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Rich Viz!

Inspiring design teams with rich visualizations
authors

Rich Viz!
Inspiring design teams with rich visualizations
authors

Pieter Jan Stappers Remko van der Lugt Froukje Sleeswijk Visser Corrie van der Lelie Philips Design Students of Industrial Design Engineering

Pieter Jan Stappers Remko van der Lugt Froukje Sleeswijk Visser Corrie van der Lelie Philips Design Students of Industrial Design Engineering

with contributions of

with contributions of

StudioLab Press

Delft University of Technology

StudioLab Press

Delft University of Technology

Contents
BEFORE THE COURSE
1.1 1.2 preface participants

Contents
3
4 6 5.1 5.2 5.3 5.4

DEVELOPING THE VIZ
process
how developed - first run developing on deciding and finishing tuning

36
38 40 42 44

BEFORE THE COURSE
1.1 1.2 preface participants

3
4 6

DEVELOPING THE VIZ
process
5.1 5.2 5.3 5.4 how developed - first run developing on deciding and finishing tuning

36
38 40 42 44

STATE OF THE ART
staff
2.1 2.2 2.3 2.4 2.5 communication basics personas practice at Philips storyboarding documentary

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10 12 14 16 18

STATE OF THE ART
staff
2.1 2.2 communication basics personas practice at Philips storyboarding documentary

9
10 12 14 16 18

visualizations
6.1 6.2 6.3 6.4 sensitizers the storyboard the documentary the house 46 48 50 52

visualizations
6.1 6.2 6.3 6.4 sensitizers the storyboard the documentary the house 46 48 50 52

2.3 2.4 2.5

students
3.1 3.2 3.3 3.4 3.5 stepping in stepping back storytelling space time 20 23 24 26 28

students
3.1 stepping in stepping back storytelling space time 20 23 24 26 28 3.2 3.3 3.4

sessions
7.1 7.2 session A (storyboard and house) session B (documentary and cards) 54 56

sessions
7.1 7.2 session A (storyboard and house) session B (documentary and cards) 54 56

AFTER
8.1 8.2 evaluation colophon

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58 60

3.5

AFTER
8.1 8.2 evaluation colophon

57
58 60

OUR OWN DATA AND MESSAGE
4.1 4.2 family morning rituals from data to message

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32 33

OUR OWN DATA AND MESSAGE
4.1 4.2 family morning rituals from data to message

31
32 33

2

2

Before the course
1.1 1.2 preface
participants

Before the course
1.1 preface participants

1.2

3

3

There are as yet no complete theories to replace the view on life. One preferred way of including attention for user experiences into the design process is by including the users themselves as part of the design team. and ‘walking the walk’. designers need more than the classical design brief and quantitative. s shoe s body For this. but to help them find their way in it.j. the information for the team must address a multitude of aspects: it must answer the full Aristotelian set of questions of who. Instead of a fixed model. 1.1.tudelft.1a 4 4 . the design team needs a ‘contextmap’. what. Companies have found that understanding the customer is becoming increasingly important for marketing success. There are as yet no complete theories to replace the view on life. the information for the team must address a multitude of aspects: it must answer the full Aristotelian set of questions of who. there is little time and budget available for user interaction among the many concerns of the design team. In the practice of product design.. intro intro body For this. Companies have found that understanding the customer is becoming increasingly important for marketing success. This is expressed by phrases as ‘stepping into the user’s shoes’. and designers are struggling to gain richer understanding of people’s everyday lives. but to help them find their way in it. another way is immerse the designer in the user’s life. techniques from applied ethnography have entered user-centered product development. One preferred way of including attention for user experiences into the design process is by including the users themselves as part of the design team. why. how.stappers@io. designers need more than the classical design brief and quantitative. verbal marketing You must step into the user.nl Preface . how. techniques from applied ethnography have entered user-centered product development.stappers@io. why. Instead of a fixed model. when.the contextual push Over the past decades. . verbal marketing You must step into the user. and designers are struggling to gain richer understanding of people’s everyday lives. yet another way is to try to convey this information in rich ways. .tudelft. At the same time. there is little time and budget available for user interaction among the many concerns of the design team.nl Preface . so efficiency is an important consideration. where. what. and ‘walking the walk’. not to replace the terrain of user experience. not to replace the terrain of user experience. another way is immerse the designer in the user’s life. where. so efficiency is an important consideration.1 preface 1. when..the contextual push Over the past decades.1 preface author(s) title Pieter Jan Stappers p. yet another way is to try to convey this information in rich ways. in order to develop products and services which fit into those lives.1a studies. author(s) title Pieter Jan Stappers p.j. Establishing empathy is as important as gaining understanding. This is expressed by phrases as ‘stepping into the user’s shoes’. Establishing empathy is as important as gaining understanding. s shoe s studies. in order to develop products and services which fit into those lives. 1.. the design team needs a ‘contextmap’. At the same time.. In the practice of product design.

psychology. MIT Press. (2006) Contextmapping.making a phone call occurs in a context 1.1c .1c 1. This brochure. we focus on the last step: communicating. cinema and creativity theory.1c 5 5 .1a . reflects our experience. reflects our experience. First. an elective course for MSc students in Industrial Design Engineering. 1. guidelines. structuring the insights (with qualitative methods). P. (2006) Contextmapping. First. Then. and reflected on their use. and communicating them to the design team (with an emphasis on retaining both overview and empathy). (2003) Design Research: Methods and perspectives. In this project. B. J.the contextmapping process 1.1b The contextmapping process has three stages: getting the data (using cultural probes and generative tools). cinema and creativity theory. 1. pp 22-24 Laurel. and theories from communication design. P.J. and turned into rich visualizations: images.. F.1a . & Sleeswijk Visser. in what we hope is again an informative and inspiring manner. July/August 2006. (2003) The experience evolution: Developments in design practice..the contextmapping process The contextmapping process has three stages: getting the data (using cultural probes and generative tools). a dataset from user research studies was chosen. we explored relevant examples.1b .a map as metaphor of information for designers illustrations 1. and reflected on their use..m not inspired by your diagrams [R&D about marketing data] analysed. objects intended to inform and inspire a design team about the user experience. an elective course for MSc students in Industrial Design Engineering. B.1c . Finally. & Sleeswijk Visser. This brochure. 1. refs I. I. Geo:magazine. objects intended to inform and inspire a design team about the user experience. and communicating them to the design team (with an emphasis on retaining both overview and empathy). structuring the insights (with qualitative methods).illustrations 1. Stappers.m not inspired by your diagrams [R&D about marketing data] analysed.1b .making a phone call occurs in a context 1.1b psychology. we explored relevant examples. F. movies. Geo:magazine. July/August 2006. and theories from communication design. refs Fulton Suri. a design team from Philips Design carried out an idea generation session with these tools. a design team from Philips Design carried out an idea generation session with these tools. movies. Stappers.J. and turned into rich visualizations: images. Finally. guidelines. (2003) The experience evolution: Developments in design practice. pp 22-24 Laurel.a map as metaphor of information for designers 1. MIT Press. In this project. . in what we hope is again an informative and inspiring manner. Then.. Fulton Suri. a dataset from user research studies was chosen. . J. (2003) Design Research: Methods and perspectives. we focus on the last step: communicating.

