Basics of Interaction Design PDF
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This document provides an introduction to interaction design. It explores the definition, history, and key concepts within this field. It emphasizes the importance of user experience and the role of technology in shaping interactions.
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/ LECTURE 1 - /NTRODUCTION INTERACTION DESIGN "lnteraction design as a discipline ls trlcky to deflne, lt ls a stew of dlsclpllnes. As a formai discipline interaction design has been around for less than two decades" says Saffer in 2010 lt's a young fleld, stlll deflning ltself...
/ LECTURE 1 - /NTRODUCTION INTERACTION DESIGN "lnteraction design as a discipline ls trlcky to deflne, lt ls a stew of dlsclpllnes. As a formai discipline interaction design has been around for less than two decades" says Saffer in 2010 lt's a young fleld, stlll deflning ltself out, among sister dlsclpllnes, such as Industriai design, visual/graphlc design, user experlence design... User Experience Design Industriai Design Human-Computer lnteraction UMBRELLA OF USER-EXPERIENCE DESIGN - INFORMATION ARCHITECTURE (organizing, structuring and labelling content in an effective and sustainable wa_y) - VISUAL DESIGN (creating visual language to communicate content) - INDUSTRIAL DESIGN (shaping objects to increase communication and use of the functional features) - HUMAN FACTORS (ensuring that products conform to the limitations of the human body, physically and psychologically) - HUMAN COMPUTER INTERACTION (related with interaction design, with more quantitative and more rooted to engineering and computer science methods) - ARCHITECTURE (dealing with forms and use of physical spaces) - SOUND DESIGN (defining a set of noises, spoken words, or music, to create and aural landscape) lnteraction Design covers design activlties in all appllcation flelds of digitai and physlcal technologies: interactive and connected products, responsive environments, tangible and multimedia interfaces, persona! artefacts. lnteraction design as a broad discipline impacts areas such as materiai, immaterial and ambient. You can have smart products/clothes, digitai products and virtual interfaces, and an interactive 8nd responsive environments. VIEWS lf we look at definitions of lnteraction Design, we have three major schools: 1 The Technology-Centred lnteraction design makes technology useful and usable n lnteraction design has risen as sotty.,are and Internet did.1..., The soclal lnteraction Design lnteraction design is inherently social, it revolves around facilitating communication /J.-. between humans, through products. ,J The Behavlourist lnteraction design is about defining the behaviour of artifacts, environments, and systems (cit Forlizzi and Reimann 1999) SEVERAL DEFINITIONS - Designing interactive systems is concerned with developing high quality interactive systems that fit with people and their ways of living. (Designing interactive systems by Benyon, Turner, and Turner, p5.) - The design of the subjective and qualitative aspects of everything that is both digitai and interactive. (Designing interactions, by Bill Moggridge, p660.) - lnteraction design is about people: how people connect with other people through the products and services they use. (Designing for interaction by Saffer, pxiv) - By interaction design, we mean designing interactive products to support the way people communicate and interact in their everyday and working lives. (lnteraction design, 2nd edition, by Sharp, Rogers, and Preece, p8.) A WIDE BROAD DEFINITIONS lnteractlon design, 1s "the practlce of deslgning interactive digitai products, environments, systems, and servlces". Whlle the digitai slde of thls statement ls true, interaction designis '"- ~ ~so usefyl wbeo creatiog..ph ysjçal groduçts exploclng how a user might interact with it. lnteraction desi n lxD is a process in whlch technology products and solutions are desi ned and shaped) to centre on e uman e av,our mteraction and utilization of a sxstem,lxD enables t e uilding of a technological product by focusing on its visual interface and interaction, rather than the underlylng functionality. a product/servlce/system, both lnteraction desi n creates a dialogue between a erson and materiai and lmmaterlal. a o ue has a h slcal an emo ona 'J'anlfested In the lntereJ,:!)'