sketching user experience
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Designing User Experiences « Getting the design right and the right design »
Rémi BARRAQUAND
http://www.slideshare.net/remibarraquand
Sketching
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 2
Important. These slides are not yet finished, many references are missing. Main References: • Bill Buxton – Books, Blog, Lectures • Saul Greenberg – Lectures CPSC 581
What is this lecture about? " It is not a lecture on design, but how designers (should) work…
" It is about the design process itself… the design process seen as the process of sketching.
Sketching User Experience is, nominally, a book about product design. But it would be just as accurate to say that it's a book about software development, or, more generally, about the often broken process of bringing new products to market, with examples ranging from the iPod to an orange juicer.
“When I see design I see sketching” − Bill Buxton
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 3
The Master
Bill Buxton Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 4
The Master’s Book
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG
Bill Buxton 5
The Master’s Lecture @Stanford
Bill Buxton http://www.youtube.com/watch?v=xx1WveKV7aE
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 6
Objectives of this course " Better understand, distinguish and use
" Sketching, sketches, prototyping, prototypes, sketching vs. prototyping, sketches vs. prototypes
" Incorporate the “best practices” of experience design into your everyday skills " Critical analysis of interface designs
" Creativity via applied exercises
" Idea brainstorming via sketching " Sketches and prototypes development
" Implementation of a final product (TPI)
" Portfolio summaries
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 7
IHM vs. TPI
This Course
IHM
TPI Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 8
About the Organisation " 2 classes of 3 hours each
" 5 TAs sessions of 3 hours each
" Experience important aspects of the design process " Generative
" Reductive
" Create a real product from scratch and experience each step " Problem statement, state of the art, analysis of the users needs, etc.
" Explore: sketching, sketching user experience
" Challenge: brainstorming, presentation
" Converge to a prototype and a final product (TPI)
Are you experienced ? – Jimi Hendrix If not, get experienced, or get a new job – Bill Buxton
Design Funnel
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 9
About the Evaluation " Final Project
" Sketchbook " Progressive description of visual ideas
" Habitual use – clever quantity!
" Portfolio " Summary of accomplishment (synopsis of your work and progression)
" Organization, methods, archives of supporting documents
" Prototype(s) & Final Application " IHM, Task Model, Ergonomic Criteria, Conception, etc.
" Participation " Class discussions and critics
" Presentation of your own work
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 10
About You " Personal work…
" Sketching anywhere, anytime… carry on your sketchbook wherever you go.
" See what is out there, collect, generate, develop… your media choice affects what you create…
" Challenge the design of others constantly, understand the work of others, present yours…
" Think about your Portfolio, collect your works, be proud…
“It take as much creativity to understand a good idea than to have it in the first place” “We are very good at judging each others work and skills” “Your better ideas are not kept in the process, be open to critics” “If you are not failing it means you are not trying hard enough”
– Bill Buxton
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 11
Design for the Wild A shift from object-centered to experience-centered design
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 12
Plan " What it is all about?
" Design For The Wild " What is the object of design?
" Designing for the wild
" The role of design
" Sketching & Prototyping
" Wrap up
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 13
What do we sell? Is it the object?
What do we
design? Is it the object?
What is the true object of design?
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 14
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 15
What we sell and design, is the experience that comes out of the box, engenders, advocates, supports… – Bill Buxton
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 16
Plan " What it is all about
" Design For The Wild " What is the object of design?
" Designing for the wild
" The role of design
" Sketching & Prototyping
" Wrap up
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 17
Design for the Wild " Kayaking along the coast of Greenland…
" How do you find your way: " Paper map? " Digital map on PC? " On an internet PDA? " Other ideas?
Where am I?
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 18
Design for the Wild " Tactile 3D wooden maps
" You can use them wearing gloves
" They have infinite battery life
" Can be read during night
" They float in the water
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 19
“It is not the physical entity or what is in the box (the material product) that is the true outcome of design. Rather, it is the behavioral, experiential, and emotional responses that come about as a result of its existence and its use in the real world” – Bill Buxton
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 20
From a Materialist to Experiential Perspective of Design | a shift from “object-centered to experience-centered” design
“We are deluding ourselves if we think that the products that we design are the “things” that we sell, rather than individual, social and cultural experience that they engender, and the value and impact and they have.” – Bill Buxton
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG
Design for the Wild " Requires us to think of technologies as “social entities”
which have the flexibility to respond in multiple ways, depending on how people appropriate them.
