From AIGA, What Designers Need to Know
Designers think about visual forms and how they are put together to convey meaning. This is visual language. Points, lines, planes, volumes, spaces, textures, and colors are used to create symmetry, proportion, rhythm and are basic components of a designer's visual vocabulary.
Form and structure analyzes positive and negative forms.
Form analysis examines 2D and 3D forms and how to create a feeling of space.
Structure and system consider various ways for order in a space.
Visual Phenomena explores intuitive response from the audience to form, color, texture.
Composition and visual framing involves deciding what to include in an image and the interaction between those elements.
Visual abstraction identifies key features of an object and simplifies them.
Unity of form relationships among design elements: proportion, scale, symmetry, contrast.
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These definitions and elements are applicable and to be considered in this wayfinding project. Spacial relations, proportions of signage and their aesthetic affect an observer and their experience in a space. For example, composition and visual framing pertains to the layout and design of signage. Visual abstraction takes place when icons are created and used in a design to give information in a quick and efficient manner.
Monday, February 10, 2014
COCA Building Wayfinding; Graphic Wayfinding/Kitty Hong
Graphic information is the most direct way for people to find their location. Typical wayfinding graphic information includes systems made up of text, pictograms, maps, photographs, diagrams, and models. Visitors use these as a guide as they navigate a site,building, or space.
These elements must be clear and consistent. It is important to make directions clear, use fonts that are easy to read, use pictograms that are easily recognizable and not too abstract or complicated, pay close attention to format, and use common rather than obscure or technical terms. Efficiency is priority! Users want to learn the required information to get from A to B and quickly.
Orientation is devices are aids for people to have a mental map of their location in relation to their destination. Examples of orientation devices are maps, site plans, floor plans,and building and/or floor directories.Typically, this is the first information a user takes in for decision making in a setting they are unfamiliar with and an important tool for choosing the most efficient route. Important elements to include in any orientation devices are a 'you are here' symbol to provide orientation, key landmarks, labels that correspond with directional signage, placement of any maps or directories in an area that is easy to read from various vantage points, avoid all uppercase text to increase legibility, include key markers, and display hours of service of tenants available to provide additional assistance.
Directional Information gives individuals guidance along their route to a destination. This is after the person has familiarized themselves with the over all space. Most commonly used signs include arrows etc. Key things to emphasize directional information with are signage and architectural indicators such as wall graphics or landscaping leading to a destination. Again, usage of easy-to-learn pictograms to accompany text is helpful and bypasses any language barriers. Plain text and consistency are also important to avoid confusion.
Destination Information is provided at the point of destination. This usually includes signage, floor numbers, room identifiers and other related marker. Outdoor signage should identify all buildings by name and be legible from roadways and pathways. Any identification strategy should be intuitive, simple, and detectable.
Situation and Object Identification informs visitors about situations like local hazards, changes in status, or notable objects such as fire extinguishers. Emergency information signage should be dynamic and visible. LED display is a good method of informing visitors with current information and updating changes. Audible alarms and use of a public address system should be implemented as well. Standard colors, shapes, and symbols commonly associated with warning, hazard, etc. are easily recognizable.
These elements must be clear and consistent. It is important to make directions clear, use fonts that are easy to read, use pictograms that are easily recognizable and not too abstract or complicated, pay close attention to format, and use common rather than obscure or technical terms. Efficiency is priority! Users want to learn the required information to get from A to B and quickly.
Orientation is devices are aids for people to have a mental map of their location in relation to their destination. Examples of orientation devices are maps, site plans, floor plans,and building and/or floor directories.Typically, this is the first information a user takes in for decision making in a setting they are unfamiliar with and an important tool for choosing the most efficient route. Important elements to include in any orientation devices are a 'you are here' symbol to provide orientation, key landmarks, labels that correspond with directional signage, placement of any maps or directories in an area that is easy to read from various vantage points, avoid all uppercase text to increase legibility, include key markers, and display hours of service of tenants available to provide additional assistance.
Directional Information gives individuals guidance along their route to a destination. This is after the person has familiarized themselves with the over all space. Most commonly used signs include arrows etc. Key things to emphasize directional information with are signage and architectural indicators such as wall graphics or landscaping leading to a destination. Again, usage of easy-to-learn pictograms to accompany text is helpful and bypasses any language barriers. Plain text and consistency are also important to avoid confusion.
Destination Information is provided at the point of destination. This usually includes signage, floor numbers, room identifiers and other related marker. Outdoor signage should identify all buildings by name and be legible from roadways and pathways. Any identification strategy should be intuitive, simple, and detectable.
Situation and Object Identification informs visitors about situations like local hazards, changes in status, or notable objects such as fire extinguishers. Emergency information signage should be dynamic and visible. LED display is a good method of informing visitors with current information and updating changes. Audible alarms and use of a public address system should be implemented as well. Standard colors, shapes, and symbols commonly associated with warning, hazard, etc. are easily recognizable.
Ethnography>>> Design: An Ethnography Primer; Cheskin- AIGI
Ethnography is a tool for better design.
