一能力增强。 People have the ability to respond to specific visual, auditory or tactile sensations. And that would be better if designers use certain tools below to attract people’s attention.

沉浸 Immersion

有时人的注意力能够集中到已感受不到真实世界的存在，只有一种愉悦和满足感。 People’s mental focus is so intense that they are no longer aware of the real world, only with a feeling of joy and satisfaction.

讲故事 Storytelling

即创造事件的图像、情感和对它们的理解。这种方法通常用于使人们产生共鸣。 A method of creating imagery, emotions, and understanding of events in order to gain empathy between storytellers and audiences.

意想不到的奖励 Unexpected Rewards

人们对意想不到的奖励的反应会更加强烈。 People tend to react more strongly to unexpected rewards.

社会互动 Social Interaction

当有他人参与时我们会投入更多的精力。具体来说，当系统创造一种社会参与感

并利用社会互动时，人们会更加积极和投入。 We pay more attention when there are other people involved. Specifically speaking, if a system creates a sense of social engagement and leverage social interaction, people will be more active and pay more attention to.

加亮 Highlighting

一种将注意力吸引到特定文字或图像区域的方法。 A technique to bring attention to certain areas of texts or images.

渐进展开 Progressive Disclosure

即在特定时间展示所须信息的方法。通常用于管理信息复杂性。 A strategy of presenting necessary information in a display at any given time, which is commonly used for managing information complexity.


可预期的模式 Predictable Patterns 我们的行为遵循可预期的模式，其中某些模式产生的原因便

是由于注意力自身的局限性。当系统的设计能够识别并支持

这些模式时，则能更好地符合我们的操作习惯。

Our behaviors follow predictable patterns, some of which result from the limited capacity of attention. When systems are designed to recognize and support those patterns, they fit better with the way people operate.

寻路 Wayfinding

即运用空间或环境信息来定位目的地的过程。这是由于利用信息线索能够集中我

们的注意并更好实现目标。 The process of using spatial or environmental information to navigate to certain destinations. This is because that information scent can help us focus attention and achieve goals better.

期望路线 Desire Line

我们更喜欢熟悉的路线。而使用或磨损的痕迹能够揭示出我们对物体或环境在交

互方法上表现出的偏好。 People prefer familiar paths. And the traces of use or wear can indicate our preferred methods of interaction with an object or the environment.


记忆 Memory 记忆是一段信息被编码、储存和提取的过程。 Memory is the process by which information is encoded, stored, and retrieved.

人类的记忆总是不可靠的。这是由于记忆在人类大脑中储存

的程度是不同的,并且追溯的时候往往会产生变化。然而,人类

辨认事物的能力远强于回想的能力。同时我们这里也提供给

大家一些方法去帮助人们更有效地记忆。 Memory is always unreliable. This is because that different memories are stored at different levels of detail and retroactively alterable. However, human brains recognize things much more easily than recall. And there are still some methods that can help people remember things better.

辨认比回想容易 Recognition over Recall 人类对事物的辨认能力要远强于回想，这是由于辨认通常提供了记忆

线索以帮助我们从记忆中搜索并找到正确答案。 Our ability of memory for recognizing things is much better than recalling things. This is because recognition always provides mnemonic cues to facilitate retrieving from memory and find the correct answers.

可见性 Visibility

当元素都清晰可见时，系统可用性会大大提高。就像学生喜欢做选择题胜过填空

题，用户也更倾向于选择而非被迫回忆和输入信息。 When the elements are clearly visible, the usability of a system will be improved greatly. Just like students favor choice questions over completions, users prefer options than being forced to recall and type.

图优效应 Picture Superiority Effect

人识别图的能力要远强于识别文字的能力。所以,尽可能地使用图片传达信息吧。 Our ability to remember pictures is better than words. So let’s use more pictures to convey the information.

助记方法 Mnemonic Devices


随着时间的推移，有些事情能够被我们记住，而大多数事情则被遗忘。

尽管如此，我们仍能通过特定方法帮助记忆，即助记方法。下面介绍

的几种助记方法就能在一定程度上提高记忆的效率。 With passing of time, some things are easily to be remembered by us; but most are not. Even so, we can still use certain methods to help people remember things better, which can be called mnemonic devices. Here come some kinds of devices that could improve the efficiency of memory to some degree.

组块 Chunking

将一串文字或是数字按照某种规则分成几段的方法。这是由于更短的文字或数字

能够被人类短期记忆更有效地处理，而人类短期记忆能够处理的长字符为 4，误差前后为 1。 A method of dividing words or numbers into a limited number of units or chunks. This is because that shorter texts or numbers will be processed by short-term memory more efficiently. And the maximum character that our short-term memory can process is 4, plus or minus 1.

