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STORYPLY: Designing for user experiences using storycraft
Abstract
The role of design shifts from designing objects towards designing for experiences. The design profession has to follow this trend but the current skill-set of designers focuses mainly on objects; their form, function, manufacturing and interaction. However, contemporary methods and tools that support the designers’ creative efforts provide little help in addressing the subjective, context-dependent and temporal nature of experiences. Designers hence need to learn by trial and error how to place experiences at the center of their creative intentions. We are convinced that there is room for new tools and methods that can assist them in this process. In this chapter, we argue that storycraft can offer part of the guidance that designers require to put experiences before products right from the very start of the design process. First, we establish the background behind the shift from products to experiences and explain the challenges it poses for the designer’s creative process. Next we explore the contemporary conceptual design process to understand its shortcomings, point out the opportunity that storycraft offers and propose our approach to take on this challenge. Last but not least, we propose a specific method called Storyply that we have designed and developed iteratively by testing it in conceptual design workshops with students and professionals.
... There might be differences with the published version. 3 They are both subjective, context-dependent, and dynamic [26]. They share a sequential structure with a beginning, middle, and end that can be crafted and influenced through design [27]. ...
... Designers need to externalize and represent ideas into tangibles in order to test, evaluate and refine ideas at this phase [8], [9], [34]. As explained in detail in "STORYPLY: Designing for user experiences using storycraft" [3], we explored the most relevant and widely used tools in the design profession for this purpose and exposed their shortcomings in terms of designing for experiences. We also offered an argumentation for why storycraft offers a potential solution. ...
The design profession is shifting from designing objects towards designing for experiences, and the main premise of this paper is that designers need strategic guidance in bringing the emotional, contextual, and temporal aspects of experiences into discussion. Existing externalization strategies are not obviously equipped to help incorporate the transient characteristics of experiences into the designer’s creative thinking. In this paper, we propose that designers may be able to achieve this by including visual storycraft into their creative process. Storycraft is the skilled practice of generating/building stories. Stories and experiences share a sequential structure with a beginning, middle, and end that can be crafted and influenced through design to evoke and affect the emotions of their experientors. Several activities of designers are already very similar to those of professionals in storycraft, as the tools and techniques used in both domains are aimed at creating emotionally satisfying experiences. While harnessing the power of storycraft to elevate strategies in designing for experiences is an attractive idea, which has been embraced earlier by the design research community, it is not a proposal that can easily be put into practice. We have iteratively designed, evaluated, and improved Storyply as a method that combines ‘conceptual design’ and ‘story planning’. Our studies have confirmed that incorporating storycraft within conceptual design by means of Storyply resonated well with design teams and indeed helped them to discuss and frame ideas in an experience-centric fashion.
... In the field of industrial design, several studies explored storytelling tools to support industrial designers and industrial design students. Atasoy and Martens [4,5] argued that the creative skills required of designers overlapped with those of professional storytellers. Peng [30,31] explored storytelling in design by creating a toolkit called 'Pitchify' to help industrial design students craft and visualize stories to envision the user experience. ...
Drawing on our collective experience as educators and preliminary results of an in-progress research study, we explore the complexities of integrating storytelling into Human-Computer Interaction (HCI) education. Within the user experience (UX) industry, storytelling is considered essential for collaborating, engaging stakeholders, and shaping professional identities. However, despite that importance, effectively teaching storytelling presents an unsolved educational challenge in HCI. We begin by examining storytelling’s multifaceted and elastic nature in UX practice and how that contributes to the challenge of teaching it, demonstrating key points with quotes and anecdotes from our ongoing research. We then discuss various pedagogical approaches to help students understand good storytelling, practice their storytelling skills, and better appreciate how storytelling can shape their academic and professional success. We hope that by sharing what we are grappling with as we investigate UX storytelling in practice, we can engage the EduCHI community in productive discussions to help us move our collective teaching practices forward.
... Untuk mengeksplorasi ide-ide awal, peneliti telah melakukan brainstorming ide-ide kasar, peta pikiran, dan membuat mood board. Mood board dibuat dengan menyusun gambar, foto, bahan, tekstur, warna atau elemen lainnya secara visual untuk mempresentasikan konsep atau ide (Atasoy & Martens, 2016). Seperti gambar 1, peneliti mengumpulkan gambar bunga Lavatera dan style busana pesta wanita yang akan dikembangkan. ...