To truly understand their audience, designers must understand the relationship between the end user and the product. They need direct knowledge of the problem to develop the best solution. Ethnography enables designers to develop innovative solutions because it reveals a deep understanding of people and how they navigate the world.
Ethnography is a researched based method of observation in a setting that is natural to the subject- rather than an informal setting. People and culture are incredibly complex. This type of research aids designers in making sense of these complexities- looking beyond preconceived ideas with an empathetic eye. It allows patterns of behavior to be recognized and this is vital information to designers.
The ethnography process is a very rigorous analysis of systematically acquired data. Real and visually compelling video, photos, observational notes, audio recordings and other related data will be collected without being staged.
Ethnography research enables one to discover the need people have for meaning in their life, understand cultural norms, make powerful and effective communication to their audience, and create for the global market place based on real observations, as people do not always do as the say. These observed behaviors can provide clues to where problems exist and make hidden issues more obvious to guide designers to solutions.
Steps in the ethnographic process include defining the problem, finding the people, planning an approach, collecting data, analysis and interpretation (opportunities for insight), and sharing the compelling research and results to the team, as well as the whole organization. Ethnography research is so in depth that sharing the insights can be helpful in many other areas outside of design.
To truly understand their audience, designers must understand the relationship between the end user and the product. They need direct knowledge of the problem to develop the best solution. Ethnography enables designers to develop innovative solutions because it reveals a deep understanding of people and how they navigate the world.
Ethnography is a researched based method of observation in a setting that is natural to the subject- rather than an informal setting. People and culture are incredibly complex. This type of research aids designers in making sense of these complexities- looking beyond preconceived ideas with an empathetic eye. It allows patterns of behavior to be recognized and this is vital information to designers.
The ethnography process is a very rigorous analysis of systematically acquired data. Real and visually compelling video, photos, observational notes, audio recordings and other related data will be collected without being staged.
Ethnography research enables one to discover the need people have for meaning in their life, understand cultural norms, make powerful and effective communication to their audience, and create for the global market place based on real observations, as people do not always do as the say. These observed behaviors can provide clues to where problems exist and make hidden issues more obvious to guide designers to solutions.
Steps in the ethnographic process include defining the problem, finding the people, planning an approach, collecting data, analysis and interpretation (opportunities for insight), and sharing the compelling research and results to the team, as well as the whole organization. Ethnography research is so in depth that sharing the insights can be helpful in many other areas outside of design.
Design Moves, Sharon Helmer Poggenpohl
Sharon Helmer Poggenpohl discusses changes in her design practice due to an introduction to a different design strategy by Chan Screven. This change from where design practices have been- performed in an office or studio, removed from the end users- to a new setting- hands on and directly involved in the user's environment and with the users themselves. Designing interactively with users sets the stage for more innovative designs. She addresses changing the design of design.
Design envisions the future. Anticipating needs or problems is what a designer does. This shapes the future. What innovations are created can make a major impact (on our society, environment, planet) in the future.Prototypes reveal process in a tangible way to non-designers.Prototyping is crucial. It enables testing of an idea, checking for possible improvements, and allows an opportunity for a dialogue between designers and the end user. The dialogue is facilitated by generating prototypes; a focus, point of reference,is given to receive feedback and generate new ideas or make decisions about the artifact/solution. Refinements can be made.
To summarize design’s hidden moves, design envisions the future by:
• making abstract ideas tangible;
• engaging the user to help create a more fitting solution;
• focusing stakeholders on the idea as it develops;
• supporting negotiation among stakeholders as it reveals values and
implications of the design;
• supporting agency or decision-making.
Designers do not need to 'to science' in order to perform ethnography. They do need to know and understand the context in which their design is purposed. It is important that designers see and learn from authentic interactions with prototypes. Design nature is open minded, opportunistic, creative, and reflective- not formulated.
"This changes the design process from being immersive and abstract, largely
under the designer’s control, done in relative isolation to being more reflexive
and tangible, subject to user participation. The iterative shift, from attending
solely to the object of design followed by interaction between the user and the
designed object, heightens the designer’s sense of context, their ability to
interrogate the developing design and to question their process and knowledge
more honestly."
Design envisions the future. Anticipating needs or problems is what a designer does. This shapes the future. What innovations are created can make a major impact (on our society, environment, planet) in the future.Prototypes reveal process in a tangible way to non-designers.Prototyping is crucial. It enables testing of an idea, checking for possible improvements, and allows an opportunity for a dialogue between designers and the end user. The dialogue is facilitated by generating prototypes; a focus, point of reference,is given to receive feedback and generate new ideas or make decisions about the artifact/solution. Refinements can be made.
To summarize design’s hidden moves, design envisions the future by:
• making abstract ideas tangible;
• engaging the user to help create a more fitting solution;
• focusing stakeholders on the idea as it develops;
• supporting negotiation among stakeholders as it reveals values and
implications of the design;
• supporting agency or decision-making.