" To design a technology, we must make our best efforts to understand the larger social and physical context within which it is intended to function.
" We must be able to experience our designs in the wild (i.e. the use-context in all its richness) during the early stages of the process.
“The only way to engineer the future tomorrow is to have lived in it yesterday” – Bill Buxton
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 22
Plan " What it is all about
" Design For The Wild " What is the object of design?
" Designing for the wild
" The role of design
" Sketching & Prototyping
" Wrap up
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 23
The Role of Design
" Design teams should be composed of people with different backgrounds and histories because all can bring valuable, complimentary skills to bear in the creation of new products. It is a social thing.
" Design must also include design of the engineering process, marketing plan and business plan.
" Design is a professional discipline and requires methods not only skills " Every one is a designer – Don Norman
" Every one is not a designer – Bill Buxton
“We need holistic approach to experience-based design” – Bill Buxton
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 24
The Role of Design " Explicit Design Process
" Reproduction in film making
" Development of a new automobile
" Need to insert a design process at the front end of product development " The cost and time lost due to this additional stage will be
significantly less than the cost and time lost due to the poor planning and overruns that will result if it is not included.
" Dangerous Assumptions " We know what we want at the start of a project
" We know enough to start building it
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 25
The Role of Design
" Problem setting " What is the right thing to build?
" Problem solving " How do we build this?
“You must get the right design as well as the design right” – Bill Buxton
“The role of design is to get the right design. The role of usability engineering is to get the design right” – Bill Buxton
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 26
Sketching & Prototyping Sketching is a quintessential activity of Design
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 27
Plan " Introduction
" Design For The Wild
" Sketching & Prototyping " Design Process " What Is a Sketch? What Is Sketching? " Sketches vs. Prototypes " About Meta-Sketching " Experience Design " Sketching the Interaction " Sketch’s Social Life " The Sketchbook
" Wrap up
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 28
Design Right vs. Right Design " Getting the Design Right
" Generate an idea Idea idea
idea
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 29
But is it the best idea?
Design Right vs. Right Design " Getting the Design Right
" Generate an idea
" Iterate and develop it Idea idea idea idea idea
idea
idea
idea
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 30
But is it the best idea?
Design Right vs. Right Design " Getting the Design Right
" Generate an idea
" Iterate and develop it
⇒ The problem " Other better solutions may be available in different ideas
" Local vs. global maxima (local hill climbing)
" Often results from fixating on a single idea
Idea idea idea idea idea
idea
idea
idea other idea?
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 31
idea4 idea1
idea2
idea4 idea5
idea7
Design Right vs. Right Design " Getting the Design Right
" Generate an idea
" Iterate and develop it
" Getting the Right Design " Generate many idea and variation (Generation)
" Reflect and choose (Reduction)
" Then iterate and develop your choice
Idea idea idea idea idea
idea
idea
idea1
idea2
idea3
idea4
idea5
idea6
idea7
idea5 idea5
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 32
Design Right vs. Right Design " Getting the right design
" Generate many ideas, e.g. inspired by brainstorming, discussions, lateral thinking, client discussions, observations, etc.
" Reflect on all your ideas. " Choose the ones that look promising
" then Getting the design right " Iterate and develop your choices " Continually refine your choices as the better solutions become
apparent " Of course, add in new ideas as they come up
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 33
The Ceramic Class The ceramics teacher announced on opening day that he was dividing the class into two groups. All those on the left side of the studio, he said, would be graded solely on the quantity of work they produced, all those on the right solely on its quality. His procedure was simple: on the final day of class he would bring in his bathroom scales and weigh the work of the “quantity” group: fifty pounds of pots rated an “A”, forty pounds a “B”, and so on. Those being graded on “quality,” however, needed to produce only one pot—albeit a perfect one—to get an “A.”
