Download - Week 06 design thinking and sketching
Lecture 6
Design Thinking and Sketching
UX Theory / IIT 2014 Spring Class hours : Monday 4 pm – 7 pm 7th April
CONSTRUCTING DESIGN-INFORMING MODELS
Textbook Chapter 6.
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INTRODUCTION
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Figure 6-1 You are here; the chapter on constructing design informing models, within understanding user work and needs in the context of the overall Wheel lifecycle template.
DESIGN-INFORMING MODELS: SECOND SPAN OF THE BRIDGE
• What Are Design-Informing Models and How Are They Used?
– help integrate and summarize the contextual data
– point back to the data, to maintain the “chain of custody” to ensure that
the design is based on real contextual data
– provide a shared focus for analysis now and, later, design
– provide intermediate deliverables, which can be important to your
working relationship with the customer
• Envisioned Design-Informing Models
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SOME GENERAL “HOW TO” SUGGESTIONS
• Maintain Connections to Your Data
• Extract Inputs to Design-Informing Models
• Use Your “Bins” of Sorted Work Activity Notes from Contextual Inquiry
and Contextual Analysis
• Represent Barriers to Work Practice
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USER MODELS
• Work Roles
– Sub-roles
– Mediated work roles
– Envisioned work roles
– Relationship of work roles to
other concepts
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Figure 6-2 Concepts defining and related to work roles.
USER MODELS
• User Classes
– Knowledge- and skills-based characteristics
– Physiological characteristics
– Experience-based characteristics
• novice or first-time user: may know application domain but not specifics of the
application
• intermittent user: uses several systems from time to time; knows application
domain but not details of different applications
• experienced user: “power” user, uses application frequently and knows both
application and task domain very well
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USER MODELS
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Figure 6-3 Relationships among work roles, sub-roles, and user class characteristics.
USER MODELS
• Social Models
– Identify active entities and represent as nodes
– Identify concerns and perspectives and represent as attributes of nodes
– Identify influences and represent as relationships among entities
– Social models in the commercial product perspective
– The envisioned social model
• User Personas
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USER MODELS
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Figure 6-4 Depiction of entities in the slideshow presentation social model. Thanks to Brad Myers, Carnegie Mellon University, and his colleagues for their case study (Cross, Warmack,& Myers, 1999) on which this example is based.
USER MODELS
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Figure 6-4 Depiction of entities in the slideshow presentation social model. Thanks to Brad Myers, Carnegie Mellon University, and his colleagues for their case study (Cross, Warmack,& Myers, 1999) on which this example is based.
USER MODELS
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Figure 6-6 Depiction of influences in the slideshow presentation social model.
USER MODELS
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Figure 6-7 Example social model for MUTTS.
USAGE MODELS
• Flow Model
– Creating a flow model diagram
– Flow models in the product perspective
– The envisioned flow model
• Task Models
– Tasks vs. functions
• Task Structure Models—Hierarchical Task Inventory
– Task inventories
– Task naming in hierarchical task inventories
– Avoid temporal implications in hierarchical task inventories
– Envisioned task structure model
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USAGE MODELS
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Figure 6-8 Example flow model from the slideshow presentation contextual inquiry. Thanks to Brad Myers, Carnegie Mellon University, and his colleagues for their case study (Cross, Warmack,& Myers, 1999) on which this is based.
USAGE MODELS
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Figure 6-9 Flow model of our version of MUTTS.
USAGE MODELS
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Figure 6-10 Envisioned flow model for the Ticket Kiosk System.
USAGE MODELS
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Figure 6-11 Hierarchical relationship of task A, the super-task, and tasks B and C, subtasks.
Figure 6-12 An incorrect hierarchical relationship attempting to show temporal sequencing.
USAGE MODELS
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Figure 6-13 Sketch of the top levels of a possible hierarchical task inventory diagram for MUTTS.
USAGE MODELS
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Figure 6-14 Partial HTI for MUTTS “sell tickets” task.
USAGE MODELS
• Task Interaction Models
– Usage scenarios as narrative task interaction models
– Elements of scenarios.
