Contextual Design - Understanding Users for Effective Design

Authors: Karen Holtzblatt, Hugh R. Beyer

Year: 2021

ITPDP26 - Design Rationales and Models.pdf Open PDF

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DESIGN RATIONALES AND MODELS

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ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN 25. FEBRUARY 2026 LAB COORDINATOR

AARHUS UNIVERSITY

WHERE ARE WE NOW?

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DEPARTMENT OF COMPUTER SCIENCE
AARHUS UNIVERSITY
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ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN
25. FEBRUARY 2026 LAB COORDINATOR
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WHAT TO DO NOW (THIS WEEK)?

You should now do:

Read literature for week 5 - and earlier weeks ;-)
Your own inspirational work – edging closer to final Problem Area decision.
Start planning empirical work. Requires narrowing down user group.
Tooling exercises.

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STATUS AND MESSAGES

Monday trip!

How is it going?

Context, theme, subtheme, user group?

Any observations done? Places visited?

Choosing your topic? Done? Close?

Any questions?

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SUB-ASSIGNMENT 1

Motivation for choice of subtheme, context and user group.
Initial positioning in relation to the theme (read some inspirational literature, introduce the field/theme and draw parallels + point out differences in approach)
Tentative problem formulation (what will you actually do in this project, what are your tentative hypothesis around practice and use, and what could help/fix/better/enhance this?)
Preliminary plan for your user research (who, when, what, how? Plans, contacts, emails, methods to try - this can be added as appendix if needed, but make sure to keep it concise).

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DESIGN RATIONALES AND MODELS

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IN TODAY’S LECTURE

What is a design rationale?

Design Spaces

Contextual Design

Personas – representing users and roles

Working models

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WHAT ARE IMPORTANT ASPECTS OF A GOOD DESIGN PROCESS? (2 MINUTES)

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Result? The users liked it? The designer is proud of it? Sticking to the budget? Listening to the users? Getting paid? Getting promoted? Getting recognition? Teamwork? Fun? Cake every Friday? Societal impact? Many daily users?

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A happy customer? Spearheaded by a hotshot? Spoken about in the media? Using the newest technologies? Being completely unique? Involving the user every step? Sales after launch? Scalability? Handover? Celebrating when it’s done? Instagram Influencers loving it? Trustpilot score? Certifications?

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WHAT IS THE MOST CRUCIAL ASPECT OF A GOOD DESIGN PROCESS?

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DOCUMENTATION!

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WHY?

Design processes are long and complex, and involves many variables and parties

You often do not nail it the first time

Iterations and Fluidity

Learning and revisitability

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DESIGN RATIONALE

A survey paper of representation methods for Design Rationale For this lecture we focus on understanding the concept (sect 1-3)

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DESIGN RATIONALE (LEE AND LAI)

To document genealogy (tracing of lineage) of a design’s final appearance and the decisions that lead to it

To link issues to formal design decisions (example: global menu to reduce screen clutter)

Document selection and de-selection arguments

Supporting and counter arguments on issues for the design

May lead to generalizable patterns and reusable design-decision relations (Fischer 1991)

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WHAT IS DESIGN RATIONALE?

Design rationale is write-down of arguments and decisions made during a design process, and the reasons for why those arguments were brought up, and the decisions were made. Primary goal is to support designers by providing a means to record, describe, justify and communicate the argumentation and reasoning behind the design process (MacLean 1991), including but not limited to:

The reasons behind a design decision
The justification for a design decision
The other alternatives considered
The trade-offs evaluated
The argumentation that led to the decision (what if the argument was BS?)

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WHAT IS DESIGN RATIONALE?

“Design rationale in the most general sense is an explanation of why an artifact is designed the way it is”

LEE AND LAI, 1992

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DESIGN SPACE

Design Space is a representation of alternative design options + analysis of pros/cons and relations.

From MacLean 1989:

“The design space consists of a decision space (alternative options which might be appropriate}, and an evaluation space(explicit reasons such as consistency and criteria for choosing from among the possible options).”

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DESIGN SPACE

Evaluation Space

Mapped differently in a lot of HCI literature… Issue (and Design Rationale) being the most impactful difference from Lee and Lai, adding potential issue handling to your argument space.

Design Rationale vs Design Space

Design Rationale describes the Design Space (MacLean).

Using for example the QOC model to represent Design Space options, generates Design Rationale.

Interesting possible exercise: Part of group specs decision space, another the beginning of evaluation space

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DESIGN SPACE

Long story short:

The map metaphor is a bit funky…

Think of products as clusters (buildings) on the map. The Design Space is the entire map, linking (making roads) and including/excluding certain alternatives (neighbourhoods).

QOC model used extensively in this process, and sticking to just this might be simpler.

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THE QOC MODEL

Developed by McLean at Xerox PARC A brilliant comparative tool Helps map Design Space Part of your Design Rationale

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PARKING GATE: SAME CORE FUNCTIONALITY, SAME QUESTION – DIFFERENT DESIGNS

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Pay-by-plate is a radical change within/of design space

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DESIGN SPACE

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evaluation space
“How does the user
pay for parking?”
Pay-by-plate Privacy
Ease
Machine
Culture
with card
decision space
What happens if
user has lost ticket?
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DESIGN SPACE

Is useful for emplacing your design and the alternatives/related design (for analysis, juxtaposition and distinctions)

Is useful for expanding horizons and taking different/novel interactions/systems into account.

It is a concrete way of making constraints visible and impactful in design

For example through questions or criteria in QOC

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THE ROLE OF A DESIGN RATIONALE

Support and capture the design argumentation during a design process

When iterations occur, designers can go back and avoid mistakes or decisions already tested and rejected

Argument for why the final design appear as it does and support for designing the next version of the product

A formerly too expensive or too clunky solution has become feasible in the mean time, and the process can be started from better position

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REPRESENTATIVE QUESTIONS

Made by Lee and Lai to provide a framework for assessing different representations Since it’s used to assess representations/models way of making Design Rationale; Also a brilliant set of questions to help your design rationale and status meets Can be used as a part of sit-down meetings to organize your team’s thoughts Not all representations and models answers all questions

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REPRESENTATIVE QUESTION SET EXAMPLE

Italic: Maybe for status meets? Orange: Maybe for Ideation and Concept Dev.?

What are our user’s biggest issues? What are our biggest issues? What is the status of the current design?

What did we discuss last week and what do we need to do today/this week? What are alternative designs and what are their pros and cons?

What if we do not consider power/portability/user interface/GPU muscle/CPU muscle? Which issues are inherently linked?

What would the consequence of removing this aspect/part be? Which unresolved issues do we still have?

How do past designs or other fields deal with a similar issue?

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WHY IN ITPDP?

Tools, representations, models to help keep track of design documentation Help structure solved problems and the user-centric elements of your design Graphical representations to use for the report, that shows field knowledge if used correctly. Future work for your report Preparation for your exam

Avoid having to say “… I don’t know we why did that, actually…” J DEPARTMENT OF COMPUTER SCIENCE ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN

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SUMMARY

Make sure to document your design issues, positions, arguments with decision. Use it for your internal discussions. And for feedback. And for the report. And for the demo.

When a reviewer ask ”why didn’t you put that button on the top instead of here?” Your design rationale will help you provide the answer.

the answer may be feasibility of construction, or the occurrence of accidental push during an evaluation or.
If you don’t have an answer, then the design may appear coincindental and not well argued…

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CONTEXTUAL DESIGN AND CONTEXTUAL INQUIRY

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CONTEXTUAL DESIGN

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CONTEXTUAL DESIGN (BEYER & HOLTZBLATT)

User-centered design process

Focus on collecting and interpreting data of users in the field Focus on creation of prototypes and systems as end goal

“…Understand users in order to find out their fundamental intents, desires, and drivers. But these are invisible to the users - so the only way to glean this is to go out in the field and talk with people.”

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CONTEXTUAL DESIGN (BEYER & HOLTZBLATT)

Step-wise method and principle-based

Especially helpful for people who will not specialize in field study
Fits into a software development cycle; products of field study work made visible

Guides analyst on how to understand & document what he/she sees

Not really users as co-designers

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CONTEXTUAL DESIGN (BEYER & HOLTZBLATT)

Principle: System design must support and extend users’ work practice

Behavior, attitudes, goals, and intents of users; all part of work practice.

Work practice is part of the larger context – so is technology. Any and all system/tech change will impact work practice.

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CONTEXTUAL DESIGN (BEYER & HOLTZBLATT)

Principle: People are experts at what they do – but are unable to articulate their own work practice

Field work = crucial to pick up on these practices/tendencies/events. Tacit knowledge. Multiple methods can help with this – participate in natural context.

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CONTEXTUAL DESIGN (BEYER & HOLTZBLATT)

Principle: Good design requires partnership and participation with the users

Designers = experts in design. Users = experts in work practice. Partnership = proper design focused on context and practice. Step in and do your part – ask questions, offer interpretations!

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CONTEXTUAL DESIGN (BEYER & HOLTZBLATT)

Principle: Good design is systemic

Good design considers the system as a whole, and it’s impact on it. Methods can support generating overview of possible outcomes and implications. Treat issues and problems to be solved as a part of the whole.

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CONTEXTUAL DESIGN (BEYER & HOLTZBLATT)

Principle: Design depends on explicit representations

Use drawings, sketches, prototypes, mock-ups, models, videos, animations etc. Visual representation is key and makes design thoughts sharable.

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CONTEXTUAL DESIGN PROCESS

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CONTEXTUAL INQUIRY - FIELD STUDIES

Often two elements: Direct Observation and Interviews (+ Contextual Interviews (TBA))

Field studies are useful to understand:

The use context
Challenges and potential value added by a new design
People and their roles (end-user, indirect user, manager)
Features of the place/space
Understand the activity that you want to support
Communications and patterns of interactions
Local culture

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WHAT ARE FIELD STUDIES?

It is not simply “hanging out” with users Field studies are (and requires the analysists to be):

Systematic and careful
Without assumptions (as much as possible!)
Thoughtful
Respectful
Productive!!

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WHY FIELD STUDIES?

“Ground” designs in real activity, not assumptions

Do NOT falsify empirical data…

Helps understand “situated activity” not “rationalized accounts”

See exceptions, exception handling, mechanics
User behavior needs to be understood at a low-enough level to design for it

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AN EXAMPLE FROM DEVELOPMENT OF “FINDING NEMO”

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“Finding Nemo”-movie animators had to ”ground them selves” by practicing scuba diving to become familiar with under water phenomena in order to be able to draw and animate them.

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BASIC RULES & PRINCIPLES

Be an apprentice:

Carefully frame questions

Be polite –> the user is the expert in their domain
Be humble –> assume you don’t understand something

Be open-minded

Expect to see a lot of things you didn’t think you would

Check interpretations;

Do not ask leading questions
Do not ask Yes and No questions
Focus on getting concrete data

Don’t be too narrow… Don’t be too wide

Begin by observing more WIDELY than defined problem(!)
REDEFINE boundaries of problem
Work within that new “unit of analysis”
Reflect back to user; debriefing

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INTERVIEW TECHNIQUES

In interviews – be concrete and relate to daily work examples

Ask about examples from yesterday or last week
Critical Incident Technique , Wendy Mackay (expanded upon next slide)
Page 7: https://www.lri.fr/~mackay/VideoForDesign/print/print.pdf

Exceptions are as important as the routine situation

Listen to user anecdotes and workarounds
Exceptions may reveal important requirements and conditions – or just common practice

Be aware of potential intention conflicts (culture/hierarchy)

Different user groups (or levels) do not necessarily share the same experience/intention

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EXAMPLES FOR CRITICAL INCIDENT TECHNIQUE

Ask for a concrete, critical incident

Positive: Can you remember the last time when you were really happy with the UI?
Negative: What happened the last time when you very disappointed by the system?

Let the user go through the entire scenario

Positive: Identify useful features and design rationales
Negative: Identify break down scenarios

Ask for as many details as possible

Ask why this situation was in particular memorable

Do not ask suggestive or general questions

Why is this UI so good?
E.g., Do you like the UI?

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RECORDING YOUR DATA

Notes Pictures (get consent, adhere to GDPR regulations) Video (get consent, adhere to GDPR regulations) Sound (get consent, adhere to GDPR regulations) Sketches and drawings Scenarios (post hoc description) Notes on roles/personas

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FIELD STUDIES - PREPARATION

You have already done some observations (right?) – but mainly inspirational!

For future field work:

Secure permission to be at the site

Plan ahead, don’t expect to get into calendars quickly – it’s good to have a foot in the door someway You want to observe the natural workflow of your users:

Ask that users not “clean up” their desks or desktops, calendars, and so on because you will be there. Politely explain that you want to see things as they normally occur
Prepare and test all data recording equipment

On arrival, be professional, courteous and patient. Remember that you are a guest. Some might see it as additional workload.

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CONTEXTUAL INTERVIEWS

Not your typical Q&A interview

A mix of observation & questions

Who to interview: those doing the work, not just management

2-3 hours of observing a user work, including “shadowing” them around the workplace
Observe the natural flow of activity and occasionally interrupt to explain and clarify what they are doing.
You can ask users to “think aloud” to understand their thought process.
Your questions are guided by what you see.

Recording: Notetaking, audio record, and perhaps video-record

Save the last 15 minutes with the user to review what you learned

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HINTS AND ADVICE

Good idea to combine techniques

Observation and Interviewing have different strengths and weaknesses
Combination ensure quality of investigation

From pure analysis to design oriented activities

Scenario and mock-up design may reveal useful knowledge about current state of affairs

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PERSONAS

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PERSONA

Persona is personified but generalistic. Not the same as an archetype (abstract) or a person (individual). A persona description gives details about the user group(s) you are designing your interactive system for It highlights the group specific requirements and context associated with persona.

