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People and PrototypesThe author’s own ideas about how to design interactions,with help from his friends and colleagues Jane Fulton Suriand Duane Bray,[object Object],Bill Moggridge Designing Interaction Chapter 10,[object Object],MiladHajiamiri,[object Object]
Content:,[object Object],[object Object]
Duane Bray (leader of the interaction design discipline in IDEO):      analysis of prototyping techniques,[object Object],[object Object],Process and definingthe difference between designing something new and designing a new version of something,[object Object]
Designing Interaction,[object Object],Gillian Crampton Smith:,[object Object],Design of interactions is being about shaping our everyday lives through digital artifacts for work, play, and entertainment.,[object Object],What is Design?,[object Object],Design is,[object Object],difficult to define, and designers are much more at ease learning and knowing by doing than they are explaining.,[object Object],British Design Council: A Project called “Definitions of Design,”,[object Object], “With art if you like, you can be really weird. But in design you have,[object Object],to think about what other people will like.” Ghisli, age 10,[object Object],Design is everywhere and that’s why looking for a definition may not help you grasp what it is.,[object Object]
Designing Interaction,[object Object],Good design comes from the successful synthesis of a solution that recognizes all the relevant constraints, and the nature of the constraints defines the difference between design disciplines.,[object Object]
Designing Interaction,[object Object],Five core skills of design:,[object Object],1. To synthesize a solution from all of the relevant constraints,,[object Object],understanding everything that will make a difference to the result,[object Object],2. To frame, or reframe, the problem and objective,[object Object],3. To create and envision alternatives,[object Object],4. To select from those alternatives, knowing intuitively how to,[object Object],choose the best approach,[object Object],5. To visualize and prototype the intended solution,[object Object]
Designing Interaction,[object Object],The process does not look like a linear system diagram, nor even a revolving wheel of iterations, but is more like playing with a pinball machine, where one bounces,[object Object],rapidly in unexpected directions.,[object Object]
Designing Interaction,[object Object],Tacit knowledge,[object Object],Designers have the ability and the training the tacit knowledge of the unconscious mind, rather than being limited to working with explicit knowledge. This makes them good at synthesizing complex problems with large numbers of constraints; it also makes them bad at explaining ordefining what they are doing or thinking.,[object Object], They will describe process and results because they are not consciously aware of their own rationale.,[object Object],This is the reason that design education relies on a project based approach of “learning by doing.”,[object Object]
This hierarchy shows the increasing complexity of the relevant constraints,,[object Object],if you consider each type of design problem from the point of view of the,[object Object],user. The hierarchy is based on the type of human factors that is relevant,[object Object],to the design context in each level of complexity, starting with the simplest,[object Object],at the bottom.,[object Object]
Designing Interaction,[object Object],Anthropometrics—the sizes of people,[object Object],Designers have to understand basic human factors, but it is reasonable to expect that the sizes of people, are the most relevant. ,[object Object],Thanks to Henry Dreyfuss, anthropometric information for the designer is easy to find, by referring to the book The Measure of Man, or the reference cards in Humanscale,6which present the salient dimensions of people of different statures, gender, age, and ethnic background.,[object Object]
Designing Interaction,[object Object],Physiology—the way the body works,[object Object],when you need to consider actions as well as objects. If the design context includes what the person is doing as well as the things that they are using, the constraints need to include the way the human body works, or physiology, as well as the sizes of people.,[object Object],When you are designing a chair for work, you must consider the danger that long periods of sitting may cause back strain, which demands that you understand the structure of the human spine and the muscles that support it.,[object Object]
Designing Interaction,[object Object],Cognitive psychology—the way the mind works,[object Object],When the design context includes machine intelligence as well as human intelligence, the design team will benefit from the expertise of a cognitive psychologist and will also need designers who are skilled at designing interactions.,[object Object]
