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Sketching user experiences: Getting the design right and the right design
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3. Story Telling and Interaction Design “A [good] story is worth a thousand pictures.” (Gershon & Page 2001) Words are more timely, cheap, and quick to produce. Stories help to discover, it is the discursive element wherein the insights are found and where the value lies. Sketch: invite, suggest and question Scenerio: tell, show, explain and try to convince
4. Playing with Words “Without play, imagintion dies” Challenges to imagination are the keys to creativity. The skill of retrieving imagination resides in the mastery of play. Possibility incubates creativity. Best ideas consistently come from verbal playing around with thoughtstriggered during conversations with others.
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6. have an informality that is well suited to the lack of certainty that characterizes muchdesign-related knowledge. (Erickson 1996; p.35) “Through their memorability and retelling; they provide a means whereby your audience itself becomes an effective conduit for spreading the debate and understanding reflected in your tale. In short, they are a form of “viral marketing” for design ideas.”
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8. Role of ProductRole of the Product Personal Analogies; “The designer imagines what it would be like to use one’s body to produce the effect that is being sought, e.g. what would it feel like to be a helicopter blade, what forces would act on mefrom the air and from the hub; what would it feel like to be a bed?” (Jones 1992; p. 279)
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13. Asleep on the Job the particular concern; showing respect for the moral order of the home. That is, the home has certain social, cultural and behavioural conventions that distinguish it from school, the supermarket, or the office. being garbed violates the moral order of the workplace; so, why is populating the home with technology designed for the office any more acceptable than wearing pajamas(which are perfectly acceptable at home) at the office?
14. the DVD package which opens like a regular clam-shell laptop. “What the plot revealed was that this seemingly unrelated object was really a novel representation of a new concept for an ultra-portable computer.”
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16. Traditional sketching has an important place in experience design—they are just not sufficient. Quick sketches with more visual story telling helps to menage and get your ideas down. Trace-like sketches are just so incongruous in that visual context. They catch your eye, and despite thedetail being in the photo, your eye is drawn to the sketch.
17. “Conventional sketching has an important place in interaction design.Even those without a greatdeal of natural talent can improve their drawing skills with practice.There are a range of techniques and technologies that can be used to create images that servesketch-like purposes. The limiting factor is your imagination, not technology ortechnique. There is always a way toexpress an idea appropriately within your means.” “The main drawback of conventional sketching has to do with its limitations in capturing time, dynamics, phrasing—thetemporal things that lie at the heart of experience.”
19. Sequencing Images Sketches of PDA Agenda Screens comic strip type, multiple images to portray the state of the display as one goes through a particular sequence of transactions. state transition diagram, which can be usedto make a kind of map of the displays in an interface.
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22. Storyboard of a pervasiveelectronic game. They capture more the spiritof the play than the details of the technology design. Storyboardtechniques can be used explore, brainstorm, capture, and communicate ideas about use and experience.
23. Transitions and use of arrows These figurestell us about the state, but almost nothing about the transition; where is the getting back and forth between home and work? usage of the arrows in storyboards; it shows you who or what is moving in the frame and where. But it also has the power to graphicallycommunicate the nature of the movement itself: fast/slow, accelerating or slowing down, smooth orwobbly, and so on. All these types of properties can be captured in how the arrows are drawn, at leastwhen drawn by someone with appropriate technique.
24. it is an evacuation process thatis being designed, not just an airplane door...
25. “Why not just use video or animation to capture thedynamics? After all, are not still images, storyboards, and comic book techniques a poor substitutefor this aspect of the interface?” It is faster, cheaper, and enables the designer toexplore more alternatives in a given (limited) amount of time. Hanged on a wall or placed on a table;it can be absorbed in a glance, and compared, side-by-side, with other alternatives. Video can’tdo this. But then, video can do things that storyboards can’t. Each has its place.
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27. The distinction between traditional product design andinteraction design; the importance of considering the role that time and behaviorhave in shaping the overall experience.
29. Mixture of techniques; The range of materials that can be used can be far richer, and can includephotographs, paper cut-outs, or some combination of these.
30. picture-driven-animation; Instead of drawing individual frames, using the notion of usinghand-drawn lines to define bothobjects that were seen, and motion paths along which those objects would move. In the background, only partiallyvisible, is a representation of a virtual map of western Canada. Above that there is a drawing of a hand holding a small PDA, on whose screen a portion of the map is clearlyvisible. Finally, there is some hand-written text explaining things.
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32. Shooting with the mime: Projecting the animated sketch on a surface, then have a person mime along with the animation playback.If the mime is good, it will appear to the viewer of the video that the person is actually controlling the system. Playing with Lego bricks: the purpose is to explore the concept of “graspable” or “tangible” user interfaces. (Director) Realizing the video sketch is relatively simple. It is fast, inexpensive, extremely effective, and enablesthe designer towork through a number of scenarios. And significantly, it does not involve writing a line of code.
33. Wizard of Oz Remote Cursor Control The scenario was to make a video sketch of a large wall-mounted display whosecursor could be manipulated by pointing with one’s hand, and whose cursor size would automatically grow as the operator moved further away from the screen, thereby always remaining visible.
39. SufficentRather than using an extremely skilled animator and time consuming, technology requiring techniques; an experience can be performed or presented by sketch-like video techniques. The given example enables to change paths, and try various alternatives, very quickly. And it includes sense of fun and dynamism – “play”