More on that in lecture: Sketching User Experiences (Minna) https://www.interaction-design.org/literature/article/four-different-perspectives-on-user-personas DEPARTMENT OF COMPUTER SCIENCE ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN

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PERSONA

Sub-assignment 2

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– PERSONAS EXAMPLES A TRAVEL APP

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USE OF PERSONAS

Analyze and reveal requirements for system/app design from different perspectives (use scenarios, drivers, intent) Integrate in scenario descriptions (later assignments) Use persona description for your new design (or styling) Utilize for prototyping and evaluation planning

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REMEMBER THE NOT-AVERAGE

”Extreme characters” (also used for ‘Ideation’ later in the course) Extremes in travel app

The passionate business person and car-driver that almost never use public transportation
• Elderly who do not have knowledge of smartphones

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CONTEXTUAL INQUIRY – PROCESSING RESULTS

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - RATIONALE AND MODELS 25. FEBRUARY 2026

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AARHUS UNIVERSITY

GOT DATA? NOW WHAT?

Create “models” that capture the data (order different from literature)

Physical Model:

a map of the site with details about equipment location

Flow Model:

Depicts work-flow between users/personas

Sequence Model:

Depicts work tasks

Artifact Model:

Describes the tools that people use to complete tasks

Cultural Model:

Captures bigger context of cultural factors that influence how things are done

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN 25. FEBRUARY 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

PHYSICAL MODEL – HOTEL CASE

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Map of site with important features

Include digital photographs to elaborate Include traffic and potential “incident” areas or bottle-necks.

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN 25. FEBRUARY 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

FLOW MODEL

Represents how work is divided & coordinated Flow models for different types of workers

1. Diagram who is involved in the work
1. Show communication flows between people, and how those communications are achieved (through invoices, face-to-face, messages)
1. Mark breakdowns in communication & coordination

DEPARTMENT OF COMPUTER SCIENCE

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ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN 25. FEBRUARY 2026 LAB COORDINATOR

AARHUS UNIVERSITY

FLOW MODEL – HOTEL CASE – STEP 1: ROLES

Define Personas (+tasks) in circles

DEPARTMENT OF COMPUTER SCIENCE AARHUS UNIVERSITY

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ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN 25. FEBRUARY 2026 LAB COORDINATOR

FLOW MODEL – STEP 2: FLOW - Define Personas in circles
Define Artifacts in squares
Define Relational Actions with arrows

DEPARTMENT OF COMPUTER SCIENCE AARHUS UNIVERSITY

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ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN
25. FEBRUARY 2026 LAB COORDINATOR
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SEQUENCE MODEL

Represents work tasks by point of view (POV), shown as a sequence of steps of actions

Diagram:

Intent/Purpose of the action sequence
Trigger that causes the action to start
The steps that achieve the intent
Breakdowns/problems in getting the task done

DEPARTMENT OF COMPUTER SCIENCE AARHUS UNIVERSITY

ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN 25. FEBRUARY 2026 LAB COORDINATOR

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SEQUENCE MODEL EXAMPLE – HOTEL BOOKING

Diagram:

Intent/Purpose of the action sequence
Trigger that causes the action to start
The steps that achieve the intent
Breakdowns/problems in getting the task done

DEPARTMENT OF COMPUTER SCIENCE AARHUS UNIVERSITY

ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN 25. FEBRUARY 2026 LAB COORDINATOR

ARTIFACT MODEL

Artifacts are the things people use in to complete a tasks (documents, maps, notes, the web, spatial layout of items when planning something)

1. Collect artifacts, pictures of artifacts
1. Check with customers that you understand what they are for
1. Annotate these to identify in detail their functions

DEPARTMENT OF COMPUTER SCIENCE AARHUS UNIVERSITY

ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN 25. FEBRUARY 2026 LAB COORDINATOR

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ARTIFACT EXAMPLE – HOTEL DIARY

DEPARTMENT OF COMPUTER SCIENCE AARHUS UNIVERSITY

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ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN
25. FEBRUARY 2026 LAB COORDINATOR
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ARTIFACT EXAMPLE

DEPARTMENT OF COMPUTER SCIENCE AARHUS UNIVERSITY

ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN 25. FEBRUARY 2026 LAB COORDINATOR

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CULTURAL MODEL

Understand the local culture and the cultural assumptions. This is the broader context.

For each point of view

Start with each “influencer”—different groups of people, organizations, institutions—that affect how that person understands and does their work 2. Arrange these as bubbles or balloons that have different scope reflecting how much influence they have on the worker
Identify breakdowns

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN 25. FEBRUARY 2026 LAB COORDINATOR AARHUS UNIVERSITY

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CULTURAL MODEL - EXAMPLE

Goals and relationships between user groups and organizational values Constraint focused

DEPARTMENT OF COMPUTER SCIENCE AARHUS UNIVERSITY

MODEL EXAMPLE EXERCISE!

Group 1, 2: Physical Model example of FORMLab or PROTOLab Group 4, 5, 6: Flow Model example from (one of) your jobs Group 7, 8, 3: Sequence Model example from a recent novel interaction/experience Group 12, 13, 16: Cultural Model example from a community Group 20, 11: Artifact Model 3 x examples of tools for work activities from your life (can be pictures) or Google J

15 minutes, then quick presentations.

ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN 25. FEBRUARY 2026 LAB COORDINATOR

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DEPARTMENT OF COMPUTER SCIENCE AARHUS UNIVERSITY

SUMMARY:

The 5 models capture:

How the physical environment supports the work [Physical model]
The people, their relationships, and their communications [Flow models]
How tasks are carried out [Sequence models]
How artefacts support the work or are processed as part of the work [Artifact models]
How work is constrained by organizational values [Cultural models]

DEPARTMENT OF COMPUTER SCIENCE

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ITPDP - RATIONALE AND MODELS SIMON HOGGAN CHRISTENSEN 25. FEBRUARY 2026 LAB COORDINATOR

AARHUS UNIVERSITY

SUMMARY

DEPARTMENT OF COMPUTER SCIENCE ITPDP - RATIONALE AND MODELS 25. FEBRUARY 2026 AARHUS UNIVERSITY

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SUMMARY

Document your design and design rationale!

Design needs to take the user, the context, and constraints of the problem domain into account Thus, user involvement in design is important.

Prepare for design through contextual inquiries

Capture your understanding in the five models, personas and scenarios
Triangulation

Later envisionment through prototyping become essential

Based on contextual inquiry models, personas, and scenarios

Plan your field study methods carefully - get help from TAs

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - RATIONALE AND MODELS 25. FEBRUARY 2026

SIMON HOGGAN CHRISTENSEN LAB COORDINATOR

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AARHUS UNIVERSITY

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L4_Understanding Users & The Empathic Designer _2026.pdf Open PDF

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UNDERSTANDING USERS & THE EMPATHIC DESIGNER ITPDP’26, L4

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Minna Pakanen

Department of Digital Design and Information Studies mpakanen @cc.au.dk

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MINNA PAKANEN

TODAY

Designers role
Empathic Designer
Understanding users

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DESIGNERS ROLE

Harold G. Nelson & Erik Stolterman (2003) The design way. Intentional Change in an Unpredictable World. Foundations and fundamentals of design competence

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MINNA PAKANEN

DESIGN AS SERVICE RELATIONSHIP

A dynamic service relationship between service provider (designer) – those being served (clients, surrogate clients, customers and end users)
Design is about service on behalf of the other
The clear difference between traditions of design vs. art-science

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Own curiosity/ Own need for passion for knowing self-expression Self-serving

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‘Serves’ the client? Other-serving

MINNA PAKANEN

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DESIGNER AS SERVICE PROVIDER

Being in service does not mean
being a servant, or subservient
acting as a mere facilitator on behalf of someone else’s needs
service to exclude self-expression, but it is not as dominant as in art-science
Service is not about helping people to create what they already know they want

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Desiderata? & Designer’s role in it?

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DESIDERATA

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The success of the design process can best be determined when those being served experience the surprise of self-recognition

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→ when the outcome of the design process meets and exceeds the client’s original expression of what is desired (usually only dimly perceived) is known as the client’s desiderata

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The designer’s role is to midwife that desiderata!
Not fully imagined from the beginning, by either client or designer
to provide end results in the form of an expected unexpected outcome

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SERVICE IS NOT SERVITUDE

Other party is seen as equal, but not as similar
Service is not about helping

“Helping is based on inequality; it is not a relationship between equals. . . Service is a relationship between equals. . . Helping incurs debt. When you help someone, they owe you one. But serving, like healing, is mutual. There is no debt.”

Remen (1996)

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DESIGN EDUCATION

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Own curiosity/ Own need for passion for knowing self-expression Self-serving

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Objective and subjective understanding on behalf another’s interest Other-serving

reflective thought + practical action –> knowledge of ‘why’ + knowledge of ‘how’

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designer client

EMPATHIC DESIGNER

Harold G. Nelson & Erik Stolterman (2003) The design way. Intentional Change in an Unpredictable World. Foundations and fundamentals of design competence Peter Wright & John McCarthy (2010) Experience-Centered Design. Designers, Users, and Communities in Dialogue

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LISTENING

Design communication is about listening
Helping people to express what they believe will help them live fuller lives.
- design communication may at times include the use of rhetoric and persuasion, as is true of science and art
A good designer does not convince clients of needs or desires they have not authored –no ‘selling’!
It is the client’s own intentionality—in the form of their desiderata—that triggers the process.

Design is democracy

 - –> Heightened ability to ‘listen', utilize notitia (Hillman, 1992)

 - Notitia is an act of attention that is complete and uncompromising: ‘focus’

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DESIGN COMMUNICATION

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A complex multi-dimensional and multi-phased process:
→ initial phase of building trust (through conversation)
→ finding common ground through dialogue (using logic) and developing a shared or common understanding
= creation of an uncommon understanding through diathenic graphologue (Greek: diatheno= to show through or let a thing be seen through; and grapho= image or representation).
→ produces breakthrough insights in the form of rich, complex images that are difficult, if not impossible, to apprehend from a single perspective or cannot be represented in the linear format of text
→ break the established common ground and bring the process back to a need for more dialogue, in order to find new common ground.

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DESIGNER/CLIENT RELATIONSHIPS?

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designer designer
designer technician
designer facilitator
client client
designer artist
designer designer
designer expert
client client
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designer

designer technician

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designer facilitator

client

designer client

client

designer client

designer artist

designer expert

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designer

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client client designer artist designer facilitator

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designer designer client client designer expert designer technician

MINNA PAKANEN

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IDEAL SERVICE RELATIONSHIP

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designer
client
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DESIGNERS CHOISES OF RELATIONSHIPS

But any given process have more stakeholders…

People who influence …
People who are affected …
People who are using …

Key exercise is to identify them and decide which ones to satisfy, this needs to be designed!

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DESIGN RELATIONSHIPS

Interaction “protocols” describing a relationship
Can change along the way
I (designer) -> you
We (designer + specific stakeholder) -> them • I (designer) -> It / other
Everyday relations / partnership / alliances etc.

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EMPATHIC DESIGNER

‘Makes meaning’ for a client by empathetically drawing out his or her pre-formed desires
Does not ask the client what fully-formed outcome is to be designed, but instead, through open communication, tries to discern the underlying intentions of that client’s vague ideas of desiderata
This symbiotic relationship is possible only if there is an exchange of empathy
Empathy in design means: ability to ‘be’ as the other, while remaining a whole self
Must be willing to let empathy lead the way!

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UNDERSTANDING USERS

Peter Wright & John McCarthy (2010) Experience-Centered Design. Designers, Users, and Communities in Dialogue

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BEYOND USABILITY

Computer systems started to spread from workplaces into home and leisure use context
Design for usability is only one of the many values that user-centered design could focus on (Blythe et al., 2003)
It no longer seemed enough for user-centered design to focus solely on usability, ease of learning, efficiency, and effectiveness, and for a transparent interface to be the ultimate criteria of success
“
• beautiful things work better” (Norman, 2004)
- significant impetus toward experience-centered design
- slogan opened up an interdisciplinary debate around beauty and pleasure as a design value and the relationship between aesthetics and usability (Sutcliffe, 2009) and (Hassenzhal, 2010)

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EXPERIENCE

Developed from pragmatist philosopher John Dewey’s focus on human experiences (Art as Experience, 1938)
Thoughts and ideas do not exist separate from our bodies and separate from each other
There is no knowledge (or experience) without a knower, language without context or emotion without thought and action
We must engage with felt life — the full range of our embodied experiences

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Felt life?

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“FELT LIFE”

Life is felt in as much as the continuous sensory and sensual connection we have with it is integral.
This is a connection that is situated in and built up over .
time and space
It reminds us that the world of experience is a world that has a kickable reality both in the physical sense and also in terms of the way in which actions we take have consequences for us intellectually and .
emotionally

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EXPERIENCE

Experience as sensation, emotion, intellect and action situated in a particular place and time
Most experiences consist of a subtle interplay and overlaying of unconscious and conscious action
Highly subjective, solitary and introspective process vs. social experience
Anticipation and expectation connect past experience to present and future experience
“Levels” of experience:
Aesthetic experience (flow — body directly connected to the world)
Pre-reflective experience (successful habitual interactions)
Reflective experience (engage in process of sense making)

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Requires empathic understanding of the users –> Dialogical methods for:

Dialogue with the person for whom the object is designed, before and after the object is made
Dialogue with materials when the object is being made

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Cultural probes (Gaver et al., 1999)

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BLOSSOM FOR ANA BY JAYNE WALLACE

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https://www.youtube.com/watch?v=DXdUNVBOtb0

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DIALOGUE IN BLOSSOM

Wallace uses the […] conversations to try to get a glimpse of the other person’s life, perspectives, and values, their own sense of who they are
She immerses herself in the materials produced by the participant and in the conversation they have had together
Wallace finds some threads that are familiar to her from her own experiences or with which she can empathize .