Well, came grading time and a curious fact emerged: the works of highest quality were all produced by the group being graded for quantity. It seems that while the “quantity” group was busily churning out piles of work—and learning from their mistakes—the “quality” group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay. (Bayles & Orland 2001; p. 29)
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 34
Getting the Right Design " Think it, sketch it, read it, make it quick, timely,
disposable, plentiful… more than ever hour after our work is never over – Daft Sketch
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 35
Keypads Touch
Different Design Ideas For Cellphones
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 36
Design Funnel
Reduction decision-making
Elaboration opportunity seeking
Design process
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 37
Design Is Creativity
Design is choice. There are two places where there is room for creativity
1. the creativity that you bring to enumerating meaningfully distinct options from which to choose
2. the creativity that you bring to defining the criteria, or heuristics, according to which you make your choices.
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 38
Another Design Funnel
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 39
Product View: The Status Quo
Sales Engineering
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 40
Product View: Integrating Design
Sales Engineering Design
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 41
Product View: No Silo
Sales Engineering Design
Design
Engineering
Management & Marketing
Sales
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 42
Design Process: Wrap up " The design process is about
" getting the right design, and then getting the design right
" The design funnel is about iteratively " generating and elaborating designs " choosing and reducing between designs
" Design in product development is about " using the design funnel to develop ideas for green/red
light appraisal
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 43
Plan " Introduction
" Design For The Wild
" Sketching & Prototyping " Design Process " What Is a Sketch? What Is Sketching? " Sketches vs. Prototypes " About Meta-Sketching " Experience Design " Sketching the Interaction " Sketch’s Social Life " The Sketchbook
" Wrap up
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 44
PART I: Design As Dreamcatcher
Figure 34: Details from Taccola’s Notebook (from first half of C15)
Several sketches of ships are shown exhibiting different types of protective
shields, and one with a “grappler.” These are the first known examples of
using sketching as a tool of thought.
Source: McGee (2004); Detail of Munich, Bayerische Staatsbibliothek.
Codex Latinus Monacensis 197 Part 2, fol. 52’
Details from Taccola’s Notebook (from first half of C15) Several sketches of ships are shown exhibiting different types of protective shields, and one with a “grappler.” (Source: McGee (2004); Detail of Munich, Bayerische Staatsbibliothek. Latinus Monacensis 197 Part 2, fol. 52’)
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 45
PART I: Design As Dreamcatcher
Figure 34: Details from Taccola’s Notebook (from first half of C15)
Several sketches of ships are shown exhibiting different types of protective
shields, and one with a “grappler.” These are the first known examples of
using sketching as a tool of thought.
Source: McGee (2004); Detail of Munich, Bayerische Staatsbibliothek.
Codex Latinus Monacensis 197 Part 2, fol. 52’
Details from Taccola’s Notebook (from first half of C15) Several sketches of ships are shown exhibiting different types of protective shields, and one with a “grappler.” (Source: McGee (2004); Detail of Munich, Bayerische Staatsbibliothek. Latinus Monacensis 197 Part 2, fol. 52’)
Sketching is a tool of thought
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 46
Sketching is not (crappy) drawing
Figure 42: A Contrast in Skill: Two Drawings of a House
The top drawing was done by a 6-year old child and the one below by a professional designer. But I didn’t have to tell you that. Drawing skill is obvious
in the resulting artifact. However, skill in reading sketches is far less obvious. The artifact, such as it is, is in the mind and is not tangible. Yet, skill in
reading is just as important as skill in rendering.
Figures: Keegan Reid & Michael Sagan
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 47
Sketching is not (crappy) drawing
Figure 42: A Contrast in Skill: Two Drawings of a House
The top drawing was done by a 6-year old child and the one below by a professional designer. But I didn’t have to tell you that. Drawing skill is obvious
in the resulting artifact. However, skill in reading sketches is far less obvious. The artifact, such as it is, is in the mind and is not tangible. Yet, skill in
reading is just as important as skill in rendering.
Figures: Keegan Reid & Michael Sagan
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 48
The Attribute of Sketches " Quick
" To make
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 49
The Attribute of Sketches " Quick
" To make
" Timely " Provided when needed
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 50
The Attribute of Sketches " Quick
" To make
" Timely " Provided when needed
" Disposable " Investment in the concept,
not the execution
" Inexpensive
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 51
The Attribute of Sketches " Quick
" To make
" Timely " Provided when needed
" Disposable " Investment in the concept,
not the execution " Inexpensive
" Plentiful " They make sense in a
a collection or series of ideas.