Bunga Lavatera memiliki keindahan yang khas, ukurannya besar menarik perhatian dan warnanya yang cerah. Tujuan penelitian adalah untuk mendeskripsikan proses pembuatan dan hasil jadi busana pesta dengan sumber ide bunga Lavatera dengan teknik korsase. Metode penelitian ini menggunakan pendekatan a three stages design process atau tiga tahap proses desain. Metode ini terdiri dari 3 tahap penelitan: problem definition and research (definisi masalah dan penelitian), creative exploration (eksplorasi kreatif) dan implementasi. Pada tahap awal menentukan arah desain yaitu membuat busana pesta wanita dengan sumber inspirasi bunga Lavatera yang dibuat untuk wanita muda dengan tipe sexy alluring. Tahap kedua, peneliti membuat moodboard dan mengembangkan 10 desain sketsa busana pesta berupa gaun one piece. Dua desain terpilih diwujudkan menggunakan pola draping langsung di atas manekin ukuran medium. Tahap implementasi dengan menerapakan hiasan korsase yang besar sebagai pusat perhatian pada busana pesta. Proses pembuatan korsase dimulai dari menyiapakan kain organza yang sudah diplisket kecil, kemudian dipotong kotak dan dikerut pada bagian bawahnya untuk membuat helaian bunga. Hasil jadi busana pesta sesuai dengan yang diharapkan yaitu gaun yang dapat membalut tubuh dengan pas untuk wanita tipe sexy alluring dan menerapkan hiasan korsase yang menerapkan prinsip desain center of interest dan pengulangan. Lavatera flowers have a peculiar beauty, their large size attracts attention and bright color. The purpose of the study was to describe the process of making and finished evening dress with the source of the idea of Lavatera flowers with corsage techniques. This research method used a three-stage design process approach. This method consists of 3 stages of research: problem definition and research, creative exploration, and implementation. At the initial stage of determining the direction of design, namely making women's evening dress with a source of inspiration for Lavatera flowers made for young women with sexy alluring types. In the second stage, researchers created a moodboard and developed 10 evening dress sketch designs in the form of one-piece dresses. Two selected designs were realized using draping patterns directly on medium-sized mannequins. The implementation stage is by applying large corsage decorations as the center of interest in evening dress. The process of making corsages starts from preparing organza cloth that has been small pleats, then cut into squares and wrinkled at the bottom to make flower strands. The result of evening dress as expected, a dress that can wrap the body snugly for sexy alluring type women and apply corsage decorations that apply the design principles of center of interest and repetition.
... Tujuan dari tahapan ini yaitu bagaimana cara agar tujuan produk dan kebutuhan pengguna dapat dipenuhi. Cara untuk memetakan kebutuhan user dengan jelas yaitu menggunakan user journey map dengan tujuan memvisualisasikan langkah-langkah yang diambil oleh pengguna untuk membayangkan peristiwa dan interaksi dalam sebuah proses [16]. Gambaran perjalanan atau pengalaman pengguna pada user journey map yang dibuat diadopsi dari hasil survey dan wawancara pada analisis fenomenologis. ...
Abstrak
Literasi keuangan menjadi hal yang penting seiring meningkatnya popularitas layanan keuangan digital karena dapat berpengaruh terhadap bagaimana seseorang mengelola keuangannya dan berakibat pada kesehatan keuangan seseorang di masa depan. Untuk meningkatkan literasi keuangan dapat dengan membaca buku, artikel maupun dukungan aplikasi personal asisten keuangan yang memenuhi kebutuhan pengguna. Penelitian ini bertujuan untuk memahami pengalaman pengguna dalam mengelola keuangan personal sehingga peneliti dapat mendefinisikan kebutuhan pengguna untuk dijadikan pertimbangan dalam merancang aplikasi pengelolaan keuangan personal. Metode yang digunakan yaitu five planes method yang terdiri dari strategy, scope, structure, skeleton dan surface dengan pendekatan analisis fenomenologis interpretatif. Penelitian dilakukan dengan melakukan survey terhadap 41 orang dan dilanjutkan dengan wawancara analisis fenomenologis interpretatif dengan tujuan untuk lebih memahami kebutuhan target pengguna. Penelitian dilanjutkan dengan analisis dan pembuatan user journey map yang kemudian digunakan untuk merancang user flow. Hasil akhir penelitian berupa rekomendasi antarmuka presisi tinggi aplikasi asisten keuangan personal yang mencakup semua fitur yang dibutuhkan oleh pengguna.