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EMOTIONAL RESPONSE TO BLOSSOM

Blossom piece provoked a strong emotional response and important insight.

"…when it blossomed, it kind of upset me that it was only the once, and I thought ‘oh my god!’ (laughs) but …if it wasn’t only once then that would defeat the object … for me anyway… I mean that was a kind of crucial point for me, when I started blubbing (laughs) when it said it ‘only blossoms once’ and I was just like ‘oh!’, ‘yeah!’ and it, I sort of got it, that it was sort of, represented life really and that, erm, you only live it once…”

(Ana interview transcript lines 155 – 161)

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DESIGN AS DIALOGUE

Separate knowing versus connected knowing

“Dialogue puts the focus clearly on processes between people. It sees communication, knowledge, and identity as constructed in relationships between people, not within individuals.”
“New understanding is created in the respectful, responsive engagement with dissimilarity. Trying to understand other people, including users, by foregoing one’s own perspective may reproduce existing knowledge but will not produce new understandings.”

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Listening?

MINNA PAKANEN

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Listening by thinking about the situation in terms of problems and needs?

We already impose our frame of reference rather than listening to what the other person has to say.

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In active listening we have minimum ~~of~~ preconceptions about what we will hear in the situation and the understanding that it may be necessary to change how we already think about the people, practices, and events we find there.

MINNA PAKANEN

Active listening is the way forward when aim is to do experience centered-design.

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LISTENING

“By thinking about the situation in terms of problems and needs, we already impose our frame of reference rather than listening to what the other person has to say.”

VERSUS

“Active listening involves going into a situation with the minimum of preconceptions about what we will hear and the understanding that it may be necessary to change how we already think about the people, practices, and events we find there.”

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Why you should not design to students who are studying in IT Product Development Program?

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REFERENCES

Harold G. Nelson & Erik Stolterman (2003) The design way. Intentional Change in an .
Unpredictable World. Foundations and fundamentals of design competence. MIT Press
Wright, P., & McCarthy, J. (2010). Experience-centered design: designers, users, and communities in dialogue. Synthesis Lectures on Human-Centered Informatics, 3 (1), 1- 123. (chapters: 2-5)

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L9_Sketching User Experience_2026.pdf Open PDF

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SKETCHING USER EXPERIENCE ITPDP’26, L9

Dr. Minna Pakanen Department of Digital Design and Information Studies mpakanen @cc.au.dk

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TODAY

Interaction and UX design
Externalisation and design
Break
A bit more about scenarios
Storyboards
Sketching UX in storyboards
Concept selection

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INTERACTION DESIGN (IXD)

Design of the user interaction and experiences that occur during using a product

4. User experience evaluation

1.User research • Interview
• Observation
• Shadowing
• Remote studies
1.1. Creating personas & scenarios + sketching storyboards 2. UI sketching • wireframing

3. UI graphics & interaction design • Aesthetics

• Interactive content design

• User experience design

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USER EXPERIENCE (UX) DESIGN

A good user experience is one that meets a particular user’s needs in the specific context where a person uses the product

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Why? How?
What?
Motivations for Functionality:
Functionality:
adopting the Accessibility &
Features
product Aesthetics
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INTERACTION DESIGN (IXD)

Design of the user interaction and experiences that a occur during using a product

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4. User experience evaluation
Why?
1.User research How?
•
Interview
• 3. UI graphics & interaction design
Observation
•
Aesthetics
•
Shadowing
•
• Interactive content design
Remote studies
•
User experience design
1.1. Creating personas
& scenarios + sketching
storyboards
2. UI sketching
•
wireframing
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What?
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EXTERNALISATION AND DESIGN

Alan Dix & Layda Gongora (2011)

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EXTERNALISATION?

Is an active shaping of the world as an intellectual resource
a uniquely human ability & foundation of culture and civilisation
Involves the embodiment, representation and exploration of our own thoughts, feelings and interior life
The term externalisation itself reflects a philosophical and practical tension:
embodied interactions with external artefacts
process of making internal representations external
In art and design this reflects dual views of creativity as internal muse or embodied .
engagement

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KINDS OF KNOWING

Tacit knowledge

Unconscious or prenoetic
Slowly building up through trial and error
Relational

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KINDS OF KNOWING

Explicit knowledge • Conscious • Rational/logical • Learning through abduction or reasoning • a uniquely or at least largely human attribute

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Tacit or Explicit? or Tacit and Explicit?

MINNA PAKANEN

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3-LEVELS OF EXPERT KNOWING

1) in action knowing

2) reflection in action

3) reflection on action

(Donald Schön,1984)

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"knowing is in our action"

(Schön, 1984)

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”reflection in action”

(Schön, 1984)

MINNA PAKANEN

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”reflection on action"

(Schön, 1984)

MINNA PAKANEN

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EXTERNALISATION IN CRAFTS/PRODUCT DESIGN

Sketches
Mood boards
Full-scale mock-ups in blue foam, cardboard, or 3D printing
Production-line mold
CAD and other forms of simulation or virtual walkthroughs

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EXTERNALISATION IN IXD

Storyboards
• Personas

This lecture

Scenarios
• Paper prototypes

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EXTERNALISATION IN PRODUCT DESIGN

Products

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Sketches

Series of alternative designs = sample of possible designs
Focus on context with constraints
Materials
Paper and pencil–>abstract list of properties
Plasticine or cardboard and glue –> exploring the design space by way of example

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EXTERNALISATION IN DESIGN PROCESS

Schedule
Stages

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PROPERTIES AND DIMENSIONS

Representation

Physical
the foam model
Schematic
sketch or floor plan
Symbolic
E.g., Mind map, equations on the blackboard

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PROPERTIES AND DIMENSIONS

Modality

Written (also mathematical, and musical)
Speech
Drawn (sketches, diagrams, plans)
Aural, olfactory, or tactile
Body

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PROPERTIES AND DIMENSIONS

Persistence

Persistent
the words written on a page, the clay model, or the sketch on the back of an envelope
Ephemeral
the words in a conversation, the notes played on a keyboard, or the movements made during an improvisation session

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FUNCTIONS OF EXTERNALISATION

1) Informational 2) Formational 3) Transformational 4) Transcendental

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Informational

Formational Transformational

Transcendental

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INFORMATIONAL

– passing on to others already formed ideas

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FORMATIONAL

– vague ideas becoming clearer by the process of externalisation

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TRANSFORMATIONAL

– thinking using materials

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TRANSCENDENTAL

– our thoughts and ideas become the object of thought

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TAPPING INTO TACIT

Rich personas and scenarios

Appeal directly to our tacit understanding
Deliberately far more detailed than crude user profiles
Include 'unnecessary' details that make the people, and the physical
situation seem real to us
By appealing to our imagination , they spark our natural social and physical understandings in a way that an abstracted 'user group' cannot.

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EXAMPLE PERSONA

Susa

Age: 30 Location: Rovaniemi, Finland Job: director of furniture shop Status: engaged

Susa loves snow and sports and that is why she lives in Northern Finland in Rovaniemi just a few kilometers from the nearest slopes and ski tracks. She has a full-time job, so as an opposite to that, she wants to spend most of the weekends and evenings on skies or on a snowboard. She often goes there with her boyfriend, Jyri. They both love snowboarding on fresh snow on untouched slopes.

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Needs and goals:

She wants to be able to get to the untouched slopes immediately after the right type of snow has fell.

Activities:

Snowboarding outside of slopes
Uses many weather apps with radar for the temperature and spotting the fresh snow
• Uses a navigation app in parallel to find the snowy hills.

Challenges:

There is no application that can tell her the consistency of the snow, so she needs to go out to test the snow
The day is very short in Lapland during winter months so she cannot go outside of lighted slopes during the late afternoons or evenings
Difficult to find slopes with fresh snow
• Difficult to navigate and use the weather app radar function at the same time while driving a car on slippery roads
• It is risky to snowboard alone outside of the slopes especially after sunset.

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SCENARIOS

John M. Carrol (1999) Peter Wright & John McCarthy (2010)

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”a written outline of a film, novel, or stage work giving details of the plot and individual scenes”

(Oxford Dictionary of English, 2020)

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SCENARIOS

Stories about people and their activities often involving their use of technology
Setting of the activity = the physical location in which the activities occur (e.g., an office or a sitting room)
Agents and actors
Agents’ goals and objectives
The plot that moves the action and events of the scenario on

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State of the system in use with which the person is interacting with
Be sufficiently dynamic to accommodate goals being changed by the events that occur throughout

(Carroll, 1999)

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SCENARIOS

Why?

Evoke reflection in design
They are concrete and flexible
They are multifaceted and have multiple views ... they promote a workorientation
(help envision, design, communicated, collaborate etc.)

(Carroll, 1999)

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SCENARIO

Example

Context of design =
Agents and actors=
Agents’ goals and objectives=
The action and events =
State of the system in use=

Harry is interested bridge failures; as a child, he saw a small bridge collapse when its footings were undermined after a heavy rainfall. He opens the case study of the Tacoma Narrows Bridge and requests to see the film of its collapse. He is stunned to see the bridge first sway, then ripple, and ultimately lurch apart. He quickly replays the film and then opens the associated course module on harmonic motion. He browses the material (without doing the exercises), saves the film clip in his workbook with a speech annotation, and then enters a natural language query to find pointers to other physical manifestations of harmonic motion. He moves on to a case study involving flutes and piccolos.

(Carroll, 1999)

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SCENARIO

Example

Context of design =
Agents and actors=
Agents’ goals and objectives=
The action and events =
State of the system in use=

Harry is interested bridge failures; as a child, he saw a small bridge collapse when its footings were undermined after a heavy rainfall. He opens the case study of the Tacoma Narrows Bridge and requests to see the film of its collapse. He is stunned to see the bridge first sway, then ripple, and ultimately lurch apart. He quickly replays the film, and then opens the associated course module on harmonic motion. He browses the material (without doing the exercises), saves the film clip in his workbook with a speech annotation, and then enters a natural language query to find pointers to other physical manifestations of harmonic motion. He moves on to a case study involving flutes and piccolos.

(Carroll, 1999)

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EXPERIENCE-CENTERED SCENARIOS

Focus on

People’s activities
- their motivation
feelings
- the meanings they make of the interactions
- social interactions around the activities in question
Good stories have the power to stimulate imagination, engage interest, and highlight specific aspects of a situation (real or imagined)

(Wright & McCarthy, 2010)

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AN EXAMPLE SCENARIO

Different elements

Context of design =
Agents and actors=
Agents’ goals and objectives=

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The action and events =
State of the system in use=
People’s activities
- their motivation + feelings
- the meanings of interactions
- social interactions around the activity

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AN EXAMPLE SCENARIO

Different elements

Context of design =
Agents and actors=
Agents’ goals and objectives=

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The action and events =
State of the system in use=
People’s activities
- their motivation
- feelings
- the meanings of interactions
- social interactions around the activity

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”Constructing scenarios of use inescapably evokes reflection in the context of design.”

(Carroll, 1999)

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STORYBOARDS

Corrie van der Lelie (2006) The value of storyboards in the product design process. Pers Ubiquit Comput (2006) 10: 159–162.DOI 10.1007/s00779-005-0026-

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~~”~~ , a sequence of drawings typically with some directions and dialogue, representing the shots planned for a film or television production.” (Oxford Dictionary of English, 2020)

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A storyboard is a graphic organizer that consists of illustrations or images displayed in sequence for the purpose of previsualizing a motion picture, animation, motion graphic or interactive media sequence. The storyboarding process, in the form it is known today, Walt Disney Productions during the early 1930s, after several years of similar processes being in use at Walt Disney and other animation studios https://pencilpusher.carbonmade.com/projects/6733548 https://pencilpusher.carbonmade.com/projects/673354823[RD ] MARCH 2026

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http://www.pixartalk.com/wp-content/uploads/2009/06/casrsstoryboards4.jpg MINNA PAKANEN

STORYBOARDS

=Visual scenarios

Common visual language –> A tool for communication
Product-user interaction + context + time
Generating ideas and concepts based on the scenario
Getting a feel of the interaction with the product

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(Kettunen, 2001)

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VISUALISATION MANNER

Early phase

Late phase

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Sketchy

Visually detailed & refined

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ANALYSIS PHASE

Using storyboard to consider:

Defining function and intended behavior (technical, psychological, social, economic, cultural)
Where, when, what, why, with who, for how long?
Situations, atmosphere, feelings ...
Exploring through scenario

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SYNTHESIS PHASE

Explore & integrate

Generating ideas and concepts based on the scenario
Getting a feel of the interaction with the product
Details are not yet important

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SIMULATION PHASE

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Evolving into

Create coherent narrative
Focus on the story line
Adding details

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STORYBOARDS IN EVALUATION PHASE The storyboard used for:

walkthrough with future users
Evaluating ideas based on the scenario
Allows studying product and its values and qualities

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VISUALISATION MANNER

Affects to user feedback

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Sketchy

Visually refined

Evoke comments and suggestions

Is accepted as final ‘as is’

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VISUALISATION MANNER

Drawing vs. tracing

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VISUALISATION MANNER

Drawing vs. tracing

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SKETCHING STORYBOARDS

Basic humans + a bit of context + things to interact with Remember to zoom in and out!

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(Baskinger, 2008)

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BASIC SHAPES

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HUMANS

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SHOWING INTERACTION

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TRACING

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LINE TRACING An example

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LINE TRACING + COLORING

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NO COLOR VS. GREYSCALE VS. COLORS?

Depends on the case

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LINE TRACING An example

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LINE TRACING + PICTURES OF THE PRODUCT

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LINKS

Illustrator tutorials on tracing and drawing any shape: https://youtu.be/j69a3-shkGE https://youtu.be/RbbQl2sU-ag https://www.youtube.com/watch?v=Rk-JGsriJ4o

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CONCEPT SELECTION

Ulrich, K. T., & Eppinger, S. D. (2016). Product design and development. McGraw-hill. (Pages 146-156)

https://www.slideshare.net/slideshow/productdesignanddevelopmentkarltulrichstevendeppingeredisi/266164184

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CONCEPT SELECTION

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	Identify	Make a	Generate	Select	Concept	Final	Prototype
ITPDP	user	design	design	3	presentations	concept	design &
	needs	brief	concepts	concepts	+ feedback	idea	develop.