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 52
The Attribute of Sketches " Quick
" Timely
" Disposable
" Plentiful
" Clear Vocabulary " Rendering & style
indicates it’s a sketch, not an implementation
" Constrained Resolution " No higher than required
to capture its concept
" Consistency with State " Refinement of rendering
matches the state of concept development
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 53
108
Figure 35: Early Three-
Quarter View Sketch of Time
Trial Bike
Although done on a computer,
this is a freehand sketch. No-
tice that the representation is
tentative. What tells you this?
Contrast this to the represen-
tation in Figure 37.
Credit: Michael Sagan, Trek
Bicycles
Figure 36: Shaded Three-
Quarter View Sketch of Time
Trial Bike
This is a refinement of the
sketch seen in Figure 35.
Through the use of shading,
the sketch communicates
more about the 3D form of
the concept. Notice that de-
spite this refinement lines
still extend through the “hard
points.”
Credit: Michael Sagan, Trek
Bicycles
108
Figure 35: Early Three-
Quarter View Sketch of Time
Trial Bike
Although done on a computer,
this is a freehand sketch. No-
tice that the representation is
tentative. What tells you this?
Contrast this to the represen-
tation in Figure 37.
Credit: Michael Sagan, Trek
Bicycles
Figure 36: Shaded Three-
Quarter View Sketch of Time
Trial Bike
This is a refinement of the
sketch seen in Figure 35.
Through the use of shading,
the sketch communicates
more about the 3D form of
the concept. Notice that de-
spite this refinement lines
still extend through the “hard
points.”
Credit: Michael Sagan, Trek
Bicycles
Figure 38: Accurate 3D
Shaded Model Superim-
posed Over Three-Quarter
View Sketch
This image is perhaps the
most interesting. It is a com-
posite of a three-quarter view
of the 3D model seen in Fig-
ure 37 superimposed over
the sketch seen in Figure
35. Given what we have seen
thus far, ask yourself why the
designer would do this.
Credit: Michael Sagan, Trek
Bicycles
Figure 37: Side View of 3D
Shaded Model of Time Trial
Bike
This is a side view of the same
bike seen in the previous two
figures. Contrast this repre-
sentation to that in Figure 36.
Both are shaded to highlight
the form. Ignoring the addi-
tion of the graphics for the
moment, is it obvious, is it
clear which of the two is more
refined, closer to “final,” and
which took the most effort to
create, and which will take
the most effort to redo in the
event of a change or sugges-
tion. This image is clearly not
a sketch.
Credit: Michael Sagan, Trek
Bicycles
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 54
PART I: Design As Dreamcatcher
110
Figure 39: Thumbnail Sketches, Scanned from Sketchbook
In what century were these made? Yesterday? During the renaissance?
You can’t tell from the form, only from the content.
Credit: Michael Sagan, Trek Bicycles
PART I: Design As Dreamcatcher
Figure 34: Details from Taccola’s Notebook (from first half of C15)
Several sketches of ships are shown exhibiting different types of protective
shields, and one with a “grappler.” These are the first known examples of
using sketching as a tool of thought.
Source: McGee (2004); Detail of Munich, Bayerische Staatsbibliothek.
Codex Latinus Monacensis 197 Part 2, fol. 52’
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 55
The Attribute of Sketches " Quick
" Timely
" Disposable
" Plentiful
" Clear Vocabulary
" Constrained Resolution
" Consistency with State
" Suggest & explore rather than confirm " Value lies in suggesting and provoking what could be
i.e. they are the catalyst to conversation and interaction
" A catalyst " Evokes conversations and discussion
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 56
The Attribute of Sketches " Quick / Timely
" Inexpensive / Disposable
" Plentiful
" Clear vocabulary You know that it is a sketch (lines extend through endpoints, …)
" No higher resolution than required to communicate the intended purpose/concept
" Resolution of the rendering does not suggest a degree of refinement of the concept exceeds its actual state
" Ambiguous
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 57
The Larger Family of Rendering Sketch: This is mainly what we have been talking about. They are some-
times referred to as Thinking Drawings, and are described as Design
Drawings by Lawson (1997). They are generally made by designers mainly
for designers, and are central to the process of ideation.
