[Abstract] With people's higher pursuit of life and the development of ergonomics, art design is increasingly valued, and the artistic elements in products are becoming more and more prominent. This paper briefly introduces the application of art design in human-computer interface design. It mainly discusses the artistry of layout and color, and the humanistic care in interface design. 1 Introduction With the development of modern technology, interface technology in ergonomics is also constantly evolving. It is receiving increasing attention and importance. Art design has also entered the field of human-computer interface design. Literally, "art design" can easily lead to misunderstandings. Because of the word "art," it is often confused with artistic creation. In fact, art design refers to designs that possess certain artistic elements and artistic significance. It is not artistic creation (pure art), but rather refers to the design of non-artistic, especially non-pure art, material products. Its target products are mainly mass-produced industrial products, including software products. The reason it uses the word "art" is because it possesses certain artistic qualities and aesthetic value. Art design, as a design system combining engineering technology and aesthetic art, differs from technical design (such as mechanical and electrical design). Technical design aims to solve the relationships between objects, including the internal functions, structure, transmission principles, and assembly conditions of a product. Art design, however, aims to solve not only the relationships between objects but also the relationships between objects and people, designing the product's appearance, shape, layout, decorative effects, and color scheme. Art design must consider the product's psychological and physiological effects on people, thereby enhancing the product's competitiveness in the market. Art design also differs from pure art; it should first satisfy consumers' material needs, aiming to achieve functionality, and only secondarily satisfy their spiritual needs. Its focus on the product's shape, pattern, decoration, and color must be based on specific functions and internal structures. 2. The Art of Human-Computer Interface Layout After human-computer interfaces have evolved to fulfill predetermined tasks and functions, increasing research shows that an unreasonable interface layout will affect operational efficiency and increase human error rates. With the development of the times and the advancement of technology, people's aesthetic tastes are also changing. Product interfaces are increasingly incorporating art and technology, with a greater emphasis on geometric shapes to create simple, clear, and concise outlines. Product interface design requires a harmonious combination of proportions and scales, balance and stability, unity and variation, rhythm and cadence. Since humans interact with the interface, its layout must conform to human physiological characteristics, and its shape and size must fit within the visual range. Generally, once a product is manufactured, some factors of human-computer interaction are fixed, such as distance. Therefore, the design of human-computer interfaces must be cautious and meticulous. Any interface can be summarized as a combination of points, lines, planes, and volumes. Geometrically, a point is the intersection of lines; it has no size or shape distinction, only a positional distinction. However, in interface functional design, different combinations of points can create a sense of tension and attraction. Points of different sizes, distances, and orientations can evoke feelings of distance, rhythm, and spatial hierarchy. In product design, within a certain scope, elements such as buttons, knobs, switches, screws, and indicator lights are often treated as points, arranged in different forms in space to serve as embellishments, echoes, and visual balance, satisfying ergonomic principles and ease of human operation. Geometrically, a line is defined as the trajectory of a point; it has no thickness, only length and direction. However, in human-computer interface design, lines have more stylistic significance. Different lines can express different personalities and expressions: straight lines convey speed, tension, sharpness, clarity, and simplicity; slender straight lines convey delicacy, sharpness, and fluidity; short, thick straight lines convey heaviness, simplicity, strength, and lack of fluidity; horizontal lines convey stability, composure, and austerity; and curved lines convey vitality, dynamism, freedom, and fullness. While monotonous surfaces provide concentrated visual stimulation and a strong sense of signal, they can sometimes feel monotonous and rigid, whereas combinations offer richer variations. Two-dimensional objects, composed of planes, have clear and definite outlines, giving a sense of strength, solidity, fullness, and fluidity. 3. The Art of Color Design in Human-Machine Interfaces Color design is a crucial component of human-machine interfaces (HMIs). It directly evokes strong feelings in people, sometimes even more powerfully and positively than shape. 3.1 Color design must meet the functional requirements of the product to facilitate its functionality and achieve optimal results. For example, the interface of a military weapon system should use more solemn colors and camouflage patterns to reduce the probability of detection by the enemy, thus improving its survivability and enabling it to fulfill its functional role. 3.2 Color design must meet the requirements of human-machine interaction. Appropriate color design makes the operator feel pleasant, comfortable, and safe. This results in accurate and reliable operation, high work efficiency, less fatigue, and better physical and mental health. For example, the color design of the HMI in the internal display of a weapon system should take into account the physiological characteristics of the human eye, avoiding the use of large areas of high-saturation hues, which can cause eye fatigue. 3.3 Color design must meet the requirements of the operating environment, especially for hardware interfaces, where the product's usage environment should be considered. Geographically speaking, products used in cold regions generally use warm colors to create a feeling of warmth and psychological balance; products used in tropical regions generally use cool colors to make operators feel cool and calm. For example, medical and health equipment requires a clean, tidy, hygienic, and quiet working environment. Therefore, light, bright, and soft cool or warm colors should be used to allow medical staff to provide careful and thorough treatment to patients, promptly identify and clean dirt, and also make patients feel safe and comfortable. 3.4 Color design should conform to the aesthetic requirements of the times. Due to the development of productivity and science and technology, as well as changes in the social environment, people's living standards and lifestyles will change, and their aesthetic standards and pursuit of beauty will also differ. People have a tendency to favor certain colors. These colors are welcomed and widely popular in a certain period, region, or even worldwide, becoming so-called trend colors. Because trend colors have a strong sense of the times and novelty, adapting to people's changing preferences, they will attract particular attention and become widely used colors for a period of time. When it comes to product color, popular colors should be fully considered to meet the contemporary requirements of color matching. Generally speaking, popular colors are novel, contemporary, and appealing to people. Combined with advertising and promotion, they create conditions for the popularity of colors and the sales of products. Popular colors are sometimes influenced by major international events, inspiring people to pursue certain colors to express their ideals and feelings about the future. 4. Human-centered design of human-computer interface is about designing for people. People are the starting point and the ultimate goal of design. Human-centered design should be reflected in various interfaces that interact with people, especially the design of seats and hands. 4.1 Seat interface design Seats are generally divided into three types: The first is the work seat. This type of seat is used in various seated work areas in the office. The design should consider both comfort and operational efficiency. The backrest can be adjusted up and down or forward and backward depending on the nature of the work, and it is best to support the 4th to 5th lumbar vertebrae. The seat surface should be nearly horizontal, and the seat height should be adjustable. The second is the rest seat. This type of seat is suitable for rest rooms and various means of transportation, such as passenger seats in airplanes, cars, trains, and ships. These types of seats should prioritize comfort in their design. The third type is the multi-functional seat. Suitable for various occasions, modern seat design tends towards this type. 4.2 Hand Interface Design Hand interface design mainly refers to the interface design related to hand contact, including pressing, rotating, gripping, and pinching interfaces. The hand is the primary means of operating various devices. An unreasonable hand interface design can lead to various upper limb occupational diseases and even systemic injuries. Therefore, anatomical and ergonomic principles should be followed when designing hand interfaces. The design must be proportionate to the operator's body to maximize efficiency, while also considering differences in gender, age, training, and physical condition. 5 Conclusion The human-machine interface, as the hub of information interaction between humans and machines, directly affects human work performance. Only by fully considering human factors and the principles of human-machine interaction during the design process can the optimal coordination between humans and machines be achieved, fully utilizing human capabilities and maximizing machine utilization. [References] 1. Luo Shijian. Human-Machine Interface Design, Beijing: Machinery Industry Press, August 2002. 2. Pang Zhibing. Human-Machine-Environment System Engineering for Air Defense Forces, Zhengzhou: Zhengzhou Air Defense Academy, 2000.