Designers do not need to 'to science' in order to perform ethnography. They do need to know and understand the context in which their design is purposed. It is important that designers see and learn from authentic interactions with prototypes. Design nature is open minded, opportunistic, creative, and reflective- not formulated.
"This changes the design process from being immersive and abstract, largely
under the designer’s control, done in relative isolation to being more reflexive
and tangible, subject to user participation. The iterative shift, from attending
solely to the object of design followed by interaction between the user and the
designed object, heightens the designer’s sense of context, their ability to
interrogate the developing design and to question their process and knowledge
more honestly."
Tim Brown- Think Big, TED Talks
Tim Brown discusses technology and it's impact on Design and suggests a shift, by implementing Design Thinking. Brown addresses how Design used to be "big" and recently it has become "small"; in that, when we think of Design, we think of product design. This is largely due to the popular press. Design has become represented by objects. He states that Design has become a tool for consumerism and the products repeated become obsolete. These products can be attractive, more marketable, or perhaps more useful but what is the importance? What is the significance? We have narrowed our thinking of Design and need to broaden that mindset to have a bigger, more positive impact on our world.
Design thinking begins with what Roger Martin calls Integrative Thinking- an ability to exploit opposing ideas and opposing constraints to create new solutions in design while balancing desirability, technical feasibility, and viability.
Industrial society matured and Design became a profession; it became focused on aesthetics, image, and fashion.
Design is becoming big again, due to reemergence of Design Thinking- solving problems to create world changing innovations.
Design is human centered. It's centered around what humans need, or might need. More than simply good ergonomics, Design is knowing the culture, context, economics of end users. It's about understanding. Instead of depending on technology to lead, designers are starting with people and culture to lead the way in their designs.
It is important to exercise learning by making; rather than thinking of what to build, building in order to think.
Prototypes speed up process of designing. Efficiency leads to innovation. The more prototypes generated and quickly, the sooner innovation will occur.
Prototyping mentality, leads to breakthroughs- particularly, lowering costs of production and materials.
Instead of looking at the prime objective as consumption, Design Thinking should shift focus to participation; an active engagement of everyone in meaningful, profitable, productive experiences.
Participatory systems, in which many more forms of value beyond cash are created and measured, will be a major theme not only for design but our economy as well, as we move forward.
Design may have its greatest impact when it is taken out of the hands of (exclusively) designers and given to everyone.
We need new alternatives and new ideas to keep up with society's massive changes and evolution. 'Old ways' are becoming obsolete. Design Thinking will help us to create new choices, as it gives us a new way of tackling problems. Rather than making choices out of what we already know with a convergent approach, we will be able to create choices (new solutions, alternatives) with a divergent approach.
This begins with asking questions and the right ones. For example, "How might we improve...?" Then, implement such things as social marketing campaigns, models, PROTOTYPING, interaction and active participation with the user whose needs is the focus.
Focusing on systems, we will make a larger impact with Design, than thinking 'small' with individual objects in a domain that is secluded from the end users.
Friday, February 7, 2014
Wayfinging: 5 Elements Identification & Diagram
In the scenario of the Tunnel, this diagram identifies the five elements of way finding.
The districts are indicated in yellow; these are the larger areas between paths.
Paths are indicated in red; these are the walk ways within the tunnel. Edges are the walls and barriers.
Nodes are indicated in blue; this is the instance in which paths intersect.
A landmark is also an element which aids in navigation of a space. In this particular instance, landmarks are not present, as the tunnel is very plain and contains little. Signage and the benches within the nodes could be considered landmarks. Hypothetically, if the tunnel contained sculpture or artworks (such as a mural), those would be considered landmarks.
A hypothetical example of verbal directions using a landmark as a point of reference:
"After entering at the Union entrance of the tunnel, continue through the passage(path) until you reach the seating area(node) where the big jay hawk sculpture(landmark) is. Then the Spencer Museum(district) entrance is immediately to your left."
Wednesday, February 5, 2014
What is Ethnography? Two West Discovery + Design
Two West; What is Ethnography -Notes
Ethnography is more than methodology. It is an approach to understanding. It is the seeking to make sense of the human condition and the search for meaning. It is the study of people in a holistic and inductive way, rather than repeating surface level observations and asking questions. Ethnographers look beyond the obvious and find deeper meaning, as well as, craft massive amounts of data into compelling stories and insights.
Things to look for
Norms
-cultural norms guide good marketing, design, and development
-uncovering how people internalize cultural norms gives insight as to what 'makes sense' and allows design brands to resonate rather than confuse or offend
Process
-cultural roles, beliefs about what is correct, and order of events shape the interaction with a place, tool, or brand; this is important information for ethnographers
-uncovering these processes allows design and message in the correct time and form
Meaning
-people need to make sense of the world they are in, their environment
-meanings are assigned, rituals, morality, cosmology, and even simple daily tasks such as hygiene or social mores.
What People Say Vs What People Do
-it isn't enough to simply ask questions- what people say and what they actual do/their behavior is not always the same
-observe non verbal cues, interaction with the environment and other people
How Do They Solve Problems
-people can adapt things to solve problems in unusual ways
How Do They Organize Things
-look in cupboards, car, purses, back packs, bathroom cabinets- these can be indicators as to how the individual organizes their world
What Roles Do People Assume
-how does behavior change in a given context?
