Slides for Design for all Lecture 1 Tallinn University 2015 HCI Curricula

1. Design for All
Lecture One
Vladimir Tomberg, PhD
Design for ALL 1

2. About myself
• BSc and MSc in
Informatics;
• PhD in Education Sciences;
• Researcher and designer
in Learning Layers FP7
project;
• Teaching Design for All
and Accessibility
Workshop in HCI master
curricula in TLU
Prototyping 2

3. Let’s Meet!
Couple words about yourself:
• Your background ── education, interests
• Your motivation ── what you would like to
achieve in learning?
Prototyping 3

4. What is the Course About?
• It is not about Graphic Design
• It is not about Web Design
• It is about Awareness
• It is about Design Thinking
• It is about Tools and Methods
Design for ALL 4

5. Evaluation Criteria
• Practice workshops – 20%
• Essay – 30%
• The Individual Design Project – 50%
Design for ALL 5

6. Some Tools and Resources
Design for ALL 6

7. Slideshare
http://www.slideshare.net/vtomberg
Design for ALL 7

8. Pinterest
http://www.pinterest.com/vtomberg/universal-design/
Design for ALL 8

9. Recommended Reading
Design for ALL 9
The Accessible Home Facebook Page
https://www.facebook.com/pages/The-Accessible-Home

10. Lesson Agenda
• Definitions
• Why Design for All?
• Personal Human Characteristics
• Homework assignments

11. “We must become the change we want
to see in the world.”
Ghandi
Design for ALL 11Image courtesy to http://www.wikipedia.org/

12. A Soup of the Terms:
Inclusive Design
Design for All
Universal Design
Accessibility
Design for ALL 12

13. Geography of the Terms
Design for ALL 13

14. Inclusive Design
• Defined in 2000 by the UK Government as
"products, services and environments that
include the needs of the widest number of
consumers"
• The social ideals include healthcare and
housing for everyone. Inclusive Design is used
within Europe and goes beyond older and
disabled people to focus on other excluded
groups to deliver mainstream solutions
Design for ALL 14

15. Design For All
• Closely related to Inclusive Design, Design for All
started by looking at barrier-free accessibility for
people with disabilities but has become a
strategy for mainstream, inclusive solutions;
• As highlighted by the European Commission, it is
about ensuring that environments, products,
services and interfaces work for people of all
ages and abilities in different situations and
under various circumstances;
• This term is used in continental Europe and
Scandinavia
Design for ALL 15

16. Universal Design
• This term originated in the USA and is now
adopted by Japan and the Pacific Rim. It started
with a strong focus on disability and the built
environment
• Defined by The Center for Universal Design at
North Carolina State University as "the design of
products and environments to be usable by all
people, to the greatest extent possible, without
the need for adaptation or specialized design"
Design for ALL 16

17. Classical Example of Universal Design:
Curb Cut
(‘Dropped Kerb’ in UK)
Design for ALL 17
Image: courtesy to DINF

18. Example: Oxo Good Grips
Design for ALL 18
• In 1990, Oxo International introduced its Good
Grips kitchen utensils for people who were
limited by arthritis
• Oxo International grew at a 40% to 50% annual
rate from 1990 to 1995, to $20 million a year
Image courtesy of www.phaidon.com

19. Accessible Design
Design for ALL 19
• Accessible design is a design process in which
the needs of people with disabilities are
specifically considered
• Accessibility sometimes refers to the
characteristic that products, services, and
facilities can be independently used by people
with a variety of disabilities

20. Difference Between UD and
Accessibility
• Universal design strives to integrate people with
disabilities into the mainstream and assistive
technology attempts to meet the specific needs
of individuals
• Accessibility is only slightly different to Universal
Design, describing the degree to which a
product, service, and/or environment is made
available to everyone.
• So whereas the former is a design methodology
(similar to user-centered design), the latter is its
most commonly associated metric
Design for ALL 20

21. Other terms that are sometimes used
with varying relevance:
People-centered Design
User-focused Design
Transgenerational Design
Design for ALL 21