body text Siniz Kim Sanne Kistemaker body text The RichViz! project was set up by the contextmapping team. Pieter Jan Stappers. 15 design students of TU Delft deepened their knowledge and skills. Remko van der Lugt. exploratory analysis. design researcher. with a special interest in storyboarding. supported by the multidisciplinary design research community at ID-StudioLab. ID-StudioLab is a design research community at the Faculty of Industrial Design Engineering. ID-StudioLab is a design research community at the Faculty of Industrial Design Engineering. Maartje Huinink Carlijn Stoof Pepijn Lampe Anne-Roos Hassing Marion Streubel Anne Olthof Merlijn Kouprie Linda van der Hurk Tomas Coomans Isabel Adler Derya Ozcelik Annet Hennink Elisabeth Leegwater 6 6 . Research and teaching at ID-StudioLab focuses on user-centered design.2 participants 1. TU Delft. The project was guided by the contextmapping team. and conducted in Corrie van der Lelie Remko van der Lugt Pieter Jan Stappers Siniz Kim Sanne Kistemaker collaboration with designers from Philips Design. Corrie van der Lelie. Froukje Sleeswijk Visser. The project was guided by the contextmapping team. building forward on the course ID4215 Context & Conceptualization. Research and teaching at ID-StudioLab focuses on user-centered design. professor of Design Techniques. supported by the multidisciplinary design research community at ID-StudioLab. and conducted in collaboration with designers from Philips Design. always eager to combine visual stuff.1. Remko van der Lugt.2 participants author(s) title Whodunnit? Froukje Sleeswijk Visser author(s) title Whodunnit? Froukje Sleeswijk Visser intro In the RichViz! project. Pieter Jan Stappers. Maartje Huinink Carlijn Stoof Pepijn Lampe Anne-Roos Hassing Marion Streubel Anne Olthof Merlijn Kouprie Linda van der Hurk Tomas Coomans Isabel Adler Derya Ozcelik Annet Hennink Elisabeth Leegwater The RichViz! project was set up by the contextmapping team. The StudioLab website gives an overview of that. design researcher. TU Delft. professor of Design Techniques. graphic designer. PhD student on communication of contextmapping results and user researcher. with a special interest in storyboarding. experience-centered design. Corrie van der Lelie Remko van der Lugt Pieter Jan Stappers intro In the RichViz! project. The StudioLab website gives an overview of that. graphic designer. from a variety of viewpoints. always eager to combine visual stuff. 15 design students of TU Delft deepened their knowledge and skills. building forward on the course ID4215 Context & Conceptualization. PhD student on communication of contextmapping results and user researcher. exploratory analysis. from a variety of viewpoints. experience-centered design. Froukje Sleeswijk Visser. Corrie van der Lelie.

P. The students in this course all have an expressed interest in experiencecentered design.nl www.philips.design. the analysis and communication needs. Motivations for both staff and students for this project were to increase our practical skills.design. connect to industrial practice. P. All of them have taken the course id4215.com www.M. van der Lugt. R.M. F. The students in this course all have an expressed interest in experiencecentered design. Course reader. Context & Conceptualization. TU Delft.. and have worked on developing new techniques for bringing in user understanding into design. (2005) Context and Conceptualization. and further refine our grasp on possible principles and theories in this wild.. refs Stappers. F. Course reader.. van der Lugt. (2005) Context and Conceptualization.nl www. and have worked on developing new techniques for bringing in user understanding into design. & Sleeswijk Visser. and further refine our grasp on possible principles and theories in this wild. Within the company (and towards outside clients) they provide design research & design services.contextmapping. P. refs Marlies Bielderman Gavin Proctor Philips Design has long-standing experience with user-centered design. www. connect to industrial practice.philips. multidisciplinary and inspiring domain.Slava Kozlov Marlies Bielderman Gavin Proctor Slava Kozlov Philips Design has long-standing experience with user-centered design.id-studiolab. & Sleeswijk Visser. Hekkert. Within the company (and towards outside clients) they provide design research & design services. Context & Conceptualization.P. TU Delft.J. R.J.com 7 7 . All of them have taken the course id4215. P. Motivations for both staff and students for this project were to increase our practical skills. which laid the foundation for the contextmapping process. which laid the foundation for the contextmapping process... Hekkert.P.contextmapping. www.id-studiolab..com Stappers. the analysis and communication needs.com www. multidisciplinary and inspiring domain.

8 8 .

4 3. and confronting existing tricks.State of the art 2 STAFF State of the art The project started 2 STAFF The project started communication basics personas practice at Philips storyboarding documentary with gathering. guidelines. and shared what had inspired them. 3.3 3.4 2. The contextmapping 2. and shared what had inspired them. combining.5 3 STUDENTS team.1 2.3 2. and presented their findings (section 3). groups of student focused each on an aspect.5 stepping in stepping back storytelling space time 9 9 .2 3. designers from Philips Design.4 2. sought for new literature and examples. examples. 3 STUDENTS team.1 2. After the founding theory (section 2). a guest from RCA London. and theories.5 communication basics personas practice at Philips storyboarding documentary with gathering.3 3. and presented their findings (section 3). designers from Philips Design. and the students all informed about what they knew. a guest from RCA London. and theories.5 stepping in stepping back storytelling space time 3. groups of student focused each on an aspect. After the founding theory (section 2).1 3. and the students all informed about what they knew.2 2. and confronting existing tricks. examples.2 2. The contextmapping 2.1 3. combining. sought for new literature and examples. guidelines.3 2.2 3.4 3.

but not overwhelming. Two main sources of insight are used a lot in finding forms to weave a larger.tudelft. coherent. but no sure-guide cookbook or overarching theory exists as yet. structure without losing the richness of the data. and even experimental justification of the principles. but no sure-guide cookbook or overarching theory exists as yet. structure without losing the richness of the data. The data must be quick to access. giving hold to designers. Edward Tufte’s books on information visualization are the standard source of examples of infographics. In order to organize and connect the many what’s. scenarios bind to storylines. we should make a contextmap.1b 2. yet leaving them free to use this data together with the many other considerations that are needed in designing. Communicating experiences is still an explorative design subject: out of the richness of user experience research. The design team wants to be both inspired and informed. The data must be quick to access.j. Many inspirational examples of conveying heavy loads of data can for communication: works on visual communication design present guidelines. and examples. Edward Tufte’s books on information visualization are the standard source of examples of infographics. a pic tur e is wor th a tho usa nd wor ds and vic e ver sa intro intro body text In the visual communication literature. Some elements of the message are conveyed best visually.tudelft. we should make a contextmap.1a tie the bits together in coherent wholes: personas bind to people.stappers@io. a pic tur e is wor th a tho usa nd wor ds and vic e ver sa author(s) title Pieter Jan Stappers p. Communicating experiences is still an explorative design subject: out of the richness of user experience research. background theory. but also sustain empathy with the users. we often use ‘narrative structures’ that 2. It should serve generalization beyond individual users.1b body text In the visual communication literature.nl Communicating experiences Communicating experiences to design teams is a complex balancing act.2. The data should be sufficient. In order to organize and connect the many what’s. It should serve generalization beyond individual users. but also sustain empathy with the users. Combinations of these different structures can be used to weave a larger.1a tie the bits together in coherent wholes: personas bind to people. and how’s that come out of research. background theory. Many inspirational examples of conveying heavy loads of data can 10 10 . others verbally. coherent. Some elements of the message are conveyed best visually. scenarios bind to storylines. but not overwhelming. guidelines. yet have sufficient depth. who’s.stappers@io. The design team wants to be both inspired and informed. yet have sufficient depth. The data should be sufficient. guidelines.1 communication basics 2. Combinations of these different structures can be used 2. and examples. and how’s that come out of research. situations bind to places. yet leaving them free to use this data together with the many other considerations that are needed in designing. there are tips.1 communication basics author(s) title Pieter Jan Stappers p. Two main sources of insight are used a lot in finding forms for communication: works on visual communication design present guidelines. and even experimental justification of the principles. others verbally.nl Communicating experiences Communicating experiences to design teams is a complex balancing act. we often use ‘narrative structures’ that 2.j. there are tips. situations bind to places. giving hold to designers. who’s.