-what is socially acceptable in one situation and not another?
-people tend to change or adapt to different roles as their situation or contextual environment changes
What Kind of Stuff Do They Have with Them
-a person's attire, accessories (or lack of)... what they feel is important to carry with them
how does the setting affect or change this?
Steps In Ethnographic Process
1. Define the Problem
identify the issue
clearly articulate the overarching goal
2. Rethink the Problem
once the problem is defined, rethink it
the point may not be the problem itself and think of all possibilities
3. Define the Contexts
what is the setting
example: to study beer drinking- articulate all possible places and contexts in which beer is purchased and consumed
4. Define the Sample
demographic samples are not enough; cultural, social, profession and environmental systems must be assessed
5. Make a Game Plan
create a guide to navigate the data collected and method for data management
not only include the questions asked, but also opportunities for observation, mapping, and participation
6.Enter the Field
this is the heart of the process
takes time- deeper meanings and practices are not obvious or easily spotted
it is important to capture as much as possible, the more data collected the better
bare in mind, the smallest piece of data may have the greatest impact
7. Analyze and Interpret
analysis is the most difficult part of the process- but most rewarding
putting pieces together
analysis should always work within the framework grounded in social sciences; results will include modes of behavior, models of practice, experience frameworks, design principles, and cultural patterns
analyzed data should provide meaningful and rich stories full of 'aha' findings
8. Share the Insights
findings should be shared with stakeholders AND accross the organization because of the depth of information
insights can influence a wide range of people- these stories can engage, inspire, and change the way people think about a problem
9. Define Opportunities
process goes beyond finding compelling and rich data, it then needs to be applied by sharing information, as well as crafting action plans, product ideas, etc
Ethnography is more than methodology. It is an approach to understanding. It is the seeking to make sense of the human condition and the search for meaning. It is the study of people in a holistic and inductive way, rather than repeating surface level observations and asking questions. Ethnographers look beyond the obvious and find deeper meaning, as well as, craft massive amounts of data into compelling stories and insights.
Things to look for
Norms
-cultural norms guide good marketing, design, and development
-uncovering how people internalize cultural norms gives insight as to what 'makes sense' and allows design brands to resonate rather than confuse or offend
Process
-cultural roles, beliefs about what is correct, and order of events shape the interaction with a place, tool, or brand; this is important information for ethnographers
-uncovering these processes allows design and message in the correct time and form
Meaning
-people need to make sense of the world they are in, their environment
-meanings are assigned, rituals, morality, cosmology, and even simple daily tasks such as hygiene or social mores.
What People Say Vs What People Do
-it isn't enough to simply ask questions- what people say and what they actual do/their behavior is not always the same
-observe non verbal cues, interaction with the environment and other people
How Do They Solve Problems
-people can adapt things to solve problems in unusual ways
How Do They Organize Things
-look in cupboards, car, purses, back packs, bathroom cabinets- these can be indicators as to how the individual organizes their world
What Roles Do People Assume
-how does behavior change in a given context?
-what is socially acceptable in one situation and not another?
-people tend to change or adapt to different roles as their situation or contextual environment changes
What Kind of Stuff Do They Have with Them
-a person's attire, accessories (or lack of)... what they feel is important to carry with them
how does the setting affect or change this?
Steps In Ethnographic Process
1. Define the Problem
identify the issue
clearly articulate the overarching goal
2. Rethink the Problem
once the problem is defined, rethink it
the point may not be the problem itself and think of all possibilities
3. Define the Contexts
what is the setting
example: to study beer drinking- articulate all possible places and contexts in which beer is purchased and consumed
4. Define the Sample
demographic samples are not enough; cultural, social, profession and environmental systems must be assessed
5. Make a Game Plan
create a guide to navigate the data collected and method for data management
not only include the questions asked, but also opportunities for observation, mapping, and participation
6.Enter the Field
this is the heart of the process
takes time- deeper meanings and practices are not obvious or easily spotted
it is important to capture as much as possible, the more data collected the better
bare in mind, the smallest piece of data may have the greatest impact
7. Analyze and Interpret
analysis is the most difficult part of the process- but most rewarding
putting pieces together
analysis should always work within the framework grounded in social sciences; results will include modes of behavior, models of practice, experience frameworks, design principles, and cultural patterns
analyzed data should provide meaningful and rich stories full of 'aha' findings
8. Share the Insights
findings should be shared with stakeholders AND accross the organization because of the depth of information
insights can influence a wide range of people- these stories can engage, inspire, and change the way people think about a problem
9. Define Opportunities
process goes beyond finding compelling and rich data, it then needs to be applied by sharing information, as well as crafting action plans, product ideas, etc
Designing Interactions, Bill Verplank
Designing Interactions, Bill Verplank- Notes
Bill Verplank's ideas of interaction design have evolved over the years. He has a PhD from MIT in man-machine systems, applying information and control theort to measuring human operator workload in control tasks.
