In my first story ‘User Experience is …’ I promised that …

在我的第一个故事“ 用户体验是…… ”中，我保证……

over the course of a few stories, I’ll try and cover a few of the sciences we draw upon in our art as a creative community to create engaging experiences.

在一些故事的过程中，我将尝试涵盖一些我们在艺术中所汲取的科学知识，这些知识可以作为一个创造性的社区来创造引人入胜的体验。

And in a previous story I talked around the similar field of how User Experience is … Psychology. But this time out I’m zoning in on one specific psychology theory of Gestalt and how we can use it when designing to improve the User Experience.

在先前的故事次我跟周围的如何的相似领域的用户体验...心理学 。 但是这次，我正在研究格式塔尔的一种特定心理学理论，以及在设计时如何使用它来改善用户体验。

Recently within a design team we saw the need to look at Gestalt theory in detail in order to look at how people typically group objects of a similar nature, through recognising patterns and simplifying complex objects down into more simple sections.

最近，在一个设计团队中，我们看到有必要详细研究格式塔理论，以了解人们通常如何通过识别模式并将复杂的对象简化为更简单的部分来对具有相似性质的对象进行分组。

Although the theory wasn’t new the name was, so I thought I’d look and provide some more details about it.

尽管该理论并不是新名称，但我想我会看一下并提供更多有关它的细节。

Gestalt psychology or gestaltism is a type of psychology that came out of Austria and Germany in the early twentieth century. The German word gestalt means “form” and is interpreted as “pattern” or “configuration”. Gestalt psychologists emphasised that organisms perceive entire patterns or configurations, not merely individual components. Popularly summed up in the phase, “the whole being more than the sum of its parts.”

摹 estalt心理学或gestaltism是一种心理的，在二十世纪初来到奥地利和德国了。 德语单词gestalt的意思是“形式”，并被解释为“样式”或“配置”。 格式塔心理学家强调，生物体会感知整个模式或构造，而不仅仅是单个组成部分。 在阶段中，人们通常将其总结为：“整体大于部分的总和。”

格式塔理论中的校长 (Principals within Gestalt’s theory)

Wertheimer defined a few principles that explain the ways humans perceive objects. Those principles were based on similarity, proximity, continuity

沃特海默(Wertheimer)定义了一些原理，解释了人类感知物体的方式。 这些原则基于相似性，邻近性，连续性

There are six core individual principals at play within Gestalt’s theory.

格式塔理论中有六个核心个人原则在起作用。

• Figure-Ground: Disliking uncertainty, we look for solid, stable items. Unless an image is truly ambiguous, its foreground catches the eye first.

  图地 ：不喜欢不确定性，我们寻找坚固，稳定的物品。 除非图像确实模棱两可，否则其前景将首先吸引眼球。

• Invariance is where we seek differences and similarities in an image and link similar elements. It’s the property of perception whereby simple geometrical objects can be recognised even if they’re rotated, translated, scaled, or a mixture of these.

  不变性是我们寻求图像中的差异和相似之处并链接相似元素的地方。 这是感知的属性，即使旋转，平移，缩放或混合这些对象，也可以识别简单的几何对象。

• Multistability is the tendency for ambiguous perceptual images to pop back and forth unstably between two or more alternative interpretations. Which causes your brain to switch between a couple of objects within a single image.

  多重稳定性是指模棱两可的感知图像在两个或多个替代解释之间不稳定地来回跳动的趋势。 这会使您的大脑在单个图像中的两个对象之间切换。

• Prägnanz is the fundamental principle of perceptual grouping. The law of Prägnanz is also known as the law of good Gestalt. Prägnanz is a German word that directly translates to “pithiness” and implies salience, conciseness, and orderliness. This describes our need to seek balance and order in designs, struggling to do so if they aren’t readily apparent we perceive complex or ambiguous images as simple ones.

  Prägnanz是感知分组的基本原理。 普兰涅茨法则也被称为好格式塔法则。 Prägnanz是德语单词，直接翻译为“虚假”，意味突出，简洁和有序。 这描述了我们在设计中寻求平衡与秩序的需要，如果它们不那么明显，我们就会努力这样做，我们将复杂或模棱两可的图像视为简单的图像。

格式塔定律 (Gestalt’s laws)

Gestalt psychologists later refined the law of Prägnanz, by refining this into 7 further laws that, allow us to predict the interpretation of sensation, what are often called “gestalt laws”.