Memory Drawing: These are one of the oldest styles of drawing. These are
renderings made to record or capture ideas. Think of them as extensions
of one’s memory—like a hand-rendered photograph recording a thought
or something seen.
Presentation Drawing: These are drawings made for the customer, client,
or patron. As stated by Powell (2002, p.6), these people “usually lacked
the skill needed to read these drawings [sketches] and therefore under-
stand what the product would be like before it was actually made.” Hence,
just as the value of a sketch is in its ambiguity, and the “holes” that it con-
tains, the value of a presentation drawing is in its ability to communicate
and represent what is being presented to the untrained eye.
122
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 58
The Larger Family of Rendering
Sketch: This is mainly what we have been talking about. They are some-
times referred to as Thinking Drawings, and are described as Design
Drawings by Lawson (1997). They are generally made by designers mainly
for designers, and are central to the process of ideation.
Memory Drawing: These are one of the oldest styles of drawing. These are
renderings made to record or capture ideas. Think of them as extensions
of one’s memory—like a hand-rendered photograph recording a thought
or something seen.
Presentation Drawing: These are drawings made for the customer, client,
or patron. As stated by Powell (2002, p.6), these people “usually lacked
the skill needed to read these drawings [sketches] and therefore under-
stand what the product would be like before it was actually made.” Hence,
just as the value of a sketch is in its ambiguity, and the “holes” that it con-
tains, the value of a presentation drawing is in its ability to communicate
and represent what is being presented to the untrained eye.
122
Technical Drawing: Technical drawings are a class of drawing that are
primarily intended for those who actually are going to build what is drawn.
They are typically accurate and are at the drafting and blueprint end of
the scale, rather than that of sketching.
Description Drawing: This class of drawing is intended to explain some-
thing, such as a how something works, or is constructed. It would include
things like cut-away or exploded-view drawings, or it could be broken up
into frames, like a cartoon, as with the emergency cards that one finds
in the seat-back pocket on airplanes.
Figure 44: Examples of Rendering Styles
Credit: Symbol Technologies
123
Technical Drawing: Technical drawings are a class of drawing that are
primarily intended for those who actually are going to build what is drawn.
They are typically accurate and are at the drafting and blueprint end of
the scale, rather than that of sketching.
Description Drawing: This class of drawing is intended to explain some-
thing, such as a how something works, or is constructed. It would include
things like cut-away or exploded-view drawings, or it could be broken up
into frames, like a cartoon, as with the emergency cards that one finds
in the seat-back pocket on airplanes.
Figure 44: Examples of Rendering Styles
Credit: Symbol Technologies
123
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 59
The Anatomy of Sketching " To get the most out of a sketch, we need to leave big
enough holes
" Ambiguity creates the holes
" It enables a sketch to be interpreted in different ways, even by the person who created it.
“The fundamental thing about sketching is that it is about asking not telling” – Bill Buxton
“A Sketch is more about feel than look” – Bill Buxton Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 60
“If you want to get the most out of a sketch, you need to leave big enough holes for the imagination to fit in.” – Bill Buxton Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 61
“If you want to get the most out of a sketch, you need to leave big enough holes for the imagination to fit in.” – Bill Buxton There has to be enough room for the imagination.
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 62
Figure 41: A Sketch of a Dialogue with a Sketch
The “conversation” between the sketch (right bubble) and the mind (left
bubble). A sketch is created from current knowledge (top arrow). Reading,
or interpreting the resulting representation (bottom arrow), creates new
knowledge. The creation results from what Goldschmidt calls “seeing
that” reasoning, and the extraction of new knowledge results from what
she calls “seeing as.”
sketchrepresentation
mind(new) knowledge
Create(seeing that)
Read(seeing as)
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 63
Figure 41: A Sketch of a Dialogue with a Sketch
The “conversation” between the sketch (right bubble) and the mind (left
bubble). A sketch is created from current knowledge (top arrow). Reading,
or interpreting the resulting representation (bottom arrow), creates new
knowledge. The creation results from what Goldschmidt calls “seeing
that” reasoning, and the extraction of new knowledge results from what
she calls “seeing as.”
sketchrepresentation
mind(new) knowledge
Create(seeing that)
Read(seeing as)
“Sketching is about the activity not the result” – Bill Buxton
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 64
Sketching as a Tool of Thought " Conversation between the designer and its sketches.