He summarizes interaction design by answering three questions; how you act, how you feel, & how you understand.
Paradigms serve as explanation for the way people think about interaction design and it's history.
How do you do?
How do humans affect the world?
Handles- user has hands on/continuous control
Buttons-delegating control to machine
How do you feel?
Fuzzy, cool/Distinct, hot
Cool media draw a person in.
Hot media is immutable, or cannot be touched or changed.
What are the sensory qualities of the media?
How do you know?
Maps give knowledge needed for designing complex systems.
Path offers understanding.
It is the designers responsibility to help people understand- a tool for this is a map.
Design Interaction Paradigms:
Tool
Doug Englebart (inventor of computer mouse) thought of the computer as a tool. We use it with direct manipulation
Media
How is this medium compelling? An expression?
Life
Artificial Intelligence... computer virus, computer evolution, artificial life computer programming is capable of evolving over time.
Vehicle
Infrastructure; rules to the road as all computers have underlying infrastructure- there are limitations and opportunities for design.
Fashion
Computers are products. Many products are fashion products. People want the "right" products, as they are defined by their possessions, culturally speaking. Aesthetics can dominate this- as people move from a style interaction to another.
Design Interaction; The Process:
1. Motivation- errors or ideas
understanding the problems, ideals, ideas
2. Meaning- metaphors and scenerios
-for understanding
-a clear metaphor is a strange idea that connects two things
3.Modes- models and tasks
-create conceptual model that users will understand- a clear picture
-mode depends on what the task is and goal
-conceptual cognitive science of understanding what is to be done and the information needed to do it
4. Mapping- displays and controls
-interaction designer designs some kid of display and controls
-display is representation of things that can be manipulated
-map controls to display
-mappings, in computers, can be very complicated; remap instantaneously, giving powerful modes that can select or delete everything
Bill Verplank's ideas of interaction design have evolved over the years. He has a PhD from MIT in man-machine systems, applying information and control theort to measuring human operator workload in control tasks.
He summarizes interaction design by answering three questions; how you act, how you feel, & how you understand.
Paradigms serve as explanation for the way people think about interaction design and it's history.
How do you do?
How do humans affect the world?
Handles- user has hands on/continuous control
Buttons-delegating control to machine
How do you feel?
Fuzzy, cool/Distinct, hot
Cool media draw a person in.
Hot media is immutable, or cannot be touched or changed.
What are the sensory qualities of the media?
How do you know?
Maps give knowledge needed for designing complex systems.
Path offers understanding.
It is the designers responsibility to help people understand- a tool for this is a map.
Design Interaction Paradigms:
Tool
Doug Englebart (inventor of computer mouse) thought of the computer as a tool. We use it with direct manipulation
Media
How is this medium compelling? An expression?
Life
Artificial Intelligence... computer virus, computer evolution, artificial life computer programming is capable of evolving over time.
Vehicle
Infrastructure; rules to the road as all computers have underlying infrastructure- there are limitations and opportunities for design.
Fashion
Computers are products. Many products are fashion products. People want the "right" products, as they are defined by their possessions, culturally speaking. Aesthetics can dominate this- as people move from a style interaction to another.
Design Interaction; The Process:
1. Motivation- errors or ideas
understanding the problems, ideals, ideas
2. Meaning- metaphors and scenerios
-for understanding
-a clear metaphor is a strange idea that connects two things
3.Modes- models and tasks
-create conceptual model that users will understand- a clear picture
-mode depends on what the task is and goal
-conceptual cognitive science of understanding what is to be done and the information needed to do it
4. Mapping- displays and controls
-interaction designer designs some kid of display and controls
-display is representation of things that can be manipulated
-map controls to display
-mappings, in computers, can be very complicated; remap instantaneously, giving powerful modes that can select or delete everything
Interaction Design Sketchbook, Bill Verplank
Interaction Design Sketchbook, Bill Verplank- Notes
Frameworks for designing interactive products and systems.
1. SKETCHING – beyond craft to design – the importance of alternatives.
2. INTERACTION – do? feel? know? Products, computers and networks.
3. DESIGN – motivation, meaning, modes, mappings.
4. PARADIGMS – brain, tool, media, life, vehicle, clothes.
Sketching-
Design is what people do.
Sketching is almost always the first step in design.
Computers have changed this as they are a tool to copy, modify, mimic and adapt, and evolve from 'working code' to the iteration of a system- making faster results, directly with materials. This makes for a craft tradition.
Learning is by doing.
It is also by anticipation and reflection.
Interaction Design is design for people- human use.
Sketches are an essential designer’s tool for capturing preliminary observations and ideas.
If they are fluent and flexible they support creativity. Sketches can be concrete or abstract,
representational or symbolic, loose or tight, improvisational or rehearsed.
Brainstorming is such a mode where the goals are
fluency and flexibility – quantity and variety. If an idea is criticized before being
expressed it dies prematurely. Design as opposed to craft has this quality of separate
phases or modes. For example, an Express mode, producing many choices can be
followed by a Test phase, followed by a Cycle phase where the next strategy is chosen.