. between form, functlon. and,1echno "lnter~ction de~ign is about shaping digitai things tor people's use" logy. (Jonal Lowgren) - Shaping - Design Digitai (physical) things - Tech People's use - Psychology actions) with the systems, by lnteraction designers design the user's interaction (the user's technology. shaping their features (physical or digitai) connected to the used he/she performs the activity. The focus is also on the action of the user, on how HISTORY OF INTERACTION Bill Verplank in the mid-1980s. The term "lnteraction Design" was coined by Bill Moggridge and industriai design profession To Verplank, it was an adaptation of "user interface design" for o the application of industriai design To Moggridge, it was an improvement over software to refert to products containing software (electronic) to the mass production of goods. The industriai revolution of the 18 and 19 centuries brought th th ue electronic technology to digitai The Digitai Revolution is the change from mechanical and analog electronics (from 1950s to the late 1970s). of information and how the way The lnformation Revolution is the proliferation of the availability they are storage changed, due to the owning of computers. Physical and Digitai blur together. digitale ed informatica. Dalla rivoluzione industriale a come arriviamo alla rivoluzione A product-system working is not enough. to look nice. A product-system needs to work well, to be easy to use and DESIGNING "FOR" INTERACTION Connection happens between people through systems. The connection is not between people and the system itself. y of combinations. Connection between people, machines, and systems in varlet - TANGIBLE INTERACTION systems are physically (there are physical artefacts or environments and interfaces or embodied) INTANGIBLE INTERACTION (it has the tangible representations of physical smart objects) e the user to achleve thelr The goal of interactlon design 1s to create systems that enabl I objective(s) in the best way possible. DESIGNER'S ROLE s, and systems, and how - Designing the behaviour of digitai (physical) products, environment the user can contro! and interact with them. their behaviour and use. - Designing the form (i.e. appearance) of systems, as related to.J__ -r j_j_J _. I ' -ru Iil th systems people and context (physical - Exploring _ e ~elation between technological ' , cultura!, h1storrcal) DESIGNER'S APPROACH - Start from users and their goals. them. Understand how and why people desire to use ssarily as they currently are (envisioning - look at future things as they might be, not nece power). - Be innovative. WHAT'S CREATIVITY? tive. CREA T/VITY, the state or quality of being cre_a create meaningful new ideas. The ability to transcend traditional ideas and to 1964>· solut ion to help the user need s to be originai and purposeful (Torrance, The designer's ideas that meet a specific challenge. "Creativity is the ability to create new (radical) something originai on unusual".. d as the "Creativity is the capagjlil'l or act of conceivìng e before andÌS recogrnz e pey,er been mad "lnvention is the creation of somethingJhathas product of some unique insight. plementary activities. Creativity is the basis of innovation they are com There is no innovation without creative ideas. Radical improvement FUNCTIONALITY (Technology) Incrementai improvement Adaptation Generation of to the evolution new meanings of socio-cultural mod els MEANING (Language) should ask the what, the how and the why of the When designing for the experience, the designer interaction. (M. Hassenzahl) WHAT The WHAT addresses the things people cando through an interactive system. (making a phone call, buying a book, listening to a song) lt's reflected by a system's functionality and the What is often intimately tied to the technology r itself. I HOW The HOW addresses acting through a system on an operational, sensory-motor level. (button pressed, knobs turned, menus navigated, touch screen strokes) lt's even more tied to the actual system to be designed and its context of use. WHY The WHY considers people's actual motivation to use a produci and their needs. l I ~ ~ - ~- ,- i-1--~++ ++H---H +-H-+-- t-t--H--t -tt-t-"1H -ti-rtt--r11 1t i111T irrn1n Tin-i- 5 FW ±'?CEXmms:ce:::dmc«rtCMt.. 2'M~~~,Gèr::· ::>il =Jtl l we« ff ~ I S:'Y: LECTURE 2 - METHODS TO ANALYSE THE USER THE DESIGN PROCESS WHY - Start from the why, in arder to understand the user. WHAT - Proceed with the what, which means to design the feature of interactive system (choose the right technology). HOW - Then, follows the how, so it's time to design the form, (the way) of the interaction. What - lunc1,ooalq How - (ocm ol tnttrKtM)ft, coniane ~ t0n" n-. IONIC'liCM\t., d(ftlUIUrf aruibucc:i c..5.. phpcal r,ar1mn(n., mo.