粘性 Stickiness

即通过某种方式使观点成为社会共识的能力。而这些方式都能显著地提高记忆的

效率。包括：精炼信息、制造惊喜、具体化内容、使信息可信、获得共鸣、以故

事形式讲述。 The ability of making ideas become social consciousness in certain ways. These ways can all dramatically increase the efficiency of memory, including simplicity, surprise, concreteness, credibility, emotion and story.

图像表示 Iconic Representation

巧妙使用图片能够更好地帮助人们辨认和回想其传达的信息。 Use icons skillfully can improve the recognition and recall of the information conveyed.

序列位置效应 Serial Position Effects

即处于一段文字开始或结束位置的内容更容易被人们记住，而处于中间位置的内

容则容易被淡忘。 Texts that are presented at the beginning or the end of a paragraph are more likely to be recalled than texts in the middle.

深度范式 Depth of Processing

即分析得越深入的信息就容易被人们记住。 The information that is deeply analyzed is better recalled than superficially analyzed one.


冯·雷斯托夫效应 Von Restorff Effect

即与众不同的事物总是比普通事物更容易被人们记住。 Things that are distinctive are more likely to be recalled than common ones.


阅读 Reading 阅读是一种通过解码构建或派生意义的复杂认知过程。 Reading is a complex cognitive process of decoding symbols in order to construct or derive meaning.

然而，阅读并非人类的本能。它是一种需要后天训练才能掌

握的能力，就像学习如何弹奏小提琴或画画。这种能力并非

所有人都能具备；同时，不同人的阅读能力也是不一样的。

此外，我们的眼运动遵循着某种模式从而产生了不同视觉区

域。鉴于此，设计师们需要更多地思考设计呈现从而使其更

容易阅读。 However, reading is not the human ability by nature. It needs to be trained well to have the skills, just as learning how to play violin or draw. Not everyone has the ability to read, and different people have different levels. Besides, our eyes do follow certain patterns so that causing different optical areas. In view of that, designers need to think more with information presentation and make it more easily to be read.

阅读能力不一 Reading skills are different 人的阅读能力是通过后天训练形成的；所以，不同人的阅读能力也是

不一样的。在信息设计中，设计师一方面要考虑到目标用户群的阅读

能力，另一方面则要保证信息的可读性和易读性。 Reading skills need to be trained, hence that different people have different levels. Concerning information design, designers need to consider about the reading levels of target users on one hand, on the other, make sure of the readability and legibility of information.

可读性 Readability

即文本可被理解的程度；通常取决于字句的复杂性。在设计中，尽可能用简单

和易接受的形式去传达文字信息，这样人们可以将更多的注意力集中在理解文

字意思而不是句式结构上。 The degree to which texts can be understood, generally based on the complexity of its words and sentences. In design, express complex information in the simplest and most acceptable way, so that people will focus more on the information rather than the way it is presented.

易读性 Legibility


即文本的视觉清晰度；通常取决于文本的字号、字体、对比、文本块、字间距。

在设计中，合理运用这些元素能够让文本更容易阅读。 The visual clarity of texts, generally based on the size, typeface, contrast, text block, and spacing of characters. In design, manage these elements properly can make texts more easy to read.

眼运动模式 Eye movement Patterns 我们的眼睛对于同一界面的不同区域的识别也是不同的。有些视觉区

域先被我们的眼睛捕捉到，而有些区域则很容易被忽视。同时，我

们的眼睛也遵循着特定的运动模式。 Our eyes never treat elements in the visual field equally. We have strong and weak optical areas. And our eyes also follow certain movement patterns.

古腾堡图表 Gutenberg Diagram

即描述了在没有任何视觉强化的情况下，我们的眼睛在阅读信息时的运动模式。 A diagram that describes the eye movement patterns when we are reading information without any visual emphasis. 古腾堡图标将视觉区域分为四部分，即左上的第一落点区，右下的终落点区，

以及右上和左下的视觉落盲点。具体而言，我们的阅读轨迹通常遵循着从左到右，

从上到下的路线。 The Gutenberg diagram divides the optical areas into four parts: the primary optical area at the top left, the terminal area at the bottom right, the strong fallow area at the top right, and the weak fallow area at the bottom left. Specifically speaking, our reading path follows the left-right and top-bottom patterns.

边缘视觉很差 Poor Peripheral Vision

人眼对处在视觉中心的物体的观察要远强于处在视觉中心之外的物体，尤其是处

在视觉中心之外静止的物体，不容易被人们观察到。 The resolution of our visual field is higher in the center but much lower at the edges. So the information, especially stationary ones presented in the periphery of people’s visual field usually will not be read.


思维 Thinking 思维一般指涉及主观意识的心理或智力活动。它包括学习过

程、逻辑推理、解决问题和决定形成。 Thinking generally refers to any mental or intellectual activity involving an individual's subjective consciousness, including learning, reasoning, problem solving and decision-‐ making.