22. Why Design for All?

23. Easiness of Use

24. Only a small proportion of users find
products easy to use
Product Experience
Source: http://www.inclusivedesigntoolkit.com 24Design for ALL

25. Only a small proportion of users find
products easy to use
Product Experience
25Design for ALLSource: http://www.inclusivedesigntoolkit.com

26. Only a small proportion of users find
products easy to use
Product Experience
26Design for ALLSource: http://www.inclusivedesigntoolkit.com

27. Only a small proportion of users find
products easy to use
Product Experience
“2 out of 3 Americans report having lost interest in a technology products because it seemed
too complex to set up or operate.” - Philips Index (2004)
27Design for ALLSource: http://www.inclusivedesigntoolkit.com

28. Features and Complexity
Design for ALL 28
In Microsoft Word 1.0 there were about 100 features.
Word 2003 has over 1500
Only 13% of the public believes that in general technology products
are “easy to use” Phillips Index Study 2004
9 out of 10 features that
customers wanted added to
Office were already in the
program.
"They simply don't know it's
there"
Chris Capossela, Microsoft VP
Source: http://www.inclusivedesigntoolkit.com

29. Features and Complexity Example
Mouse with a label printer on the side
Design for ALL 29

30. Design can improve product usability
and experience
30Design for ALL

31. Demographic Changes
Impact of ageing
Design for ALL 31

32. The Future’s Bright, the Future’s Grey
By 2050
2 Billion
In 2005
673 Million
In 1950 there were
200 Million over 65’s
worldwide

33. Potential Support Ratio
• Potential Support Ratio (PSR) is the ratio of
the number of 15-64 year olds who could
support one person 65+
Design for ALL 33Image: courtesy to Youth Connection

34. The changing world
• In 1950 the PSR was 12:1
Source: http://www.inclusivedesigntoolkit.com 34Prototyping

35. The changing world
• In 1950 the PSR was 12:1
• In 2000 the PSR was 9:1
Prototyping 35Source: http://www.inclusivedesigntoolkit.com

36. The changing world
• In 1950 the PSR was 12:1
• In 2000 the PSR was 9:1
• In 2050 the PSR will be 4:1
Prototyping 36Source: http://www.inclusivedesigntoolkit.com

37. The changing world
• In 1950 the PSR was 12:1
• In 2000 the PSR was 9:1
• In 2050 the PSR will be 4:1
• In 2050 for the developed world it will be 2:1
Prototyping 37Source: http://www.inclusivedesigntoolkit.com

38. Estimated Population for 2020
Design for ALL 38Image: courtesy to Design for All Foundation

39. Estimated Population for 2050
Design for ALL 39Image: courtesy to Design for All Foundation

40. The impact of age
How many people have less than “Full ability”?
Source: 1996/97 Disability follow-up survey

41. Old People are not the Same
Old People yesterday
≠
Old People today
≠
Old People tomorrow (you)
Design for ALL 41

42. Wellness and Exceptions
• That is Rene Kari
• He is 64 years old
(almost 65 already)
• Obviously, he doesn’t
need any support
http://www.renekari.com/index.php
Design for ALL 42

43. Money to spend and time to spend it
Source: 1996 Family expenditure survey
The impact of age

44. Personal Human Characteristics

45. Ordinary Person
• “In the great majority of cases, human-
computer interface research seems to assume
that “the user” will be an ordinary person
with average abilities”
Alistair D. N. Edwards
Extra-ordinary Human-computer Interaction:
Interfaces for Users with Disabilities, 1995
Design for ALL 45

46. One Size Fits All
“… the human interface of
some software applications
gives the impression that
the designer’s model of the
user was a 25-year-old
male with a doctorate in
computer science who is
besotted with technology
and is more interested in
playing with a computer
than in completing useful
job of work!”
Alistair D. N. Edwards
Design for ALL 46