Kata kunci: antarmuka, asisten personal, aplikasi, user experience
Abstract
Financial literacy becomes important as the popularity of digital financial services increases because it can affect how a person manages his finances and has an impact on one's financial health in the future. To improve financial literacy, someone can read books, articles or use financial personal assistant applications that meet user needs. This study aims to understand user experience in managing personal finance so that researchers can define user needs to be considered in designing personal financial management applications. The method used is the five planes method consisting of strategy, scope, structure, skeleton and surface with an interpretive phenomenological analysis approach. The research was conducted by conducting a survey of 41 people and followed by Interpretive phenomenological analysis interview with the aim of better understanding the needs of the target users. The research continued with analysis and creation of a user journey map which was then used to design user flow. The final result of the research is a recommendation for a high-fidelity interface for a personal financial assistant application that includes all the features needed by users.
Keywords: interface, personal assistant, mobile, user experience
... It is easy to remember a story and communicate it with the team, resulting in a shared vision among the team members [11]. Stories are easy to articulate, thus allowing stakeholders of diverse backgrounds to contribute to the development of a design [12]. To foster this, we looked at 'The Shopping Cart IDEO Case study.' ...
Design education is a modern discipline. However, like storytelling, design has been a way of expression for human beings since the beginning of civilization. In fact, the earliest recorded stories by humankind in the form of cave drawings draw on both the skills–storytelling and designs. Stories evoke powerful emotions in us, staying with us for a long time. Similarly, a good design experience, which connects with us through strong emotions and an engaging storyline, has staying power. A story connects multiple characters and contexts through a single narrative. Similarly, a seamless design experience straddles across diverse domains, such as psychology, technology, marketing, art, among others with a compelling narrative. The aim of the paper is to probe the need for design education and establish its strong connection with storytelling. Through literature review, we have concluded that stories can enhance the design process in diverse forms at multiple levels and help fortify the skills of designers. Storytelling can effectively complement the other tools and techniques used in the design process. The paper establishes a strong case for incorporating storytelling as a medium in design, and as an integral and inherent skill set of a designer.
... The suggestion to incorporate storytelling into the design process is not new, and has even inspired new design methods. StoryPly [1] is an example of a recent method that has been developed by our research group. It is a method in support of designers to envision and discuss user experience through crafting and visualizing stories. ...
Several methods and tools have been developed to support storytelling used in design. While the benefits of storytelling have been argued extensively in literature, the willingness to adopt it in actual practice, especially in students’ design projects, has however been slow. The lack of empirical studies on actual adoption of storytelling calls for a deeper understanding of the considerations that influence design practitioners, especially design students, to adopt or reject storytelling in design. This paper presents an exploratory study that aimed to identify the main obstacles that design students raise against using storytelling in their design process, and to explore ways to address such obstacles. The results imply that the main underlying reasons for poor adoption are the lack of perceived usefulness and the lack of tools to support. Based on the experimental observations, an opportunity for enhancing students’ acceptance of storytelling is identified.
... Building on the design tools discussed in Section 2 and other research on developing creative tools (Atasoy & Martens, 2016;Jacobs et al., 2017), we developed four evaluation criteria. Each participant took part in a 10-15 minutes semi-structured interview. ...
As a particular type of artificial intelligence technology, machine learning (ML) is widely used to empower user experience (UX). However, designers, especially the novice designers, struggle to integrate ML into familiar design activities because of its ever-changing and growable nature. This paper proposes a design method called Material Lifecycle Thinking (MLT) that considers ML as a design material with its own lifecycle. MLT encourages designers to regard ML, users, and scenarios as three co-creators who cooperate in creating ML-empowered UX. We have developed ML Lifecycle Canvas (Canvas), a conceptual design tool that incorporates visual representations of the co-creators and ML lifecycle. Canvas guides designers to organize essential information for the application of MLT. By involving design students in the “research through design” process, the development of Canvas was iterated through its application to design projects. MLT and Canvas have been evaluated in design workshops, with completed proposals and evaluation results demonstrating that our work is a solid step forward in bridging the gap between UX and ML.
... This paper is inspired by observations made in a number of workshops (about 20) conducted with the Storyply [1] method. Some of these workshops involved professional design teams, while others were conducted with teams of design students. ...
