Week 07 Conceptual Design

Lecture 11

Design Thinking to Conceptual Design

Human Computer Interaction / COG3103, 2014 Fall Class hours : Tue 1-3 pm/Thurs 12-1 pm 14 October

DESIGN THINKING, IDEATION, AND SKETCHING

Textbook Chapter 7.

Lecture #11 COG_Human Computer Interaction 2

INTRODUCTION


Figure 7-1 You are here; the first of three chapters on creating an interaction design in the context of the overall Wheel lifecycle template.

DESIGN PARADIGMS

• Engineering Paradigm

– a practical approach to usability with a focus on improving user

performance, mainly through evaluation and iteration.

– The engineering paradigm also had strong roots in human factors, where

work was studied, deconstructed, and modeled.

– Success was measured by how much the user could accomplish, and

alternative methods and designs were compared with statistical

summative studies.


DESIGN PARADIGMS

• Human Information Processing (HIP) Paradigm

– based on the metaphor of “mind and computer as symmetrically coupled

information processors”

– About models of how information is sensed, accessed, and transformed in

the human mind and, in turn, how those models reflect requirements for

the computer side of the information processing, was defined by Card,

Moran, and Newell (1983) and well explained by Williges (1982).

– it is about human mental states and processes; it is about modeling

human sensing, cognition, memory, information understanding, decision

making, and physical performance in task execution.


DESIGN PARADIGMS

• Design-Thinking Paradigm

– “phenomenological matrix.”

– brings a vision of the desired user experience and product appeal and how the design of

a product can induce that experience and appeal.

– They used participatory design techniques to experiment with and explore design

through early prototypes as design sketches.

– The design-thinking paradigm is about social and cultural aspects of interaction and the

design of “embodied interaction” because it is about interaction involving our whole

bodies and spirit, not just our fingertips on a keyboard. It is also about “situated” design

because it is about the notion of “place” with respect to our interaction with technology.

– A primary characteristic of the design-thinking paradigm is the importance of emotional

impact derived from design—the pure joy of use, fun, and aesthetics felt in the user

experience.


DESIGN THINKING

• Design Thinking

– Design thinking is a mind-set in which the product concept and design for

emotional impact and the user experience are dominant. It is an approach

to creating a product to evoke a user experience that includes emotional

impact, aesthetics, and social- and value-oriented interaction. As a

design paradigm, design thinking is an immersive, integrative, and market-

oriented eclectic blend of art, craft, science, and invention.


DESIGN THINKING

• Ideation

– Ideation is an active, creative, exploratory, highly iterative, fast-moving

collaborative group process for forming ideas for design. With a focus on

brainstorming, ideation is applied design thinking.

• Sketching

– Sketching is the rapid creation of free-hand drawings expressing preliminary

design ideas, focusing on concepts rather than details. Multiple sketches of

multiple design ideas are an essential part of ideation. A sketch is a

conversation between the sketcher or designer and the artifact.


DESIGN PERSPECTIVES

• Ecological Perspective

– is about how the system or product works within its external environment.

– is about how the system or product is used in its context and how the system

or product interacts or communicates with its environment in the process.

within its external environment.

• Interaction Perspective

– is about how users operate the system or product.

• Emotional Perspective

– is about emotional impact and value-sensitive aspects of design.

– is about social and cultural implications, as well as the aesthetics and joy of

use.


USER PERSONAS

• What Are Personas?

– Personas are a powerful supplement to work roles and user class

definitions. Storytelling, role-playing, and scenarios go hand in hand with

personas.

– A persona is not an actual user, but a pretend user or a “hypothetical

archetype” (Cooper, 2004).

– A persona represents a specific person in a specific work role and sub-

role, with specific user class characteristics. Built up from contextual

data, a persona is a story and description of a specific individual who has

a name, a life, and a personality.


USER PERSONAS

• What Are Personas Used For? Why Do We Need Them?

– Edge cases and breadth

• Personas are essential to help overcome the struggle to design for the conflicting

needs and goals of too many different user classes or for user classes that are too

broad or too vaguely defined.

• What if the user wants to do X? Can we afford to include X? Can we afford to not

include X? How about putting it in the next version?

• “Sorry, but Noah will not need feature X.” Then someone says “But someone might.”

To which you reply, “Perhaps, but we are designing for Noah, not ‘someone.’”

– Designers designing for themselves

• Because of their very real and specific characteristics, personas hold designers’

feet to the fire and help them think about designs for people other than themselves.


USER PERSONAS

• How Do We Make Them?

– Identifying candidate

personas

– Goal-based consolidation

– Selecting a primary persona


Figure 7-2 Overview of the process of creating a persona for design.

USER PERSONAS

• Mechanics of Creating Personas

– Your persona should have a first and last name to make it personal and

real.

– Mockup a photo of this person.

– Write some short textual narratives about their work role, goals, main

tasks, usage stories, problems encountered in work practice, concerns,

biggest barriers to their work, etc.