-onmt pe1an1t11n-._ (c:w,n ol mfonrwnon prir- KntabOn. t«hnolo() ,n. "",cd, mocl.t,ry ,n,olnd 16, 7; Il; 141 THE EXPERIENCE Double diamond ffit?t- Il! / li First diamond devoted to the research. Start with a problem. - -- Concept generation: focus on what and how since we understood the why. The idea becomes reality into the finalization. ? WHY Z WHAT ··- lct.C-.,Uon WHAT Today we'II see the WHY of the interaction. l HOW HOW TOOLS ----- ,.,. - --- ,,.,. -----.... ,,.,..... ' ,,.,......... ' ,, ' I I ' ' I I '' II ' \ I \ ,' Focus on '\ : Focus on \ , Focus on ' I I ' \ : PRODUCT/ : I USERS : : SYSTEM : I \ : 1 \ I I SERVICE ,' \ '' I '' / ', ,' ,, ,, '............ ,, I ' '.... '........ ____ ,. ,. ,, ,. ,, ----- -- -- ; methods to analyse methods to analyse methods to analyse Users market/technologies/ existing trends/ products/services' opportunities features METHODS TO ANALYSE THE USER Direct methods (unstructured interviews, semi structured interviews, questionnaires, diaries, focus groups and more) lndirect methods (observation, shadowing and camera studies, and more) According to the design, we'II choose one of them, depending on what kind of knowledge we want to have. · What are we seeking? Going to more and more deeply, we nee to know BEFORE STARTING DIRECT METHODS what people: technlques: knowledge: surfac:e lntervlew11 obMrYatìons know taclt feel dream latent deep-.....__ _ _ _ _ _ __._....__._ _ _ _ _ _ _ _ __. INDIRECT METHODS When you start an analysis, you need to include everything. You need also to separate your experience from the problem. The persona! experience must not influence the analysis. As a child, discovering the matter from nothing and learning. DIRECT METHODS UNSTRUCTURED INTERVIEWS INTERVIEWER SEMI-STRUCTURED INTERVIEWS QUESTIONNAIRES - - - ~SEL REPORT DIARIE$ I L -F_o_c_u_s_G _R _o_u_P_s_ _ _ _ _ _ ~I GROUP+LEADER I I , I.,... ( _C · 1. n ""orn r · e~,,,.,_ n t f lQ_ C::::I ' ,/ _.A ~r ,--.&=;.ph.e.. O I.'". l4 r_~l.1 I,.. I I l ;e,._. 1 l(n., r, I j I l ' I I I , ~ - 1 ' 1 !1 I l 1 :;I I !!111 1111 1!1 I I: ;'. I l I --I I.... I I I I I I I 1 1 1 : 1 1111 111 1 1 u }~ l l.I -c:m LECTURE 5 - HOW of the interaction ~ /.~ ~ -·--- I \ ~ -- t I - WHY --- I The HOW is about designing the form, (the way) of the interaction. A system could have the same function (connected to the WHAT), but have different HOW and WHY. WHAT could be in any case different as well. EEEHHH?? - foun of in1craaion, Why: Ubiquitous Why: Avoid frustration based on measurement atnercJC opcnliaru, mo- tor-acrioru, clcmcntacy :umbu1cs What: visualizing data (Gestural interface: make the What: glucose detectlon (sensor to detect the glucose level) t.g., physical paromtttn. interaction possible) mo ancnt pir"mttcn't form o( inform.11ioo prr- How: lnse rt the strip and have feedback through scnutioo, t« bnulogy in-- How: Move your hands (how address the action) volvtd, mod.iliry in,-ol1-.d colours (smart materlals) (6; 7; 13; 14) STATIC VS DYNAMIC · ?'. lnteraction Design ts a physlcal and emotlonal dlalogue, manlfested In the lnterplay between form, functlon, and technology as experlenced over time. lnteractlon ls understood as the way people use a product/system. lt's separate from the functlon of the product, whlch ls connected to the reason why people use the product/system. The concept of FUNCTION focuses on the operatlon of a system (what lt does). lnteractlon has a dynamlc dlmenslon. The concept of USE adds to FUNCTION a cultura! and social dimension. AFFORDANCE: Object property or feature presentlng a prompt on what can be done wlth it. Cues givlng a hlnt on how users may lnteract wlth somethlng, physlcal or digitai Affordance support our interactions with the world of physical and digitai interfaces. ! o o,rI ucv ( oN... OFF I lullon ,,.h Swtlch · fllp Knob - ~te HISTORY OF THE TERM "AFFORDANCE" lt was introduced by psychologist James Gibson in the 1979 book "The Ecologica! Approach to Visual Perception". Affordance describes all actions made physically possible by the properties od an object or environment. THE TERM "AFFORDANCE" Merriam-Webster - lt's the quality/property of an object that defines its possible uses or makes clear how it can or should be used. Eleanor J. Gibson - lt's a resource or support that the environment offers an animai, and the animai must possess the capabilities to perceive it and to use it. -KGIBSON'S AFFORDANCES Action possibilltles In the envlronment In relatlon to the action capabllltles. lndependent from experlence, knowledge, culture, or abillty to perceive. Blnary exlstence; lt exlsts or lt doesn't. But affordance are learned. We can