E. R. (Director). and the impact of abstraction in visual styles. (1997) Visual Explanations. Course reader. Kitchen Sink Press Kosslyn. E.Morris’ Fog of war discusses the role of empathy in international politics 2.1c . and the impact of abstraction in visual styles. The other source is formed by examples of evocative narration and depiction. R. Graphics Press. E.1c . Stephen Kosslyn addresses basic perceptual issues of graphic communication design based on perception theory. Lidwell. Rockport Publishers.1a . T. Graphics Press. BBC Tufte. Sony Classic Pictures www. McCloud. Butler.. T.www. Tufte.1d . (1990) Envisioning Information. Stephen Kosslyn addresses basic perceptual issues of graphic communication design based on perception theory. S. Scott McCloud’s Understanding Comics discusses conveying emotions and narratives. Briggs. (1993) Understanding Comics: The invisible art.storyboards illustrations 2. & Sleeswijk Visser.1a .com 2.1d Stappers. Briggs. Butler. Course reader. P..www.1b . (2005) Context and Conceptualization.1b .. R.1c refs Stappers. BBC Tufte. Holden. giving principled guidelines to enhance the unambiguous communication quality of diagrams. The exactitudes art project shows similarities and differences in user groups.1d . Sony Classic Pictures www.com 2. Lidwell et al.1d 11 11 . (1993) Understanding Comics: The invisible art. Holden. Tufte.exactitudes. E. S. F. (1997) Visual Explanations. J.P. Penguin Morris. (1993) Elements of Graph Design. & Buzan. E. Tufte.Morris’ Fog of war discusses the role of empathy in international politics 2. E.. P. The exactitudes art project shows similarities and differences in user groups. van der Lugt. K. B. Graphics Press. present a provocative set of perceptual principles which can help design. (2003) Universal principles of design. Tufte. W. S. Kitchen Sink Press Kosslyn. (1986) The Visual Display of Quantitative Information. Rockport Publishers. (2005) Context and Conceptualization. P. (Director). (1983) When the wind blows.P. (1990) Envisioning Information. (1986) The Visual Display of Quantitative Information. 2.J. (2000) The mindmap book. Hekkert. Graphics Press. (2003) Universal principles of design.M. Graphics Press. F. Lidwell et al. collections of school wall charts show how many different small stories can be conveyed in one overview which can become a ‘map of activities and events’ sparking discussions in the design team. W. Freeman Buzan. McCloud. S. although relatively little about conveying user experiences. P.school wall charts and other overview pictures 2. Freeman Buzan. Penguin Morris. E. (2003) The fog of war. (2003) The fog of war.exactitudes..J. Lidwell.M. J. present a provocative set of perceptual principles which can help design. Hekkert.com shows variety & similarity of people 2. For examples. TU Delft.exactitudes. van der Lugt.com shows variety & similarity of people 2. (2000) The mindmap book. & Buzan.illustrations 2.1c refs be found here. E. & Sleeswijk Visser.storyboards be found here.exactitudes.. giving principled guidelines to enhance the unambiguous communication quality of diagrams. Graphics Press. B. K.. TU Delft. (1993) Elements of Graph Design.school wall charts and other overview pictures 2. although relatively little about conveying user experiences. For examples.. R. 2. The other source is formed by examples of evocative narration and depiction. (1983) When the wind blows. collections of school wall charts show how many different small stories can be conveyed in one overview which can become a ‘map of activities and events’ sparking discussions in the design team. Scott McCloud’s Understanding Comics discusses conveying emotions and narratives.

2a 2. it stimulates empathy with the users.2a). photos. it stimulates empathy with the users. author(s) title Sleeswijk Visser f. since designers see individual people and get Moreover. showing people has the advantage of communicating more than explicit information. etc.2b 12 12 .nl Froukje Representing user data by people One way for conveying user data in an engaging way. demographic 2. In practice (especially in large companies) personas are often used. goals and tasks. Images of people utilize our mind’s powerful ability to extrapolate from partial knowledge of people and to create coherent wholes and project them into new settings and situations.2a body text (Re)presenting user data by showing people could be in videos. which are called personas.2.2a groups) than explicit and abstracted information. In practice The Personal Cardset. anecdotes. it is a great advantage to (re)present insight in their daily lives. it is a great advantage to (re)present the data with these actual people (such as the data with these actual people (such as The Personal Cardset.2 personas author(s) title Sleeswijk Visser f. So showing actual people conveys a richer insight into the data and it is easier for designers to relate to a set of people with actual names and faces (in comparison to abstracted target 2. These people can be ‘real people’ who participated in the actual research and/or fictive people. is showing PEOPLE. intro intro body text (Re)presenting user data by showing people could be in videos. including market. It can also convey tacit information. If the participating user number is low (<10) and it is allowed to show the real actual people. trends. A persona is a fictive person who has life stories. images. which are called personas.sleeswijkvisser@tudelft. since designers see individual people and get insight in their daily lives. demographic 2.2a). Images of people utilize our mind’s powerful ability to extrapolate from partial knowledge of people and to create coherent wholes and project them into new settings and situations. These people can be ‘real people’ who participated in the actual research and/or fictive people. showing people has the advantage of communicating more than explicit information. If the participating user number is low (<10) and it is allowed to show the real actual people. anecdotes. Moreover. A persona creation can involve quant & qual information. is showing PEOPLE.nl Froukje Representing user data by people One way for conveying user data in an engaging way. 2. A persona creation can involve quant & qual information. A persona is a fictive person who has life stories. including market. trends.2 personas 2. images.2a groups) than explicit and abstracted information.sleeswijkvisser@tudelft. Besides conveying the authenticity of the data.2b (especially in large companies) personas are often used. etc. photos. see 2. goals and tasks. Besides conveying the authenticity of the data. So showing actual people conveys a richer insight into the data and it is easier for designers to relate to a set of people with actual names and faces (in comparison to abstracted target 2. see 2. It can also convey tacit information.