This paper explores how prop-based virtual reality storytelling (VR&P-ST) can enhance user-centred product conceptual design (UCPCD) by the perspective of ‘computing with
things’. The study introduces the concept of ‘rhetoric’ and
the framework of ‘epistemic objects’ to explore the value
of VR&P-ST. The study provides VR&P-ST experience for
designers through VR passive haptics and proposes ten
hypotheses. Through data analysis, nine hypotheses were
accepted, and one hypothesis was rejected. This study provides a new solution in the field of empathic methods of
UCPCD. Additionally, this study verifies that VR&P-ST can
improve the fidelity and historical perception of conceptual
design objects and neutralize ambiguity as the ‘rhetoric’.
These three characteristics make VR&P-ST have a positive
impact on the designer’s engagement, which in turn
improves the designer’s evaluation and experience of the
design process to a certain extent, but it still has
limitations.
An engaging user experience is an increasingly important design characteristic in the automotive industry. Compared with physical design characteristics (form, material, mechanical design, appearance), automotive designers find UX (user experience) challenging to communicate during the early stages of the design process without investing in expensive prototypes and/or models. This paper presents the development of a method to explore strategies to communicate UX through the medium of storyboards early in the design process. The method enables links to be drawn between the design tool of storyboarding and the attributes of theoretical UX outlined in theoretical frameworks. By applying this method in a case study of a storyboard created by Ford Design Asia Pacific, we identify how the theoretical attributes of UX are manifested, and we also highlight certain attributes of UX that are difficult to convey during the early phases of automotive design. This research thus contributes a method relevant to practice that assists with effectively communicating UX in early-stage automotive design where higher fidelity prototyping is unviable. Additionally, it enables the study of storyboard outcomes in the design process to assess the degree to which the intended UX is communicated. In doing so, it contributes a first step toward formalizing the analysis of UX in concept design, which in turn opens up this highly subjective area to further research in the automated analysis of conceptual design and even generative design.
It has been broadly proved that storytelling, which is regarded as a natural creative human activity, serves as an effective thinking tool for improving creativity in service design. In practice, however, the lack of support for storytelling affects the perceived usefulness and ease of storytelling for novice designers. This results in a low willingness to use storytelling, poor usage, and low design innovation among novice designers. Research has identified significant differences between experts and novices in the design process, and summarizing these differences in thinking strategies can effectively guide novices in design activities. In previous research, we have successfully used the six thinking hats for novices to learn expert strategies and enhance their creativity. The purpose of this study is to compare differences between experts and novices in storytelling strategies and design behaviors in process, in order to understand how to support novices in storytelling and enhance creativity. The study uses verbal protocol analysis to explore the differences between three teams of novices and three teams of experts. We use the De Bono's "six thinking hats" thinking tool to decode designers' implicit and latent design thinking and use Burke's "dramatistic pentad" theory to extract the design teams' storytelling thinking. The results show significant differences between experts and novices in storytelling strategy and construction process, where experts tend to have more efficient storytelling strategies and design behaviors than novices. The expert strategies we found can guide design educators to support students when solving service design problems and provide important theoretical support and methodological guidance for instructing novices in expert storytelling strategies.
Objective: The research study focuses on evaluating how usability engineering related activities would look like in virtual reality from an exploratory point of view. Research questions for the study are: a) What quantitative impact does an environment have on the usability evaluation of software interface components? b) How is this impact different in virtual environment as compared to physical environment? c) What could be the best interaction design representation in virtual reality which could have a similar mental model for the users as having a mouse and keyboard in physical environment? d) What role does another user/a virtual mannequin and other elements/objects play on influencing the usability evaluation results in virtual reality?
Industrial design students generally have difficulty in making good design pitching to convincing the audiences to subscribe a design concept. Despite the values of stories for design communication have been greatly proposed by literature, in students’ practices there is usually no story or no complete story in their pitching. As what often been complained by the students that making stories takes effort and time, appropriate tools are promising to help. This paper presents an exploration of such kind of tools with the aim to support story-planning for design pitching. A tool called StoryPrea is introduced and a user test of this tool is reported. The results shown the positive role of the tool and also indicated the directions for design iteration in future work.