The basic design process is seen as cyclic or iterative, with distinct phases or modes;
Express mode- producing many choices >> Test phase >> Cycle phase- the next strategy is chosen
There is danger in iteration if alternatives are not considered.
One design at a time can inhibit the opportunity to discover/generate alternatives, prototypes, and design test. Multiple considerations and comparisons are suggested.
Avoid a fixed orbit- market, with values, and a paradigm. 'Transfer orbit' gets us out of a small orbit into a larger one.
Frameworks for designing interactive products and systems.
1. SKETCHING – beyond craft to design – the importance of alternatives.
2. INTERACTION – do? feel? know? Products, computers and networks.
3. DESIGN – motivation, meaning, modes, mappings.
4. PARADIGMS – brain, tool, media, life, vehicle, clothes.
Sketching-
Design is what people do.
Sketching is almost always the first step in design.
Computers have changed this as they are a tool to copy, modify, mimic and adapt, and evolve from 'working code' to the iteration of a system- making faster results, directly with materials. This makes for a craft tradition.
Learning is by doing.
It is also by anticipation and reflection.
Interaction Design is design for people- human use.
Sketches are an essential designer’s tool for capturing preliminary observations and ideas.
If they are fluent and flexible they support creativity. Sketches can be concrete or abstract,
representational or symbolic, loose or tight, improvisational or rehearsed.
Seeing feeds drawing, drawing improves seeing.
fluency and flexibility – quantity and variety. If an idea is criticized before being
expressed it dies prematurely. Design as opposed to craft has this quality of separate
phases or modes. For example, an Express mode, producing many choices can be
followed by a Test phase, followed by a Cycle phase where the next strategy is chosen.
The basic design process is seen as cyclic or iterative, with distinct phases or modes;
Express mode- producing many choices >> Test phase >> Cycle phase- the next strategy is chosen
There is danger in iteration if alternatives are not considered.
One design at a time can inhibit the opportunity to discover/generate alternatives, prototypes, and design test. Multiple considerations and comparisons are suggested.
Avoid a fixed orbit- market, with values, and a paradigm. 'Transfer orbit' gets us out of a small orbit into a larger one.
Interaction-
Interaction Design & Industrial Design
modes and mappings: the plasticity of computers
Industrial design:
- profession grown up in 20th century
-response to the design freedom provided by modern materials & manufacturing process (plastics)
-Plastics: product of any shape, color, pattern; mimic wood or metal, appear sleek/substantial,reveal/hide.
Interaction design:
-profession that will mature in 21st century
- how to design for people? physical & emotional needs, increasing intellect.
-computers: make any product for nearly any behavior
Interaction designers: 3 questions;
How do you do?
How do you feel?
How do you know?
*the longer the delay between doing and feeling, the more dependent on having good knowledge.
handles/buttons- buttons for precision, handles for expression
The choice of senses (hearing, seeing, touching, etc) determines what we feel about the world.
“The medium is the message.”
hot media: too 'hot' to touch; definitive and ready to complete, discourage debate
cool media: invite completion and participation
Designers continually faced with choice of suggestion/clarity, metaphor/model, poetry/law
New challenge for Interactive Design is the complexity of behavior with ubiquitous computers.
-theory of how people know is useful
-conscious consideration of expectations for the user is essential
- easiest interaction needs one step at a time- path knowledge
-in some cases immediate performance is crucial (emergency situations); step by step instruction is required
-some instances map knowledge is suitable; best urban planning supports efficient paths & mental maps- Kevin Lunch, city planner, called this quality "imaginability"
> Lynch: classify Landmark, District, Edge, Path, Node; imageable cities include relationships between districts that can be seen & landmarks at nodes which can be used for navigation.
broad range of interaction designs; examples: word processor, watches, web browsers, radio
Paths- sequences of actions or commands
Districts- modes or choices
Edges- if they are visible, the a chance for constructing a complete map while various paths are followed can occur
Memorable graphic devices at places in the interface aid users in constructing coherent mental models from which news tasks and uses can be inferred
Good interactions are the appropriate styles of doing, feeling and knowing plus the freedom to
move from one to the other.
Design-
Framework for successful interaction design & checking to see if concerns are addressed involves balancing a variety of concerns by utilizing a range of methods or representations. Use framework to check the balance of approaches from invention to implementation & overviews to details; as well as communicating a finished design, however, quick sketches in early stages of design can be preferred.
motivations, meanings, modes, mappings >> observation, invention, engineering, appearance
resulting in displays & controls and the behaviors that connect them (mappings).
- to create coherent implementation: both a task
analysis of the step-by-step interactions as well as an over-all conceptual model that
organizes the behavior (modes) both for implementers and for users is necessary.
-invention of an interactive scenario involves: one compelling scenario, unifying metaphor, as well as consideration of a wide variety of scenarios & a wide exploration of alternative & mixed metaphors.