Designing Interaction,[object Object],Sociology—the way people relate to each other,[object Object],Sociologists can help members of a design team understand the implications of this and to operate in the more abstract realm of designing services, where you are affected more by relationships among people as well as between users and objects or interfaces.,[object Object],We are better equipped to face the complexity as an,[object Object],interdisciplinary team, with a collective consciousness, and the,[object Object],ability to create designs as a group or team rather than as,[object Object],individuals.,[object Object]
Designing Interaction,[object Object],Cultural anthropology—the human condition,[object Object],Designer who has developed a product for a global market,[object Object],has had to face the complexities that come from cultural,[object Object],variations. Some people eat with chopsticks and others with,[object Object],cutlery. And colors have strong symbolic meanings that are,[object Object],specific to particular societies. Cultural anthropologists can help,[object Object],people in a development organization understand the nature of,[object Object],cultural differences.,[object Object]
Designing Interaction,[object Object],Ecology—the interdependence of living things,[object Object],designers need to understand the issues that will affect the environmental condition of our planet as well as the interconnected social and economic systems that we need to sustain.,[object Object],Organizations and processes are emerging that allow the design team to understand and analyze the implications of their designs on sustainability, including the use of materials, energy, and the full lifecycle.,[object Object]
Designing Interaction,[object Object],Where Does Interaction Design Fit?,[object Object]
Designing Interaction,[object Object],A narrow definition of interaction design is:,[object Object],“The design of the subjective and qualitative aspects of everything that is both digital and interactive.”,[object Object],A broad definition of interaction design is: ,[object Object],‘’The design of everything that is both digital and interactive.”,[object Object]
Designing Interaction,[object Object],Is Interaction Design Here to Stay?,[object Object],In June of 2002 I was in London at the time of the display of,[object Object],work of the graduating master’s students at the Royal College of,[object Object],Art, and I was looking at the projects from the interaction design,[object Object],department. I was impressed by the fact that most of them were,[object Object],both digital and physical; the students were designing smart,[object Object],People and Prototypes objects rather than computer-based software. I was moving fromthe work of one student to the next, looking in some detail at the,[object Object],individual designs. Suddenly I looked up at the whole room, and,[object Object],discovered to my surprise that I had drifted into the area occupied,[object Object],by the projects from the industrial design department, never,[object Object],noticing a difference in the nature of the work. Just as the,[object Object],interaction designers were designing smart objects, the industrial,[object Object],designers were designing objects that were smart, finding it,[object Object],natural to include electronically enabled behaviors,[object Object]
People,[object Object],Latent Needs and Desires,[object Object],“Observation” was the label we used for the best way to learn,[object Object],about people in the context of a particular design problem,,[object Object],implying that you needed to look at what people really do in a,[object Object],situation, rather than rely on the conventional technique of asking them about what they think and do.,[object Object],When you are trying to understand the latent needs and desires of potential users before a design is created, it is important to learn about their existing habits and context of use—things they are rarely able to tell you about explicitly. You will gather clearer and more vivid knowledge of these by experiencing them firsthand.,[object Object]
People,[object Object],51 Ways of Learning about People,[object Object],Over the years, the human factors people at IDEO have,[object Object],evolved many new techniques beyond the simple observations,[object Object],that we started with, and now we have amassed a set of fifty-one,[object Object],methods, published as a deck of cards.,[object Object],The idea of the methods cards is to make a large number of,[object Object],different techniques accessible to all members of a design team,[object Object],and to encourage a creative approach to the search for,[object Object],information and insights as their projects evolve,[object Object]
People,[object Object],Each of the fifty-one cards contains explanatory text about,[object Object],how and when the method can be used and a brief example of its,[object Object],application to a real design project, with an illustrative and,[object Object],sometimes whimsical image on the other side. The cards are,[object Object],divided into four categories, ranging from the objective to more,[object Object],subjective—Learn, Look,Ask, and Try:“Learn” from the facts you,[object Object],gather,“Look” at what users do,“Ask” them to help, and “Try” it,[object Object],for yourself.,[object Object]