47. Typical Persona: no Data About
Personal Abilities
Design for ALL 47Image courtesy of http://barnabasnagy.net/

48. Set of Personas in
http://www.inclusivedesigntoolkit.com
Design for ALL 48

49. Dependency and Autonomy
During Life
Design for ALL 49Image courtesy of Design For All Foundation

50. Persona with Important Personal
Factors Listed
• Rose is an 83 year old great
grandmother. Although fiercely
independent, she struggles with
everyday tasks like shopping,
cooking and housework. Carol
and David need to come round
most days to help.
• She still greatly enjoys an active
social life - including her regular
bridge and quiz night every week
and going out for meals with the
whole family.
• Unlike David, Rose has come to
accept her hearing aid as a
necessity. She has worn reading
glasses for many years and
always carries them with her.
Design for ALL 50

51. Diversity of Personal Abilities
Design for ALL 51WHO International Classification of Functioning,
Disability and Health (ICF)

52. Main Body Functions
(according to WHO Classification)
• Mental functions
• Sensory functions and pain
• Voice and speech functions
• Functions of the cardiovascular, hematological,
immunological and respiratory systems
• Functions of the digestive, metabolic and endocrine
systems
• Genitourinary and reproductive functions
• Neuromusculoskeletal and movement-related
functions
• Functions of the skin and related structures
Design for ALL 52

53. A Model Of Product Interaction
An interaction with a
product involves a cycle
where the user’s
capabilities are used to
perceive, think and then
act
Design for ALL 53
User capabilities from inclusive design toolkit

54. Functions that Participate in
Interaction and Affect Design
Vision
Hearing
Thinking
Communication
Locomotion
Reach & stretch
Dexterity
Design for ALL 54User capabilities from inclusive design toolkit

55. Understanding Vision
We use information from the visual sense in order to move around and
interact with objects and environments. The effective design of any product
or environment should take into account the range of human visual abilities
Design for ALL 55User capabilities from inclusive design toolkit

56. Four Functions of Visual System that are
Discussed in the Context of Designing Products
1. Visual acuity — the ability to see fine details of
objects;
2. Contrast sensitivity — the ability to discriminate
between different brightness levels
3. Color perception — the ability to distinguish
between different colors
4. Usable visual field — the ability to use the
whole of the visual field to perceive detail in the
area being looked at and the surrounding area
Design for ALL 56User capabilities from inclusive design toolkit

57. Visual functions: Visual acuity
Different combinations of font size and style — the
top line is a serif font, the middle line a sans serif
font, and bottom line a decorative font
Design for ALL 57User capabilities from inclusive design toolkit

58. Visual functions: Visual acuity
The same images viewed with reduced
visual clarity
Design for ALL 58User capabilities from inclusive design toolkit

59. Visual functions:
Contrast sensitivity
In order to determine which color combinations are
most effective, try viewing this image at various
distances from your eyes and squinting as you read it
Design for ALL 59User capabilities from inclusive design toolkit

60. Visual functions:
Contrast sensitivity
The same image viewed with reduced
brightness contrast
Design for ALL 60User capabilities from inclusive design toolkit

61. Visual functions:
Usable visual field
A ticket machine that has poor clarity of layout
viewed with normal vision, and the same ticket
machine viewed with poor peripheral vision
Design for ALL 61User capabilities from inclusive design toolkit

62. Visual functions:
Usable visual field
This shows a redesigned layout for the same
machine, which enables the overall layout to be
perceived, even with a peripheral vision loss
Design for ALL 62User capabilities from inclusive design toolkit

63. Distribution of Vision Ability (UK)
Design for ALL 63User capabilities from inclusive design toolkit
V1 - Cannot tell by the light where the windows are
V2 - Cannot see the shapes of furniture in a room
V3 - Cannot see well enough to recognize a friend if
close to his face
V4 - Cannot see well enough to recognize a friend
who is at arm's length away
V5 - Cannot see well enough to read a newspaper
headline
V6 - Cannot see well enough to read a large print
book
V7 - Cannot see well enough to recognize a friend
across a room
V8 - Has difficulty recognizing a friend across the
road
V9 - Has difficulty reading ordinary newspaper print
V10 - Full vision ability (not shown)