" Sketching is more related to an activity or process rather than to a physical object (the sketch). The sketch is the vehicle, not the destination. Ambiguity help us find our way.
" Conversation with a sketch involves skills in both reading and writing (distinguishing designers from non-designers).
“I take as much creativity to understand (read) a good idea (sketch) than to have (draw) it at the first place” – Bill Buxton
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 65
Sketching is a quintessential activity of Design
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG
Plan " Introduction
" Design For The Wild
" Sketching & Prototyping " Design Process " What Is a Sketch? What Is Sketching? " Sketches vs. Prototypes " About Meta-Sketching " Experience Design " Sketching the Interaction " Sketch’s Social Life " The Sketchbook
" Wrap up
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 67
A Sketch is not a Prototype " Difference is
" A contrast of purpose/intent (always)
" A contrast in form (usually but not always)
Sketch ≠ Low Fidelity Prototype
" Rather it is " A continuum
Sketch Prototype Low investment More opportunities to explore Fail early… learn
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 68
From Sketch to Prototype " Sketches
" Early iteration stage of design
" Prototypes " Capturing/detailing the actual design
Figure 51: The Dynamics of the Design Funnel
The design funnel begins with ideation, and ends with usability testing. The
former is largely dominated by sketching, which enables ideas to be explored
quickly and cheaply. More refined (and expensive) prototypes provide the ba-
sis for the testing at the later stages of design. Where testing is a key concern,
the most dominant artifacts are more refined (and expensive) prototypes.
The transition from one to the other is represented by the transition from
orange to yellow in the figure. As we progress, our overall investment in the
process grows. This is indicated by the rising arrow and the y-axis label on
the left. The y-axis label on the right side of the figure emphasizes that as
our investment increases, so should the weight of the criteria that we use
to evaluate our design decisions. In other words, you don’t manage ideation
the same way, or with the same rigor, as usability. Finally, the circular arrows
are a reminder that we include users throughout the iterative process, not
just during usability testing.
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 69
Figure 52: The Sketch to Prototype Continuum
The difference between the two is as much a contrast of purpose, or intent,
as it is a contrast in form. The arrows emphasize that this is a continuum,
not an either/or proposition.
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 70
15
29
Sketches and prototypes
From Laseau, 1980
30
Sketches and prototypes
From Laseau, 1980
Elaboration Reduction
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 71
Early design
Late design
Brainstorm different ideas and representations
Choose a representation Rough out interface style
Multitude of sketches
Sketch variations and details
Sketch or low fidelity prototypes Task centered walkthrough and redesign
Fine tune interface, screen design Heuristic evaluation and redesign
Usability testing and redesign
Low to medium fidelity prototypes
Limited field testing
Alpha/Beta tests
High fidelity prototypes
Working systems
From Sketch to Prototype
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 72
Sketch vs. Prototype: Wrap Up " Attributes of a sketch
" Quick , timely, disposable, plentiful, clear vocabulary, constrained resolution, consistent with design state
" A sketch is not a prototype " Difference is a contrast of purpose/intent (always), and form (mostly)
" Sketch properties " Evocative, suggest, explore, question, propose, provoke, t
" Prototype properties " Didactic, describe, refine, answer, test, resolve, specific, depiction
" Don’t forget it is a continuum !
Sketch Prototype Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 73
Plan " Introduction
" Design For The Wild
" Sketching & Prototyping " Design Process " What Is a Sketch? What Is Sketching? " Sketches vs. Prototypes " About Meta-Sketching " Experience Design " Sketching the Interaction " Sketch’s Social Life " The Sketchbook
" Wrap up
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 74
What is Sketching at a Meta Level?
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 75
How do we recognize a sketch if it is not in its traditional form ?
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 76
Anything that share the property of a
sketch is a sketch… We now have criteria that describe a sketch
We just have to apply these metrics: is it fast, inexpensive, timely, etc.
