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Sketching user experiences: Getting the design right and the right design
Sketching user experiences: Getting the design right and the right design
Story Telling and Interaction Design,[object Object],“A [good] story is worth a thousand pictures.” (Gershon & Page 2001),[object Object],Words are more timely, cheap, and quick to produce. Stories help to discover, it is the,[object Object],discursive element wherein the insights are found and where the value lies.,[object Object],Sketch: invite, suggest and question,[object Object],Scenerio: tell, show, explain and try to convince,[object Object]
Playing with Words,[object Object],“Without play, imagintion dies”,[object Object],Challenges to imagination are the keys to creativity. The skill of retrieving imagination,[object Object],resides in the mastery of play. Possibility incubates creativity.,[object Object],Best ideas consistently come from verbal playing around with thoughtstriggered during,[object Object],conversations with others.,[object Object]
Stories...,[object Object],[object Object]
have an informality that is well suited to the lack of certainty that characterizes muchdesign-related knowledge. (Erickson 1996; p.35),[object Object],“Through their memorability and retelling;,[object Object],they provide a means whereby your audience itself becomes an effective conduit for ,[object Object],spreading the debate and understanding reflected in your tale. In short, they are a form ,[object Object],of “viral marketing” for design ideas.”,[object Object]
Role-playing,[object Object],Stories can be theatrical-another kind of play.,[object Object],Interaction is about roles and their changing relationships;,[object Object],[object Object]
 Role of ProductRole of the Product,[object Object],Personal Analogies;,[object Object],“The designer imagines what it would be like to use one’s body to produce the effect that,[object Object],is being sought, e.g. what would it feel like to be a helicopter blade, what forces would act,[object Object],on mefrom the air and from the hub; what would it feel like to be a bed?” (Jones 1992; p. 279),[object Object]
Role of User;,[object Object],the intent is not to test a product, but to use role playing to understand the experience that,[object Object],it engenders.,[object Object],Black Like Me, by John Howard Griffin (1961),[object Object],Disguised: A True Story(Moore & Conn 1985),[object Object],The experience is not real of course, but it was a taste;,[object Object],It was insights, which were more meaningful and and helpful,[object Object],than any other ways,[object Object],Role playing;,[object Object],[object Object]
 recognise the limitations of the product or user,[object Object]
Sketching user experiences: Getting the design right and the right design
Sketching user experiences: Getting the design right and the right design
Asleep on the Job,[object Object],the particular concern;,[object Object],showing respect for the moral order of the,[object Object],home. That is, the home has certain social,,[object Object],cultural and behavioural conventions that,[object Object],distinguish it from school, the supermarket,,[object Object],or the office.,[object Object],being garbed violates the moral order of the workplace; ,[object Object],so, why is populating the home with technology designed for the office any more acceptable,[object Object],than wearing pajamas(which are perfectly acceptable at home) at the office? ,[object Object]
the DVD package which opens like a regular clam-shell laptop.,[object Object],“What the plot revealed was that this seemingly unrelated object was really a,[object Object],novel representation of a new concept for an ultra-portable computer.”,[object Object]
Sketching user experiences: Getting the design right and the right design
Traditional sketching has an important place in experience design—they are just not,[object Object],sufficient. Quick sketches with more visual story telling helps to menage and get your ,[object Object],ideas down.,[object Object],Trace-like sketches are just so incongruous in that visual context. They catch your eye, and,[object Object],despite thedetail being in the photo, your eye is drawn to the sketch. ,[object Object]
“Conventional sketching has an important place in interaction design.Even those without a,[object Object],greatdeal of natural talent can improve their drawing skills with practice.There are a range,[object Object],of techniques and technologies that can be used to create images that servesketch-like,[object Object],purposes. The limiting factor is your imagination, not technology ortechnique.,[object Object],There is always a way toexpress an idea appropriately within your means.”,[object Object],“The main drawback of conventional sketching has to do with its limitations in capturing,[object Object],time, dynamics, phrasing—thetemporal things that lie at the heart of experience.”,[object Object]
Hybrid Photo-Graphic Composition: Abit of tracing and drawing can enable a well-crafted,[object Object],photograph to serve as a sketch.,[object Object]