格式塔心理学家后来通过将其进一步细化为7个进一步的法则，从而完善了Prägnanz的法则 ，这些法则使我们能够预测对感觉的解释，这通常被称为“格式塔法则”。

• Law of closure or Reification describes how we complete shapes, so automatically fill in gaps between elements to perceive other objects in order for us to complete image. So, we might see the whole first and then other objects within the image. This is the constructive aspect of our perception, which leads us to create objects in negative space. Reification can be explained by illusory contours or visual illusions. Negative space has long been a staple of good design. For example the hidden arrow in the FedEx logo.

  闭合或修正定律描述了我们如何完成形状，因此自动填充元素之间的间隙以感知其他对象，从而使我们完成图像。 因此，我们可能首先看到整个图像，然后看到图像中的其他对象。 这是我们感知的建设性方面，它使我们在负空间中创建对象。 可以用虚幻的轮廓或视觉幻象来解释整形。 负空间长期以来一直是良好设计的基础。 例如，FedEx徽标中的隐藏箭头。

• Law of Common Fate states that objects are perceived as lines that move along the smoothest path. We perceive elements of objects to have trends of motion, which indicate the path that the object is on. The law of continuity implies the grouping together of objects that have the same trend of motion and are therefore on the same path. It describes how we group elements that move in the same direction.

  共同命运定律指出，物体被视为沿着最平滑路径移动的线。 我们认为物体的元素具有运动趋势，这表明物体所在的路径。 连续性定律意味着将具有相同运动趋势并因此在相同路径上的对象组合在一起。 它描述了我们如何对沿相同方向移动的元素进行分组。

• Law of Continuity (also known as the law of good continuation) states that elements of objects tend to be grouped together, and therefore integrated into perceptual wholes if they are aligned within an object. In cases where there is an intersection between objects, individuals tend to perceive the two objects as two single uninterrupted entities. Stimuli remain distinct even with overlap. We are less likely to group elements with sharp abrupt directional changes as being one object. It describes how we favour to follow and “flow with” lines, rather than change direction.

  连续性定律 (也称为良好连续性定律)指出，对象的元素倾向于组合在一起，因此，如果它们在对象中对齐，则它们会集成到感知整体中。 在对象之间存在交集的情况下，个人倾向于将两个对象视为两个单个不间断的实体。 即使有重叠，刺激仍然保持独特。 我们不太可能将方向急剧变化的元素归为一个对象。 它描述了我们如何遵循并“顺其自然”而不是改变方向。

• Law of Proximity describes how close elements are to one another and we group closer-together elements, separating them from those farther apart. The strongest proximity relationships are those between overlapping subjects, but just grouping objects into a single area can also have a strong proximity effect. The opposite is also true, of course. By putting space between elements, you can add separation even when their other characteristics are the same.

  邻近定律描述了元素之间的接近程度，我们将更近的元素归为一组，将它们与更远的元素分开。 最强的邻近关系是重叠的对象之间的关系，但是将对象分组到单个区域也可以产生强烈的邻近效果。 当然，反之亦然。 通过在元素之间放置空格，即使其他特征相同，也可以添加分隔。

• Law of similarity states that elements within an assortment of objects are perceptually grouped together if they are similar to each other. This similarity can occur in the form of shape, colour, shading or other qualities. For example, the figure illustrating the law of similarity portrays 36 circles all equal distance apart from one another forming a square. In this depiction, 18 of the circles are shaded dark, and 18 of the circles are shaded light. We perceive the dark circles as grouped together and the light circles as grouped together, forming six horizontal lines within the square of circles. This perception of lines is due to the law of similarity

  相似定律指出，如果对象之间的元素彼此相似，则它们在感知上会组合在一起。 这种相似性可以以形状，颜色，阴影或其他品质的形式出现。 例如，示出相似性定律的图描绘了36个彼此都相等距离的圆，形成一个正方形。 在此描绘中，有18个圆圈用深色阴影表示，有18个圆圈用浅色阴影表示。 我们将黑眼圈归为一组，将轻眼圈归为一组，在圆角正方形内形成了六个水平线。 对线的这种感知是由于相似性定律引起的

• Law of symmetry states that the mind perceives objects as being symmetrical and forming around a center point. It is perceptually pleasing to divide objects into an even number of symmetrical parts. Therefore, when two symmetrical elements are unconnected the mind perceptually connects them to form a coherent shape. Similarities between symmetrical objects increase the likelihood that objects are grouped to form a combined symmetrical object. For example, the figure depicting the law of symmetry shows a configuration of square and curled brackets. When the image is perceived, we tend to observe three pairs of symmetrical brackets rather than six individual bracket