r d i g refs Sleeswijk Visser. . vervangmogelijk nog een dat het lang poos uitdaging om hier een goede inschatting arbeidsongeschikt. en in het uiterste het functie ongeschikthe Kortom een baan op zich.J. R. Z e s s in g l f v in d n d e r s g e r ic h v o o r t e u n d ik h e t t . daar wordt ik nou blij van! Succes is een keuze. Langdurige ziekteen verzuim gevallen traag en triest proces kosten veel tijd. T.2a . gaat duren en blijft na telefonsiche contact. . blijkt.. . ik h o l im m e u u r . Bill. M e n . . Ik vind het een geschikte stappenplan van de situatie te maken en het meest voor te stellen. Morgan Kaufmann. (2006) The Persona Lifecycle: Keeping People in Mind Throughout Product Design. en traject. Dat een dossier aanleggen is vaak. . P. Bristol. toch? Nieuwe medewerker in dienst Werving en selectie is ook zo enig. Dan zie je allerlei mensen voorbij komen en dan de juiste keuze maken. Bill. Na opdracht om een paar dagen. idsadvies Pruitt. dan stel ik een functioneringsgesprek voor. (alle contacten bijhouden). te zijn: Een medewerkertergend Ik informeer zijn meldt collega’s en geef ing te zoeken. een traject uitstippelen. en veel overleg bijvoorbeeld een met P&O. je wel aan. langsgaan. pp 157-158 Loopbaan van medewerk ers begeleiden Loopbaanbegeleiding is het leukste wat getriggerd door onze er is.. n s t h e k k r e rechtvaardig e l p werk w n g n . . Dat trekt ik me soms hoor! Maar ja. dat zo iemand weer goed functioneert en zijn loopbaan weer op rolletjes loopt. Jane & Daniel) and are used to communicate information to the multidisciplinary team (so they all know who they are talking about). Na ik de WIA-aanvraa een jaar arbeidsongesc g doen hiktheid ga bij de UWV aanvragen. dat is heel interessant.2c Beautif ul peop le we sha re the sam e bac k door. These personas (often 3-5 personas) are created for a project. these personas can be used to explore early concept ideas in scenarios (How would Bill use this concept in his early morning routine?) 2.by showing personas from across (and outside) the target group an understanding for the varieties of user experiences is given. in de mogelijkhede zoek te gaan naar de beste n die de belastingdien de medewerkers st voor biedt. Soms gaan we samen een PersoonlijkOntwikkelingsPlan (POP) opstellen. 2. e. Next. van der Lugt. Dan ontdek je bijvoorbeeld dat iemands’ kwaliteiten op een andere plek veel beter tot zijn recht kunnen komen. (2006) The Persona Lifecycle: Keeping People in Mind Throughout Product Design. ik h o io l im m e u u r . Next. Als het poortwachter kijk ik naar reïntegratie niet beter met de medewerker gaat.one of three personas from a design project for Belastingdienst 2. Langdurige ziekteen verzuim gevallen traag en triest proces kosten veel tijd. P. Adlin. R. (alle contacten bijhouden). Als het poortwachter kijk ik naar reïntegratie niet beter met de medewerker gaat. . en traject.. een traject uitstippelen.by showing personas from across (and outside) the target group an understanding for the varieties of user experiences is given. Ik vind het een geschikte stappenplan van de situatie te maken en het meest voor te stellen. T. maar na verloop van tijd heb ik al een aantal keer meegemaakt. zodat er met de medewerker over gesproken wordt. Ik vind het uitdagend om op weg. F. Vooral mensen die hier jong binnenkomen en binnen een paar jaar al ziet groeien zoals ze zelf willen.. en dat vond ik dus een fijne taak: mensen verwelkomen. 2. waarbij ik erg geduldig moet zijn en vakkundig te werk ga. die je net op een andere manier kent. Proceedings of Second International Conference on Appliance Design. Dan voel ik me echt heel nuttig.the Personal Cardset 2. Ik medewerkers! Natuurlijk word ook niet elke dag is het feest. Dit is hele delicate materie. en veel overleg bijvoorbeeld een met P&O. m a e n k ik g e e e p : manager e n d a r w e . Proceedings of Second International Conference on Appliance Design.2c . mogelijkheden. mogelijkheden. And it isn t right we never met bef ore [Melanie] illustrations 2. vervangmogelijk nog een dat het lang poos uitdaging om hier een goede inschatting arbeidsongeschikt. Vervolgens een vervanger regelen. I k p n a g e r r g p r e r o b e e h e b ik t t ig ie d e r e r a l t ijd v e e l m e n t e b d e b e s e t m e n e d e n k v a k k u t e o p l o n d ig o s e n t e e n .2b . ontmoet gewoon zoveel medewerkers. . Vooral mensen die hier jong binnenkomen en binnen een paar jaar al ziet groeien zoals ze zelf willen. e. dat is heel interessant. Dat een dossier aanleggen is vaak. Dan ontdek je bijvoorbeeld dat iemands’ kwaliteiten op een andere plek veel beter tot zijn recht kunnen komen.. Belastingdienst PersoneelsPlaza 2006 Belastingdienst PersoneelsPlaza 2006 13 13 . Vervolgens een vervanger regelen. r d i g refs Sleeswijk Visser. m a e n k ik g e e e p : manager e n d a r w e .2b . Bristol. want soms kunnen er ook hele trieste gevallen zijn.the Personal Cardset 2.2a . Jane & Daniel) and are used to communicate information to the multidisciplinary team (so they all know who they are talking about). zou je zeggen.. zodat er met de medewerker over gesproken wordt. en in het uiterste het functie ongeschikthe Kortom een baan op zich. d r o i HR v Ro l d o o k v a n He o p n o n .. e r g e mens e t r r streng doch o gericht. I k z e t e w o r o o naam: k p t m e m a n d e r r e t t ig d e n . I k z e t e w o r o o naam: k p t m e m a n d e r r e t t ig d e n . I k p n a g e r r g p r e r o b e e h e b ik t t ig ie d e r e r a l t ijd v e e l m e n t e b d e b e s e t m e n e d e n k v a k k u t e o p l o n d ig o s e n t e e n . J. these personas can be used to explore early concept ideas in scenarios (How would Bill use this concept in his early morning routine?) illustrations research and focus groups. Als die informatie dan bij ons terecht komt. Vorige week hebben we een uitzendkracht een vast contract aangeboden. Stappers. Het is een zijn om bij betrokken zich ziek bij mij. Dat trekt ik me soms hoor! Maar ja. Het heeft natuurlijke geen directe pay-back. A l s e n v in H R m a m a k e d h e t e n . Vorige week hebben we een uitzendkracht een vast contract aangeboden. Ik vind het uitdagend om op weg. Ziekmelding van medewerker Medewerker functioneert niet goed Soms functioneert een medewerker niet goed. idsadvies Pruitt. etc. Na ik de WIA-aanvraa een jaar arbeidsongesc g doen hiktheid ga bij de UWV aanvragen. sharing insights from user studies.. zou je zeggen.g. te zijn: Een medewerkertergend Ik informeer zijn meldt collega’s en geef ing te zoeken. . M e n . e r g e mens e t r r streng doch o gericht. Het heeft natuurlijke geen directe pay-back. e r e n d o m k e n c h s g r e e c h t v I k b e n h ie r t w g e l e d a a l f ja e n b e g a r w e r k e o n n e n n . waarbij ik erg geduldig moet zijn en vakkundig te werk ga. Na opdracht om een paar dagen. Dit is hele delicate materie. n s t h e k k r e rechtvaardig e l p werk w n g n . pp 157-158 Loopbaan van medewerk ers begeleiden Loopbaanbegeleiding is het leukste wat getriggerd door onze er is. e r e n d o m k e n c h s g r e e c h t v r i c h t a a .g. O e n s z ijn g e a c h 46 v e r v i o m h o t d a t o z e l l ig jf ja a r o g t e k e beroep: z bn e r k . And it isn t right we never met bef ore [Melanie] I k b e n h ie r t w g e l e d a a l f ja e n b e g a r w e r k e o n n e n n . in de mogelijkhede zoek te gaan naar de beste n die de belastingdien de medewerkers st voor biedt. (2004) The Personal Cardset-a designer-centered tool for n a betro b ekken. Adlin. die je net op een andere manier kent. langsgaan. Z e s s in g l f v in d n d e r s g e r ic h v o o r t e u n d ik h e t t . J. Het is een zijn om bij betrokken zich ziek bij mij. A l s e n v in H R m a m a k e d h e t e n . O e n s z ijn g e a c h 46 v e r v i o m h o t d a t o z e l l ig jf ja a r o g t e k e bn e i k z beroep: ..research and focus groups. Stappers. Dan zie je allerlei mensen voorbij komen en dan de juiste keuze maken. Dan voel ik me echt heel nuttig. M i a x im a o m ijn e jn c o l l a l in e u it d a g leeftijd: w e r k i s m e g a ’s n v e r w in g . gaat duren en blijft na telefonsiche contact. toch? Ziekmelding van medewerk er Medewerker functioneert niet goed Soms functioneert een medewerker niet goed.. blijkt. maar na verloop van tijd heb ik al een aantal keer meegemaakt.J.2c Bea utif ul peop le we sha re the sam e bac k door..one of three personas from a design project for Belastingdienst 2. d i HR v Ro l d o o k v a n He o p n o n . drijfveer l n o g d s i j f : n as t a p j e m r t e vee anderen helpe d r :n 2 e s 3 n a d ka a karakter ‘Het zijn de mensen die ‘t hem doen’ Annelies Ster k r k t: e r : passie: p a s s ie : n a betro b ekken. s t a drijfveer l n o g d s i j f : n ander p j e m r t e vee a s n en helpe d r : 3 2 e n a d ka a karakter r k t: e r : passie: p a s s ie : ‘Het zijn de mensen die ‘t hem doen’ Annelies Ster k r i c h t a a . Soms gaan we samen een PersoonlijkOntwikkelingsPlan (POP) opstellen. dat zo iemand weer goed functioneert en zijn loopbaan weer op rolletjes loopt. Als die informatie dan bij ons terecht komt. na de Arbo-dienst keuring. sharing insights from user studies. F. en dat vond ik dus een fijne taak: mensen verwelkomen. Morgan Kaufmann.. M i a x im a o m ijn e jn c o l l a l in e u it d a g leeftijd: w e r k i s m e g a ’s n v e r w in g . dan stel ik een functioneringsgesprek voor. Ik medewerkers! Natuurlijk word ook niet elke dag is het feest. daar wordt ik nou blij van! Succes is een keuze. etc. want soms kunnen er ook hele trieste gevallen zijn. van der Lugt. (2004) The Personal Cardset-a designer-centered tool for Nieuwe medewerker in dienst Werving en selectie is ook zo enig.2c . je wel aan. ontmoet gewoon zoveel medewerkers. na de Arbo-dienst keuring. These personas (often 3-5 personas) are created for a project. .

making it tangible.com Gavin Proctor Experience-centered design in the real world: Philips design Philips Design is one of the world’s leading design companies.allows us to shape technology in a way that answers people’s existing and latent needs. making it tangible.3a easy to realize as stated. We are renowned for our visionary approach . th is ph as e is th e cr eative he ar t of th e pr oce ss. Our design teams are truly multidisciplinary comprising designers and researchers with different capabilities each of whom undoubtedly has varying strengths and weaknesses.enriching design with human sciences. Rich Visualizations are therefore an interesting tool to us in facilitating the process of translating user research into the start of the design ideation process. We are renowned for our visionary approach . body text Whilst we may already be practicing user experiencecentered research there is always the need to continually improve our tools and methodologies. which enables us to identify opportunities for such improvement. Oft en un der est im ate d. What is required is a means of enabling designers to rapidly immerse themselves 2.enriching design with human sciences. Our design teams are truly multidisciplinary comprising designers and researchers with different capabilities each of whom undoubtedly has varying strengths and weaknesses. Oft en un der est im ate d. Whilst we work hard at enabling communication within our teams one of the biggest Pe ople ins ight s ar e int egrated an d tra nsl ate d to ge ner ate initia l ide as . in user-centered data. What is required is a means of enabling designers to rapidly immerse themselves 2.3 practice at philips author(s) title gavin. Whilst we work hard at enabling communication within our teams one of the biggest Pe ople ins ight s ar e int egrated an d tra nsl ate d to ge ner ate initia l ide as . author(s) title gavin.3a in user-centered data. user research and always with a clear people focus . user research and always with a clear people focus .proctor@philips. which enables us to identify opportunities for such improvement. Rich Visualizations are therefore an interesting tool to us in facilitating the process of translating user research into the start of the design ideation process.3 practice at philips 2. 14 14 .proctor@philips. One could argue that in a true multi.allows us to shape technology in a way that answers people’s existing and latent needs. One could argue that in a true multi multi- hurdles we tend to find is the ability to transfer information from the research specialists to the ‘creatives’ within the multi team.2. It is our everyday practice of course. intro intro body text Whilst we may already be practicing user experiencecentered research there is always the need to continually improve our tools and methodologies. It is our everyday practice of course.com Gavin Proctor Experience-centered design in the real world: Philips design Philips Design is one of the world’s leading design companies. hurdles we tend to find is the ability to transfer information from the research specialists to the ‘creatives’ within the team.- disciplinary approach the designers should be involved from the outset in the fieldwork however this proves logistically never as disciplinary approach the designers should be involved from the outset in the fieldwork however this proves logistically never as easy to realize as stated. th is ph as e is th e cr eative he ar t of th e pr oce ss.