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 77
Sketching in Interaction Design " Analogous to traditional sketching
" Shares all the same key attributes
" More feel than look
" Must accommodate time and dynamics
" Phrasing
“When we have this description, of what a sketch is, its attributes, we can then start inventing new things that share those attributes, and therefore improve our current technics by inventing new and better tools that help us sketch.” – Bill Buxton
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 78
Plan " Introduction
" Design For The Wild
" Sketching & Prototyping " Design Process " What Is a Sketch? What Is Sketching? " Sketches vs. Prototypes " About Meta-Sketching " Experience Design " Sketching the Interaction " Sketch’s Social Life " The Sketchbook
" Wrap up
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 79
What do we design today? What do we have to deal with? How do (should) we design today?
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 80
Draw this phone
What kind of skill do you need to
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 81
Draw this phone Draw this phone’s interface
What kind of skill do you need to
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 82
Draw this phone Draw this phone’s interface Draw the experience of using this phone
What kind of skill do you need to
Which is the true object of design?
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 83
Draw this phone Draw this phone’s interface Draw the experience of using this phone
What kind of skill do you need to
Which is the true object of design?
SKETCHING
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 84
Plan " Introduction
" Design For The Wild
" Sketching & Prototyping " Design Process " What Is a Sketch? What Is Sketching? " Sketches vs. Prototypes " About Meta-Sketching " Experience Design " Sketching the Interaction " Sketch’s Social Life " The Sketchbook
" Wrap up
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 85
The Sketchbook " Why a sketchbook?
" supports the design funnel process
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 86
The Sketchbook " Why a sketchbook?
" Brainstorm many initial ideas – both good and bad " Explore & refine ideas both in the large and in the small " Develop variations, alternatives, details " Archive your ideas for later review " Reflect on changing thought processes over time " Communicate ideas to others by showing " Choose ones worth developing
" Record good ideas you see elsewhere " Clip inspiring images from sources like magazines " Shoot, print and collect inspiring photos
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 87
Best Practice " Use your sketchbook regularly
" Sketch anywhere, anytime, frequently
" Only works if you carry it with you
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 88
Choose Your Sketchbook
To consider Durability X X P
page count P X P size P P P
fold over X X P aesthetics X X P Archival X X P
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 89
Sketchbook Instruments " The pencil
" Cheap, flexible
" Easy to carry
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 90
Sketchbook Instruments " The pencil
" The eraser and sharpener " Handy, but optional
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 91
Sketchbook Instruments " The pencil
" The eraser and sharpener
" Tape, scissors and glue " For cutting and pasting in found objects
" Don’t have to carry it with you
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 92
Sketchbook Instruments " The pencil
" The eraser and sharpener
" Tape, scissors and glue
" Small camera " For taking photos of interesting ideas
" Select, print and tape photos into your sketchbook
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 93
Sketchbook Instruments " The pencil
" The eraser and sharpener
" Tape, scissors and glue
" Small camera
" Other media & tools
Remember, sketches should be cheap, fast, easy to do, and often of low fidelity. Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 94
Filling Your Sketchbook
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 95
You are not an Artist Idea
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 96
You are not an Artist Idea, variation
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 97
You are not an Artist Idea, variation,
annotation
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 98
You are not an Artist Idea, variation, annotation,
flow over time, relationships
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 99
You are not an Artist Idea, variation, annotation,
flow over time, relationships
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 100
You are not an Artist Idea, variation, annotation, flow over time, relationships,
Scenario
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 101
You are not an Artist Idea, variation, annotation, flow over time, relationships,
Scenario, Collecting
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 102
Sketch Examples – Idea variations
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 103
Sketch Examples – Design variations
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 104
Sketch Examples – Variations
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 105
Sketch Examples – Storyboard
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 106
Sketch Examples – Storyboard transitions
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 107
Sketch Examples – Scenario
Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 108
Sketchbook: Wrap Up " Sketchbooks are for:
" Brainstorming, exploring, refining varying, archiving, reflecting, communicating and choosing ideas
" Recording good ideas you see elsewhere
" Sketchbooks are:
" Convenient (pages, size, fold over), durable archive, aesthetic
" Sketchbook instruments are:
" Pencil, optional eraser, sharpener, glue, tape, scissors, camera, and other media
" Sketchbooks can be filled with:
" Your sketches (many different kinds) and found objects
" Sketchbooks are used regularly
" Sketch anywhere, anytime Rémi Barraquand, Cours IHM 2011, Année spéciale ENSIMAG 109
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