  对称定律指出，心灵将物体感知为对称并围绕中心点形成。 将对象分成偶数个对称部分在感觉上令人愉悦。 因此，当两个对称元素不相连时，心灵会感知地将它们连接起来以形成连贯的形状。 对称对象之间的相似性增加了将对象分组以形成组合对称对象的可能性。 例如，描绘对称律的图显示了方括号和卷曲括号的配置。 当感知到图像时，我们倾向于观察三对对称的括号，而不是六个单独的括号

• Law of Past Experience implies that under some circumstances visual stimuli are categorised according to past experience. If two objects tend to be observed within close proximity, or small temporal intervals, the objects are more likely to be perceived together. For example, the English language contains 26 letters that are grouped to form words using a set of rules. If an individual reads an English word they have never seen, they use the law of past experience to interpret the letters “L” and “I” as two letters beside each other, rather than using the law of closure to combine the letters and interpret the object as an uppercase U

  过去经验定律意味着在某些情况下，视觉刺激会根据过去经验进行分类。 如果倾向于在近距离内或在较小的时间间隔内观察到两个物体，则更可能一起感知到这些物体。 例如，英语包含26个字母，它们使用一组规则分组形成单词。 如果一个人读了一个他们从未见过的英语单词，他们将根据过去的经验定律将字母“ L”和“ I”解释为彼此并排的两个字母，而不是使用封闭定律来组合字母和解释作为大写U的对象

格式塔原理在头脑中，而不是眼睛 (Gestalt principles are in the mind, not the eye)

In the simplest terms, gestalt theory is based on the idea that the human brain will attempt to simplify and organise complex images or designs that consist of many elements, by subconsciously arranging the parts into an organised system that creates a whole, rather than just a series of disparate elements. Our brains are built to see structure and patterns in order for us to better understand the environment that we’re living in.

用最简单的术语来说，格式塔理论是基于这样的思想，即人的大脑将通过潜意识地将各部分安排到一个创建整体而不是一个整体的有组织系统中，来尝试简化和组织由许多元素组成的复杂图像或设计。系列不同的元素。 我们的大脑旨在查看结构和模式，以便我们更好地了解我们所处的环境。

The Gestalt principles are pivotal in UX design, as it influences how people perceive and understand what they see — and find what they want — at a glance. A good example are the principles of proximity and common region.

格式塔原理在UX设计中至关重要，因为它影响着人们一眼就能感知和理解他们所看到的东西以及找到他们想要的东西的方式。 邻近和公共区域的原则就是一个很好的例子。

For designers, the true trick of Gestalt never to confuse or delay users, but to guide them to identify their options and identify with organisations and brands rapidly. Through understanding the principals and laws within Gestalt and not working against or avoiding areas where our brains might try to simplify or organise.

对于设计师来说，格式塔(Gestalt)的真正诀窍永远不会使用户感到困惑或拖延，而要引导他们确定他们的选择并Swift与组织和品牌建立联系。 通过了解格式塔内部的原则和法律，而不是与我们的大脑可能试图简化或组织的区域进行合作或避开它们。

Designers must appreciate how the mind works and where it struggles to work to avoid causing confusion unknowingly.

设计师必须理解思维的工作方式以及在哪里努力工作，以免在不知不觉中引起混乱。

The human brain is exceptionally good at filling in the blanks in an image and creating a whole that is greater than the sum of its parts. It’s why we see faces in things like tree leaves, toasts and cracks.

人脑非常擅长于填补图像中的空白并创建一个大于其各个部分之和的整体。 这就是为什么我们在树叶，吐司和裂缝等事物中看到面Kong的原因。

Further reading:

进一步阅读：

After looking at a range of ways we work with stakeholders, product and engineering teams. I can see how useful different facilitation methods are to develop different ways of thinking and enabling different mindsets within the teams we work with. So next up I’m going to look at getting everyone in the same physical (or virtual) space, at the same time and with the right mindset to work together towards a shared outcome, that’s good facilitation!

在研究了一系列方法之后，我们与利益相关者，产品和工程团队合作。 我可以看到不同的促进方法对于发展与我们一起工作的团队中的不同思维方式和启用不同思维方式的有用性。 因此，接下来，我将着眼于让每个人都处于相同的物理(或虚拟)空间中，同时以正确的思维方式共同努力以实现共同的成果，这是一个很好的促进！

Written as part of the ‘User Experience is …’ series.

作为“ 用户体验是…… ”系列的 一部分撰写 。