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CONCEPTS

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WAYS OF SELECTING CONCEPTS

Choose what fits the best to the design phase and case

External decision = Customer, client or other external entity
Product champion = An influential member (head of design) of product design team chooses the concept based on personal preference
Intuition = Concept is chosen by its perceived feel, and it's fit to the case
Multivoting = Each member votes for (3-5) concepts with • or I , the most voted concept/s wins
Pros & cons =The team lists strengths and weaknesses of each concept and makes a group decision
Decision matrices =The team rates each concept against prespecified selection criteria, also possible to compare your concepts against existing product
Prototype & test = Developed prototypes are evaluated against each other by users.

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EXAMPLE 1

Selection by intuition

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CONCEPT SCREENING MATRIX

6-step process

Conduct multivoting to select ideas for concept screening
Prepare the selection matrix
Rate the concepts
Rank the concepts
Combine and improve the concepts
Select one or more concepts

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Reflect the results and the process

Note that matrices always focus on the customer/ user needs and other decisions criteria defined based on the case!

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EXAMPLE 1

Multivoting

I conducted multivoting with a few classmates to narrow down the number alternatives
• Each could vote for max 3 concepts

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EXAMPLE 1

4 concepts presented with images and short textual descriptions (each in own A4 )

Reference product that the concepts are evaluated against Adjustability Storage space Cleanability Aesthetics Multifunctionality Novelty Ergonomics Durability Likeness Storability Score Rating

Concept screening

Selection criteria drawn from user studies and competition requirements + = Better than reference – = Worse than reference 0 = Same as reference

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Reference product

EXAMPLE 2

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Novo Pen Concepts

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EXAMPLE 2: SELECTION MATRIX

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REFERENCES

Carroll, J. (Ed.) (1999). Five Reasons for Scenario-Based Design. IEEE Proceedings of the 32nd Hawaii International Conference on System Sciences
Dix, A., & Gongora, L. (2011, October). Externalisation and design. In Proceedings of the second conference on creativity and innovation in design (pp. 31-42).
Ulrich, K. T., & Eppinger, S. D. (2016). Product design and development. McGraw-hill. (Chapter 8, pp. 146-156).

https://www.slideshare.net/slideshow/productdesignanddevelopmentkarltulrichstevendeppinge redisi/266164184

Van der Lelie, C. (2006). The value of storyboards in the product design process. Personal and ubiquitous computing, 10(2-3), 159-162.
Wright, P., & McCarthy, J. (2010). Experience-centered design: designers, users, and communities in dialogue. Synthesis Lectures on Human-Centered Informatics, 3(1), 1-123. (pages: 33-34)

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SKETCHING HUMANS & STORYBOARDS Sketching tutorial in class. Bring your pencil/s, pens, and 3 shades of grey markers with you!

25th March 10.00-12.00

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110

ITPDP26 - Physical Prototyping.pdf Open PDF

Show converted presentation markdown

PHYSICAL PROTOTYPING

DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

AGENDA

Messages

Project planning and prototyping Using prototypes in concept evaluations Digital Fabrication

Electronics

Supervision after lecture

DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

MESSAGES

DEPARTMENT OF COMPUTER SCIENCE

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AARHUS UNIVERSITY

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

THE ITPDP PROJECT

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DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

THE ITPDP PROJECT

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DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

THE ITPDP PROJECT

From Brightspace under “ITPDP 2026” Presented at first lecture about course introduction

Eligibility for exam

To be eligible for the exam, each student must hand in all tooling exercises and supporting assignments, and every group must hand in the final report, be represented in the plenary sessions, and - of course - the exam related demo session and oral exam.

Goals and requirements for the final project

The IT product must be placed clearly in relation to one of the three subthemes (or have deviation agreed upon with course educator).

The group must demonstrate an understanding of the target user group's needs and conditions, using theory and tools introduced in this course, and/or theory/tools presented earlier in their study programme.

The solution must position itself as relevant to the future users, utilizing ethnomethodological work and user-centered design to ensure validity. A successful evaluation is however not a requirement, but reflection and analysis of validity, process and outcome is the main end result.

The context of use and the challenges identified in the user studies must be taken into account.

The solution must include multiple clients/components and the cloud (typically via web technology). Several subcomponents and resources that can communicate, e.g., a system with a mobile app, a physical installation, and with automatic storage of sensor data in the cloud.

The IT product may involve a smartphone as part of the solution, but there must be an interaction with physical/tangible components in the environment or on the user, which you have designed and fabricated yourself.

Arguments must be made based on the needs of the users, usage of theory and methods, and the business potential in relation.

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DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

WORKLOAD AND EXPECTATIONS

Euro ean standard: 1 ECTS = 25-30 hours of work. p

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

MVP

DEPARTMENT OF COMPUTER SCIENCE

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AARHUS UNIVERSITY

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

“… Version of a product with just enough features to be usable by early customers”

DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

MINIMUM VIABLE PRODUCT (MVP)

Often a term used in “Agile Prototyping”.

A way to create clear goals to be able to evaluate/validate a prototype/concept.

What is the minimum features our prototype needs to have, in order to solve the identified problem and/or answer the research question?

Build towards simplistic representations of your vision – not individual small parts.

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DEPARTMENT OF COMPUTER SCIENCE

Agile Prototyping for technical systems – Schuh et al.

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

BUT HOW DO YOU PLAN THIS?

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https://activecollab.com/blog/project-management/moscow-method

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DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

MOSCOW EXAMPLE - KITCHEN TIMER

- Time can be set (up to two hours) Timer can be set (up to 24 hours) - - Hours and minutes are separate Hours, minutes and seconds - - The user gets notified User gets multimodal feedback - - The timer can be reset Multiple concurrent timers - - Timer can be paused Small enough to carry - - Fits in the kitchen Battery lasts for full longitudinal - Battery lasts more than max. timer study duration Must have Should have - - Timer = multiple weeks? Could have Will not have Cloud-connection - - Smartphone connected Statistics and food categorization - - Contextual multimodal feedback Credit-card like footprint - Fusion sensing (thermometer?) - Solar panel

But… how do we prioritize these??

DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

HOW TO PRIORITIZE POST MOSCOW

DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

HOW TO PRIORITIZE IN MOSCOW

Aim high, scope appropriately – you should push yourself. Free Features First

Impact-analysis (Remember scenarios? Personas? Contextual Design?) The art of choosing the right ecosystem/backbone Pessimistic approximations

DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

AIM HIGH, SCOPE APPROPRIATELY

Push yourselves, but lean into your skillset.

Always scope based on project goals (in this case course goals and delimitations). Do not let an overly simple MVP set you back.

An MVP is built to be your fallback – leave it alone, document, take pictures, make videos. Your MVP is then baseline for next iteration.

DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

IMPACT ANALYSIS

Focus on scenario-based design and contextual design – use it!

Which features will have the most (positive) impact?

You understand your user and the context – use the analysis to strengthen arguments for feature prioritization.

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DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

IMPACT ANALYSIS - KITCHEN TIMER

- Time can be set (up to two hours) - Hours and minutes are separate - The user gets notified - The timer can be reset - Timer can be paused - Fits in the kitchen - Battery lasts more than max. timer Must have	- Timer can be set (up to 24 hours) - Hours, minutes and seconds - User gets multimodal feedback - Multiple concurrent timers - Small enough to carry - Battery lasts for full longitudinal study duration Should have
- Timer = multiple weeks? - Smartphone connected - Contextual multimodal feedback Could have	- Cloud-connection - Statistics and food categorization - Credit-card like footprint - Fusion sensing (thermometer?) - Solar panel Will not have

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DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

“FREE FEATURES FIRST”

Free features are not necessarily free, but requires very little technical reiteration.

Hardware vs. software Simple additions or changes

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DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

IMPACT ANALYSIS - KITCHEN TIMER

- Time can be set (up to two hours) - Hours and minutes are separate - The user gets notified - The timer can be reset - Timer can be paused - Fits in the kitchen - Battery lasts more than max. timer - Timer can be set (up to 24 hours) - Hours, minutes and seconds - User gets multimodal feedback - Multiple concurrent timers - Small enough to carry - Battery lasts for full longitudinal study duration - Timer = multiple weeks? - Smartphone connected - Contextual multimodal feedback - Cloud-connection - Statistics and food categorization - Credit-card like footprint - Fusion sensing (thermometer?) - Solar panel Must have Should have Could have Will not have	- Time can be set (up to two hours) - Hours and minutes are separate - The user gets notified - The timer can be reset - Timer can be paused - Fits in the kitchen - Battery lasts more than max. timer - Timer can be set (up to 24 hours) - Hours, minutes and seconds - User gets multimodal feedback - Multiple concurrent timers - Small enough to carry - Battery lasts for full longitudinal study duration - Timer = multiple weeks? - Smartphone connected - Contextual multimodal feedback - Cloud-connection - Statistics and food categorization - Credit-card like footprint - Fusion sensing (thermometer?) - Solar panel Must have Should have Could have Will not have	- Time can be set (up to two hours) - Hours and minutes are separate - The user gets notified - The timer can be reset - Timer can be paused - Fits in the kitchen - Battery lasts more than max. timer - Timer can be set (up to 24 hours) - Hours, minutes and seconds - User gets multimodal feedback - Multiple concurrent timers - Small enough to carry - Battery lasts for full longitudinal study duration - Timer = multiple weeks? - Smartphone connected - Contextual multimodal feedback - Cloud-connection - Statistics and food categorization - Credit-card like footprint - Fusion sensing (thermometer?) - Solar panel Must have Should have Could have Will not have
- Time can be set (up to two hours) - Hours and minutes are separate - The user gets notified - The timer can be reset - Timer can be paused - Fits in the kitchen - Battery lasts more than max. timer Must have	- Timer can be set (up to 24 hours) - Hours, minutes and seconds - User gets multimodal feedback - Multiple concurrent timers - Small enough to carry - Battery lasts for full longitudinal study duration Should have
- Timer = multiple weeks? - Smartphone connected - Contextual multimodal feedback Could have	- Cloud-connection - Statistics and food categorization - Credit-card like footprint - Fusion sensing (thermometer?) - Solar panel Will not have

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DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

https://www.uxpin.com/studio/blog/design-sprints/

TIME AND SPRINTS

A gile development methodologies often refer to the term “sprint”.

I strongly suggest using this approach for testing feasibility in feature-based prototyping.

Suggested framework for prototype sprint: Inspired by the often used “5-day design sprint” (or similar artzy naming scheme) Following MoSCoW prioritization and free-features-first analysis. Have initial brainstorm about implementation strategy. Divide most crucial features up, and sprint them in pairs. Work 24-72 hours on each feature depending on impact (two features being worked on simultaneously). End with feasibility assessment and construct time plan based on last sprint. Or scrap.

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DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

PROTOTYPE EVALUATION

DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

THE FALLACY OF FLAWLESS

Prototypes are inherently flawed.

Small factors and variance makes a difference for replicability and comparability.

The obvious end-goal is a self-sustained and robust system.

Often that is not the case… and maybe not the best and easiest way to add additional features?

DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

WIZARD OF OZ

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DEPARTMENT OF COMPUTER SCIENCE

https://www.nngroup.com/articles/wizard-of-oz/

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

FINISH, FIDELITY, FEEDBACK

Maryam Tohidi, William Buxton, Ronald Baecker, and Abigail Sellen. 2006. Getting the right design and the design right.

and

End goal of a prototype evaluation:

To validate concept
Evaluate user appropriation
Problem-solution fit
Feedback on future iterations

Prototype fidelity matters!

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Youn-Kyung Lim, Erik Stolterman, and Josh Tenenberg. 2008. The anatomy of prototypes: Prototypes as filters, prototypes as manifestations of design ideas.

Users find it easier to critique lower fidelity prototypes.

Sometimes using multiple low-fidelity, feature-focused prototypes is the right way… … For evaluation J

DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

DIGITAL FABRICATION

DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

MANUFACTURING METHODS

Additive Manufacturing Subtractive Manufacturing 3D printing as example CNC (Computer Numerical Control) millin as exam le g p Adding layer by layer Taking away layer by layer Material base = often lastic Material base = often metals/wood p Often used for fast initial rotot in Often used for sturd construction p yp g y

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DEPARTMENT OF COMPUTER SCIENCE

Combo = Hybrid Process

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PHYSICAL PROTOTYPING 13. APRIL 2026

SIMON HOGGAN CHRISTENSEN LAB COORDINATOR

AARHUS UNIVERSITY

Meh?

1. What type of features does your product have?

small organic and intricate features → additive methods
large or sharp features, drilled and tapped holes or other fastening features →subtractive methods

2. What type of material do you want to work with?

thermoplastics and resins → additive methods
materials like metals, wood, or foam → subtractive methods

How many units do you want to produce?

low-volume production or iterative prototyping → additive methods
large-volume production runs → subtractive methods
Meh?

RAPID PROTOTYPING

Purpose: Rapidly creating tangible artifacts or prototypes to filter/validate certain aspects.

Addendum: In house. By yourself. Something you hopefully made. Without ruining yourself… … or the equipment J

Most common practice and understanding: Utilizes digital fabrication, due to speed and work/process synchronizity.

Any fabrication occupying more than a few days is no longer rapid prototyping – it’s invested construction.

Invested construction is not a bad thing – perfect for prototyping towards final demo. Rapid prototyping is your tool to quickly test, validate and scrap. Anything too detailed - and invested - in can become hard to scrap.

DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

RAPID PROTOTYPING

Mastering techniques, process, equipment = Absolute control regarding time and scope

DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

ARDUINO

DEPARTMENT OF COMPUTER SCIENCE AARHUS UNIVERSITY

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AGENDA

Why Arduino for prototyping
Alternative prototyping platforms (and what you will be taught about in other courses)
Code examples
ESP32 Wizard of Oz

DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

ARDUINO AS PROTOTYPING PLATFORM

Readily available here and big part of our lab-ecosystem

Lots of documentation and code examples + tutorials

Easy prototyping, hook-up, HATs, powering etc.

Many variations, sizes and beefiness

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Often limiting: CPU/GPU power, threading/cores, memory, GPIO pin amount, buffer sizes, communication.

DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

ALTERNATIVE PLATFORMS

Wemos D1 Mini (cheap WiFi board based on ESP8266)

ESP 32 (great platform with lots of possibilities)

RPI (when you want something in between a PC and an Arduino) ATMEL MCU family (used in PhysComp. When you want to create custom circuits) NUCs/Smartphones (for webapps/apps, graphics-intense tasks)

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DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

ARDUINO IDE

~~Arduin~~ o is an open-source electronics platform based on easy-to-use hardware and software. https://www.arduino.cc/en/software

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DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

ESP32

~~ESP32~~ is widely used in System-on-Chip (SoC) solutions designed for Internet of Things (IoT) applications due to its:

Integrated WiFi and Bluetooth
Lower power consumption with deep sleep modes
More I/O Features (than Arduino)

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DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

PINOUTS?

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DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

ESP32

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DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

ARDUINO V.S. ESP32 V.S. ESP8266

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DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

ARDUINO COMPONENTS

DEPARTMENT OF COMPUTER SCIENCE AARHUS UNIVERSITY

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

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COMPONENTS – WHAT OPTIONS DO WE HAVE?

~~Many~~ components will be covered in Physical Computing next semester: - Entire lecture set on sensors and what types we have in lab as inspiration. Engineering Interactive Technologies delves further into making novel sensing techniques.
Entire lecture set on actuators – even more time to delve into actuators in Multimodal Interaction and Shape Changing Objects and Spaces
For now: Use Johannes’ component inspiration kit and chomskylab.dk – and talk to supervisors/TAs/Labtools for further advice/inspiration.

RUNNING AVG

”Smoothing.ino” in Arduino--> Examples Running average data smoothing Useful for sensor and input with noise Noise = variance in data without change in input

DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

SWITCHCASE

Crucial for ITTT cases and sensing

DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

ESP32 EXAMPLE – YOUR WOZ CHEATSHEET

ESP32 is a brilliant platform for the Wizard of Oz method.

Example code in Brightspace.

Simple UI via WiFiServer à interaction with ESP32 Easily adaptable.

Of course only used for evaluation and prototyping, not the final demo J

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DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

INSTALL THE ESP32 BOARD IN ARDUINO IDE

Open IDE and go to Tools > Board > Boards Manager
Search "ESP32", select " esp32 by Espressif Systems ", and click Install
Reopen Arduino IDE
Under Tools>Board you should see esp32 à ESP32 Dev Module option

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DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

INSTALL USB CABLE DRIVER

~~Downl~~ oad Link: https://www.silabs.com/developer-tools/usb-to-uart-bridge-vcp-drivers

Windows Users: The Arduino Installer should install the USB Driver automatically. But in case it doesn't work, download from the link. Windows 10 users should use CP210x Universival Windows Driver , and Windows 8.1,8 and 7 users can use CP210x Windows Driver.
MacOS Users: Download the CP210x VCP Mac OSX Driver . After installing, accept Privacy changes and prompts. If install fails, install legacy driver variant.
Testing if the USB driver works (all OS): in the Arduino menu Tools>port before plugging in your ESP with the USB cable. You should see either none or one entry listed. Now plug in your ESP microcontroller and take another look at Tools>port . You should hopefully see one more entry. On Windows this will often be something like COM3 . On Mac it will be USB_to_UART or cu.usbserial

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DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

TESTING AND GETTING INFO

Open FileàExamples à Basics à BareMinimum and test that upload works to your ESP32.
During upload the device MAC adress will be written (including other useful info)

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Now it’s time to get on WiFi, by either using your phone hotspot as WiFi, or connect to AU-IoT via Simon (bring him your device MAC address)

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DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

GETTING ON WIFI

include const char ssid = "AU-IoT"; const char password = "test1234"; void setup(){ Serial.begin(921600); delay(1000); WiFi.mode(WIFI_STA); //Optional WiFi.begin(ssid, password); Serial.println("\nConnecting"); while(WiFi.status() != WL_CONNECTED){ Serial.print("."); delay(100); } Serial.println("\nConnected to the WiFi network"); Serial.print("Local ESP32 IP: "); Serial.println(WiFi.localIP()); }

DEPARTMENT OF COMPUTER SCIENCE

PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

void loop(){}

Or your phone hotspot SSID + pass

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AARHUS UNIVERSITY

GETTING ON WIFI

Result 1:

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Result 2: Endless connecting loop (retry SSID/pass or another WiFi)
Result 3: Connection failed (retry)
Result 4: Gibberish (check baud rate).

DEPARTMENT OF COMPUTER SCIENCE

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

REACTING TO ONLINE INPUT

Open the .ino file from Brightspace called ”ESP32_WifiWorkshopFinal” (unedited code can also be found via link, remember to change SSID credentials and baud).
Read through to understand what it does. It is a very basic HTTP-request ”ESP32 as web server”-setup, and is great for future prototyping!
Set up a breadboard with your ESP and two LEDs to pin 26 and 27 (remember a 220 ohm resistor to each + GND pin)
Use your computer/phone to control the pins (write the IP in the URL-field in a browser)
Optional - IoT Doorbell: Edit the code to work with a single buzzer instead of two LEDs – maybe even make a little melody?

DEPARTMENT OF COMPUTER SCIENCE

Idea and code from: https://randomnerdtutorials.com/esp32-web-server-arduino-ide/

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PHYSICAL PROTOTYPING SIMON HOGGAN CHRISTENSEN 13. APRIL 2026 LAB COORDINATOR

AARHUS UNIVERSITY

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L12_GUI_design_2026.pdf Open PDF

Show converted presentation markdown

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GUI DESIGN ITPDP’26, L12

Dr. Minna Pakanen Department of Digital Design and Information Studies mpakanen @cc.au.dk

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Visual perception
Gestalt principles
UI design guidelines
Interaction patterns
Break
UI design process
Layout of GUIs
Aesthetic styles
Color on screen

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VISUAL PERCEPTION

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Jeff Johnson (2013) Designing with the Mind in Mind: Simple Guide to Understanding User Interface Design guidelines

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WE PERCEIVE WHAT WE EXPECT

Our expectations & perceptions—are biased by three factors:

The past: our experience
The present: the current context
The future: our goals

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BIASED PERCEPTION

By our experience

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Jeff Johnson (2013)

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BIASED PERCEPTION

By our experience Design implication: Be consistent!

Place information and controls in consistent locations
Controls and data displays that serve the same function on different pages should be placed in the same position on each page, and have the same colour, text fonts, shading, and so on

Jeff Johnson (2013)

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BIASED PERCEPTION

By current context

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Jeff Johnson (2013)

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BIASED PERCEPTION

By current context

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Jeff Johnson (2013)

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Users come to a system with goals they want to achieve
Goals may vary, and goals strongly influence what users perceive

• Ensure that at every point in an interaction, the information users need is available, prominent, and maps clearly to a possible user goal, so users will notice and use the information

1) Similarity

2) Proximity

3) Common region
4) Closure
5) Continuation

6) Figure-ground

7) Focal point

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1) SIMILARITY

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When things appear to be similar to each other we group them together. And we also tend to think they have the same function.

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2) PROXIMITY

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EXAMPLE: PROXIMITY

When elements are close together, appear to be more related to each other than objects with more proximity to each other

separate or build relationship using empty space between objects

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3) COMMON REGION

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EXAMPLE: COMMON REGION

The principle of common region is highly related to proximity. It states that when objects are located within the same closed region, we perceive them as being grouped together.

Adding borders or other visible barriers is a great way to create a perceived separation between groups of objects—even if they have the same proximity, shape, color, etc.

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4) CLOSURE

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EXAMPLE: CLOSURE

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gizmodo.com

www.worldwildlife.org

https://commons.wikimedia. org/wiki/File:NBC_logo.svg

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https://www.fairtrade.net

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5) CONTINUATION

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EXAMPLE: CONTINUATION

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https://juliankay.com/development/principles-and-actions-for-metro-app/

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https://en.wikipedia.org/wiki/The_Dark_Side_of_the_Moon#/ media/File:Dark_Side_of_the_Moon.png

MINNA PAKANEN

7) FOCAL POINT

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EXAMPLE: FOCAL POINT

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https://www.instagram.com

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https://dribbble.com/shots/10003996-focal-pointlogotype/attachments/2021673?mode=media

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UI DESIGN GUIDELINES Jeff Johnson (2013) Designing with the Mind in Mind: Simple Guide to Understanding User Interface Design guidelines. W3C Web Accessibility Initiative WAI (n.d.) Accessibity guidelines. https://www.w3.org/WAI/fundamentals/accessibility-principles/#standards

22[ND] APRIL 2026 MINNA PAKANEN

CHALLENGES WITH UI DESIGN GUIDELINES

Following guidelines is not as straightforward as following cooking recipes

› Design rules often describe goals rather than actions › Very general to make them broadly applicable
› Open to interpretation › Design rules often contradict, i.e., they suggest different designs

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UI DESIGN GUIDELINES

Conflicts & tradeoffs

Bright screen & Lightweight & Multifunctional & Powerful & High resolution & WYSIWYG &

Long battery life Sturdy Easy to learn Simple Fast loading Usable by blind people

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2 BEST KNOWN UI DESIGN GUIDELINES

Shneiderman (1987); Shneiderman and Plaisant (2009)	Nielsen and Molich (1990)
• Strive for consistency • Cater to universal usability • Offer informative feedback • Design task flows to yield closure • Prevent errors • Permit easy reversal of actions • Make users feel they are in control • Minimize short-term memory load	• Consistency and standards • Visibility of system status • Match between system and real world • User control and freedom • Error prevention • Recognition rather than recall • Flexibility and efficiency of use • Aesthetic and minimalist design • Help to recognize, diagnose, and recover from errors • Provide online documentation and help

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OTHER UI DESIGN GUIDELINES STONE ET AL. (2005)

› Visibility : First step to goal should be clear
› Affordance : Control suggests how to use it
› Feedback : Should be clear what happened or is happening
› Simplicity : As simple as possible and task-focused
› Structure : Content organized sensibly
› Consistency : Similarity for predictability
› Tolerance : Prevent errors, help recovery
› Accessibility : Usable by all intended users, despite handicap, access
device, or environmental conditions

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ACCESSIBILITY GUIDELINES

W3C WEB ACCESSIBILITY INITIATIVE WAI

› Focus on

Perceivable information and user interface
Text alternatives for non-text content
Captions and other alternatives for multimedia
Content can be presented in different ways
Content is easier to see and hear
Operable user interface and navigation
Functionality is available from a keyboard
Users have enough time to read and use the content
Content does not cause seizures and physical reactions
Users can easily navigate, find content, and determine where they are
Users can use different input modalities beyond keyboard
Understandable information and user interface
Text is readable and understandable
Content appears and operates in predictable ways
Users are helped to avoid and correct mistakes
Robust content and reliable interpretation
Content is compatible with current and future user tools

https://www.w3.org/WAI/fundamentals/accessibility-principles/#standards

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OTHER UI DESIGN GUIDELINES JOHNSON (2007)

› Focus on the users and their tasks, not on the technology
Consider function first (conceptual model), presentation later
Conform to the users’ view of the task
Design for the common case
Don’t complicate the users’ task
Facilitate learning: consistency!
Deliver information, not just data
Design for responsiveness

Johnson, J. (2007). GUI bloopers 2.0: Common user interface design don’ts and dos

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INTERACTION PATTERNS Jenifer Tidwell (2010) Designing Interfaces: Patterns for Effective Interaction Design

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12 INTERACTION PATTERNS

Safe exploration
Instant gratfication
Satisficing
Changes in midstream
Deferred choices
Incremental construction
Habituation
Spatial memory
Prospective memory
Streamlined repetition
Keyboard only
Other people’s advice

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1. SAFE EXPLORATION

”let me explore without getting lost or in trouble”

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3. SATISFICING (SATISFYING + SUFFICE)

This means several things that interaction designers should consider:

Use “calls to action” in the interface: give the user directions what to do first, type here or drag things here, and tap the button to begin…
Make labels short, plainly worded, and quick to read (includes menu buttons)
Use the layout of the interface to communicate the meaning
Make it easy to move around the interface, the back button!
Avoid visual complexity, as novice users look for the first thing that might work

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4. CHANGES IN MIDSTREAM

”I changed my mind about what I was doing”

”that gesture works everywhere else, why doesn’t it work here?”

Ctrl+C, Ctrl+V, Ctrl+X, Ctrl+S, Ctrl+A, Ctrl+Z

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8. SPATIAL MEMORY

”I swear that button was here a minute ago. Where did it go?”

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10. STREAMLINED REPETITION

”I have to repeat this how many times?”

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11. KEYBOARD ONLY

”Please don’t make me use a mouse”

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https://shft.run

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2. SCOPE

› Specification: what should it do? And in what way?
› Prioritised features: the most important elements (and why)?