cr eatin g 15 15 . Design being a ‘visual’ profession it only seems logical that we should utilize visual language as a means of enabling this process – hence when the RichViz team approached us asking for our involvement we thought immediately it was worth diving in. Design being a ‘visual’ profession it only seems logical that we should utilize visual language as a means of enabling this process – hence when the RichViz team approached us asking for our involvement we thought immediately it was worth diving in.ce nt ri c in no vatio pe op le hu ma to un de rs ta nd it is im po rt ant ever yd ay li fe an d in th e co nt ex t of en de ve lo pi ng an d antic ipate th is wh solut ion s. n.com To ac hieve n. refs Lucile Rameckers & Stefanie Un (2005). cr eatin g To ac hieve n.Design & Creation: (People insights in the design and creation process) 2. Philips Design. refs Lucile Rameckers & Stefanie Un (2005). Philips Design.illustrations 2.philips. People insights at the fuzzy front of innovation. Anton Andrews (2006): The Open Lifestyle Home.design.Philips Design: Multiple Encounter Approach illustrations 2.Design & Creation: (People insights in the design and creation process) 2.Philips Design: Multiple Encounter Approach 2. n.com understandable and interpretable for them.3b 2.philips.3b .3b . Philips Design www. Philips Design www. Anton Andrews (2006): The Open Lifestyle Home.ce nt ri c in no vatio pe op le hu ma to un de rs ta nd it is im po rt ant ever yd ay li fe an d in th e co nt ex t of en de ve lo pi ng an d antic ipate th is wh solut ion s.3b understandable and interpretable for them.design. People insights at the fuzzy front of innovation.3a .3a .

g. author(s) title Corrie van der Lelie c. Arrange. experiences the story. Just begining with the first frame and start drawing is not an option. and sketch over the prints. shows a concrete instantiation in the cells. featuring all the Artistotelian questions of why?. Intertwine these into a story line. and postpones decisions of aesthetics in favour of discussions of content. when?. and annotations explaining and generalizing issues. Act out the story. take photos and immediately make rough prints. It appeals to the reader to step in to experience the user’s experience. which has an interesting development.4 storyboarding author(s) title Corrie van der Lelie c. and sketch over the prints... shows a concrete instantiation in the cells.. and to step back to take an overview of the event. discuss. e.nl Play-acting and storyboarding A storyboard is a visualisation form which can integrate all the aspects that convey experiences: It tells a story. where?. . Experience from the film industry.4 storyboarding 2. with whom?. By acting and photographing rather than drawing out. Determine a set of events that expresses what you need to express. e. Experience from the film industry. the team already steps into the action.. with whom?. and annotations explaining and generalizing issues. considerations.. featuring all the Artistotelian questions of why?. discuss. and from teaching and research suggests the following group process: body text Making a storyboard is not easy. In a photoboarding workshop.vanderlelie@tudelft. It has visual and verbal elements. where?.nl Play-acting and storyboarding A storyboard is a visualisation form which can integrate all the aspects that convey experiences: It tells a story. replace. Restyle its aesthetics y E ver y st or ne ed s a int pr ob le m po [Laurel] By acting and photographing rather than drawing out. and from teaching and research suggests the following group process: • • • • • • • Collect ingredients. what for?. which has an interesting development. when?. Determine a set of events that expresses what you need to express. and postpones decisions of aesthetics in favour of discussions of content. how?. experiences the story. Arrange. what?. story lines were developed for the fictional design case of ‘social interactions on viewing TV together’. In a photoboarding workshop.2. people and products.. replace. and to step back to take an overview of the event. take photos and immediately make rough prints. It appeals to the reader to step in to experience the user’s experience. Just begining with the first frame and start drawing is not an option. Rework the storyboard into a page. how?. story lines were developed for the fictional design case of ‘social interactions on viewing TV together’. . considerations. what?. Rework the storyboard into a page.g. Restyle its aesthetics y E ver y st or ne ed s a int pr ob le m po [Laurel] • • • • • • • Collect ingredients. what for?. It has visual and verbal elements. Act out the story. Intertwine these into a story line. intro intro body text Making a storyboard is not easy. people and products. the team already steps into the action. 16 16 .vanderlelie@tudelft.

Studio City Laurel. Michael Wieze Productions. (1991) Film directing shot by shot: visualizing from concept to screen. (1991) Film directing shot by shot: visualizing from concept to screen. Springer. B. pp 159-162 Sibley. Steven D. StudioLab Press. (1998). In: van der Lugt and Stappers (Eds). B. pp 159-162 Sibley. (2006). Springer. StudioLab Press. (2006) Combining design and research in MOBO. pp 16-22 van der Lelie. Michael Wieze Productions. (2006) Combining design and research in MOBO. (2006). Design and the growth of knowledge. pp 16-22 17 17 . Delft. B. B. Design and the growth of knowledge. C. Personal and Ubiquitous Computing 10.illustrations storyboards created from a photoboarding workshop illustrations storyboards created from a photoboarding workshop refs refs van der Lelie. Wallace & Gromit “The Wrong Trousers”: Storyboard Collection. Delft. Steven D. Studio City Laurel. The value of storyboards in the product design process. In: van der Lugt and Stappers (Eds). (1998). BBC Katz. The value of storyboards in the product design process. C. BBC Katz. Wallace & Gromit “The Wrong Trousers”: Storyboard Collection. Personal and Ubiquitous Computing 10.

5 documentary 2. ethno-fiction. intervention. you also have to develop your own perspective. But you can’t just follow what your participants say. body text As a designer you try to empathize. and to designers. without imposing fixed conclusions.nl Design Documentaries Often not everyone in multidisciplinary design teams can take part in the ethnography at the beginning of a project. 2.5a 2. performance or compilation to tell a story with a film. Design Documentaries can communicate what designers have found in everyday life to a larger team in an inspiring way. Interesting documentary films present a discussion between the perspectives of the filmmaker and the people s/he films.nl Design Documentaries Often not everyone in multidisciplinary design teams can take part in the ethnography at the beginning of a project. In stead they adapt documentary techniques like empathic observation. But you can’t just follow what your participants say. They go beyond the usual neutral observations or interviews that we normally record on video. and to designers. juxtaposition. juxtaposition. intervention.5a 2.5b In our research at the early stages of a design process we can benefit from the techniques and approaches for portraying everyday life that documentary filmmakers have developed over the past 100 years.5b 2. Design Documentaries are building on that potential by suggesting a new way of using video to discover what matters to people. Design Documentaries can communicate what designers have found in everyday life to a larger team in an inspiring way. without imposing fixed conclusions. you aim to understand situations from the perspective of the people you are designing for. 2. This balance act is not unfamiliar to documentary filmmakers. performance or compilation to tell a story with a film.5 documentary author(s) Bas Raijmakers bas@stby. They go beyond the usual neutral observations or interviews that we normally record on video. In our research at the early stages of a design process we can benefit from the techniques and approaches for portraying everyday life that documentary filmmakers have developed over the past 100 years. ethno-fiction. This balance act is not unfamiliar to documentary filmmakers.5c title author(s) Bas Raijmakers bas@stby. you aim to understand situations from the perspective of the people you are designing for.2. Interesting documentary films present a discussion between the perspectives of the filmmaker and the people s/he films. Design Documentaries are building on that potential by suggesting a new way of using video to discover what matters to people. It is too time-consuming for the team members and too invasive for the users. In stead they adapt documentary techniques like empathic observation. 18 18 . 2.5c title intro intro body text As a designer you try to empathize. you also have to develop your own perspective. It is too time-consuming for the team members and too invasive for the users.