然而，这些高级的心理活动总是困难的、不理性的，也经常

受到环境因素的影响。鉴于此，系统应该尽可能代替人们去

思考，从而让人们更好地完成任务。 However, these higher mental processes are always hard, irrational and influenced by the environment. Given that, system need to do more thinking for people as much as possible so that they can perform actions better.

从经验中学习是容易的 Learning from experience is easy 我们非常擅长从经验和观察中总结和学习，从而指导以后生活中遇到

的类似问题。以下方法能够帮助我们利用已有经验学习新知识。 People are pretty good at generalizing and learning from specific experiences and observations in order to guide our lives when facing similar problems. The methods below can help people learn new things by using experience.

心智模型 Mental Model

人们总是倾向于基于经验形成的心理表征学习和使用系统。而这种基于经验的心

理表征则是心智模型。在设计中，好的系统就是系统模型尽可能地匹配用户的心

智模型。 People tend to learn and interact with systems and environments based on mental representations developed from experience. And this kind of mental representation is called mental model. In design, a system will always be desirable when system models are matched well with interaction models.

先行组织者 Advance Organizer

即利用已知信息帮助人们学习新知识的方法。它包括解释和对法两种方法。解释

通常用在当听众对所听内容知之甚少的情况下；对比通常用在当人们对所听内容

有相似经历的情况下。 A method of helping people learn new information by using what they already know. It includes expository and comparative. The method of expository


advance organizer is used when audiences have little knowledge similar to the information being presented. The method of comparative advance organizer is used when audiences have knowledge similar to the information being presented.

罗塞塔石碑 Rosetta Stone

即利用常识去解释和传达新信息。 A method for explaining and communicating new information by using common senses and understanding.

解决问题很难 Problem solving is hard 问题解决过程需要集中的注意力和持续的认知活动，同时相对较慢。因此人们设计出多种方法降低复杂性并让解决问题的过程更加容易。 Problem solving requires focused attention and constant awareness, and executes relatively slowly. So people use multiple ways to reduce complexity and make the processes much easier.

模块性 Modularity

处理系统性的方法之一就是将其分割成几个独立的部分，且每个独立部分之间通

过简单的界面相互协作。 One method of managing system complexity is that dividing large systems into multiple, smaller self-contained ones. And each smaller system can interact with each other through simple interfaces.

对比法 Comparison

即通过比较两种以上不同的对象从而得出某种关系和模型的方法。常用且有效

的 3 种对比方法是：同类比较法，单一环境法，水平对比法。 A method of illustrating relationships and patterns by representing two or more objects in a controlled way. The most commonly used and efficient methods are: apples to apples, single context, benchmarks.

做决定是不理性的 Decision-‐making is irrational 做决定的能力会受到一些因素的影响从而导致结果的不理性。 There are some factors that affect decision-making abilities and cause people to make irrational decisions.

曝光效应 Exposure Effect

即人们对其他人或事件的态度随着接触次数的增加而变得更积极的一种现象。曝光效应能改善人们对于产品的想法和感受，从而提高对于产品的信任和喜爱。

研究表明，曝光在十次左右能达到好的效果。好的曝光材料是照片、有意义

的文字、名字和简单的图形。


The phenomenon that people become more positive towards certain persons or events with repeated exposures. Exposure will generally improve the way people think and feel about a product. Research shows that the exposure effect will be strongest for the first ten times. And the best exposure materials are photographs, meaningful words, names, and simple shapes.

取景理论 Framing

即只展示或强调事件的正面或其负面从而影响人们的决定和判断。 The method of presenting and emphasizing information only in a positive or negative way in order to influence people´s decision-making and judgment.

满意即可 Satisficing

大多数情况下，人们更倾向采取一个令他们满意的方案,而不是去追寻好的方案。 People prefer a satisfactory solution, not the optimal solution in most cases.

环境效应 Environment Effect 环境会影响人类的思维能力。具体来说，当人们处于广阔而安全的环

境时，他们的创造性会被激发并能避免可能发生的错误。 The ability of thinking will be affected by the environment. Specifically speaking, people prefer environments with broad space and low risk, which would promote creative thinking and prevent possible errors.

教堂理论 Cathedral Effect

宽敞高耸的空间能激发人类的创造性思维；狭小低矮的环境则能帮助人们思考细

节。 High ceilings promote creative thinking. Low ceilings promote concrete thinking.

防卫空间 Defensible Space

即具有明确的领地标志的空间，通用于社区、办公区、工业区等的环境设计以提

供区域的安全性。 The space with clear territorial markers and indicators of ownerships. This principle is always used to help people create defensible in environmental design.

全貌理论 Prospect-Refuge

由于生存的本能，人类会偏好那些视野开拓同时具备掩体去保护自身的地方。在

设计上则要尽量达到这两种需求的平衡。 Because of the survival instinct, people prefer spaces with both prospects and refuges to make them feel a sense of safety. In design, designers need to achieve the balance between prospects and refuges as much as possible.

a handbook of cognition for ux designers

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