64. Understanding hearing
Design for ALL 64User capabilities from inclusive design toolkit

65. Major Hearing Functions that are
Considered in Design Applications
1. Sound detection — the ability to detect
beeps, tones and other sound output from
various products
2. Speech discrimination — the ability to detect
and understand speech in quiet and noisy
environments
3. Sound localization — the ability to tell which
direction a sound is coming from
Design for ALL 65User capabilities from inclusive design toolkit

66. Sound detection
Design inclusion can be maximized by allowing the user to
customize the type and volume of the sounds emitted
Design for ALL 66User capabilities from inclusive design toolkit

67. Speech discrimination
Following a conversation is more difficult in a noisy
environment, especially for those with reduced ability to
discriminate speech
Design for ALL 67User capabilities from inclusive design toolkit

68. Speech discrimination
Products with speech output can be difficult to
understand if the ambient noise levels are loud
Design for ALL 68User capabilities from inclusive design toolkit

69. Sound localization
Reduced sound localization ability could lead to fatal
consequences in busy environments
Design for ALL 69User capabilities from inclusive design toolkit

70. Environmental context
The ability to understand announcements and
speech depends on the background noise level
Design for ALL 70User capabilities from inclusive design toolkit

71. Environmental context
Reverberation in large halls and public spaces can
make speech unintelligible
Design for ALL 71User capabilities from inclusive design toolkit

72. Distribution of Hearing Ability (UK)
Design for ALL 72User capabilities from inclusive design toolkit
H1 - Cannot hear sounds at all
H2 - Cannot follow a TV programme with the volume
turned up
H3 - Has difficulty hearing someone talking in a loud
voice in a quiet room
H4 - Cannot hear a doorbell, alarm clock or
telephone bell
H5 - Cannot use the telephone
H6 - Cannot follow a TV programme at a volume
others find acceptable
H7 - Has difficulty hearing someone talking in a
normal voice in a quiet room
H8 - Has great difficulty following a conversation
against background noise
H9 - Full hearing ability (not shown)

73. Sensory capability
Prevalence of the population with less than full ability in vision
and hearing, where the overlapping circles indicate the
population that has capability losses in both categories
Design for ALL 73User capabilities from inclusive design toolkit

74. Cognitive processes
1. Perceiving involves processing to convert low-level
senses, such as light, shade and color into high-level
perceptions such as objects, faces, and an overall
understanding of the environment
2. Working memory describes the temporary storage
used to process and rearrange all information with
reference to perceptions of the current environment
and long-term stored memories
3. Long-term memory describes the processes through
which information encountered repeatedly in working
memory can be learnt, stored indefinitely, and
retrieved
Design for ALL 74User capabilities from inclusive design toolkit

75. Cognitive processes
4. Attention can consciously direct the focus of working
memory towards specific things in the environment,
and affects awareness of the environment by filtering
out non-attended things; yet salient or intrusive
events can also "grab" attention unconsciously
5. Visual thinking is the ability to perceive and think
about visual objects and spatial relationships in two
and three dimensions
6. Verbal thinking refers to the conversion of speech,
words and symbols into language, and the use of
language to store and categorize memories as linked
episodes
Design for ALL 75User capabilities from inclusive design toolkit

76. How the Different Processes Involved with Thinking
Relate to Each Other and to a Product in the World
Design for ALL 76User capabilities from inclusive design toolkit

77. Perceiving
The face on this mould is actually sticking out backwards from the
page, but visual processing misinterprets the light and shadow to form
a mental construction where the face sticks out forwards.
Image source: Wikimedia commons
Design for ALL 77User capabilities from inclusive design toolkit

78. Working memory
Working memory is involved in the awareness of where objects are in
relation to each other, and in the temporary storage of numbers
Design for ALL 78User capabilities from inclusive design toolkit