Objective: The research study focuses on evaluating how usability engineering related activities would look like in virtual reality from an exploratory point of view. Research questions for the study are: a) What quantitative impact does an environment have on the usability evaluation of software interface components? b) How is this impact different in virtual environment as compared to physical environment? c) What could be the best interaction design representation in virtual reality which could have a similar mental model for the users as having a mouse and keyboard in physical environment? d) What role does another user/ a virtual mannequin and other elements/ objects play on influencing the usability evaluation results in virtual reality? Background: As per ISO 62663 and Food and drugs administration (FDA) guidelines, simulating usage environment when evaluating software components is crucial. However , with conventional lab environment usability testing sessions have no environment simulated in it. The research focuses on how the transition path (moving from physical to virtual environment) would look like if a researcher wants to thoroughly evaluate a design concept in virtual reality. Method: Participants (N = 8) participated in the experiment to evaluate 3 interaction design concepts in virtual reality (1) gaze timer: seeing the virtual monitor for 3 seconds to go to the next page in the workflow, (2) gaze click: seeing the virtual monitor and using controller to aim and go to the next page in the workflow, and (3) gaze gesture: seeing the virtual monitor and using controller to pick-drag-drop a page in the workflow stack to another location. The three interaction design concepts varied in physical work-load, cognitive workload, familiarity, learning curve and readability. The experiment design was a within subject design. Results: Participants preferred gaze click interaction design concept over gaze timer and gaze gesture concept. Conclusion: Having a virtual environment added to a conventional lab/physical environment , transition could be possible. Replacement of controls like mouse and keyboard could be done by adding gaze click interaction. Application: Results of the study could serve as providing design guidelines for simulation of software interfaces' usability evaluation in virtual reality.
Designing for experience requires designers to pay attention to reflection on design impact. However, industrial design students are observed to have difficulty in demonstrating the impact of their design concepts due to insufficient thinking and reflection on design impact. There is a lack in the literature on both reflections on design impact and the tool support. The existing tools for general reflection purpose seem not to work well for this specific purpose. In response to the calls for designing for reflection, this paper presents two exploratory studies and the design requirements of tools for reflection on design impact. The purpose aims to facilitate design students for their reflection on design impact through developing appropriate tools. The design requirements could be generally used as guidelines or reference for future work of developing tools for reflection on design impact.
One of the challenges for companies when developing concepts for new products, services or applications is whether or not the concepts will make sense to the user. And evidence that a concept will be valuable should preferably become available early in the design process. Involving users in the process of reflecting on new concepts makes sense because they are domain experts. However, in order to judge whether a concept will bring added value, users need to envision future contexts of use. We present the Co-Constructing Stories method, which aims to facilitate this envisioning process for users. In one-to-one sessions of less than an hour, first users are prompted by stories about the current context, helping them recollect relevant real life experiences for sensitization. Next, they are prompted through future scenarios to envision possible future experiences that may be enabled by the concept. In this paper we explain the method and discuss its background and relation to other methods. We introduce a case study in which the method was applied. Based on the insights gathered through this and similar case studies, we provide guidelines for designers who might be interested to use the method in the future.
In the emerging design landscape, knowledge integration and collaboration with external partners are being valued in the design process due to the increasing scale and complexity of the design problems. It becomes important for designers to be in close contact with stakeholders, such as the people, communities and organizations who are affecting, or being affected by, the problem or the solution from the early stages of the design process. The majority of the methods that are utilized in design practice have until now been user-focused, aiming at understanding the users and designing for the user experience. Stakeholder involvement in the design process is a new topic of study in the design field. Approaches and methods that guide the designers in developing design solutions by considering diverse stakeholder perspectives are limited.
With the purpose of assisting the designers in considering the stakeholder perspectives in the design process, we present the Value Design Method that aims to integrate the user insights, business insights, and stakeholder expectations and roles at the early stages of the design process. We introduce the method alongside the Value Design Canvas. The Value Design Canvas is a visual probe that can be applied in collaborative multi-stakeholder design workshops. We provide advice on how to apply the method and on aspects that should be attended to while organizing multi-stakeholder workshops.
This thesis applies concepts from Vladimir Propp’s model of the narrative structure
of fairy tales (Propp’s morphology) to a story authoring tool for children. A computer
story authoring application based on Propp’s morphology is developed and evaluated
through empirical studies with children. Propp’s morphology is a promising model
of narrative for a children’s story authoring tool, with the potential to give children a
powerful mental model with which to construct stories. Recent research has argued
for the use of computer-based interactive narrative authoring tools (which enable the
construction of interactive narrative computer games in which the player can affect or
change the plot) to support children’s narrative development, and a number of interactive
narrative systems use Propp’s morphology as their underlying model of narrative.