learn how and why to use somethings. AFFORDANCES ARE@:RNE_§) I Leaming how to use the environment happens in a densely textured context of social and physical experience. AFFORDANCES AR~ ~ In digitai devices, the physical buttons and switches mean nothing other than the fact you can push/flip them. What they affect if touched is perceived only contextually (what they turn on, what 1'11 raise or turn down). SIGNIFIERS: Additional piece of information that supports an affordance. Affordance and signifiers are the key components of the design of interactive elements. - Colour of a component based on what it does in an digitai design pattern. - Colour on a component within a colour hierarchy and visual language of the specific interface. - Text labels on/near a component. - lcon labels on/near a component. - The emphasis of any text (bold, italic, underline). - Generai hierarchy within the interface/design system. Signifiers can be layered into an affordance to communicate what things can do (affordance) its current state or significance (DI CHI??) (slgnifier) Sign in Slgnup I Em ll I Ema,I I Password IPassword f or9oc p,uwo,dt Slgn ln Jt is perceivo.ble The button Alttady t\41W UI ~COWll1 t ho.t one button ho.s ( o.ffordo.nce) ( s,gn In 9 reo.te r i mpo rto.nce is 9 reyed out or relevo.nce (s i9nifier) (si9 n if i er) t,' I J I I I I I....._ - _J I I i I -711r __ ~~~ - - t~~~-: ---~-~-~-----~~~-==~~~ i i - - r- -+- -t- ·- -- ----,_ - --,_ ---l-1- --+-+- _ r-+- -+-- t-+~ f--+ -~ -I-= I- / INTERACT/ON DESIGN I LECTURE 11 - APPROACHES RECAP ntre the uc ts an d solut ions are designed to ce which pr od sign is a process in the building of a (lxD) lnteraction de ation of a system. lxD enabfes the underlying m an be ha viour, int eraction an d utiliz interfa ce and inter action, rather than hu visuaf ts by focusing on its technofogicaf produc functionality. for people's use. sig n is ab ou t shaping digitai thlngs lnteraction de the user. WHY: understanding User/consumer. methods. emotions. d non-instrumentaf nafities, the big five, Use instrumental an dif fe re nc es , pe rso hierarchy, individuai Consider: Marlow's e interaction. form (the way) of th HOW: designing the aping: affordance an d signifiers. ntrof a sy ste m , sh and how to co Let the user underst rree! action. forward leads to a co Weff designed feed or y?). k (visuaf? Audit Define the feedbac. af, cognitive, motor re e pr oces so rs/su bsystems: perceptu ption. Th ry, Pe rce cts: Attention, Memo Core cognitive aspe ory: Attention and mem nstraints. ional and memory co - Design for attent le interfaces. ningful and memorab d remember. - lmplement mea te ntion -g ra bb ing and easy to fearn an to be at - lnterfaces need to the «functionality». tures of inter ac tiv e system connected fea WHAT: designing the hnofogies to use. bedded Pick the kinds of tec al, tan gib fe, shape changing), em raphicaf, na tur s: new interfaces (g Emerging technofogie ea ra bf e technofogies. ors-a ctuato rs, sm art materials/w sens d systems. pi ac e be twee n pe ople, machines, an lnteraction takes artefacts or ac tion ca n be tan gible and intangible. m s ph ys ica ffy em bodied in physicaf lnt er faces/sys te speciafizes on inter Tangibfe interaction art objects. environments. ng ibl e re pr es en ta tion of physicaf sm with the ta n is usuaffy coupfed lntangibfe interactio icates the idea to PROTOTYPE =A m anifestation of th an th ide e in a te ln nt to io a n fo rmat that commun to improve that id ea over time. I l with users, wi ich other others or is tested pe ci ally a machine, from wh somethl ng , es reliminary model of lt's a first, typical/p d or copied. forms are develope ". eek for "first example From prototupos, Gr ish ed ideas, to make the best result u test un fin t where yo eckbox, it's a mindse Prototyping isn't a ch can test ideas early and often. you possible. This way , and constantly look tor incorporate it into every part of the process To improve it, you must feedbacks. WHY PROTOTYPE? ing before. also to illumi na te oth er problems not emerg y Prototyping is a great wa t cause of your user's pa in, which d it ca n he lp find roo blem discovery, an The process is called pro problem. originally assumed user may be different from the king - Thinking through ma nt thinking , no t convergent - Diverge lving test) (problem setting, not so and often - Take risks, fail early and behaviour itment - Experience int era cti on quick ly, be fore you invest time/money/comm s ideas - Get rid of bad/obviou n sp ac e - Explore a desig PROTOTYPE AIM embryonic ideas se rve the fun da me ntal