People,[object Object],Look,[object Object],Observe people to discover what they really do—not what ,[object Object],they say they do.,[object Object],FLY ON THE WALL,[object Object],How Observe and record behavior within its context, without interfering with people’s activities.,[object Object],Why It is useful to see what people do in real contexts and time frames,,[object Object],rather than accept what they say they did after the fact.,[object Object],Example By spending time in the operating room, the designers were able to observe and,[object Object],understand the information that the surgical team needed.,[object Object]
People,[object Object],Look,[object Object],Observe people to discover what they really do—not what ,[object Object],they say they do.,[object Object],A DAY IN THE LIFE,[object Object],How Catalog the activities and contexts that users experience for an entire day.,[object Object],Why This is a useful way to reveal unanticipated issues inherent in the routines and circumstances people experience daily.,[object Object],ExampleFor the design of a portable communication device, the design team followed people throughout the day, observing moments at which they would like to be,[object Object],able to access information.,[object Object]
Prototypes,[object Object],Interaction Design Prototypes,[object Object],Pro-to-type n. 1. An original type, form, or instance that serves as a model on which later stages are based or judged.,[object Object],American Heritage Dictionary,[object Object],In the context of designing interactions, perhaps we can narrow the definition to:,[object Object], “A representation of a design, made before the final solution exists.”,[object Object]
Prototypes,[object Object],“Experience Prototyping”,[object Object],understanding, exploring and communicating,[object Object],By the term “experience prototype” we mean to emphasize the,[object Object],experiential aspect of whatever representations are needed to,[object Object],successfully (re)live or convey an experience with a product, space or system. So, for an operational definition we can say an Experience Prototype is any kind of representation, in any medium, that is designed to understand, explore or communicate what it might be like to engage with the product, space or system we are designing.,[object Object]
Prototypes,[object Object],1.Understanding existing user experiences and context,[object Object],The first category is about:,[object Object],understanding existing user experiences when you are collecting constraints and trying to understand everything that will make a difference to the result.,[object Object],Example: ,[object Object],The ROV Pilot experience,[object Object],The project involved the design of a pilot’s interface for an,[object Object],underwater remotely operated vehicle (ROV) and its cameras. It was important that designers grasp and deal with some of the cognitive confusion that would arise for the operator.,[object Object]
Prototypes,[object Object],the team developed a game in which one player, A, stood in a room which was empty except for multiple chairs (portraying underwater,[object Object],obstacles), and one of them held a chocolate bar, the target. Player A held a video camera connected by a long cable to a remote TV screen where the live picture was viewed by player B. Player B gave verbal instructions to player A to move right/left, forward/back, and up/down and gave separate verbal commands to direct the camera.,[object Object],After a few yards of cables wrapped round A’s legs and the chairs as well as B’s frustration at making mistakes, “Aargh! I meant camera right not move right,” the design team and the client had personal,[object Object],insight about many important issues.,[object Object]
Prototypes,[object Object],2.Exploring and evaluating design ideas,[object Object],The second category from the paper is useful during the design development process, when alternatives are being created and envisioned.,[object Object],Example:,[object Object],Children’s picture ,[object Object],communicator,[object Object]
Prototypes,[object Object],Result:,[object Object],As an observer of user evaluations, one knows very quickly if the designed experience is a good one. If it is, people get so involved in the experience that they forget about the limitations of the prototype.,[object Object],Kids are notoriously tolerant of heavy backpacks, but they are,[object Object],also good at rejecting offerings that have no value to them, so this,[object Object],experience prototype showed the potential of the main,[object Object],proposition of sending and receiving images, as well as allowing,[object Object],the designers to try out the interactions.,[object Object]