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https://shft.run

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3. STRUCTURE

› User flow: what are the most logical steps for your users to take, to gratify their needs
› Information architecture: how to structure your system

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https://careerfoundry.com/en/blog/ux-design/what-are-user-flows/22[[ND]]

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4. SKELETON

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On the structure: › Placing elements in relation to one another › Presentation of the information –> facilitates understanding

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https://www.above.se/shft
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MINNA PAKANEN
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WIREFRAMING TOOLS

Wireframe.cc

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https://wireframe.cc

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WIREFRAMING TOOLS

Balsamic

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https://balsamiq.com/wireframes/

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5. SURFACE

› What should the interface look like?
› How can the visual support the desired interaction?
› How can it best communicate the brand, product, value, and functionality in one cohesive image?
› What is the sensory experience desired?

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SURFACE

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https://shft.run

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LAYOUT OF GUIS

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To avoid the common mistakes …

• Uxplanet

https://uxplanet.org/common-webpage-design-mistakes-59eed9831bd7

Material design

https://material.io/design/

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RESPONSIVE LAYOUT

Columns, gutters, and margins

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2. Gutters:
Spaces between
columns
3. Margins:
Space between
content and left
and right edges of
the screen
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----- Start of picture text -----
1. Columns:
where the content
is placed
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https://material.io/design/layout/responsive-layout-grid.html#columns-gutters-and-margins

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Larger gutter

RESPONSIVE LAYOUT

Gutters and margins

Gutter & margins width can be different from each other

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Gutter and margins for horizontal scroll

https://material.io/design/layout/responsive-layout-grid.html#columns-gutters-and-margins

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EVEN SPACING

Gutters and margins

Gutter & margins width can be different from each other

Gutter and margins for horizontal scroll

https://material.io/design/layout/responsive-layout-grid.html#columns-gutters-and-margins

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RULE OF THIRDS

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41% 20%
25% 14%
22 [ND] APRIL 2026 MINNA PAKANEN
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WHITE SPACE

Negative space

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https://medium.muz.li/the-effective-utilization-of-white-space-in-ui-design-c944009b2540

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https://designwoop.com/minimalist-app-design

https://www.w3.org/WAI/tips/designing/ 22[ND] APRIL 2026 MINNA PAKANEN

ORGANIZE AND PRIORITIZE THE CONTENTS

Size: The more important a headline is, the larger its font size should be Prominence: The more important the headline or content, the higher up the page it should be Content Relationships: Group similar content types by displaying the content in a similar visual style, or in a clearly defined area.

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(Jeff Johnson, 2013)

https://m2.material.io/design/layout/applying-density.html#layout

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ORGANIZE THE CONTENTS PROPERLY

Locate important things in predictable locations:

Display the company name and logo prominently in the top left corner of the homepage
Remember to enable users using logo as going back to landing page
The most important content should be above the fold (i.e. the area of the page visible without scrolling, the landing site) , and lead users down the page when there is more content to see.
Primary navigation in a highly noticeable place
- Menu, language selection, search fields should be in the header area
- The most crucial tasks should be visually prominent on the page
Describe actions in a way that resonates with your target audience's goals. What are they hoping to achieve on your homepage?
Links should be named descriptively
Keep it simple and make sure your design scales to different GUIs (mobile, tablet and computer)

https://www.nngroup.com/articles/homepage-design-principles/

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ORGANIZE THE CONTENTS PROPERLY

Examples: vr.fi and dsb.dk

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Where are the logo, menu, language selection, search field, and the most important contents for the user’s task completion?
What is in the header, main area, and footer?
Is the most priority content prominently presented?
How is the navigation designed, does it work well both in mobile and computer?

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TYPOGRAPHY

Note that print and screen need different kind of typography!

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S S
Sans serif
Serif
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TYPOGRAPHY ON SCREEN

Avoid hard to read and decorative fonts
Consider font size
Avoid text on noisy background
Avoid long sections of bold, italic, or uppercase text.
Avoid centered text in text blocks

How about this?

Or this?

Left-aligned text for large sections, as this gives readers a consistent starting point for each line of text.
Centered, right-aligned, or justified text .
can be used for headings or short sections

Jeff Johnson (2013)

22[ND] APRIL 2026

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ACCESSIBILITY OF SCREEN FONTS

› Focus on size, spacing, contrast, font

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https://www.audioeye.com/ultimate-guide-to-accessible-web-design/

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MINIMIZE THE NEED FOR READING

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Jeff Johnson (2013)

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STATES OF AN INTERACTIVE ELEMENT

Distinct, additive & consistent visual representations

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https://material.io/design/interaction/states.html#usage

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STATES OF AN INTERACTIVE ELEMENT

Distinct, additive & consistent visual representations

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https://material.io/design/interaction/states.html#usage

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ERROR MESSAGES

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Sorry!

Put it in where users are looking

People focus in predictable places when interacting with graphical user interfaces
Mark the error
indicate clearly what is wrong

Reserve red for errors

Using red for any other information on a computer display invites misinterpretation
Use another color for errors or mark them with an error symbol if designing for cultures where red is positive color (Chinese)

Your password was not correct. Please try again. OK

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Jeff Johnson (2013)

22[ND] APRIL 2026 MINNA PAKANEN

GUI DESIGN & PROTOTYPING

Figma

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https://www.figma.com

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AESTHETIC STYLES

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SKEUOMORPHISM

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http://www.originalgreen.org/blog/2013/skeuomorphism---how-steve.html

22[ND] APRIL 2026

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SKEUOMORPHISM

Benefits

Skeuomorphism may be used in many different ways to help familiarise users to a new product and technology

For example, if an object casts a shadow, our brains automatically visualise that as a 3D shape that has volume

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SKEUOMORPHISM

Challenges

The problem is when borrowing features from the original design, you often also bring its limitations with it, even when these limitations have no reason to exist anymore • There is also the problem of getting skeuomorphism wrong: making something look like a physical object but not work like it

http://www.originalgreen.org/blog/2013/skeuomorphism---how-steve.html

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FLAT

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https://mspoweruser.com/developers-31-days-of-windows-phone-metro-design-from-microsoft-ux-designer/

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FLAT

Challenges

• Taking the approach too far to minimalism can have serious consequences on usability because when all the affordances of the design are removed it is harder for the user to know how to interact with the interface

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FROM SKEUOMORPHISM TO FLAT DESIGN

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skeuomorphic

flat

22[ND] APRIL 2026 MINNA PAKANEN

FROM SKEUOMORPHISM TO FLAT DESIGN

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skeuomorphic

flat

22[ND] APRIL 2026 MINNA PAKANEN

WHAT IS NEXT?

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https://smithhousedesign.com/new-logo-instagram-marks-beginning-end-flat-design/

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NEUOMORPHISM

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https://dribbble.com/shots/7994421-Skeuomorph-Mobile-Banking

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NEUOMORPHISM

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https://envato.com/blog/skeuomorphism-is-back/

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STYLE: WHICH PATH TO CHOOSE?

Good designers design for context, picking the best option for the specific case

Take all the good things from flat design and skeuomorphism/realism and apply them in a way that is still usable. (e.g. Skeuominimalistic or neumorphism)
Consider implications when using realism
Simplification should not affect usability, and maximize skeuomorphic affordances to the point where it does not affect the simple beauty of minimalism

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ANIMATION ON WEBPAGES

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https://www.handwrytten.com

22[ND] APRIL 2026 MINNA PAKANEN

ANIMATION EASTER EGGS

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22[ND] APRIL 2026 MINNA PAKANEN

COLOR IN GUI

How to use colours in GUI design

22[ND] APRIL 2026

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112

COLOR

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RGB

For any kind of screen:

computers, smartphones, tablets, TVs, cameras, etc.
For digital images and elements
Web & app design

RGB

Icons
Buttons
Graphics
File formats: JPG, PNG, GIF

• Web: HEX#(RRGGBB)

https://99designs.dk/blog/tips/correct-file-formats-rgb-and-cmyk/

MINNA PAKANEN

22[ND] APRIL 2026

Warm

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Energizing
Happiness
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MEANINGS

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Cheerful
Energetic
Harmony
Natural Change/movement
Renewal GREEN Vitality
ORANGE
BLUE RED Bold
Calm
Aggression/danger
Refreshing
Love
Reliability/ strength
Hot
PURPLE
Wisdom
Luxury
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Note the cultural differences:

https://www.smashingmagazine.com/2010/01/color-theory-for-designers-part-1-the-meaning-of-color/22[ND] APRIL 2026 MINNA PAKANEN

COLOR HARMONY

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Complimentary
Monochromatic Analogous
Split-complimentary Triadic Rectangle Square
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COLOR HARMONY: COMPLIMENTARY

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COLOR HARMONY: ANALOGOUS

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https://www.mastercard.dk/da-dk.html

22[ND] APRIL 2026

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COLOR HARMONY: TRIADIC

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https://www.burgerking.dk/menu

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COLOR HARMONY: TRIADIC

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https://indicius.com

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DISTINGUISHING COLORS

by saturation and brightness as well as hue

Avoid subtle color differences
Make sure the contrast between colors is high

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Paleness of the color >

Patch size <

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Separation >

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Jeff Johnson (2013)

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DISTINGUISHING COLORS

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Jeff Johnson (2013)

https://colorbrewer2.org

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DISTINGUISHING COLORS

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Jeff Johnson (2013)

22[ND] APRIL 2026 MINNA PAKANEN

DISTINGUISHING COLORS

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22[ND] APRIL 2026

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SEPARATE STRONG OPPONENT COLORS

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Jeff Johnson (2013)

22[ND] APRIL 2026 MINNA PAKANEN

ACCESSIBLE COLORS

Avoid color pairs that color-blind people cannot distinguish

Red – green
Blue - yellow

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Accessible colors: https://color.adobe.com/create/color-accessibility
Check images to see how people with various color vision deficiencies would see them: https://www.color-blindness.com/coblis-color-blindnesssimulator/
Find predefined suitable themes for infographics from: Jeff Johnson (2013)
https://colorbrewer2.org

22[ND] APRIL 2026 MINNA PAKANEN

DESIGNING WITH COLOURS

The basic rules

Remember that colors evoke feelings and moods (e.g., red = love, passion, strength, and aggression), note also cultural differences
Try to match the color to the overall tone and feel of the brand or product
One color only might work, some brands are recognizable by their distinct color (e.g., McDonalds, Ferrari)
:
Consider using color harmony
Colors near to each other on the color wheel (e.g. for a “warm” palette: red, orange, and yellow hues or a cold palette…)
Complementary colors (e.g., other sides of the color wheel)
Don’t use colors that are so bright that they are hurting eyes (chock colors)
Remember color blind users!

22[ND] APRIL 2026

MINNA PAKANEN

TEXT COLOR

Text on colored backgrounds

Black text on light backgrounds
White text on dark backgrounds
Color backgrounds or typography change the rules regarding text opacity and different states of the text
Avoid long color text on color backgrounds!

https://material.io/design/

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22[ND] APRIL 2026

MINNA PAKANEN

DESIGNING WITH COLORS

GUIs

Start with neutrals
Grey tones, white, black

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Add 1-3 colors that fits with the brand
Use colors wisely!
Remember the white space!

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22[ND] APRIL 2026

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DESIGNING WITH COLORS

GUIs

https://m2.material.io/design/color/ the-color-system.html#color-themecreation

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22[ND] APRIL 2026

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ADOBE COLOR

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https://color.adobe.com/

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ADOBE COLOR

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https://color.adobe.com/trends/Interaction

22[ND] APRIL 2026

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FIGMA TUTORIAL MONDAY 27[TH] APRIL (12:00-15:00)

https://www.figma.com

Maja will visit to teach you Figma prototyping with Julia
Before Monday:
Watch Julia’s Figma Intro (in Bs today afternoon)

• Make a Figma account and try it to get familiar with the basic functions!

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https://brightspace.au.dk/d2l/le/lessons/202542/topics/2569575

22[ND] APRIL 2026

MINNA PAKANEN

BACKGROUND LITERATURE

› Löwgren & Stolterman (2007) Thoughtful Interaction Design
› Jeff Johnson (2013) Designing with the Mind in Mind: Simple Guide to Understanding User Interface Design guidelines
› Johnson, J. (2007). GUI bloopers 2.0: Common user interface design don’ts and dos
› Jenifer Tidwell (2010) Designing Interfaces: Patterns for Effective Interaction Design
› https://www.usertesting.com/blog/gestalt-principles/
› https://medium.com/hh-design/crash- course-ui-design-25d13ff60962

› https://webdesign.tutsplus.com/articles/a- beginners-guide-to-wireframing-- webdesign 7399

› https://www.interaction-design.org/literature/article/laws-of-proximity-uniform-
connectedness-and-continuation-gestalt-principles-2
› https://www.nngroup.com/articles/homepage-design-principles/

22[ND] APRIL 2026

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Thank you for today! Questions?

22[ND] APRIL 2026

MINNA PAKANEN

L13_ Evaluation_2026.pdf Open PDF

Show converted presentation markdown

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EVALUATION ITPDP’26, L13, W15/19

Assoc Prof. Minna Pakanen Department of Digital Design and Information Studies mpakanen @cc.au.dk

6[TH] MAY 2026

MINNA PAKANEN

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6[TH] MAY 2026 MINNA PAKANEN

TODAY

› Ways of evaluating

› Usability testing
› Early development phase UX evaluations
› Prototypes in early development phase evaluations
› Data gathering and recording methods
› Evaluation planning and roles in the evaluation
› TA session: Planning of the evaluation of your own ITPDP product!

6[TH] MAY 2026

MINNA PAKANEN

WAYS TO EVALUATE

6[TH] MAY 2026

MINNA PAKANEN

WHY DO WE EVALUATE?

› We are not designing for ourselves › Feedback on the design process

› Iterative development › ”Fail early, fail often"

6[TH] MAY 2026

MINNA PAKANEN

“Iterative design, with its repeating cycle of design and testing, is the only validated methodology in existence that will consistently produce successful results. If you don’t have user-testing as an integral part of your design process, you are going to throw buckets of money down the drain .”