• Agents (users, people in work roles, often in personas, system, sensors)
• User goals and intentions
• User background, training, needs, etc.
• Reflections on work practice, including user planning, thoughts, feelings, and reactions to system
• User actions and user interface artifacts
• System responses, feedback
• User tasks, task threads, workflows, including common, representative, mission critical, and error and
recovery situations
• Environmental and work context (e.g., phone ringing)
• Barriers, difficulties encountered in usage
• And, of course, a narrative, a story that plays out over time
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USAGE MODELS
• Task Interaction Models
– Envisioned usage scenarios or design scenarios
– Step-by-step task interaction models
– Essential use case task interaction models
– Envisioned task interaction models
• Information Object Model
– Analyzing scenarios to identify ontology
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USAGE MODELS
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Figure 6-15 Branching and looping structures within step-by step task interaction models.
USAGE MODELS
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Figure 6-16 Task interaction branching and looping for MUTTS.
USAGE MODELS
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User Intention System Responsibility
1. Ticket seller to computer: Express intention to pay 2. Request to insert card
3. Ticket seller or ticket buyer: Insert card 4. Request to remove card quickly
5. Withdraw card 6. Read card information
7. Summarize transaction and cost
8. Request signature (on touch pad)
9. Ticket buyer: Write signature 10. Conclude transaction
11. Issue receipt
12. Take receipt
Table 6-1 Example essential use case: Paying for a ticket purchase transaction (with a credit or debit card)
WORK ENVIRONMENT MODELS
• Artifact Model
– Constructing the artifact model
• Physical Model
– Envisioned physical model
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WORK ENVIRONMENT MODELS
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Figure 6-17 Part of a restaurant flow model with focus on work artifacts derived from the artifact model.
WORK ENVIRONMENT MODELS
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Figure 6-18 Physical model for one slideshow presentation case. Thanks to Brad Myers, Carnegie Mellon University, and his colleagues for their example (Cross, Warmack, & Myers, 1999) on which this is based.
WORK ENVIRONMENT MODELS
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Figure 6-19 A physical model for MUTTS.
BARRIER SUMMARIES
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# Trigger Goal Barrier
18 Question from remote audience member
Answer questions Audio unintelligible. Local members instruct remote members to adjust audio setting.
19 Comment from remote member
Respond to comment Audio unintelligible. Local members instruct remote members to reconnect.
20 Comments from local members
Respond to comments by referring to slide from earlier in presentation
Presenter tries to return to slide. Presenter searches through slides rapidly but cannot find it.
21 Question from local member
Answer question Presenter tries again and eventually finds slide.
22 Local member asks presenter to bring up previous slide.
Go backward one slide Presenter tries to go back one slide but goes forward one slide instead.
23 Remote audience reconnected
Continue discussion
24 Question from remote member
Answer question
25 Comment from local member
Respond to question Presenter flips through slides searching for “system architecture” slide.
Table 6-2 Summary of selected barriers discovered within the step-by-step task interaction models for slideshow presentations
BARRIER SUMMARIES
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Description Model % of Talks Count (Over all Talks)
Average Severity
Average Duration (Each Time)
1. Changing slides is difficult and awkward because of the placement of the mouse or laptop. Physical 67 166 1.2 2 sec
2. Presenter loses track of time, must ask for verbal update. Sequence 44 6 1.5 55 sec
3. Reference provided is incomplete or skimmed over, audience members would be unable to find it after the talk.
Cultural 44 6 1 19 sec
4. Camera view is unclear or pointed at wrong information. Flow 33 3 1.7 60 sec
5. Audio level for demos is not set correctly. Flow 33 3 2 46 sec
Table 6-3 Summary of most frequent barriers observed in presentation cases
MODEL CONSOLIDATION
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Figure 6-20 Flow model from a group who observed and interviewed the event manager, event sponsors, the financial manager, and the database administrator.
MODEL CONSOLIDATION
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Figure 6-21 Flow model from a group who mainly observed and interviewed ticket buyers and ticket sellers.
MODEL CONSOLIDATION
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Figure 6-22 Flow model from a group who observed and interviewed the office manager, the advertising manager, and external advertisers.