need to conceptually of design Prototypes in the field ms of representation. manifest through for s to clearness. ke ìde as ma nlfes t, movlng from vaguenes to ma Prototypes as means the design topic: unde rstood an d ac hie ved varies depending on ion is The way of representat angible - speculative and int stic - materiai and reali prototypical form to the gib le an d im aginative as long as they give Prototypes can be intan. developing design ideas act to concrete. - Transition from abstr n. gu e to clear- through fictio eraction and meeting pe ople can be - Transition from va ph ys ica l - so cia! int d not anymore - Prototype is not an part of it Realistic. ns: lmaginative versus - Opposite dimensio e an d lnt an glb le speculativ agination/cr eativity) - anticipate Envision: foster (im discuss (cr iticai) - speculate Provoke: instigate - ata) - rstand - share/ negotiate - collect (d Comprehend: unde learning ate/analyze - validate - improve Assess: test - evalu t- experienc e nerate - ex pe rim en Explore: explore - ge k - clarify ade/reassure - show - get feedbac Communicate: persu I esign - / fy (process) - finalize design - create/d Develop: simpli ie Ma ter iai an d real/st resolve ----... - O INTANGIBLE SPECULATIVE AN eativity) - anticipate EN VISI ON - Fo ster (imagination/cr TO cai) - speculate E - lns tigate - discuss (criti. TO PR OV OK ct ones for the user ob lem an d th e so lution are the corre thro ug h dr awing and - the pr the problem TO COMPREHEND differe nt wa ys to so lve d understand lots of You can explore an el canvas, business prototyping. thy m ap , us er jou rney, business mod map, empa (sketches, navigation roadmap) ALISTIC MATERIAL ANO RE ct ones for the user. ob lem an d th e so lution are the corre - the pr ts; to get feedback ASSESS/EXPLORE rs , teammates, or clien ns to sta ke ho lde gineers, or E - Design directio ns to developers, en TO COMMUNICAT de ta ils an d int er ac tio specify final design on designs; and to manufacturers. business or piv ot, yo u'II ne ed to convince your r a specific direction results. TO DEVELOP - fo decision ba se d on user research the right t/system. stakeholders that it's e lo ok s/ac ts like the final produc the protot yp LITY = how closely PROTOTYPE FIDE ive on proper aspe cts of the design. fee db ac k yo u re ce will focus the Proper fidelity leve! m id, high. Fidelity levels: low, big to fix. FI DE LI TY nt ial pr ob lem s before they get too LO W ing po te designed. st fo r testing your core concepts, catch nt m ed ium , siz e, usually not visually Be , differe ur final product at ali Doesn't look like yo f f l Pili PW lilllìiil- - MIO FIDELITY oduct in at look like your final pr -, Prototypes start to I.1., t J least one dimension. e) and value. een cost (time or els Good balance betw tion, visual design, interac Start to incorporate e body, final medium (on th functionality and the d). r, physically designe onscreen, in-browse HIGH FIDELITY..........~. :'t"..., ,.. The real deal. of either ~,- ~-~ ~:i r'f' ·',_.....~.... d in the final medium Visually designed an physical materials or code in a browser. to click or ~. Real content and m ost paths available ~.: 4 1 interact with. a coded app, ghly po lish~d elet!r~nic smart object, Hi digitai experience. or a fully desrgned HIGH FIDELITY MID·FIDELITY LOW FIDELITY Complete design, r More interactive, easie Fast, low-skill, cheap, lncluding visuals, con- Pros to test, good balance of made with materials tent, and interactions· I time and quality available around you can test very detailed interactions e, t Very time-intensiv More time-intensive, bu Limited interactions, requires skills with soft- Cons not fully functional harder to test details ware or coding, hard to and full flows, little con- test large concepts text for users User testing very spe- User testing specific Explo ring an d testing cific interactions and Use interactions and guided high-level concepts like flows; also better for details, final testing of t- user flows and informa- stakeholder presenta- user flows, and presen ing final design work to tion architecture; best tions, as these proto- ak ing lots of differ- stakeholders for m types have more contex t ent versions and testing r them against each othe OF FIDELITY FIVE DIMENSIONS ns of fidelity: idelity prototype, prioritizing five dimensio You cam make mixed-f 1) Visual refinement lity 2) Breadth of functiona Depth of functio na lity 3) 4) lnteractivity 5) Data model ESS PROTOTYPING PROC.i 1-l lod GUIOELINES "minimum viable w ha t to do tirsi? Try making a don't know out prototyping, or - Are you trying prototype." for a problem? ge ne rate lo ts of different solutions e to - ls your purpos focused on explor ation. direction? Then your proc es s will be un ica te or advo cate fora certain mm the prototype to co ence. - Will you use on your specific audi cused on thai Then you ne ed to co nc en tra te Yo ur process will be fo mptio n to te st? your prototype, Do yo u ha ve a question or assu fo cu s of yo ur pr ocess will ground - and blishing the goal make. assumption. Esta ai il do es n't get too difficult lo scop e so th and limi! the RACTIONS INCLUSIVE INTE ACCESSIBILITY y-lnterface. INCLUSIVITY vs lo n us er wlth disablllt te lnte ra ct out an appropria ur contrast. Accessibillty = ab sizes , sh ap es, hues and colo fity in fo nt Focus on fegibi Technology. as compliance w ith be long s to the realm of Assistive t also fro m a le gai perspective, Il sign, bu human-centred de lt's important tor is im pe rative. qulre d to accomplish a task. an da rd s lit le s re accessibility st ses on functlona bl e lnte ra ctlon design focu lven solutions. A cc es sl t try in g to Intro duce empathy-dr ou le. nd accessibility, ab rse groups of peop lnclusivlty = beyo ca n be comforta bl y us ed by di ve ec iflclty of people ac ross age, or so ftw are tic s an d sp Any interface lders characterls ediate network, culture, and cl us ive ln tè ra ctlon design cons lltle s, th el r Im m In lc al an d co gn itive capabl ln g. gender, phys ore encompass ls broader and m envlronments. lt OACH INCLUSIVE APPR vigate in clu siv e ap pr oach, you must na To inslil an iaf stages: through three cruc eness - Raising awar ningfuf action - Taking mea t changes - Making eviden N ANSFORMATIO pective. THREE STEP TR w fro m a different pers e bi as es to vie r unique value. gnise and mitigat to contribute thei 1) Step 1 - reco with in yo ur te am s, itivity to identify talize the diversity g heightened sens 2) Step 2 - capi me ba rrier s, nu rtu rin versity and overco 3) Recognize di clusion. instances of ex SABLE SKILLS FOUR INDISPEN ur worldview - Expanding yo - Unlearning ic thinking pective and system - Training pers diversity Empathizing with ESIGN F UNIVERSAL D 7 PRINCIPLES O uitable Use - Principle 1: Eq exibility in Use - Principfe 2: Fl Use mple and Intuitive - Principle 3: Si rm at io n rceptible lnfo - Principle 4: Pe tor Error Principle 5: Tolerance ys l Effort ica Principle 6: Low Ph and Use Space tor Approach Principle 7: Size and TABLE USE PRINCIPLE 1: EQUI se abilities. l an d m arke tab le to people with diver The design is usefu when noi) lines : en tical wh en ever possible, equivalent Guide users (id means of use for all 1a. Provide the same. s. egating or stigm atizing any user s. sh ou ld be eq ua lly avallable lo all user 1b. Avoid segr f ·1y d 'ety. cun , an sa,, 1c. Prov IsIons or pnvacy, se IBILITY IN USE rences and abilities. PRINCIPLE 2: FLEX I al prefe. range of.1nd'Iv'du. odates a wIde The design accomm Guidelines: methods of use. 2a. Provide choice in or lefl-handed access and use. hi- 2b. accommodate rig ision. user 's accuracy and prec 2c. Facilitate the ility to the user's pace 2d. Provide adaptab n tor dashboards?? Provide customizatio USE LE ANO INTUITIVE ledge, language PRINCIPLE 3: SIMP less of the user's experience, know ga rd sy to understand, re The design's use is ea entration leve!. skills, or current conc Guidelines: ssary complexity. 3a. Eliminate unnece d intuition. user expectations an 3b. Be consistent with range of literacy and language skills. wide 3c. Accommodate a importance. n consistent with its k completion. 3d. Arrange informa tio mp ting an d fee db ac k during and afler tas pro 3e. Provide effective ION EPTIBLE INFORMAT bient PRINCIPLE 4: PERC tively to the user, regardless of am matio n effec icates necessary infor The design commun ilities. 's sensory ab condilions or the user tation of essential Guidelines: ial, ve rb al, tac tile) tor redundant presen des (pictor 4a. Use different mo rroundings. information. be tw ee n es se nti al information and its su contrast 4b. Provide adequate n. ctions or gib ilit y" of essential informatio ke it easy to give instru 4c. Maximize "le be de sc rib ed (i.e., ma nts in ways thai can 4d. Differentiate eleme people with sensory directions). rie ty of tec hn iqu es or devices used by ity with a va 4e. Provide compatibil limitations. R RANCE FOR ERRO PRINCIPLE 5: TOLE accidental or uninten ded actions. co ns eq ue nc es of verse s hazards and the ad The design minimize cessible· Guidelines: an d er ro rs: m os t used elements most ac ' lo minimize hazards ' Sa. Arrange elements minated, isolated, or shielded. eli hazardous elements I I I I.J rors s of hazards and er 5b. Provide warning features Se. Provide fail safe ai require vigilance. ou ra ge un co ns cio us ·action in tasks th Sd. Disc PHYSICAL EFFORT PRINCIPLE 6: LOW m in im um of fa tig ue. iciently and comf ortably an d wi th a Th e de sign can be used eff Guidelines: position. low us er to ma int ain a neutra! body 6a. Al ng forces. 