Prototypes,[object Object],3. Communicating ideas,[object Object],The role of experience prototyping here is to let a client, a design colleague, or a user understand the subjective value of a design idea by directly experiencing it.,[object Object],The design process, like other creative endeavors, leaps from,[object Object],synthesis to idea without rationale. Inspiration is hard to trust for,[object Object],the recipient, so the designer relies on showing the result to,[object Object],convince the audience. The proof is in the prototype. Seeing may,[object Object],be believing, but “touching is reality,” as Alan Kay said.,[object Object],Example:,[object Object],Dynamic documents (QuickTime). Kiss Communicator, Pick-and-drop Software and etc.  ,[object Object]
Prototypes,[object Object],Prototyping Techniques and Interaction Design ,[object Object],1. Screen-based experiences,[object Object],The earliest to emerge was screen graphics, or pixel-based experiences,,[object Object],where the designer manipulates pixels to express software interactions.,[object Object],This is similar to the more recent skill needed to design for the,[object Object],Internet, as Web sites are also designed as screen graphics.,[object Object],2. Interactive products,[object Object],The second version is where the physical object is integrated with the,[object Object],electronic hardware and software. If a screen is embedded, the designer,[object Object],must consider the relationship to physical controls and the overall form,[object Object],factor. If there is no screen, the design relies on ambient feedback,,[object Object],using light, sound, or movement.,[object Object],3. Services,[object Object],The third is in the design of services, where the interactivity occurs,[object Object],between a company and the broader relationship with the customer,,[object Object],blending time-based interactions with multiple channels—spaces,,[object Object],products, the Web, and so on. This blurrs the boundaries between,[object Object],interaction design and organizational psychology.,[object Object]
Prototypes,[object Object],1.1  Screen-based experiences: Early Exploration,[object Object],Help members of a design team generate and share concepts as quickly,[object Object],as possible, and are driven more by the behavior of people than,[object Object],the specifically screen-based nature of the output. This group can,[object Object],therefore apply to all three categories.,[object Object],You can do such a lot with paper. You can quickly sketch, lay out, and evaluate interaction design concepts for basic usability, making it possible to rapidly organize, articulate, and visualize interaction design concepts.,[object Object],Don’t forget paper,[object Object]
Prototypes,[object Object],1.2 Exploring, evaluating, and communicating design ideas,[object Object],Example of Macromedia: (interview),[object Object],When I got to the company the,[object Object],mantra was, “We’ve got to make Director easier to use, and less,[object Object],expensive, and then we’ll be able to turn every secretary in every,[object Object],office into a multimedia designer and producer.” In fact, the users,[object Object],of that product were, and needed to be, professional multimedia,[object Object],designers.,[object Object],We reversed the strategy. We went out and talked to the users of,[object Object],the product, and found that they didn’t care that it was difficult to,[object Object],use because it was so much better than anything else they had. What,[object Object],they cared about was additional functionality.,[object Object],PowerPoint for instance; there are limited media capabilities in,[object Object],PowerPoint, and it’s pretty easy for anyone to learn to use, but you,[object Object],wouldn’t find a professional multimedia designer using PowerPoint,[object Object],because it doesn’t have anywhere near enough capability.,[object Object]
Prototypes,[object Object],2. Interactive Products,[object Object],The need for a new kind of design is triggered by the ability of everyday objects,[object Object],to “behave,” enabled by interactive technology. This is the version,[object Object],of interaction design where the physical object is integrated with,[object Object],the electronic hardware and software.,[object Object],For example:,[object Object],The cellphone has a screen and push buttons, but it also has rotary,[object Object],controls, or perhaps a jog shuttle, slider switches, acoustic,[object Object],feedback, ringing tones, and a vibration behavior for the silent,[object Object],mode. How do you prototype all that? The techniques are similar,[object Object],to those used for mechanical engineering and electronic hardware,[object Object],and do not need to be specific to designing interactions. Simple,[object Object],mockups are useful in the early stages of the design, using any,[object Object],tools that are at hand, perhaps random objects taped together,,[object Object],mockups constructed from foamcore board, or Lego, using the,[object Object],MindStorm robotic invention system to add some behaviors.,[object Object]