Sequencing Images,[object Object],Sketches of PDA Agenda Screens,[object Object],comic strip type, multiple images to portray the state of the display as one goes through a particular,[object Object],sequence of transactions.,[object Object],state transition diagram, which can be usedto make a kind of map of the displays in an interface.,[object Object]
[object Object]
 Designer can perform a number of different approaches to the design, in terms ofgraphicalstyle, functionality,and the flow of the interaction.,[object Object],[object Object],realistic drawings can trick the designer as they could easily be mistaken for the real thing.,[object Object]
Storyboard of a pervasiveelectronic game. They capture more the spiritof the play than the details of the,[object Object],technology design.,[object Object],Storyboardtechniques can be used explore, brainstorm, capture, and communicate ideas,[object Object],about use and experience.,[object Object]
Transitions and use of arrows,[object Object],These figurestell us about the state, but almost nothing about the transition;,[object Object],                          where is the getting back and forth between home and work?,[object Object],usage of the arrows in storyboards;,[object Object],it shows you who or what is moving in the frame and where. But it also has the power to,[object Object],graphicallycommunicate the nature of the movement itself: fast/slow, accelerating or slowing,[object Object],down, smooth orwobbly, and so on. All these types of properties can be captured in how,[object Object],the arrows are drawn, at leastwhen drawn by someone with appropriate technique.,[object Object]
it is an evacuation process thatis being,[object Object],designed, not just an airplane door...,[object Object]
“Why not just use video or animation to capture thedynamics? After all, are not still images,,[object Object],storyboards, and comic book techniques a poor substitutefor this aspect of the interface?”,[object Object],It is faster, cheaper, and enables the designer toexplore more alternatives in a given,[object Object],(limited) amount of time.,[object Object],Hanged on a wall or placed on a table;it can be absorbed in a glance, and compared,,[object Object],side-by-side, with other alternatives. Video can’tdo this. But then, video can do things that,[object Object],storyboards can’t. Each has its place.,[object Object]
Sketching user experiences: Getting the design right and the right design
The distinction between traditional product design andinteraction design;,[object Object], the importance of considering the role that time and behaviorhave in shaping the,[object Object],overall experience.,[object Object]
Animated gifcan be done easily to show short animated sequences.,[object Object]
Mixture of techniques;,[object Object],The range of materials that can be used can be far richer, and can includephotographs,,[object Object],paper cut-outs, or some combination of these.,[object Object]
picture-driven-animation;,[object Object],Instead of drawing individual frames, using the notion of usinghand-drawn lines to define,[object Object],bothobjects that were seen, and motion paths along which those objects would move.,[object Object],In the background, only partiallyvisible, is a representation of a virtual map of western Canada. Above that there is a,[object Object],drawing of a hand holding a small PDA, on whose screen a portion of the map is clearlyvisible. Finally, there is,[object Object],some hand-written text explaining things.,[object Object]
Sketching user experiences: Getting the design right and the right design
Shooting with the mime: ,[object Object],Projecting the animated sketch on a surface, then have a person mime along with the,[object Object],animation playback.If the mime is good, it will appear to the viewer of the video that,[object Object],the person is actually controlling the system.,[object Object],Playing with Lego bricks: the purpose is to explore the concept of “graspable” or “tangible” user interfaces. (Director),[object Object],Realizing the video sketch is relatively simple. It is fast, inexpensive, extremely effective,,[object Object],and enablesthe designer towork through a number of scenarios. And significantly, it does,[object Object],not involve writing a line of code.,[object Object]
Wizard of Oz Remote Cursor Control,[object Object],The scenario was to make a video sketch of a large wall-mounted display whosecursor could be,[object Object],manipulated by pointing with one’s hand, and whose cursor size would automatically,[object Object],grow as the operator moved further away from the screen, thereby always remaining visible.,[object Object]

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Khushi sharma undergraduate portfolio...Khushi sharma undergraduate portfolio...
Khushi sharma undergraduate portfolio...
 

Sketching user experiences: Getting the design right and the right design

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