USER PERSONAS

• Characteristics of Effective Personas

– Make your personas rich, relevant, believable, specific, and precise

– Make your personas “sticky”

– Where personas work best

• Goals for Design

– As Cooper (2004) tells us, the idea behind designing for a persona is that

the design must make the primary persona very happy, while not making

any of the selected personas unhappy. Buster will love it and it still works

satisfactorily for the others.


USER PERSONAS

• Using Personas in Design

– As you converge on the final

design, the nonprimary personas

will be accounted for, but will

defer to this primary persona

design concerns in case of

conflict. If there is a design trade-

off, you will resolve the trade-off

to benefit the primary persona

and still make it work for the other

selected personas.


Figure 7-3 Adjusting a design for the primary persona to work for all the selected personas

IDEATION

• Essential Concepts

– Iterate to explore

– Idea creation vs. critiquing

• Doing Ideation

– Set up work spaces

– Assemble a team

– Use ideation bin ideas to get started

– Brainstorm


IDEATION


Figure 7-4 The Virginia Tech ideation studio, the “Kiva” (photo courtesy of Akshay Sharma,Virginia Tech Department of Industrial Design).

IDEATION


Figure 7-4 Individual and group designer work spaces(photo courtesy of Akshay Sharma,Virginia Tech Department of Industrial Design).

IDEATION


Figure 7-6 Ideation brainstorming within the Virginia Tech ideation studio, Kiva (photo courtesy of Akshay Sharma, Department of Industrial Design).

SKETCHING

• Essential Concepts

– Sketching is essential to

ideation and design

– What sketching is and is not

– Sketches are not the same as

prototypes

– Sketching is embodied

cognition to aid invention


Figure 7-7 Comparison between Buxton design exploration sketches and traditional low-fidelity refinement prototypes.

SKETCHING

• Doing Sketching

– Stock up on sketching and mockup supplies

– Use the language of sketching

• Everyone can sketch; you do not have to be artistic

• Most ideas are conveyed more effectively with a sketch than with words

• Sketches are quick and inexpensive to create; they do not inhibit early exploration

• Sketches are disposable; there is no real investment in the sketch itself

• Sketches are timely; they can be made just-in-time, done in-the-moment, provided

when needed

• Sketches should be plentiful; entertain a large number of ideas and make multiple

sketches of each idea

• Textual annotations play an essential support role, explaining what is going on in

each part of the sketch and how


SKETCHING


Figure 7-8 A sketch to think about design (photo courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

SKETCHING


Figure 7-9 Freehand gestural sketches for the Ticket Kiosk System (sketches courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

SKETCHING


Figure 7-10 Ideation and design exploration sketches for the Ticket Kiosk System (sketches courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

SKETCHING


Figure 7-11 Designers doing sketching (photos courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

SKETCHING


Figure 7-12 Early ideation sketches of K-YAN (sketches courtesy of Akshay Sharma, Department of Industrial Design).

SKETCHING


Figure 7-13 Mid-fidelity exploration sketches of K-YAN (sketches courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

SKETCHING


Figure 7-14 Sketches to explore flip-open mechanism of K-YAN (sketches courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

SKETCHING


Figure 7-15 Sketches to explore emotional impact of form for K-YAN (sketches courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

SKETCHING


Figure 7-16 Examples of rough physical mockups (models courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

SKETCHING

• Physical Mockups as Embodied Sketches

– Just as sketches are two-dimensional visual

vehicles for invention, a physical mockup for

ideation about a physical device or product

is a three-dimensional sketch. Physical

mockups as sketches, like all sketches, are

made quickly, highly disposable, and made

from at-hand materials to create tangible

props for exploring design visions and

alternatives.

– A physical mockup is an embodied sketch

because it is an even more physical

manifestation of a design idea and it is a

tangible artifact for touching, holding, and

acting out usage


Figure 7-17 Example of a more finished looking physical mockup (model courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

MORE ABOUT PHENOMENOLOGY

• The Nature of Phenomenology

– the philosophical examination of the foundations of experience and action.

– But it is not about logical deduction or conscious reflection on

observations of phenomena; it is about individual interpretation and

intuitive understanding of human experience.

• The Phenomenological View in Human–Technology Interaction

– an affective state arising within the user.


MORE ABOUT PHENOMENOLOGY

• The Phenomenological Concept of Presence

– presence of technology as part of our lives:

– “We argue that the coming ubiquity of computational artifacts drives a shift from

efficient use to meaningful presence of information technology.”

– This is all about moving from the desktop to ubiquitous, embedded, embodied, and

situated interaction.

– the “new usability” as a shift from use to “presence.”

• The Importance of Phenomenological Context over Time

– Usage develops over time and takes on its own life, often apart from what designers

could envision. Users learn, adapt, and change during usage, creating a dynamic force

that gives shape to subsequent usage (Weiser, 1991).


MENTAL MODELS AND CONCEPTUAL DESIGN

Textbook Chapter 8.


INTRODUCTION


Figure 8-1 You are here; the second of three chapters on creating an interaction design in the context of the overall Wheel lifecycle template.