79. Long-term Memory
The shape and form of these doors suggests how
they should be opened
Design for ALL 79User capabilities from inclusive design toolkit

80. Long-term Memory
People of different ages have different experience
backgrounds, and in most cases the user's past
experiences will be different to the designers
Design for ALL 80User capabilities from inclusive design toolkit

81. Attention
Using products such as car stereos while driving
imposes additional load onto attention resources
Design for ALL 81User capabilities from inclusive design toolkit

82. Attention
Driving a car adds time pressure to crucial decisions,
such as whether to turn off on a slip road
Design for ALL 82User capabilities from inclusive design toolkit

83. Visual Thinking
Careful inspection of this cooker top shows a subtle visual link
between each knob and the corresponding burner, thereby
reducing the spatial ability required to use it
Design for ALL 83User capabilities from inclusive design toolkit

84. Verbal Thinking
The icons on the fax machine are reinforced by
accompanying text, whereas those on the photocopier
are not
Design for ALL 84User capabilities from inclusive design toolkit

85. Verbal Thinking
A message that uses simple language and gives
information in multiple forms is preferable to one that
assumes a high level of language skills
Design for ALL 85User capabilities from inclusive design toolkit

86. Thinking Disabilities
• Often loses track of what is being said in the middle of a
conversation
• Thoughts tend to be muddled or slow
• Often gets confused about what time of day it is
• Cannot watch a 30 minute TV programme all the way through, and
tell someone what it was about
• Cannot read a short newspaper article
• Cannot write a short letter to someone without help
• Cannot count well enough to handle money
• Cannot remember a message and pass it on correctly
• Often forgets to turn things off, such as fires, cookers or taps
• Often forgets the names of friends and family that are seen
regularly
• Often forgets what was supposed to be doing in the middle of
something
Design for ALL 86User capabilities from inclusive design toolkit

87. The thinking Ability Level (UK)
• T1 - 11 disabilities
• T2 - 10 disabilities
• T3 - 9 disabilities
• T4 - 8 disabilities
• T5 - 7 disabilities
• T6 - 6 disabilities
• T7 - 5 disabilities
• T8 - 4 disabilities
• T9 - 3 disabilities
• T10 - 2 disabilities
• T11 - 1 disability
• T12 - Full thinking ability (not
shown)
Design for ALL 87User capabilities from inclusive design toolkit

88. Communication
• A product interface makes a communication demand
on the user. Text and speech can describe what
controls do, provide feedback, issue warnings or
commands, and provide detailed instructions.
Usability is therefore dependent on the capability to:
1. Perceive and understand written words and
sentences on their own or in the context of a more
complex environment
2. Perceive and understand spoken words and
sentences in both quiet and noisy environments
3. Educational levels and social skills will influence a
person's communication ability, and therefore affect
product interaction.
Design for ALL 88User capabilities from inclusive design toolkit

89. Communication ability level
(in increasing order) (UK)
• C1 Finds it impossible to
understand people who know
him/her well and vice-versa
• C2 Is impossible for strangers to
understand. Is very difficult for
people who know him/her well to
understand and vice-versa
• C3 Is very difficult for strangers
to understand. Is quite difficult for
people who know him/her well to
understand and vice-versa
• C4 Is quite difficult for strangers
to understand. Finds it quite difficult
to understand strangers and vice-
versa
• C5 Other people have some
difficulty understanding him/her and
vice-versa
• C6 Full communication ability
Design for ALL 89User capabilities from inclusive design toolkit

90. Cognitive capability
Prevalence of the population with less than full ability in intellectual
function and communication, where the overlapping circles indicate the
population that has capability losses in both categories
Design for ALL 90User capabilities from inclusive design toolkit

91. Home work 1 (long)
• Essay (Deadline – December 10, 2015)
• Task description: https://goo.gl/b5vO8S
Design for ALL 91

92. Home work 2
• Observation (one month)
• Deadline – October 15th (next lecture)
• Task description: https://goo.gl/Skjscz
Design for ALL 92

93. End of the Lesson One
Design for ALL 93