{"id":"fui","no":532,"name":"FUI (Fantasy User Interface)","ja":"架空ユーザーインターフェース","era":"1997–","family":"UI表現","kind":"スタイル","collection":"Dictionary expansion 26","addedAt":"2026-08-19","source":{"title":"Pushing Pixels — Pragmatic futurism and screen graphics: interview with Mark Coleran（2021年12月、Kirill Grouchnikov 署名）","url":"https://www.pushing-pixels.org/2021/12/21/pragmatic-futurism-and-screen-graphics-interview-with-mark-coleran.html"},"reference":{"status":"verified","pageUrl":"https://www.pushing-pixels.org/2021/12/21/pragmatic-futurism-and-screen-graphics-interview-with-mark-coleran.html","credit":"Pushing Pixels — Pragmatic futurism and screen graphics: interview with Mark Coleran（2021年12月、Kirill Grouchnikov 署名）","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/LCARS%20panel%20from%20Star%20Trek%20Voyager%20at%20Filmwelt%20Center.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:LCARS%20panel%20from%20Star%20Trek%20Voyager%20at%20Filmwelt%20Center.jpg","credit":"『スター・トレック／ヴォイジャー』の LCARS 操作パネル 2016年撮影 — Wikimedia Commons / CC BY-SA 4.0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Enterprise-D%20bridge%20stations.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Enterprise-D%20bridge%20stations.jpg","credit":"『新スタートレック』エンタープライズD ブリッジの操作卓 2008年撮影 — Wikimedia Commons / CC BY-SA 2.0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/USS%20Enterprise%20NCC-1701%20Bridge%20Set.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:USS%20Enterprise%20NCC-1701%20Bridge%20Set.jpg","credit":"『宇宙大作戦』USSエンタープライズ NCC-1701 のブリッジセット 2019年撮影 — Wikimedia Commons / CC BY-SA 2.0"}]},"essence":"映画の劇中に映る画面を作る仕事に付いた呼び名。Mark Coleran の作品を指して広まったが、本人は命名の手柄を自分のものとは言い切っていない。使うための道具ではなく読ませるための絵で、光と形と動きと音だけを使い、見る場所を一点に決める。","cues":["1つの画面に読ませたい点が1つだけあり、それ以外は密度として置かれている","等幅の数字が絶えず更新される欄。実際には何も計算していない","黒地に発光する細い線。図形は輪郭で描かれ、塗りをほとんど持たない","実在しそうな枠と釦の並び。純粋な抽象図形には振り切らない"],"intents":["未来","技術","高揚"],"works":["劇中の操作画面を、俳優の視線が向いている数秒のあいだに読ませたいとき","存在しない装置の画面を、動作させる必要のない絵として設計するとき"],"recipe":{"type":"等幅を主にし、文字は情報ではなく質感として敷く。読ませる一語だけ大きさと明るさを変える。","layout":"読ませる点を先に1つ決め、そこへ光と動きを集める。残りは密度で埋め、意味を持たせない。","material":"黒地に発光色を1色か2色。線は細く、塗りは避ける。撮影された画面として成立するよう、明るさは実写に合わせて落とす。"},"avoid":"本当に操作できる画面を作ろうとすると密度が落ちて情報が散り、俳優の芝居の尺のあいだに読ませることができなくなる。","colors":["#000000","#4FE3FF","#FF6A00"],"motif":"graphic","pair":["cyberpunk","metalheart"],"study":["Coleran が関わった Spy Game、Blade II、The Island、The Bourne Ultimatum の画面","1つの画面に読ませる点を1つに絞るという考え方","実写に重ねたときの明るさの落とし方と合成の作法"],"en":{"essence":"The name that stuck to the craft of making the screens that appear inside films. It spread around the work of Mark Coleran, who says he is given credit for the term without being sure he can take it, and who describes these screens as illustration and a storytelling device that was never designed to be used. He works with light, shape, form, movement and sound so that each film screen has one thing the audience is meant to read.","cues":["One thing per screen that the audience is meant to read, with everything else present as density","Columns of monospaced figures updating continuously while computing nothing","Thin luminous lines on black, with shapes drawn as outlines and almost no fill","Frames and controls that look like plausible equipment rather than pure abstraction"],"works":["Designing a screen that has to be read in the few seconds an actor is looking at it","Designing the display of a device that does not exist, as a picture that never has to work"],"recipe":{"type":"Lead with monospace and let most of the text act as texture. Only the word that must be read changes size and brightness.","layout":"Decide the one thing to be read first and aim the light and the motion at it. Fill the rest with density that carries no meaning.","material":"One or two luminous colours on black, thin strokes, almost no fill. Pull the brightness down so the screen sits inside the photographed shot."},"avoid":"Trying to make the screen genuinely operable thins out the density and scatters the information, and it stops being readable in the length of the performance.","study":["Coleran が関わった Spy Game、Blade II、The Island、The Bourne Ultimatum の画面","1つの画面に読ませる点を1つに絞るという考え方","実写に重ねたときの明るさの落とし方と合成の作法"]}}