Process,[object Object],Designing Something new,[object Object],You will need to understand as much as possible about everything that will affect the solution.,[object Object],“people and prototypes” are needed most when,[object Object],you want to design something that has no precedent, where,[object Object],innovation is the only possibility.,[object Object],Prototype as quickly and roughly as possible, just enough to,[object Object],communicate each concept to one another. Then evaluate the,[object Object],designs. They are most likely really bad solutions, so try again.,[object Object],Prototype early and often, making each iterative step a little more,[object Object],realistic but minimizing the time and effort invested each time.,[object Object],When people who are evaluating your attempts response changes from critique to involvement in the result, you can start to hope that you are on the right track.,[object Object]
Process,[object Object],Designing a new version,[object Object],If you are designing a new version of something that already,[object Object],exists, “state of the art” is the most useful starting point.,[object Object],evaluation will still be the best and fastest way to get to a good design. you need to spend more time and effort understanding what has already been done in the first place, so that you are building on the state of the art rather than trying to reinvent solutions that others have developed before.,[object Object],Look at the competition, try the previous designs, research,[object Object],the literature, understand the design principles, compare and,[object Object],criticize alternative versions, get to the point that your shared,[object Object],mind is so full of the existing designs that you can drop them back into your subconscious, and know that whatever you come up with will automatically build on the past.,[object Object]
Process,[object Object],Elements of the Design Process,[object Object]
Process,[object Object],Constraints,[object Object],Understanding the relevant constraints starts the process. The,[object Object],constraints come from everywhere that matters to the project.,[object Object],Synthesis,[object Object],Synthesis occurs as the subconscious, shared mind of the design,[object Object],team (or the designer if the problem is simple) absorbs all of the,[object Object],relevant issues.,[object Object],Framing,[object Object],One project may be best framed by a,[object Object],journey through the experience, another by a four quadrant,[object Object],analysis of people’s attitudes, and another by a nested hierarchy of,[object Object],attributes.,[object Object]
Process,[object Object],Ideation,[object Object],There are multiple levels of,[object Object],design ideas, some of them encompassing the whole context and,[object Object],others about tiny details. If a good framework is in place, it helps,[object Object],to position the pieces, but ideation happens throughout the,[object Object],process, not just between framing and envisioning.,[object Object],Envisioning,[object Object],Ideas are like dreams until they are visualized into some concrete,[object Object],Representation. The representation can be any sort of description,[object Object],of the design, whether visual or behavioral, or a combination. You,[object Object],can use shortcuts when you are communicating to team members,[object Object],or peers, but there must be enough clarity in the representation,[object Object],that you know something of what the design is like.,[object Object]
Process,[object Object],Uncertainty ,[object Object],Uncertainty is a necessary factor as a precursor to selection. The subconscious “shared mind” (or individual mind) is now busy,[object Object],synthesizing unanswered questions about the validity of each of,[object Object],the alternative ideas.,[object Object],Selection,[object Object],It is time to choose.A manageable number of alternatives must be,[object Object],chosen to take forward to the next step.,[object Object],Visualization,[object Object],The visualization element is closely related to both envisioning,[object Object],and prototyping. The difference is that envisioning implies a glimpse into the nature of an idea, but visualization is more complete as a representation.,[object Object]
Process,[object Object],Prototyping,[object Object],Prototyping is about testing any aspect of the way a design is,[object Object],expected to work. You can create a prototype that represents an,[object Object],idea that has been selected and visualized.,[object Object],Evaluation,[object Object],In practice, evaluation is needed many times during the,[object Object],development process. Evaluation,[object Object],In practice, evaluation is needed many times during the,[object Object],development process.,[object Object]

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