These interactive narrative tools have many potential learning benefits and a powerful
motivational effect for children, who enjoy using them to create narrative games.
The potential of an interactive narrative system based on Propp’s morphology to support
children’s construction of narratives seems great, combining Propp’s rich narrative
model with the motivational benefits of interactive narrative.
Before the application of Propp’s morphology in an interactive narrative game creation
tool to support children’s writing could be pursued, it was necessary to study
children’s story writing with Propp’s morphology. How can Propp’s morphology be
represented in a story authoring tool for children? Can children apply Propp’s abstract
narrative concepts to the task of creating their own original stories? How does using
Propp’s morphology affect the stories written by children? Using the Propp-based authoring
tool that is presented in this thesis children were able to grasp Propp’s abstract
concepts and apply them to their own story writing. The use of a story authoring tool
based on Propp’s morphology improved some aspects of the narrative structure of the
stories written by children, and children reported that they enjoyed using the tool and
felt it was helpful to their story writing. This thesis lays the foundation and identifies
the methods for further study of children’s appropriation of narrative structure by
constructing stories using a story authoring tool based on Propp’s morphology.
Design is changing into an experience-oriented discipline and therefore designers need appropriate tools and methods to incorporate experiential aspects into their designs. We argue that the creative skills required of designers are starting to overlap with those required of professional storytellers. Understanding the structural strategies behind storytelling and learning how to incorporate them into a design process is becoming increasingly relevant for designers when they want to envision, discuss and influence user experiences. We have specifically investigated dramaturgical techniques from film and sequential art (also known as comics) in order to establish how they can inspire existing conceptual design methods such as brainstorming, scenarios, personas and storyboarding. The specific tool entitled "Storify" that we present at the end of this paper is a concrete proposal for how to support designers in their creative efforts when crafting and communicating stories about envisioned experiences.
Subsumed under the umbrella of User Experience (UX), practitioners and academics of Human–Computer Interaction look for ways to broaden their understanding of what constitutes
“pleasurable experiences” with technology. The present study considered the fulfilment of universal psychological needs, such
as competence, relatedness, popularity, stimulation, meaning, security, or autonomy, to be the major source of positive experience
with interactive technologies. To explore this, we collected over 500 positive experiences with interactive products (e.g.,
mobile phones, computers). As expected, we found a clear relationship between need fulfilment and positive affect, with stimulation,
relatedness, competence and popularity being especially salient needs. Experiences could be further categorized by the primary
need they fulfil, with apparent qualitative differences among some of the categories in terms of the emotions involved. Need
fulfilment was clearly linked to hedonic quality perceptions, but not as strongly to pragmatic quality (i.e., perceived usability),
which supports the notion of hedonic quality as “motivator” and pragmatic quality as “hygiene factor.” Whether hedonic quality
ratings reflected need fulfilment depended on the belief that the product was responsible for the experience (i.e., attribution).
How Designers Think is based on Bryan Lawson's many observations of designers at work, interviews with designers and their clients and collaborators. This extended work is the culmination of twenty-five years' research and shows the author's belief that we all can learn to design better. The creative mind continues to have power to surprise and this book aims to nurture and extend this creativity. This book is not intended as an authoritative description of how designers should think but to provide helpful advice on how to develop an understanding of design. 'How Designers Think' will be of great interest, not only to designers seeking a greater insight into their own thought processes, but also to students of design in general from undergraduate level upward.
We all use stories to communicate, explore, persuade, and inspire. In user experience, stories help us to understand our users, learn about their goals, explain our research, and demonstrate our design ideas. In this book, Quesenbery and Brooks teach you how to craft and tell your own unique stories to improve your designs.
How digital visual effects in film can be used to support storytelling: a guide for scriptwriters and students.
Computer-generated effects are often blamed for bad Hollywood movies. Yet when a critic complains that "technology swamps storytelling" (in a review of Van Helsing, calling it "an example of everything that is wrong with Hollywood computer-generated effects movies"), it says more about the weakness of the story than the strength of the technology. In Digital Storytelling, Shilo McClean shows how digital visual effects can be a tool of storytelling in film, adding narrative power as do sound, color, and "experimental" camera angles—other innovative film technologies that were once criticized for being distractions from the story. It is time, she says, to rethink the function of digital visual effects.