6 b. Us e reasonable operati ac tio ns. 6c. Minimize repetitive ined ph ical effort. ys 6d. Minimize susta shortcuts Example: keyboard USE ZE ANO SPACE FOR APPROACH ANO PRINCIPLE 7: SI h, for approach, reac pr op ria te siz e an d space is provided Ap size, posture, or n, an d us e re ga rd less of user's bo dy manipulatio mobility. or standing user. Guidelines: im po rta nt efe me nts tor an y se at ed fine of sight to nding user. 7a. Previde a clear en ts co mf ar ta ble far an y se at ed or sta all compon 7b. Make reach to gr ip size. riations in hand and ona! assistance. 7c. Accommodate va r the us e of as sis tive de vic es or pers te space fo 7d. Previde adequa m /p ro du ct sy st em m /e qu lp m en t/s of tw ar e pr og ra LOGIES {A D = an y lte rs on s wi th ASSISTIVE TECHNO e th e fu nc tlo na l ca pa bi lit le s of pe ov malntain, or impr used to increase, disabilities. hearing, Jearning, kin g, typ ing , re me mbering, pointing, ve difficulty spea Helps people who ha walking, and else. s. sistive technologie require different as th dis ab ilit y an d Different disabilities ifically fo r pe op le wi pa rtl cip at lo n, sp ec otes ln clu slo n an d Il enables and prom s, an d the eld erly. disea se non-communicable led ge an d skiils re lated to as sis t' of or ga niz ed kn ow ,ve is the application Assistive technology services. and products, systems VIOURAL CHANGE DESIGN FO R BEHA behaviours. y ca n be pe rsu as ive and change us er Technolog !Hffi , iitf5"d s NOLO GI ES m 16 \tm rtttttyta gH. Tobuy ccna&up,-o dod PERSUASIVE TECH ftf f-- Bo 1 Rn dia 1 ~ du1 J)l'O WO k k.- uia mp ute r ba sed too ls designed Ji:.docaUoo. I.Aarwit111- aod To tq.& Jt- io act i,it = co anging far the purpose of ch Tn dm a To drw c nMWt-ufc)y d -., -.-"-.-,-,.,.-- To rtu sc '1Klppin,_ Ng t people's att itude s an !~+-.,.w~c, ,,,cc--- To Id aod ~- e' °" ' al._.ort behaviours. 1~~;:'"'c."'""'':;:,·_ _ ~~ To qui t.unotin,:.l mt1 Q11 ty _nr... - To ttm :u,e.,,,th optim.a « "'IJ UII' To ma aa! e dia.bft a btn _D iva.e Ma u fo pcn om l bud t1 p.,,.....,..,... t. To ttn tt- and ldb trc I Tob c-a Yol UJI INt Com mu nUy c lH eh-.....at 'Ac thh --;;--- b tiki r P i To 1.-:«p lD IOUc:b wii loa p~;.ia~ - 8 p&rc:nts To a\·oid procr.wlOM ~1M--;.;;--;;.-.,.. d an eff ect lve s if people have suffic ient motivation ablllty an Tal rget beththaviour happen tr gg er a e same lns tan t fac tor tha t M) sug ges ts tha i, first, we need motivation, tha i is, the Fogg Behav1o~rai ~~ ei (FB "trigger" target behaviour. thanks lo certain ab1hty can change trlggers" to he lp pe op le ul pro du cts are the on es that Incorporate "ho t Successf ter. the ir behaviours for the bet ume a certain behaviour. ula ting peo pie to do or don't do the action, ort o ass Mot!vation is stim to reach goals. tive s are inn er fac tors dire cting and coordinating people Mo (Picar~. 1997) i~ y (Fo gg 2002) and affe ctive computing to cop e wrth health rssues persua siv e tec hno log d d vic es abl e Research on ·d· hno log ica l (pa rtia l) solutions tor systems an e provi rng tec and awareness............ :. "'··...... ·· ► ' ' :. GR AB AT TE NT ION ng storytelling, or g. Dra w peo ple in wit h eye -catching aesthetics, engagi Make it invitin rable by tion design. n. Create designs that stand out and remarn memo compelling motio nal reactlo. ity y... EII cit an emo - wh eth er tha t's surpnse, cunos , or ~rgenc appealing to our em otions g tha i ,s custom d rze ed conten t. Pe ~pl e re~ pond strongly lo messagrn Show personallz values. behavrours, 1nterests, and and relevant based on their INFLUENCE DE CIS ION S your message orw ard con ten t. Eliminate jargon and ma ke Provide crear, str alg htf 's questions and to und ers tan d. Off er con teni thai answers a person specific and simple d choice. vid ed helps them make an informe ople will be more compelled lo do something when pro Offer recommendatio ns. Pe from experts s. Us ers val ue sug ges tion s and personalized advice cle ar nex t steps or option socia! networks). or trusted sources (including FACILITATE AC TIO N ldentify and ak dow n tar get act ion s into small, achievable steps. Sim