(Bruce Tognazzini)

6[TH] MAY 2026

MINNA PAKANEN

THREE WAYS TO EVALUATE

Usability testing/ UX evaluation

Test and evaluation setting controlled by the evaluator
With users

Field evaluation

Evaluation in a natural environment with real users and their actions
The user’s surroundings and tasks set the evaluation frame

Analytical evaluation

No users are involved!
Heuristic evaluation

You will learn this in the coming HCI course!

Walkthroughs

Combination of these!

6[TH] MAY 2026

MINNA PAKANEN

DIFFERENCES OF EVAL. APPROACHES Usability testing UX evaluation Field studies Analytical Users Do task Do tasks/ natural interactions Natural interactions Not involved Location Lab/controlled Lab/natural Natural Anywhere When Prototype Early, prototype, late Early + late Prototype Data Quantitative Qualitative/ mixed Qualitative Problems Feedback Measures & errors Experiences/ feelings Descriptions Problems Type Applied Applied/ naturalistic naturalistic Expert	DIFFERENCES OF EVAL. APPROACHES Usability testing UX evaluation Field studies Analytical Users Do task Do tasks/ natural interactions Natural interactions Not involved Location Lab/controlled Lab/natural Natural Anywhere When Prototype Early, prototype, late Early + late Prototype Data Quantitative Qualitative/ mixed Qualitative Problems Feedback Measures & errors Experiences/ feelings Descriptions Problems Type Applied Applied/ naturalistic naturalistic Expert	DIFFERENCES OF EVAL. APPROACHES Usability testing UX evaluation Field studies Analytical Users Do task Do tasks/ natural interactions Natural interactions Not involved Location Lab/controlled Lab/natural Natural Anywhere When Prototype Early, prototype, late Early + late Prototype Data Quantitative Qualitative/ mixed Qualitative Problems Feedback Measures & errors Experiences/ feelings Descriptions Problems Type Applied Applied/ naturalistic naturalistic Expert	DIFFERENCES OF EVAL. APPROACHES Usability testing UX evaluation Field studies Analytical Users Do task Do tasks/ natural interactions Natural interactions Not involved Location Lab/controlled Lab/natural Natural Anywhere When Prototype Early, prototype, late Early + late Prototype Data Quantitative Qualitative/ mixed Qualitative Problems Feedback Measures & errors Experiences/ feelings Descriptions Problems Type Applied Applied/ naturalistic naturalistic Expert	DIFFERENCES OF EVAL. APPROACHES Usability testing UX evaluation Field studies Analytical Users Do task Do tasks/ natural interactions Natural interactions Not involved Location Lab/controlled Lab/natural Natural Anywhere When Prototype Early, prototype, late Early + late Prototype Data Quantitative Qualitative/ mixed Qualitative Problems Feedback Measures & errors Experiences/ feelings Descriptions Problems Type Applied Applied/ naturalistic naturalistic Expert	DIFFERENCES OF EVAL. APPROACHES Usability testing UX evaluation Field studies Analytical Users Do task Do tasks/ natural interactions Natural interactions Not involved Location Lab/controlled Lab/natural Natural Anywhere When Prototype Early, prototype, late Early + late Prototype Data Quantitative Qualitative/ mixed Qualitative Problems Feedback Measures & errors Experiences/ feelings Descriptions Problems Type Applied Applied/ naturalistic naturalistic Expert
	Usability testing	UX evaluation		Field studies	Analytical
Users	Do task	Do tasks/ natural interactions		Natural interactions	Not involved
Location	Lab/controlled	Lab/natural		Natural	Anywhere
When	Prototype	Early, prototype, late		Early + late	Prototype
Data	Quantitative	Qualitative/ mixed		Qualitative	Problems
Feedback	Measures & errors	Experiences/ feelings		Descriptions	Problems
Type	Applied	Applied/ naturalistic		naturalistic	Expert
6THMAY 2026			MINNA PAKANEN

6[TH] MAY 2026 MINNA PAKANEN

USABILITY TESTING PLEASE DO NOT USE THIS IN YOUR EVALUATION!

6[TH] MAY 2026

MINNA PAKANEN

AIMS OF USABILITY TESTING

› Interested of how easy it is for the user to use the system
:
› Usability is defined by 5 quality components
Learnability : How easy is it for users to accomplish basic tasks the first time they encounter the design?
Efficiency : Once users have learned the design, how quickly can they perform tasks?
Memorability : When users return to the design after a period of not using it, how easily can they re-establish proficiency?
Errors errors : How many do users make, how severe are these errors, and how easily can
they recover from the errors?
Satisfaction : How pleasant is it to use the design?
(https://www.nngroup.com/articles/ten-usability-heuristics/)

6[TH] MAY 2026

MINNA PAKANEN

USABILITY TESTING

› Three ways of conducting:

Laboratory-based user observations
Controlled user testing
› facilitator can help the user if the user does not know how to proceed, but this needs to be marked down in the observation notes!
Expert inspection techniques
› Analytical evaluation methods you will be learning more in the HCI course

(Greenberg & Buxton, 2008)

6[TH] MAY 2026

MINNA PAKANEN

USABILITY TESTING

› Controlled laboratory-based user (covert) observations & studies

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https://www.brighton.ac.uk/business-services/consultancy/user-centre-design-lab/index.aspx https://www.volkside.com/2009/12/tip-print-out-your-usability-testing-tasks/ https://www.testingtime.com/en/blog/in-house-usability-tests/ https://ux247.com/usability-lab-dead/

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6[TH] MAY 2026

MINNA PAKANEN

What are the challenges of usability evaluations conducted in an early design phase according to Greenberg & Buxton (2008)?

6[TH] MAY 2026

MINNA PAKANEN

EARLY DESIGN IDEAS AND PROTOTYPES

› Early designs are “sketches”
Illustrate the essence of an idea, but have
many underdeveloped aspects to it
Can be represented in many forms
Work as externalization of the idea and help the designer to iterate the design
› Early prototypes
Have many holes and undeveloped attributes

(Greenberg & Buxton, 2008)

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6[TH] MAY 2026

MINNA PAKANEN

CHALLENGES OF USABILITY STUDIES IN EARLY DESIGN PHASE

› Usability study is not the best approach to evaluate early designs or prototypes because

It focuses on negative aspects:
Errors & bugs
Task completion time: faster the better
–> Abandoning a promising idea too early –> Focus on developing aspects that can be measured, usually something we are already familiar with
–> Limit the number of alternative ideas

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(Greenberg & Buxton, 2008)

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EARLY PHASE USER EXPERIENCE EVALUATIONS

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USER EXPERIENCE EVALUATION

› UX studies focus on lived experiences
A holistic view of the user’s interaction with a product
- Emotions, enjoyment & aesthetics
Focuses on positive aspects of the use
- Hedonic and non-instrumental aspects of use (non-task related)
Dynamic and situational aspects
- Different time spans (before, during, after the use)and momentary experiences (changes over time spans)
- Context impacts the experience

(Bargas-Avila & Hornbæk, 2011)

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AIMS OF UX EVALUATIONS

› To find out how the user feels about the system and interaction
with it
Qualitative or mixed-methods approach in research
- Interviews, focus groups, observations
- Questionnaires
- Constructive and creative techniques (drawing & collages)
UX studies can be conducted at any phase of the design process (concept ideas – – – –>final products)

(Bargas-Avila & Hornbæk, 2011)

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EARLY DEVELOPMENT PHASE UX EVALUATIONS

› Early phase user experience evaluations are done to
› help to choose the best design for the development
› Evaluating that the development is on the right track
› Examining if the final product can meet the set UX targets

(Stone et al. 2005)

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ANTICIPATED USER EXPERIENCE (AUX)

can ”Anticipated UX happens before the first use, or it happen also within the other time spans of UX, e.g. during and after the use and over time, as a person may imagine also during those time spans. A person can have indirect experience prior the first use through formed expectations brand of existing experience with related technologies, , advertisements , presentations, and other peoples’ opinions.”

(Roto et al., 2011)

› Prototypes should
› evoke people’s dreams for the future (van den Hende 2010)
› give a sense of experience before the actual artefact exists (Roto et al. 2011)
› allow envisioning the concept and prevent unwanted confusion
- (Kuutti et al. 2001, Gegner & Runonen 2012)
› focus subject’s attention on studied things (Lim & Stolterman 2008)
› allow utilizing concepts key characteristics directly to the design (Law 2011).

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MIXED FIDELITY PROTOTYPES

5 filter dimensions of prototypes

• Appearance

size; color; shape; margin; form; weight; texture; proportion; hardness; transparency; gradation; haptic; sound

• The functionality

system function; users’ functionality need

• The interactivity

input behavior; output behavior; feedback behavior; information behavior

• The data

data size; data type (e.g., number; string; media); data use; privacy type; hierarchy; organization

• The spatial structure

arrangement of interface or information elements; relationship among interface or information elements— which can be either two- or three-dimensional, intangible or tangible, or mixed

(Lim & Stolterman, 2008)

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MANIFESTATION DIMENSIONS

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(Lim & Stolterman, 2008)

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FILTER-FIDELITY-PROFILES IN EVALUATION

5 filter-dimensions of prototypes

Appearance
Size, color, shape, weight, hardness, haptic, sound, & arrangement
The functionality
Breadth (functions realized) & depth (completeness)

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• The interactivity

Action, reaction, input modality, & output modality
The data
Closeness to the reality, information architecture, data model, & amount and type of data
The physicality
Spatial position, coherence of tangibles, & tangible embodiment

(Kohler & Hochreuter, 2014)

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PROTOTYPES IN EARLY UX EVALUATIONS

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COMPARABLE VISUAL MATERIALS IN AUX EVALUATIONS

Extending the existing prototype and comparing alternative visualization styles for GUIs When preparing comparable visual materials, make sure the comparable examples and items under evaluation are same in: 1) Relative size

2) Color scheme, unless you compare different color options

3) Level of detail and visualization style (sketch, line drawing, shaded, …)

Note that your alternative visualizations should all be presented in same application context (contextualization).

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EXAMPLE: VIRTUAL AVATARS FOR AR & VR IN COLLABORATIVE SETTING

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(Pakanen et al. 2022)

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EXAMPLE: RESEARCH/ BENCHMARKING

(Pakanen et al. 2022)

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EXAMPLE: EXAMPLES

1) Relative size
2) Color scheme
3) Level of detail & visualization style

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(Pakanen et al. 2022)

EXAMPLE: CONTEXT

Examples are shown both in AR & VR context

(Pakanen et al. 2022)

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COMPARABLE VISUAL MATERIALS

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(Pakanen 2015)

PROTOTYPES IN EARLY UX EVALUATIONS

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(Pakanen et al. 2014)

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VISUAL MATERIALS TO HELP EVALUATING PROTOTYPES

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(Pakanen et al. 2014)

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Reporting of the study in your report:

› How the visual materials were used?

› When they were used in the evaluation?

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VISUAL MATERIALS IN AUX EVALUATIONS

Example from paper 1

Paula and her husband p lanned in the morning that she will buy groceries, and her husband will collect her from the shop. Hence, now prior leaving from the office, she pre-writes a message on her phone “At the checkout desk!” (1) and assigns it to a t urquoise color that she can remember.

When she arrives at t he checkout, she uses the bracelet device on her wrist to browse the messages that she has created with the phone (2). She finds the turquoise message (with inner ball) that she created at her office.

Then she selects the receiver, Matt, her husband (with outer ball) and sends it to him (3).

Matt is arriving to the parking lot, when Paula’s message arrives to his phone, he knows that it will only take a few minutes for Paula to come out of the shop, so rather than parking, he drives to waits at the front of the store (4).

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(Pakanen et al. 2014)

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VISUAL MATERIALS IN AUX EVALUATIONS

Help user to see over limitations of the prototype by creating a model to show the appearance
A nice rending/ visualization of the concept idea in use context held by a human (print/screen)
A physical unfunctional mock-up (can be hold in hand by the user)
A set of images + use case story (prints/ Powerpoint slides/video)
Make sure you show this use case story before evaluating the partial and unfinished appearance (in this case size, weight, shape, materials), functionality (only two types of interactions were compared [interactivity]) or the prototype.
Think of what aspects you need to realize as close to the final prototype (physicality as in this case tangible embodiment was almost realistically realized)

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VISUAL MATERIALS IN AUX EVALUATIONS

Example from paper 2

Collect feedback for the further development

2 Altered visualizations of possible solutions presented on screenshots taken from the model
Make sure you show the alternative vualizations after evaluating the partial and unfinished prototype
appearance (no visualizations)
functionality (only moving was realized in the prototype).
Think of what aspects you need to realize as close to the final prototype (Appearance and the animations)

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(Kukka et al. 2017)

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VISUAL MATERIALS IN AUX EVALUATIONS

Example from paper 4 Collect feedback for the further development

One virtual environment with alternative interior and functionalities
Make sure you let the participants see the alternative visualization after evaluating the partial and unfinished prototype
appearance (no visualizations)
functionality (only moving was realized in the prototype).
Think of what aspects you need to realize as close to the final prototype (Appearance, functionalities, and the interactions)

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(Pakanen et al. 2020)

WIZARD OF OZ

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WIZARD OF OZ TECHNIQUE ALLEN MUNRO AND DON NORMAN, 1975

› The Wizard of Oz method is a moderated research method in which a user interacts with an interface that is not really working, but the system responses are initiated by a human operator

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Video
camera User
Operator
https://www.nngroup.com/articles/wizard-of-oz/#:~:text=Definition%3A%20The%20Wizard%20of%20Oz,Norman%20at%20UC%20San%20Diego.
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WIZARD OF OZ TECHNIQUE AN EXAMPLE IN LAB SETTING

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(Colley et al. 2016)

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WIZARD OF OZ TECHNIQUE

AN EXAMPLE IN FIELD WITH A MOBILE OPERATOR

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Pakanen et al. 2022

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Reporting of the study in your report:

› What kind of Wizard of OZ evaluation was conducted?