ABRIDGED METHODS FOR DESIGN-INFORMING MODELS EXTRACTION
• Be Selective about the Modeling You Need to Do
• Designer-Ability-Driven Modeling
• Use a Hybrid of WAAD and Relevant Models
• Create Design-Informing Models on the Fly during Interviews
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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.
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Exercise 6-4: A Social Model for a “Smartphone”
• Sketch out an annotated social model for the use of an iPhone or
similar smartphone by you and your friends.
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Exercise 6-5: Creating a Flow Model for Your System
• Goal: Get a little practice in creating a flow model for an enterprise.
• Activities:
– Follow up on your flow model initial sketch that you did in Exercise 4-1.
– Again represent each work role or system entity as a node in the diagram.
– Use arcs between nodes to show all communication and coordination necessary to do the work of the
enterprise.
– Use arcs to represent all information flow and flow of physical artifacts.
– Include all forms of communication, including direct conversations, email, phones,
• letters, memos, meetings, and so on.
– Include both flow internally within the enterprise and flow externally with the rest of the world.
• Deliverables
– One flow model diagram for your system, with as much detail as feasible.
• Schedule
– This could take a couple of hours.
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DESIGN THINKING, IDEATION, AND SKETCHING
Textbook Chapter 7.
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INTRODUCTION
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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USER PERSONAS
• How Do We Make Them?
– Identifying candidate
personas
– Goal-based consolidation
– Selecting a primary persona
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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.
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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.
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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.
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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
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IDEATION
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Figure 7-4 The Virginia Tech ideation studio, the “Kiva” (photo courtesy of Akshay Sharma,Virginia Tech Department of Industrial Design).
IDEATION
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Figure 7-4 Individual and group designer work spaces(photo courtesy of Akshay Sharma,Virginia Tech Department of Industrial Design).
IDEATION
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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
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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
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SKETCHING
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Figure 7-8 A sketch to think about design (photo courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).
SKETCHING
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Figure 7-9 Freehand gestural sketches for the Ticket Kiosk System (sketches courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).
SKETCHING
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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
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Figure 7-11 Designers doing sketching (photos courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).
SKETCHING
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Figure 7-12 Early ideation sketches of K-YAN (sketches courtesy of Akshay Sharma, Department of Industrial Design).
SKETCHING
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Figure 7-13 Mid-fidelity exploration sketches of K-YAN (sketches courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).
SKETCHING
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Figure 7-14 Sketches to explore flip-open mechanism of K-YAN (sketches courtesy of Akshay Sharma, Virginia Tech Department of Industrial Design).
SKETCHING
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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
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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
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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.
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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).
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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.
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Exercise 7-2: Practice in Ideation and Sketching
• Goal
– To get practice in ideation and sketching for design.
• Activities
– Doing this in a small group is strongly preferable, but you can do it with one other person.
– Get out blank paper, appropriate size marking pens, and any other supplies you might need for sketching.
– Start with some free-flow ideation about ways to design a new and improved concept of your system. Do not limit
yourself to conventional designs.
– Go with the flow and see what happens.
– Start with design sketches in the ecological perspective.
– Make some sketches from an interaction perspective showing different ways you can operate the system.
– Make sketches that project the emotional perspective of a user experience with your product. This might be more
difficult, but it is worth taking some time to try.
– Ideate. Sketch, sketch, and sketch. Brainstorm and discuss.
• Deliverables
– A brief written description of the ideation process and its results, along with all your supporting sketches.
• Schedule
– Give yourself enough time to really get engaged in this activity.
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Set up your Pinterest Page
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Set up your Pinterest Page
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Link it to your blog
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Homework
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Complete Chapter 6 Exercises
Complete Chapter 7 Exercises
1 2
Your Blog Post #9 - Social Model - Sketch for a
“smartphone” - Draw a flow model
diagram for your system
Your Blog Post #10 - Create a user persona - Try your Initial sketches - Upload to the Pinterest
“Sketch” Folder.
Submission Due : 11: 59 pm Sun. 13th April
Complete the Online Survey
3
Google Doc Survey on System Concept Statements - TBA on Facebook page - https://www.facebook.com/UX.t
heory