NY. B. Minh.ha 2. Minh. W. anthr [Trinh T. poet)] (fi lmmaker.5e – ‘On/Off the Bus. New York.’ a film on the everyday life of a heart patient based on observations and interventions by Bas Raijmakers for Philips Medical Systems (2004).interaction.html Raijmakers. rath oxim ate some of the er than to simp lify it [Frederick Wiseman (fi lmmaker)] My aim as a film make r is to appr comp lexity of the real worl d.com http://www. ACM Press.rca.’ a video letter from one heart patient to another by Bas Raijmakers for Philips Medical Systems (2005).5c – ‘Debra. llustrations Design Documentaries are the result of PhD research by Bas Raijmakers at the Royal College of Art in London.5d 2.ac.uk/people/phds/ bas-raijmakers.’ a compilation film on a heart patient persona by Bas Raijmakers for Philips Medical Systems (2004).’ an observation experiment on the Routemaster bus platform by Bas Raijmakers (2003). Design Documentaries: Inspiring Design Research Through Documentary Film. (2006). and Bishay. and Bishay.designdocumentaries. Proceedings of Designing Interactive Systems 2006. http://www.5e refs refs Raijmakers. All these techniques help to setup a discussion between different perspectives in a visual way that can easily be understood by all members of a multidisciplinary team. 2.html 19 19 . 2. 2.’ an interactive film by Bas Raijmakers for the Equator network.5a – ‘Storage.com http://www. Design Documentaries offer a solid shared and inspiring reference for the continuation of that discussion during the rest of the design process.5b – ‘Kent. UK (2003)..ha 2.5e to sp ea k ab ou t I do no t inte nd k ne arby Ju st sp ea opolo gist.5d to sp ea k ab ou t I do no t inte nd k ne arby Ju st sp ea opolo gist.uk/people/phds/ bas-raijmakers. 2.5b – ‘Kent.rca.5e – ‘On/Off the Bus.’ a video letter from one heart patient to another by Bas Raijmakers for Philips Medical Systems (2005). 2. rath oxim ate some of the er than to simp lify it [Frederick Wiseman (fi lmmaker)] Design Documentaries are the result of PhD research by Bas Raijmakers at the Royal College of Art in London. Gaver.5d – ‘Fred. NY. 2. 2. anthr [Trinh T. ACM Press. Design Documentaries: Inspiring Design Research Through Documentary Film.’ a film on the everyday life of a heart patient based on observations and interventions by Bas Raijmakers for Philips Medical Systems (2004). W. 2.5a – ‘Storage. http://www. All these techniques help to setup a discussion between different perspectives in a visual way that can easily be understood by all members of a multidisciplinary team.’ a compilation film on a heart patient persona by Bas Raijmakers for Philips Medical Systems (2004). New York. Design Documentaries offer a solid shared and inspiring reference for the continuation of that discussion during the rest of the design process.5d – ‘Fred.. 2.’ an interactive film by Bas Raijmakers for the Equator network. Gaver. 2. (2006). UK (2003).My aim as a film make r is to appr comp lexity of the real worl d. Proceedings of Designing Interactive Systems 2006. llustrations 2. poet)] (fi lmmaker.5c – ‘Debra. clutter and display in the home. J.ac.interaction.designdocumentaries. clutter and display in the home.’ an observation experiment on the Routemaster bus platform by Bas Raijmakers (2003). B. J.

to provide the viewer with sufficient information to trigger immersion. through the eyes of our hero: the user. to have a feeling of ‘being there’. One factor is the amount of visual information.e. How can this be achieved? The literature points at two important factors. to allow him to step in. The other factor is the level of 3.1b 20 20 .1 stepping in 3.. One factor is the amount of visual information. it is important to determine the qualities that the visuals should have in order to allow a designer to step in. to immerse the viewer in what is communicated. If a pict ure says a thou sand word s. Here again we have an optimum. This quality – often refered to as suspension of disbelief – is used about a mulititude of media. this statement causes a kind of cognitive dissonance because we are accustomed to interpret images as being ‘real’.. through the eyes of our hero: the user.. it is important to determine the qualities that the visuals should have in order to allow a designer to step in.com Stepping in.1a This quality – often refered to as suspension of disbelief – is used about a mulititude of media.1 stepping in author title Tomas Coomans t. The reader should experience the story empathically.1b 3. but not to confuse and tire him with an overload. the power of visual imagery intro intro If a pict ure says a thou sand word s. While it is indeed not a pipe but rather an image of one. A famous painting by the french artist Margritte depicts a pipe. The visuals should generate empathy with a user. With this. accompanied by the statement ‘Ceci n’est pas une pipe (this is not a pipe)’.e.3. To use this in a design process. The reader should experience the story empathically.coomans@gmail. to have a feeling of ‘being there’. to immerse the viewer in what is communicated.coomans@gmail.e. the power of visual imagery author title Tomas Coomans t. To use this in a design process.. Here again we have an optimum. how do you make it say what you want it to? body text is shown. How can this be achieved? The literature points at two important factors. i. to provide the viewer with sufficient information to trigger immersion..e. i. A famous painting by the french artist Margritte depicts a pipe.. While it is indeed not a pipe but rather an image of one. to allow him to step in.1a 3. The visuals should generate empathy with a user. this statement causes a kind of cognitive dissonance because we are accustomed to interpret images as being ‘real’. how do you make it say what you want it to? body text is shown. With this. The other factor is the level of 3. accompanied by the statement ‘Ceci n’est pas une pipe (this is not a pipe)’.com Stepping in. but not to confuse and tire him with an overload.

he or she must step in. it may be best to ‘only experience’ the story. the hero is often drawn in iconic style. There is a lot that can be learned from the expressive languages of comics and cinema.1d McCloud.1a – iconisation and idealisation 3. There is an optimal level of iconisation. to placing himself in position of the character. The designer must also reflect on it. (1993) Understanding Comics: The invisible art. illustrations 3. Yet design communication is different from these modes of narration. McCloud. There is a lot that can be learned from the expressive languages of comics and cinema. surrounding characters in realistic style. Yet design communication is different from these modes of narration. Iconisation is the process of removing detail. Idealisation is common in advertising and provides a fake look that is not useful for conveying empathy. That is.1c – McCloud’s interpretation of Magritte’s painting 3. This promotes the reader to ‘fill in’ the hero. surrounding characters in realistic style. K. refs 3. For a movie-goer. and to identify with him/her. Iconisation is the process of removing detail. J. or by iconising it. S. Kitchen Sink Press Lidwell. and experience the story from his or her viewpoint. but also step back. McCloud gives the example that in Manga comics. The designer must also reflect on it. K. J. he or she must step in. to placing himself in position of the character. S.1b – iconisation of a face 3. That is. it may be best to ‘only experience’ the story.1c 3. refs 3. in which the viewer will go from regarding a character as someone else. Rockport Publishers. and to identify with him/her. McCloud gives the example that in Manga comics. but also step back. W. or by iconising it. There is an optimal level of iconisation. For a movie-goer.3. in which the viewer will go from regarding a character as someone else. Holden.1d abstraction: A realistic visualisation can be abstracted by either idealising it. and experience the story from his or her viewpoint.1c abstraction: A realistic visualisation can be abstracted by either idealising it. Rockport Publishers. (2003) Universal principles of design. Butler. W. Butler. This promotes the reader to ‘fill in’ the hero.1a – iconisation and idealisation 3.1b – iconisation of a face 3. often in facial characteristics. the hero is often drawn in iconic style. (1993) Understanding Comics: The invisible art. Kitchen Sink Press Lidwell. Holden. (2003) Universal principles of design.1c – McCloud’s interpretation of Magritte’s painting 3. often in facial characteristics.1d – balancing sensory load for immersion Welc ome to the stra nge and won derf ul worl d of the icon! [Scott McCloud] 21 21 .1d – balancing sensory load for immersion Welc ome to the stra nge and won derf ul worl d of the icon! [Scott McCloud] illustrations 3. Idealisation is common in advertising and provides a fake look that is not useful for conveying empathy.