MENTAL MODELS

• Designer’s mental model

– Vision of how system works as held by designer

• What the system is

• How it is organized

• What it does and how

• User’s mental model

– Description of how system works as held by user

• Conceptual design is what we use to connect the two


MENTAL MODELS


Figure 8-2 Mapping the designer's mental model to the user's mental model.

MENTAL MODELS

• Designer’s Mental Model

– Designer’s mental model in the ecological perspective: Describing what

the system is, what it does, and how it works within its ecology

– Designer’s mental model in the interaction perspective: Describing how

users operate it

– Designer’s mental model in the emotional perspective: Describing

intended emotional impact


CONCEPTUAL DESIGN

• Leverage Metaphors in Conceptual Design

– Metaphors in the ecological perspective

– Metaphors in the interaction perspective

– Metaphors in the emotional perspective

• Conceptual Design from the Design Perspectives

– Conceptual design in the ecological perspective

– Conceptual design in the emotional perspective


CONCEPTUAL DESIGN


Figure 8-3 Designer workflow and connections among the three conceptual design perspectives.

CONCEPTUAL DESIGN


Figure 8-4 Part of a conceptual design showing immersion in the emotional perspective (sketch courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

CONCEPTUAL DESIGN


Figure 8-5 Early conceptual design ideas from the ecological perspective(sketch courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

CONCEPTUAL DESIGN


Figure 8-6 Ecological conceptual design ideas focusing on a feature for a smart ticket to guide users to seating (sketch courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

CONCEPTUAL DESIGN


Figure 8-7 Ecological conceptual design ideas focusing on a feature showing communication connection with a smartphone (sketch courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

CONCEPTUAL DESIGN


Figure 8-8 Ecological conceptual design ideas focusing on the features for communicating and social networking (sketch courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

CONCEPTUAL DESIGN


Figure 8-9 Part of a conceptual design in the interaction perspective(sketch courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

STORYBOARDS

• Making Storyboards to Cover All Design Perspectives

– Hand-sketched pictures annotated with a few words

– All the work practice that is part of the task, not just interaction with the

system, for example, include telephone conversations with agents or roles

outside the system

– Sketches of devices and screens

– Any connections with system internals, for example, flow to and from a

database

– Physical user actions

– Cognitive user actions in “thought balloons”

– Extra-system activities, such as talking with a friend about what ticket to buy


STORYBOARDS


Figure 8-10 Example of a sequence of sketches as a storyboard in the ecological perspective (sketches courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

STORYBOARDS


Figure 8.10, cont’d

STORYBOARDS


Figure 8-11 Part of a different Ticket Kiosk System storyboard in the ecological perspective(sketches courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

STORYBOARDS


Figure 8-12 Sample sketches for a similar concert ticket purchase storyboard in the interaction perspective (sketches courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

STORYBOARDS



STORYBOARDS


Figure 8-13 Storyboard transition frame with thought bubble explaining state change (sketches courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).

DESIGN FOR EMBODIED INTERACTION

• Embodied interaction

– Involves user’s physical body in interaction with technology

– In a natural way, such as by gestures

• Moving interaction off screen and into action-situated real world



• Embodiment

– “How nature of living entity’s cognition shaped by form of its physical ma

nifestation in world.”

– Central to idea of phenomenological interaction

– Dourish: “How we understand the world, ourselves, and interaction come

s from our location in a physical and social world of embodied factors.”




Figure 8-14 The Scrabble Flash Cube game.

UBIQUITOUS AND SITUATED INTERACTION

• Ubiquitous, Embedded, and Ambient Computing

– Ubiquitous interaction is interaction occurring not just on computers and

laptops but potentially everywhere in our environment. Interactive

devices are being worn by people; embedded within appliances, homes,

offices, stereos and entertainment systems, vehicles, and roads; and

finding their way into walls, furniture, and objects that we carry.

• Situated Awareness and Situated Action

– In a social interaction setting, this can help find other people and can help

cultivate a feeling of community and belonging (Sellen et al., 2006)


Exercise 6-3: A Social Model for Your System

• Goal

– Get a little practice in making a social model diagram.

• Activities

– Identify active entities, such as work roles, and represent as nodes in the diagram.

– Include groups and subgroups of roles and external roles that interact with work roles.

– Include system-related roles, such as a central database.

– Include workplace ambiance and its pressures and influences.

– Identify concerns and perspectives and represent as attributes of nodes.

– Identify social relationships, such as influences between entities, and represent these as arcs between nodes in the

diagram.

– Identify barriers, or potential barriers, in relationships between entities and represent them as red bolts of lightning .

• Deliverables

– One social model diagram for your

• Schedule

– This could take a couple of hours.


Exercise 7-1: Creating a User Persona for Your System

• Goal

– Get some experience at writing a persona.

• Activities

– Select an important work role within your system. At least one user class for this work

role must be very broad, with the user population coming from a large and diverse group,

such as the general public.

– Using your user-related contextual data, create a persona, give it a name, and get a

photo to go with it.

– Write the text for the persona description.

• Deliverables

– One- or two-page persona write-up

• Schedule

– You should be able to do what you need to learn from this in about an hour.


Week 07 Conceptual Design

Education

Transcript of Week 07 Conceptual Design