-Idea, metaphor, model, display, error, scenario, task control
Paradigms-
Human & computer interaction: a competition between 3 paradigms: brains, tools, media
Everything that comes between an individual's environment and themselves presents an interaction design problem; "extensions"
electronics>> our senses (media)
clothing>>skin (fashion)/ architecture>skin
cars>> vehicles, infrastructure
What happens when clothing has computers in it? What happens when we think of computers as clothing?
Human-Computer Interaction ---> competition between 3 paradigms: brain, tools, media
Computers are electronic brains; artificial intelligence
- next challenges with this: affect (emotional computers), consciousness (self- aware computers), soul (spiritual computers)
Names: agent, recognition
Goal: intelligence and autonomy
Style: dialog and language, recognition, multi-modal
Result: better models for people (linguistics, cognitive science)
Failure: promises (anthropomorphism and animism)
To develop these machines will only create a mirror of ourselves- this may not help humans to gain a better understanding of the world and how we may fix it.
Computers are tools; executing tasks
In reaction to the idea of A.I., Doug Englebart created a group dedicated to what he calls “augmented intelligence”. Englebart set in motion a style of human-computer interaction >>>that has become the norm: direct manipulation.
Names: tool, task, use, HCI
Goal: empowerment, usability
Style: graphical user interfaces, direct manipulation, point and click
Result: personal computers, word processing and desktop publishing, the web
Failure: no fun, “user friendly”
Computers are Media; communication and expression
Computers used for entertainment, communication- computers have invaded every avenue, i e: telephones, televisions, advertising, education
Names: multi-media, the web, “being digital”
Goal: engaging, compelling, attention, expression
Style: flash, magic
Result: interactive TV
Failure: digital divide
Computers are Life
Names: Artificial Life, Chaos,
Heroes: R.Brooks, C.Sims
Goal: play god, evolution
Style: evolution, simple rules / complex behavior
Result: pretty pictures, Rorschach
Failure: no generalizations, no understanding
Computers are Vehicles; metaphorically
Vehicles of thought and expression & infrastructure
Roadways differ upon task being executed.. example: text edit in Word, sent to printer, shared file with someone
Names: standards, infrastructure, super-highway
Heroes: ARPA, Berners-Lee
Goal: inter-operability, freedom/ownership/, compatibility
Style: open, dominance
Result: PC, Ethernet, Kanji/English
Failure: digital television, Microsoft
Computers are Fashion
Heroes: Jobs
Names: wearables
Goal: belonging, recognition
Style: style
Result: pleasure
Failure: waste
****Don't take paradigms too seriously. Beware & ignore fanatics. Invent your own "interaction design".
Live and thrive with the reality of multi-disciplinary teamwork. With metaphors, keep this is mind: representation for manipulation. Computers are simulators. Computers represent things both imaginary and real. Representations are not arbitrary and the best representations are compact, extensible, efficient, and widely available. Representation's goal is some form of manipulation or translation.
Piaget described three stages of learning. We are born with ENACTIVE or kinesthetic
knowledge; we know how to grasp and suck. At a certain age we pay more attention to
how things look; our ICONIC thinking is mistaken for example by a tall glass as “more”.
Only at a certain age do we understand conservation; then we are ready for SYMBOLIC
thinking.
Computer-as-person motivates dialog where the goal is autonomy and intelligence.
Computer-as-tool motivates direct manipulation where the goals are efficiency and
empowerment. Computer-as-media motivates expression, engagement and immersion. In
the expressive realm, beyond media are all the notions associated with fashion with
wearables as the most obvious implementation. Underneath tools are all the vehicles that
depend on infrastructure. Extending the autonomy realm are self-evolving computers that
are thought of as forms of life.
Interaction Design & Industrial Design
modes and mappings: the plasticity of computers
Industrial design:
- profession grown up in 20th century
-response to the design freedom provided by modern materials & manufacturing process (plastics)
-Plastics: product of any shape, color, pattern; mimic wood or metal, appear sleek/substantial,reveal/hide.
Interaction design:
-profession that will mature in 21st century
- how to design for people? physical & emotional needs, increasing intellect.
-computers: make any product for nearly any behavior
Interaction designers: 3 questions;
How do you do?
How do you feel?
How do you know?
*the longer the delay between doing and feeling, the more dependent on having good knowledge.
handles/buttons- buttons for precision, handles for expression
The choice of senses (hearing, seeing, touching, etc) determines what we feel about the world.
“The medium is the message.”
hot media: too 'hot' to touch; definitive and ready to complete, discourage debate
cool media: invite completion and participation
Designers continually faced with choice of suggestion/clarity, metaphor/model, poetry/law
New challenge for Interactive Design is the complexity of behavior with ubiquitous computers.