Effects artists say—contrary to the critics—that effects always derive from story. Digital effects are a part of production, not post-production; they are becoming part of the story development process. Digital Storytelling is grounded in filmmaking, the scriptwriting process in particular. McClean considers crucial questions about digital visual effects—whether they undermine classical storytelling structure, if they always call attention to themselves, whether their use is limited to certain genres—and looks at contemporary films (including a chapter-long analysis of Steven Spielberg's use of computer-generated effects) and contemporary film theory to find the answers. McClean argues that to consider digital visual effects as simply contributing the "wow" factor underestimates them. They are, she writes, the legitimate inheritors of film storycraft.
Bill Buxton and I share a common belief that design leadership together with technical leadership drives innovation. Sketching, prototyping, and design are essential parts of the process we use to create new products. Bill Buxton brings design leadership and creativity to Microsoft. Through his thought-provoking personal examples he is inspiring others to better understand the role of design in their own companies--Bill Gates, Chairman, Microsoft "Informed design is essential." While it might seem that Bill Buxton is exaggerating or kidding with this bold assertion, neither is the case. In an impeccably argued and sumptuously illustrated book, design star Buxton convinces us that design simply must be integrated into the heart of business--Roger Martin, Dean, Rotman School of Management, University of Toronto Design is explained, with the means and manner for successes and failures illuminated by engaging stories, true examples and personal anecdotes. In Sketching User Experiences, Bill Buxton clarifies the processes and skills of design from sketching to experience modeling, in a lively and informative style that is rich with stories and full of his own heart and enthusiasm. At the start we are lost in mountain snows and northern seas, but by the end we are equipped with a deep understanding of the tools of creative design.--Bill Moggridge, Cofounder of IDEO and author of Designing Interactions "Like any secret society, the design community has its strange rituals and initiation procedures. Bill opens up the mysteries of the magical process of design, taking us through a land in which story-telling, orange squeezers, the Wizard of Oz, I-pods, avalanche avoidance, bicycle suspension sketching, and faking it are all points on the design pilgrim''s journey. There are lots of ideas and techniques in this book to feed good design and transform the way we think about creating useful stuff". -Peter Gabriel I love this book. There are very few resources available that see across and through all of the disciplines involved in developing great experiences. This is complex stuff and Buxton''s work is both informed and insightful. He shares the work in an intimate manner that engages the reader and you will find yourself nodding with agreement, and smiling at the poignant relevance of his examples.--Alistair Hamilton, Symbol Technologies, NY Books that have proposed bringing design into HCI are aplenty, though books that propose bringing software in to Design less common. Nevertheless, Bill manages to skilfully steer a course between the excesses of the two approaches and offers something truly in-between. It could be a real boon to the innovation business by bringing the best of both worlds: design and HCI. --Richard Harper, Microsoft Research, Cambridge There is almost a fervor in the way that new products, with their rich and dynamic interfaces, are being released to the public-typically promising to make lives easier, solve the most difficult of problems, and maybe even make the world a better place. The reality is that few survive, much less deliver on their promise. The folly? An absence of design, and an over-reliance on technology alone as the solution. We need design. But design as described here depends on different skillsets-each essential, but on their own, none sufficient. In this rich ecology, designers are faced with new challenges-challenges that build on, rather than replace, existing skills and practice. Sketching User Experiences approaches design and design thinking as something distinct that needs to be better understood-by both designers and the people with whom they need to work- in order to achieve success with new products and systems. So while the focus is on design, the approach is holistic. Hence, the book speaks to designers, usability specialists, the HCI community, product managers, and business executives. There is an emphasis on balancing the back-end concern with usability and engineering excellence (getting the design right) with an up-front investment in sketching and ideation (getting the right design). Overall, the objective is to build the notion of informed design: molding emerging technology into a form that serves our society and reflects its values. Grounded in both practice and scientific research, Bill Buxton''s engaging work aims to spark the imagination while encouraging the use of new techniques, breathing new life into user experience design. Covers sketching and early prototyping design methods suitable for dynamic product capabilities: cell phones that communicate with each other and other embedded systems, "smart" appliances, and things you only imagine in your dreams;. Thorough coverage of the design sketching method which helps easily build experience prototypes-without the effort of engineering prototypes which are difficult to abandon;. Reaches out to a range of designers, including user interface designers, industrial designers, software engineers, usability engineers, product managers, and others;. Full of case studies, examples, exercises, and projects, and access to video clips (www.mkp.com/sketching) that demonstrate the principles and methods. About the Author Trained as a musician, Bill Buxton began using computers over thirty years ago in his art. This early experience, both in the studio an on stage, helped develop a deep appreciation of both the positive and negative aspects of technology and its impact. This increasingly drew him into both design and research, with a very strong emphasis on interaction and the human aspects of technology. He first came to prominence for his work at the University of Toronto on digital musical instruments and the novel interfaces that they employed. This work in the late 70s gained the attention of Xerox PARC, where Buxton participated in pioneering work in collaborative work, interaction techniques and ubiquitous computing. He then went on to become Chief Scientist of SGI and Alias|Wavefront, where he had the opportunity to work with some of the top film makers and industrial designers in the world. He is now a principal researcher at Microsoft Corp., where he splits his time between research and helping make design a fundamental pillar of the corporate culture. * Covers sketching and early prototyping design methods suitable for dynamic product capabilities: cell phones that communicate with each other and other embedded systems, "smart" appliances, and things you only imagine in your dreams; * Thorough coverage of the design sketching method which helps easily build experience prototypes-without the effort of engineering prototypes which are difficult to abandon; * Reaches out to a range of designers, including user interface designers, industrial designers, software engineers, usability engineers, product managers, and others; * Full of case studies, examples, exercises, and projects, and access to video clips that demonstrate the principles and methods.
Robert McKee's screenwriting workshops have earned him an international reputation for inspiring novices, refining works in progress and putting major screenwriting careers back on track. Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his celebrity alumni. Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience.
In Story, McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen. No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the "magic" of story construction and the relationship between structure and character than Robert McKee.
Globalisation of the world’s economy is leading to rapid change and uncertainties in society, politics and markets.
Product design strategies need to respond to these developments. Product Concept Design meets the needs and expectations of academia and practitioners working in design by focussing on the methods for creating products and design strategies in today’s fast-changing business environment.
Product Concept Design has been written by a collection of researchers and practising designers from leading companies such as Nokia and Volvo and provides a goldmine of ideas for designers and managers in industry, as well as lecturers in design and design engineering and their students.
Design thinking is the core creative process for any designer; this book explores and explains this apparently mysterious “design ability.”
Focusing on what designers do when they design, Design Thinking is structured around a series of in-depth case studies of outstanding and expert designers, interwoven with overviews and analyses. The range covered reflects the breadth of design, from hardware and software design to architecture and Formula One. The book offers new insights into and understanding of design thinking, based on evidence from observation and investigation of design practice.
Design Thinking is the distillation of the work of one of design’s most influential scholars. Nigel Cross goes to the heart of what it means to think and work as a designer. The book is an ideal guide for anyone who wants to be a designer or to know how good designers work in the field of contemporary design.
This paper presents the cognitive activity differences of six expert architects when they design in blindfolded (BF) and sketching (SK) conditions. It was observed that all participants' overall cognitive activity and perceptual activity in the BF sessions dropped below their activity in the SK sessions, approximately after 20 min during the timeline of their design activity. This drop in performance can be explained by higher cognitive demands under BF conditions. In the absence of sketching, architects may experience an overload of visuo-spatial working memory (VSWM). We also tested whether this may have an impact on the linking of their design ideas. We previously reported that the intensity and the information content (entropy) of the idea development were not influenced by VSWM load. The reach of idea links was found to be smaller in the second half of the BF design sessions. Working memory limitations had an impact only on the reach of idea links. We discuss whether these differences are dependent on working memory limitations or idea saturation during conceptual designing.
In the realm of product design, communication between designer, client, design team and future users is of great importance. Throughout the design process, ideas and concepts are generated and must be conveyed to these people to evoke comments, judgement or acceptance, depending on the process phase. Story- boards are a valuable aid to the designer in this task by providing a common visual language that people from different backgrounds can 'read' and understand. However, the visualisation style of the storyboards influences the reactions. Where open and sketchy sto- ryboards are inviting comments, sleek and detailed presentations can be overwhelming. Storyboards not only help the product designer to get a grip on target groups, context, product use and timing, but also in communicating about these aspects with all people in- volved.
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