› How was the Wizard of OZ method described in the paper? Paper: 3

MINNA PAKANEN

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WIZARD OF OZ TECHNIQUE MOBILE

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Operator

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PLANNING OF WIZARD OF OZ STUDY

Remember

› Assign group members to be:

1) Facilitator, introduces the tasks and interviews the participants
2) Operator/”observer” who operates the protype based on participants input/ other type of input. Make sure there is either direct or indirect (through live video feed) visibility to participants interaction with the

prototype with, so that you can operate the prototype well. If the operator is to be in the same space, then say to participants that this person is an observer

› Do not break the illusion!

› Plan the tasks carefully and think all the possibilities what the user could do?
If participant does unexpected things, facilitator should say: unfortunately the prototype does not function in that way, can you think any other way how it could work? (and at the end show how to use it).
› Make sure the operator have a direct view to the participant and their interaction with the prototype

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USER STUDY DATA GATHERING METHODS

Blandford, Ann, Dominic Furniss, and Stephann Makri. ”Qualitative HCI research: going behind the scenes." Synthesis lectures on human-centered informatics 9, no. 1 (2016): 1-115.

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OBSERVATION

Observer observes

› ”Fly on the wall” (Blandford et al. 2016)
› What do people do and how do they do it?

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› Difficulties or errors with the interaction?
› What do they get enthusiastic about?
› How do they operate the system?
› Are their actions supporting what they say?
› e.g., if they seem to have problems and they claim it is easy to use

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PLANNING OBSERVATION

Pay attention to

› Select setting(s)

› It is not possible to observe everything, so decide what is to be documented in each observation.

› Plan an observation form for collecting observations for each task › When a participant does something very interesting, you can mark down the time, which helps finding that incident from the video or audio recording.

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THINK ALOUD

› Technique can be used in usability testing, user experience evaluation, and even in field studies › Start by explaining to the participant how to think aloud › It is not about what they do, but what they think while doing it › The tasks: chosen by participants (naturalistic) or defined by you › Thinking aloud does not come naturally to all

› You can prompt silent participant by asking: “What are you thinking” › You should politely steer too chatty participant back to the tasks › UX and usability studies have different rules

› Intervention in minimum (usability) | UX interventions for seeking clarifications

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INTERVIEW

› allows understanding people's perceptions and experiences

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› Different types

› Unstructured

› not directed by a script (ethnographic)
› Structured
› tightly scripted, almost like a questionnaire
› Semi-structured (most used)
› guided by a script, interesting issues explored in more depth by asking for further details

MINNA PAKANEN

6[TH] MAY 2026

INTERVIEWING

The interviewer interviews the participant/s › Form the topics and questions: open, broad & narrow

› Next slide what to avoid when forming questions
› Opening the conversation
› assure your interest in participants’ replies as an expert in the topic

› Ask the question and wait that the person gives a reply › Ask for clarifications if a person’s reply is not complete or if it is just yes or no/ good/bad

› You said that it is good, in what way/s it is good/ what features make it good?

You wished the information on the screen was clearer, in which way?

6[TH] MAY 2026 MINNA PAKANEN

INTERVIEW QUESTIONS

When creating questions avoid:

› Long questions

› Compound sentences - split them into two
› Jargon and language that the interviewee may not understand › What did you think of this AR feature? –> ….the feature where you can see items appearing on this real space we are in?
› Leading questions that make assumptions

› Isn’t this feature good in…

› Unconscious biases e.g., gender/age… stereotypes
› As a/n elderly/woman/child you probably found this as complicated…

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DATA RECORDING

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VIDEO RECORDING

Pros and cons

› A rich way to capture interaction in the context + user comments are automatically in sync with user interaction

› Video recording can make participant anxious

› Placing the video camera in a more discrete location usually helps users to forget it

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AUDIO RECORDING

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When and why

› In some of the interviews it is fine to record audio only
If you do not have any prototypes or visual materials, an audio recording is more discrete than a video.

› It is good to also record audio when you use video recording as sometimes it is hard to hear from the video what the user is saying especially if the camera is located far away from the user

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PHOTOGRAPHS

Records the moment › Capture moments as they happened. They help in reporting results and important moments in the interaction for example in project reports and publications

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OBSERVATION NOTES

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Fast in situ note taking

› Observation notes are a good way of getting the most important things marked down, you can even mark the time when a user did or said something that was unexpected or interesting in some other way

› Notes can be used also as the basis of analysis (i.e., themes)

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LOG DATA

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Recording user interaction on the device › records user actions in the device log

› You can find errors and quantify your results easily with log data, but remember that you need the before-mentioned methods to understand why people made mistakes or did things in certain ways

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UX EVALUATION AND DATA CAPTURING METHODS

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~~R~~ eporting of the study in your report: › What kind of data collection and recording methods were used?

› Were there some methods that were not described here?

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EVALUATION PLANNING TASKS, PROCEDURE, & INTERVIEW QUESTIONS

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PLANNING

Prepare procedure – steps, tasks…”script of the evaluation” 2. Prepare interview (+questionnaires) questions – background, task related, end
Pilot study – try out your procedure, tasks, forms, questions & how long the evaluation will be
Iterate your procedure – if something needs to be changed 5. 2[nd] Pilot – test if changes work better
Recruit participants – amount depends of the study, from 6-14-30-…, set also times for the studies and let them know the estimated duration
Prepare for the evaluation – cameras, video cameras, tripods, audio recording, print forms, get gifts for the participants, book rooms…
Conduct your study- follow your procedure, record the data and store it for analysis, remember to thank your participants after the evaluation! 6[TH] MAY 2026 MINNA PAKANEN

PROCEDURE Applied from Leena Arhippainen, UX researcher and Minna’s Phd supervisor

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PROCEDURE

Consent from filling- participant agrees on the study (See L3: GDPR)
Intro to the study- who, why and what
Background info of the users- questionnaire or interview
Ice breaking task – easy task to get user familiar with the prototype 5. Actual task(s) with the prototype – design the task so that you are able to get feedback on right things
Post questionnaires- preferences and quantitative data
Semi-structured interview – get more detailed understanding how user felt using your prototype and what s/he thought about the design idea in general 6[TH] MAY 2026 MINNA PAKANEN

PROCEDURE

Example of procedure:

Everything is explained so it is easy to follow in the actual evaluation

Consent & background questionnaire form filling 2. Who are we and explanation of the purpose of the study (even if explained in the consent form in detail)
Actual tasks are written down so that each participant is instructed in a similar way
Questionnaire fillings are marked in the procedure 5. Interview questions for post-interview (can also be on different paper)
Thank and reward the participants

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PROCEDURE

2. Introduction to the study

Who are we
Short description of the study aim
Tell the user once more that they can withdraw from the study
- whenever they feel like it
Ask the user to think aloud during the tasks (+how to do it)
In Usability evaluation: explain if you will not help the participant during the tasks
Ask if the user has any questions

What do you need to know about your user?
- Age
- Gender: male/female/nonbinary
- Educational background/ profession
- Prior experience with similar technology that you are evaluating
- Prior experience with the use context (e.g., fab labs, pottery, chemical lab, etc.) of your system

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EXAMPLE

3. Background questionnaire

Note that you do not necessarily need this, especially if you have only a few things to ask. The questions can also interviewed in the beginning or at the end of the evaluation!

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Reporting of the study in your report:

› How the participants were described in the paper, and what kind of information was given about them? › What way the description was written?

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PROCEDURE

4. Icebreaking task

Idea is to familiarize your user with the thing under evaluation
Easy and short task
Reduces nervousness of the participant

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EXAMPLE

4. Icebreaking task

Explore the prototype freely for a while

1. Familiarization with the current 3D City model

Familiarize yourselves with the 3D City model simply by looking at it and giving your initial thoughts before interacting with it.
Now you can start interacting with the model by controlling an avatar (WASD and arrows) and explore the model freely. While exploring the 3D model, please think aloud and comment on anything that caught your attention.

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PROCEDURE

5. Actual task(s)

The idea is to plan tasks that the user can do and by doing the tasks you will learn if your product is understandable for the user or how they do experience the prototype
- Try to keep them short and not too complicated to conduct
- Test how your core use case activities are working

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EXAMPLE

5. Tasks

1st task:

First you want your handbag to match with these red shoes over here, what would you do?
Next you can try to make the bag imitate the fabric and color of this of this scarf here.
And then this shirt here.

Questions after the tasks are completed What did you think of this idea? Would it be useful for you?

Is the idea fun?

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PROCEDURE

6. post questionnaire

Sometimes you might need user feedback on different designs so you can use certain questionnaires to help assess different things.

• The attractiveness of the product: Attrakdiff https://www.attrakdiff.de/index-en.html (online service was discontinued from January 2025 L)

Can be used for
Single evaluation
Comparison
Before-after

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EXAMPLE

6. Post questionnaire With Attrakdiff questionnaire

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(Colley et al. 2016)

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EXAMPLE

› Visual presentation of Attrakdiff findings in the report

(Pakanen et al. 2014)

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PROCEDURE

7. Semi-structured interview

The last part of the evaluation is for asking questions from the user to find out their thoughts about the prototype and the interaction with it
- What is good/bad in the design idea and the prototype?
- What was difficult?
- What would make it easier to use?
- What would you like to change in it to make it more interesting to you?
- Try to avoid questions that can be replied to just with yes or no!

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EXAMPLE

7. Post-interview questions

Describe your experiences with the system.
What do you think of using this kind of technology for remote collaboration?
What was easy/natural and what was difficult/unnatural in the interaction?
Were there any critical moments in the interaction? If yes, describe it/them.

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HOW DO YOU DESCRIBE YOUR STUDY IN THE REPORT?

How procedure is reported in the paper?

› How is the procedure description in the paper differentiating from the study procedure, or is it doing that at all?

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Reporting of the study in your report:

› How the procedure is reported in the paper?

› Is the procedure description in the paper differentiating from the study procedure, if so, how?

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ROLES IN THE EVALUATION

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ROLES IN THE EVALUATION

Facilitator/interviewer

Facilitates the study, gives tasks, interviews, handles questionnaires

Observer

Stays behind and observers what user does
Takes notes on each task-can also write down user comments

Documenter (can be also facilitator)

Videos/photos/audio recording

Pick a role that fits best for you!

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ROLES IN THE EVALUATION

An example

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QUALITATIVE DATA ANALYSIS Thematic Analysis

Braun, V., & Clarke, V. (2012). Thematic analysis. In H. Cooper, P. M. Camic, D. L. Long, A. T. Panter, D. Rindskopf, & K. J. Sher (Eds.), APA handbook of research methods in psychology, Vol. 2. Research designs: Quantitative, qualitative, neuropsychological, and biological (pp. 57–71). American Psychological Association. https://doi.org/10.1037/13620-004

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PLEASE REVISIT MY SLIDES FROM L5

› https://brightspace.au.dk/d2l/le/lessons/202542/topics/256 9495 › There is detailed explanation how to conduct thematic analysis!

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Reporting of the data analysis in your report:

› How the qualitative data analysis was reported in the papers?

6[TH] MAY 2026 MINNA PAKANEN

Reporting of the findings in your report:

› Check the example papers for tips how to report qualitative findings in your report ›How participants were identified? ›How participants quotes were written? › Pay attention to the story!

6[TH] MAY 2026

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PLANNING YOUR OWN EVALUATION TA SESSION FROM 13:15-> TODAY!

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TASK FOR TA

Start planning your evaluation

Who are your participants? You need 5 participants
Think of your research question
Think what kind of tasks and questions would help you to answer to your research question
Make an early draft of your procedure
Think about the roles: facilitator, observer, video recorder…

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WHEN THE PROTOTYPE IS “READY”

Conduct a pilot evaluation

Get participant/s from the other group/s
Follow your procedure rigorously
Act like you do not know your participant beforehand
After the pilot you have an understanding whether your tasks are easy to understand or too complicated to pass and if your questions can reveal knowledge you were hoping for -> Iterate your procedure, tasks and questions, do another
pilot study before you go to the actual evaluations!

6[TH] MAY 2026

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COURSE LITERATURE REFERENCES

Blandford, Ann, Dominic Furniss, and Stephann Makri. "Qualitative HCI research: Going behind the scenes." Synthesis lectures on human-centered informatics 9, no. 1 (2016): 1-115.
Greenberg, Saul, and Bill Buxton. 2008. Usability evaluation considered harmful (some of the time). In Proc. CHI '08. ACM, New York, NY, USA, 111–120.
Arnold P. O. S. Vermeeren, Effie Lai-Chong Law, Virpi Roto, Marianna Obrist, Jettie Hoonhout, and Kaisa Vaananen-Vainio-Mattila. 2010. User experience evaluation methods: current state and development needs. In Proc. NordiCHI '10. ACM, New York, NY, USA, 521–530. https://doi.org/10.1145/1868914.1868973
Lim N-K & Stolterman E (2008) The anatomy of prototypes: Prototypes as filters, prototypes as manifestations of design ideas. ACM Transactions on Computer-Human Interaction 15(2): A7.
Braun, V., & Clarke, V. (2012). Thematic analysis. In H. Cooper, P. M. Camic, D. L. Long, A. T. Panter, D. Rindskopf, & K. J. Sher (Eds.), APA handbook of research methods in psychology, Vol. 2. Research designs: Quantitative, qualitative, neuropsychological, and biological (pp. 57–71). American Psychological Association. https://doi.org/10.1037/13620-004

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OTHER REFERENCES

Javier A. Bargas-Avila and Kasper Hornbæk. 2011. Old wine in new bottles or novel challenges: a critical analysis of empirical studies of user experience. In Proc. CHI '11. ACM, New York, NY, USA, 2689–2698. https://doi.org/10.1145/1978942.1979336
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6[TH] MAY 2026

MINNA PAKANEN