-theory of how people know is useful
-conscious consideration of expectations for the user is essential
- easiest interaction needs one step at a time- path knowledge
-in some cases immediate performance is crucial (emergency situations); step by step instruction is required
-some instances map knowledge is suitable; best urban planning supports efficient paths & mental maps- Kevin Lunch, city planner, called this quality "imaginability"
> Lynch: classify Landmark, District, Edge, Path, Node; imageable cities include relationships between districts that can be seen & landmarks at nodes which can be used for navigation.
broad range of interaction designs; examples: word processor, watches, web browsers, radio
Paths- sequences of actions or commands
Districts- modes or choices
Edges- if they are visible, the a chance for constructing a complete map while various paths are followed can occur
Memorable graphic devices at places in the interface aid users in constructing coherent mental models from which news tasks and uses can be inferred
Good interactions are the appropriate styles of doing, feeling and knowing plus the freedom to
move from one to the other.
Design-
Framework for successful interaction design & checking to see if concerns are addressed involves balancing a variety of concerns by utilizing a range of methods or representations. Use framework to check the balance of approaches from invention to implementation & overviews to details; as well as communicating a finished design, however, quick sketches in early stages of design can be preferred.
motivations, meanings, modes, mappings >> observation, invention, engineering, appearance
resulting in displays & controls and the behaviors that connect them (mappings).
- to create coherent implementation: both a task
analysis of the step-by-step interactions as well as an over-all conceptual model that
organizes the behavior (modes) both for implementers and for users is necessary.
-invention of an interactive scenario involves: one compelling scenario, unifying metaphor, as well as consideration of a wide variety of scenarios & a wide exploration of alternative & mixed metaphors.
-Idea, metaphor, model, display, error, scenario, task control
Paradigms-
Human & computer interaction: a competition between 3 paradigms: brains, tools, media
Everything that comes between an individual's environment and themselves presents an interaction design problem; "extensions"
electronics>> our senses (media)
clothing>>skin (fashion)/ architecture>skin
cars>> vehicles, infrastructure
What happens when clothing has computers in it? What happens when we think of computers as clothing?
Human-Computer Interaction ---> competition between 3 paradigms: brain, tools, media
Computers are electronic brains; artificial intelligence
- next challenges with this: affect (emotional computers), consciousness (self- aware computers), soul (spiritual computers)
Names: agent, recognition
Goal: intelligence and autonomy
Style: dialog and language, recognition, multi-modal
Result: better models for people (linguistics, cognitive science)
Failure: promises (anthropomorphism and animism)
To develop these machines will only create a mirror of ourselves- this may not help humans to gain a better understanding of the world and how we may fix it.
Computers are tools; executing tasks
In reaction to the idea of A.I., Doug Englebart created a group dedicated to what he calls “augmented intelligence”. Englebart set in motion a style of human-computer interaction >>>that has become the norm: direct manipulation.
Names: tool, task, use, HCI
Goal: empowerment, usability
Style: graphical user interfaces, direct manipulation, point and click
Result: personal computers, word processing and desktop publishing, the web
Failure: no fun, “user friendly”
Computers are Media; communication and expression
Computers used for entertainment, communication- computers have invaded every avenue, i e: telephones, televisions, advertising, education
Names: multi-media, the web, “being digital”
Goal: engaging, compelling, attention, expression
Style: flash, magic
Result: interactive TV
Failure: digital divide
Computers are Life
Names: Artificial Life, Chaos,
Heroes: R.Brooks, C.Sims
Goal: play god, evolution
Style: evolution, simple rules / complex behavior
Result: pretty pictures, Rorschach
Failure: no generalizations, no understanding
Computers are Vehicles; metaphorically
Vehicles of thought and expression & infrastructure
Roadways differ upon task being executed.. example: text edit in Word, sent to printer, shared file with someone
Names: standards, infrastructure, super-highway
Heroes: ARPA, Berners-Lee
Goal: inter-operability, freedom/ownership/, compatibility
Style: open, dominance
Result: PC, Ethernet, Kanji/English
Failure: digital television, Microsoft
Computers are Fashion
Heroes: Jobs
Names: wearables
Goal: belonging, recognition
Style: style
Result: pleasure
Failure: waste
****Don't take paradigms too seriously. Beware & ignore fanatics. Invent your own "interaction design".
Live and thrive with the reality of multi-disciplinary teamwork. With metaphors, keep this is mind: representation for manipulation. Computers are simulators. Computers represent things both imaginary and real. Representations are not arbitrary and the best representations are compact, extensible, efficient, and widely available. Representation's goal is some form of manipulation or translation.
Piaget described three stages of learning. We are born with ENACTIVE or kinesthetic
knowledge; we know how to grasp and suck. At a certain age we pay more attention to
how things look; our ICONIC thinking is mistaken for example by a tall glass as “more”.
Only at a certain age do we understand conservation; then we are ready for SYMBOLIC
thinking.
Computer-as-person motivates dialog where the goal is autonomy and intelligence.
Computer-as-tool motivates direct manipulation where the goals are efficiency and
empowerment. Computer-as-media motivates expression, engagement and immersion. In
the expressive realm, beyond media are all the notions associated with fashion with
wearables as the most obvious implementation. Underneath tools are all the vehicles that
depend on infrastructure. Extending the autonomy realm are self-evolving computers that
are thought of as forms of life.
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