plif y the act ion. Bre action. i prevent people from taking address common barriers tha a wa y tha t facilitates action. Co mm on the exp erie nce. Sh ape the experience in Guide ined defaults. ghs, callouts, or pre-determ techniques include walkthrou goa ls and commi! to actions. Se nd rs cre ate a pia n. En cou rage people to set Help use their progress aver time. reminders and follow up on a person to act ht mo me nt Tim ing is crit icai - make sure you trigger Tri~ger at ~he rig e action. st motivated and able to tak dunng the trmes they are mo SUSTAIN BEHAVIOUR r time. ck and sho w progress ove rd people with positive feedba Celebrate progress. Rewa Bulld a long term relatlonahlp. Rather than one-tlme communlcatlons, design for experlences thai extend over lime and lmprove 81 we learn more about the people using our products. r Emph11lze lntrlnslc motlvatlon. lntrlnslc motlvatlon la the strongest driver of long-term behavlour change. 8nd Technologlea help us go beyond our llmlta, but the design creates meanlngful context appropriate language between the user end the digitai object, In each of lts forms. d technology tor lmportance of design ls In belng Enabler and medlator between the human an obtalnlng meanlngful 1y1tem1. 7 é:'f I __: :,_ ~ j ~~++-:--h--!--;-t+-t21!f;S±I~;- r ~-+-~--+~--+-r-+J-~~tì~r+-==i=,}~ f~ ~s ~- ':- ~~ ±r= $~ t= t~= E= f1f~ 2t: =:: ì ~iLç~1~~f-q~~~tl+~91±B=/~~i1 3:= I - ~ I I g S g =~~ ~~ $$ ij~ 3=f± fu B-i~ ~r= tg~~#.§~±J~~~~~?i+1g+~+#+Bt-r+ÉF-W§ r~~!___µ~,I+i=9-1=t-tr=: ~ =it-+-~= ? lL~ --- -H ~ + :- + ;, i7 T T T 1 '7 " -L-L-+-H---++-t--:_1-r1,1 , I, :- et ,; -H -, -+ -t -r -r ~l,=-,II~ I I.........,._._,... Ll;---1-++1-r-~f-+-1-(_1-~ e.... t. ♦.... +- t t.... -i--+--.:- I 1 ·t- t- t~ ----,-+- +-+- +-.. +- LESSON 1 lm'(Z 0 LLMBJ1ELLA.DFJ./X..DESK3N lnformatlon Archlitecture lndustrial Design Visuat Design Humen Fectora Humen Computer lnteraction Architecture sound Destan l/flEBA.CD01llJESJ.GN.JllEWS Technology-Centred Social lnteraction Design Beheviourist 1 INTERACTIONS Te nglble (physlcal artifacts/envlronmen ts/interfaces or physically embodied systems) fntanglble (tengible representation of physlcal smart object) I DESIGN PBOCfSS Why Whet How l ·1 I LessoN2}1'\E1{-toc;>) '1"'0 ANA.'-'Y fé ~e V5E.~ ff)~,JJ Users Systems Product.lService METHQQS TQANAt)'SF THf USfB OIRECT METHOOS: Unstructured lntervlews Seml-structured lnlervlews Questlonnalres/surveys Oiaries FocusGroup INOIRECT METHOOS: Observatlons Shadowing Camera Studles What people: Techniques: Knowted11e Say&think lntervlews Explicit Do&use Observatlons Observable Oream, know, feel Generative sesslons Tacit/Latent LESSON 3 O N S\J t'-'l~R COSTUMeJS Restii cos tum ers Final cos tum ers QUR CDNSUMERS Bl/YWG flEHAVI our Co mp lex Buylng Beh avi Buy lng Behaviour Olaaonance-Reduclng our Ha bltu al Buy ing Beh avi Varlety Seeking Behaviour me nta i Des/QI Melbo.as- non -in stru cts- trum ent al fDJor)111Afketif16Matho lns JNSTRUMENTAL HETHQDS NEUROMARKETING~NAL,Y$1S Eye Trackìn g Pup ìllo me try Fac lal Cod ing Blometric s Ele ctro enc eop hal ogr am FMRI fNf fDS MA StQ WH lfR AR CH YQ Physiological nee ds lon, sleep) lter, clo thin g, rep rod uct (nu triti on, wa ter. sir. she Sef ety nee ds fear, slru ctu re, orde,, law , limits) bill ty, pre dic tab ility, pro tec tion , free dom from (security, sta Soclal nee ds love, belonging) , ten dem ess , atti liali on, ctlo n, lntl macy, triendship (giving and rec eiv ing ette Esteem nee ds nce, reputation, nity, achievement, maste ry, com pet enc e, independe e ser t eva lua tlon , dig (positiv pre stige) Sel f Act ual izat ion nee ds scendence, exploration, play) , unl ty, und ers tan din g. bea uty, morality, tran (se ll fulf ilm ent, growth El:JcrS JYl'Es.aE.11:JDJYIQU~ DJ.fffR 0 1fleren ces in physlcs DiH~rences in inte llige nce Dlft ere nce s in atti tud e ant s Dift ere nce s in achiev em bili ty Differences in mo tor mo r Ditf ere nce s rn sc, vge nde Oif fere nce s in rac e y Oittere nce s in nationalft ie sta tus Oit terences in eco nom Oittere nce s in inl ere sts Em otional ditt ere nce s..I. - UNDERSTAND.tNG PERSONAL/'fX Conscious awareness Unconscious 8/G flVE HETHODQLOGIES E ll v V B/GFIVE Emotional stability (calm/anxious) (secure/insecure) Extraversion (sociable/retiring) (fun lovingtsober) Opennes (imaginative/practical) (independent/conform-ing) Agreableness (soft-hearte d/ruthl ess) (trusting/suspicious) Consentiousness (organized/disorganized) (caretuVcareless) SEGHENTADQN TYPES Geographic Oemographlc Psichographic Behavioura l _) LEss o~ 111 L HO w or ·, Ht: , r-J1 Cl!.K."