and repeated returns for more detailed information. only oppo site s [Richard Garriott] Chao s and Orde r are not enem ies.mac.com/jonming/PhotoAlbum4.html http://homepage.2b – an infographic supports both primary impression.2b – an infographic supports both primary impression. refs refs http://www. 3.2a 3.2b 22 22 . overview.nl/blog/58 http://www.volkskrantblog. 3. associations.es/graficos/multimedia/espana.2a – an abstraction hierarchy shows how a single interaction can be simultaneously understood and described on different levels.es/graficos/multimedia/espana.2b 3.2c – a mindmap uses various expressive means to provide overview. 3.2a – an abstraction hierarchy shows how a single interaction can be simultaneously understood and described on different levels.elmundo.2c – a mindmap uses various expressive means to provide overview.html 3. and repeated returns for more detailed information. relations. 3. overview.3. relations.html Chao s and Orde r are not enem ies. and detail.2a http://www. associations. 3.nl/blog/58 http://www.html http://homepage.elmundo.volkskrantblog. and detail. only oppo site s [Richard Garriott] 3.com/jonming/PhotoAlbum4.mac.2 stepping back illustrations 3.2 stepping back illustrations 3.

body text Several stages in a design process require the designer to step back from the experience and take an overview. and supports exploring the subject deeper and deeper by a flexible set of routes..and stepping back intro author(s) title Linda van den Hurk Carlijn Stoof lindavandenhurk@gmail. An infographic is a visualisation of lots of information in form of rich pictures. The information in it is given in different layers. diagrams. you move up and down between abstraction and physical form. samples. By asking ‘why?’ and ‘how?’. On the one side stand social values and needs. or combination of those.. A mindmap clusters all gathered information. quotes.and stepping back intro Carlijn Stoof The context-driven design team must integrate insights from very many disciplines.com . there is a whole range of visualisations that give overview. It ranks the information from purpose and functions to physical implementation. charts. and allows you to organize and emphasize elements and connections. and moving beyond the individual stories of individual users at singular events.2c In the beginning of the design process stepping back is required to sort your own thoughts and the information you found but haven’t analysed yet. and small explanations. This allows a quick grasp on the main message. on the other means to support those. maps. to give the design team a map to tackle the complexity of issues involved? The context-driven design team must integrate insights from very many disciplines.. or combination of those. and small explanations. and allows you to organize and emphasize elements and connections. A mindmap clusters all gathered information. maps. there is a whole range of visualisations that give overview.com . you move up and down between abstraction and physical form.2 stepping back author(s) title Linda van den Hurk lindavandenhurk@gmail. infographics are suitable. respectively.com carlijn.com carlijn. Beside these common techniques.2 stepping back 3. charts. 23 23 . respectively. and supports exploring the subject deeper and deeper by a flexible set of routes. 3. When you want to analyse the information. samples. an abstraction hierarchy can be used.2c In the beginning of the design process stepping back is required to sort your own thoughts and the information you found but haven’t analysed yet. It ranks the information from purpose and functions to physical implementation. For each stage a certain technique fits best. On the one side stand social values and needs. to give the design team a map to tackle the complexity of issues involved? body text Several stages in a design process require the designer to step back from the experience and take an overview. The information in it is given in different layers. By asking ‘why?’ and ‘how?’.stoof@gmail.stoof@gmail. For each stage a certain technique fits best. When you want to analyse the information. quotes. Then when you are in a stage where you have analysed your data and want to visually represent it. Then when you are in a stage where you have analysed your data and want to visually represent it. many perspectives. This allows a quick grasp on the main message. diagrams. Mindmaps are suitable for getting this overview. many perspectives. What techniques help to give an overview of different factors. Mindmaps are suitable for getting this overview. 3. infographics are suitable. Beside these common techniques.3. on the other means to support those. and moving beyond the individual stories of individual users at singular events. an abstraction hierarchy can be used. What techniques help to give an overview of different factors.. An infographic is a visualisation of lots of information in form of rich pictures.

therefore it is important to know your audience. we found enough guidelines to get one started. 3. It has a systematic form. therefore it is important to know your audience. but related insights.3 storytelling 3. the audience should be able to understand the character. These stages add emotional depth. For design inspiration the story should not be a flawless userinstruction. character. to identify with him/her. the audience should be able to understand the character. Stories are a major tool for uniting different. these techniques help the design team deal with the complexity at hand. these techniques help the design team deal with the complexity at hand. appropriate and consistent.3a Products interact with people and are designed for people. meaning and magnitude. and environments.3. plot. It has a systematic form.com a_e_hennink@hotmail.3 storytelling Know your audien ce! author(s) title Know your audien ce! author(s) title Anne-Roos Hassing Elisabeth Leegwater anne_hassing@hotmail. A story always has a beginning. mood and movement. mood and movement. middle and end and needs the following fundamental elements: setting. These stages add emotional depth. body text But what makes a good story? During research. meaning and magnitude. invisibility. 3. 2005). people. 3. people. In most interesting stories. but related insights. we found enough guidelines to get one started. To make a character come alive he/she should be good (morals). but can be a dramatic narrative containing negative event (possibly resolved within the story). plot.com Inspired by the old techniques of storytelling intro Annet Hennink Stories are a major tool for uniting different.3b 3.com elisa8eth@hotmail. narrative wholes.com Inspired by the old techniques of storytelling intro Anne-Roos Hassing Elisabeth Leegwater Annet Hennink anne_hassing@hotmail. middle and end and needs the following fundamental elements: setting. For design inspiration the story should not be a flawless userinstruction. there is a reversal of fortune (Laurel. and environments. To empathize with the character. To empathize with the character. in sequences of interactions between products. Theories from theatre and movies have been applied to design. A story always has a beginning. so the character is of great importance.com a_e_hennink@hotmail.3a Products interact with people and are designed for people.3b 24 24 . so the character is of great importance. to identify with him/her. in sequences of interactions between products. character. the character will become more realistic and therefore evoke empathy. or ‘the hero’. in order to do justice to the fact that experience with products occurs over time. the character will become more realistic and therefore evoke empathy. narrative wholes. invisibility. Theories from theatre and movies have been applied to design. but can be a dramatic narrative containing negative event (possibly resolved within the story). 2005). appropriate and consistent. in order to do justice to the fact that experience with products occurs over time. To make a character come alive he/she should be good (morals). In developing storylines. By giving details and giving the character a past.com elisa8eth@hotmail. By giving details and giving the character a past. In developing storylines. or ‘the hero’. In most interesting stories. there is a reversal of fortune (Laurel. consisting of stages. consisting of stages. body text But what makes a good story? During research.

providing a common ground in discussions.3e 3. Ambiguous or too much information should be avoided. Through stories. Through stories. moving from evocative stories as the design ideas are created to prescriptive stories that describe the details of the design. J.3c 3. L. for communication (e. acti on fig ure. Kitchen Sink Press www. for communication (e. S. (2003) Screenwriting for dummies. (1990) Making movies work. (1990) Making movies work.com Springboard Stories “needs and goals” Design Map Key Snenarios “perception. actions “context for and barriers” actions” Use Cases “sequence of actions” illustrations illustrations 3. Wiley Boorstin. Wiley Boorstin. (2003) Screenwriting for dummies. Stories are used throughout the design process. [Whitney Quesenbe ry] to make it more interesting.3d – reality is boring 3. Kitchen Sink Press www. In a story there should be no coincidences.3a – a story has a beginning. Silman-James Press McCloud. New York Schellhardt. They can be used for evoking discussion. Stories are used throughout the design process.3e 25 25 . S. because the stor ies are how they go from a pict ure to an . a story should always be somewhat enhanced Because reality is boring. providing a common ground in discussions. J. They are easy to remember and can act as an equalizer within the design team. I thin k pers ona s need stor ies to mak e them comp lete. a story should always be somewhat enhanced I thin k pers ona s need stor ies to mak e them comp lete. middle and end Prescriptive Evocative ‘Points of Pain’ Stories “barriers to overcome” Narrative Scenarios “what happens and why” Flow Diagrams “actions and decisions” 3.3d 3.3c 3. because everything that happens gets a meaning. They can be used for evoking discussion. Hyperion. middle and end 3.3a – a story has a beginning. (1993) Understanding Comics: The invisible art. They are easy to remember and can act as an equalizer within the design team. Ambiguous or too much information should be avoided.g.com Springboard Stories “needs and goals” Design Map Key Snenarios “perception. user data) or for persuading people. New York Schellhardt. personal engagement of designers with users can be enhanced. [Whitney Quesenbe ry] to make it more interesting.3b – a dramatic reversal of fortune 3. actions “context for and barriers” actions” Use Cases “sequence of actions” refs Tierno. personal engagement of designers with users can be enhanced.3c – fundamentals of the character 3. (2002) Aristotle’s Poetics for screenwriters. In a story there should be no coincidences.whitneyquesenbery.3b – a dramatic reversal of fortune 3. L. user data) or for persuading people. Hyperion. M. because the stor ies are how they go from a pict ure to an . just as missing links. acti on fig ure. (1993) Understanding Comics: The invisible art.3e – storytelling in the design process 3. Silman-James Press McCloud. (2002) Aristotle’s Poetics for screenwriters. because everything that happens gets a meaning.whitneyquesenbery.g.3.3d Because reality is boring. just as missing links.3d – reality is boring 3. refs Tierno. moving from evocative stories as the design ideas are created to prescriptive stories that describe the details of the design.3e – storytelling in the design process Evocative ‘Points of Pain’ Stories “barriers to overcome” Narrative Scenarios “what happens and why” Flow Diagrams “actions and decisions” Prescriptive 3. M.3c – fundamentals of the character 3.

but also the ways in which they are used. in idea generation workshops.. Therefore it is worthwhile to consider not only the message and its audience. With other words. the materials should only provide guidance: 3. toward a consistent company style or toward empathy with the user. When materials are developed to guide creativity in a certain direction. That includes the space in which creative sessions occur. but used as tools. opportunities should be available to play you can not force creativity.com Space for creativity Rich visualisations are created to support creative work. toward a consistent company style or toward empathy with the user. others are unintentional. enjoyed. as IDEO did when they went to long corridors as a place to make a design for an airplane’s interior. Or you can move to a place that is similar to the intended design usage context. Some inspirations may be guided by the user research. e. They are not meant to be read.lampe@gmail. Provide materials for play and tinkering. Besides visual input there is varied input to all our senses. chirping birds. chirping birds. e. but also the ways in which they are used.g. sketches or just to fool around. Secondly you can move to a space that is more related to a specific activity. facilities which are specialized in providing inspirational spaces. Or you can move to a place that is similar to the intended design usage context. storyboards. Secondly you can move to a space that is more related to a specific activity. to make mock-ups. Put this into practice with ideas mentally. Some inspirations may be guided by the user research. What type of place works well to stimulate creativity and what gets us in the right frame of mind? author(s) title Pepijn Lampe p. the materials should only provide guidance: 3. and forgotten. There are at least two ways to shape your working space to support your design inspiration. sketches or just to fool around. This can be done in a general fashion or by introducing aspects of the intended context of use. Provide materials for play and tinkering. There are ‘creativity rooms’. First you can adapt your present location into a more inspirational environment. and forgotten. e. Basically everything around us can serve as an inspirational factor.4 space 3.. others are unintentional.com Space for creativity Rich visualisations are created to support creative work. to make mock-ups. This can be done in a general fashion or by introducing aspects of the intended context of use.3. but used as tools. Creativity is an active process. but also physically.3a The space we are in is more than the room around us and all the artifacts in it. in idea generation workshops. When materials are developed to guide creativity in a certain direction. Basically everything around us can serve as an inspirational factor. There are ‘creativity rooms’. With other words. They are not meant to be read. What type of place works well to stimulate creativity and what gets us in the right frame of mind? intro intro body text What is the theory? body text What is the theory? The space we are in is more than the room around us and all the artifacts in it.lampe@gmail. Therefore it is worthwhile to consider not only the message and its audience. storyboards.g. First you can adapt your present location into a more inspirational environment.g. opportunities should be available to play with ideas mentally. but also physically.4 space author(s) title Pepijn Lampe p.. enjoyed. Creativity is an active process.g. e. Put this into practice There are at least two ways to shape your working space to support your design inspiration. all materials should leave room for exploration and interpretation. 26 26 . all materials should leave room for exploration and interpretation..3a you can not force creativity. facilities which are specialized in providing inspirational spaces. That includes the space in which creative sessions occur. Besides visual input there is varied input to all our senses. as IDEO did when they went to long corridors as a place to make a design for an airplane’s interior.

pp 215-223.. Laurance & King Ltd. van der. Lugt. S. P.illustrations spaces that induce creativity illustrations spaces that induce creativity refs refs Myerson. and Stappers. Cyberpsychology & Behavior. 4(2). (2001) Using video collages in the design process to experience presence and atmosphere. and Stappers. Cyberpsychology & Behavior. Lange. P. Creativity and Innovation Management. 27 27 . and Lange. The atm osp her e of bei ng the re wit h the end use r in the env iro nme nt .. S. 4(2).. Laurance & King Ltd. can pro vid e ins pir ati on for soluti ons that wou ld not be tho ugh t of beh ind the off ice des k [Ianus Keller] learning from practice. J. pp 215-223. E. A. A.. R. Creativity and Innovation Management. J. de (in press) Future Centre The Shipyard. R. S. Janssen..I. Keller. Lugt. and Myerson. S. van der. E. (2001) Using video collages in the design process to experience presence and atmosphere.I. de (in press) Future Centre The Shipyard. Kuperus. (2001) IDEO Masters of Innovation.J. can pro vid e ins pir ati on for soluti ons that wou ld not be tho ugh t of beh ind the off ice des k [Ianus Keller] learning from practice.. Keller. The atm osp her e of bei ng the re wit h the end use r in the env iro nme nt .J. Kuperus. (2001) IDEO Masters of Innovation. Janssen.

the Olympic Games’ torch runner or domino and memory games.3. as the amount of similar 3.3a yet somehow different principles support new sensitizer combinations. How can we use these techniques in setting up design communication? author(s) title Marion Streubel m.streubel@gmx. a lot of attention is paid to the process of sensitizing the creative participant over time before sessions take place.streubel@gmx. Out of these clusters a matrix was developed which can be used to sort any everyday life example into a certain category. How can we use these techniques in setting up design communication? intro intro body text With this question in mind the research focused on identifying and analyzing everyday activities or rituals that are used to build up tension or excitement for an event to come. a lot of attention is paid to the process of sensitizing the creative participant over time before sessions take place.com Communication over time Communication. which is a bit more passive than the other option. This provides not only inspiration but also becomes a working toolbox over time. send a message and involve connectors.5 time 3. before they come to meet the product. And the design process has already begun before the workshop. foretaste or some kind of mini body text With this question in mind the research focused on identifying and analyzing everyday activities or rituals that are used to build up tension or excitement for an event to come. before they come to meet the product. In contextmapping. Workshops have a progressive structure to facilitate the creative process. 28 28 . foretaste or some kind of mini experience. The long list included rituals such as the Christmas calendar and advent wreath. Out of these clusters a matrix was developed which can be used to sort any everyday life example into a certain category. In contextmapping. yet somehow different principles support new sensitizer combinations. like product use. By using the clustering technique four basic principles were found: counting towards the future. takes place over time. The long list included rituals such as the Christmas calendar and advent wreath. The more active level aims at motivating the person or receiver in order to get them passionate whereas the other one would solely aim at preparing or informing the person. and continues afterward. This provides not only inspiration but also becomes a working toolbox over time. And the design process has already begun before the workshop. the Olympic Games’ torch runner or domino and memory games. into the right frame of mind. takes place over time. which is a bit more passive than the other option. Those principles could again be divided into two groups. Advertisement campaigns similarly use teasers to get people started. The more active level experience. like product use. By using the clustering technique four basic principles were found: counting towards the future.3a aims at motivating the person or receiver in order to get them passionate whereas the other one would solely aim at preparing or informing the person. Advertisement campaigns similarly use teasers to get people started. as the amount of similar 3. Those principles could again be divided into two groups. like clowns in the circus or moderators in a TV show.5 time author(s) title Marion Streubel m. send a message and involve connectors. into the right frame of mind.com Communication over time Communication. like clowns in the circus or moderators in a TV show. and continues afterward. Workshops have a progressive structure to facilitate the creative process.

157-173). R van der.5b . . The 1st creativity and innovation community workshop (pp. Janssen.). In Fischer. s over an d wh en it sta rt s.t over .til it .).a selection of the cards illustrations 3. R van der.5a . O. The 1st creativity and innovation community workshop (pp. S. PJ (2005). & Stappers. Enhancing involvement: explorations with use of place and time in creative group processes.the sensitizing toolbox 3.3b It ai n . . & Weerd Nederhof. 29 29 . In Fischer. 157-173). Janssen. P. O.3b 3. (Ed. P.a selection of the cards 3. Enhancing involvement: explorations with use of place and time in creative group processes. PJ (2005).5b . (Ed.the sensitizing toolbox 3. it s lon g be gu n refs It ai n . S. & Stappers. it s lon g be gu n refs Lugt. s over an d wh en it sta rt s.illustrations 3. Lugt.til it .t over . & Weerd Nederhof.5a .

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