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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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9

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?

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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)

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”reflection on action"

(Schön, 1984)

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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

Models

Prototypes

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EXTERNALISATION IN DESIGN PROCESS

Product Design

• Problem space

• Design space

• Process

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EXTERNALISATION IN PROBLEM SPACE

• Mood boards = values and ethos of the setting/ organisation

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EXTERNALISATION IN DESIGN SPACE

• 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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58

~~”~~ , 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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EVALUATION PHASE

Example storyboard: Evaluation of the AR application

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Note that many pictures are missing in between!

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SHOWING THE CONTEXT

Photo + tracings + colors

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SHOWING THE CONTEXT

Photo + tracing + colors

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SHOWING THE CONTEXT

Photo + dimming + tracing + colors

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SKETCHING STORYBOARDS

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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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(Baskinger, 2008)

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EXAMPLE

Johannes Valentin Berg & Rasmus Hvilshøj

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HANDS AND FINGERS

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DEVICES

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HANDS + DEVICES= INTERACTION

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HANDS + DEVICES = INTERACTION

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SHOWING INTERACTION

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TRACING

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TRACING

Constructing the context and people

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You can also create a suitable picture of the context with AI!

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RESPECT COPYRIGHTS!

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Hetkiä by Maija Louekari, 2003 competition entry to Marimekko

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Markus Leppo in Helsinki ja helsinkiläiset, 1966

https://yle.fi/uutiset/3-6921730

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THINK TWICE BEFORE GENAI!

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Vesa-Matti Väärä, 2020

GenAI illustation, 2026

Use of AI is problematic also point of view of your learning and consumption of natural resources!

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RESPECT COPYRIGHTS!

To avoid violating other peoples copyrights when tracing and especially if you use photos in the background:

a) Take the pictures yourself

b) Use royalty-free photos (Stock Adobe, Shutterstock, Getty Images, etc.) c) Combine many sources (combine images well and use only small pieces from each) d) (Buy the right to use the photos)

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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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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

0. Conduct multivoting to select ideas for concept screening

1. Prepare the selection matrix

2. Rate the concepts

3. Rank the concepts

4. Combine and improve the concepts

5. Select one or more concepts

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6. 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

IDEATION AND CONCEPT DEVELOPMENT

DEPARTMENT OF COMPUTER SCIENCE

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AARHUS UNIVERSITY

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

MESSAGES

DEPARTMENT OF COMPUTER SCIENCE

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AARHUS UNIVERSITY

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

COURSE PLAN

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DEPARTMENT OF COMPUTER SCIENCE

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ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

AARHUS UNIVERSITY

COURSE PLAN

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DEPARTMENT OF COMPUTER SCIENCE

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ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

AARHUS UNIVERSITY

TEACHING TIMES

Mondays still 12-14 Wednesdays still 10-12

Some sessions are on other days and times – double check course plan! Completely done (hopefully J ) and revised Friday supervision 10-11.30 from 17/4 – 19/6. Feedback/supervision can also be requested via email J

Remember PROTOLab practical session 23rd (14-16) and 24th (12-16) of March.

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

PROTOLAB INTRODUCTION WORKSHOP

PROTOLab practical session – 3D printing and Laser cut

23rd of March from 14.15-16: Groups 1-5 (14 people) 24th of March from 12.15-14: Groups 6-8 and 11 (15 people) 24th of March from 14.15-16: Groups 12, 13, 16 and 20 (13 people)

Important to have finished tooling exercises and watch the PROTOLab videos: BS à Week 9/13 à Before class à Link to PROTOLab Tutorial …

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DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

AARHUS UNIVERSITY

PROTOLAB INTRODUCTION WORKSHOP

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DEPARTMENT OF COMPUTER SCIENCE

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SIMON HOGGAN CHRISTENSEN LAB COORDINATOR

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ITPDP - IDEATION AND CONCEPT DEVELOPMENT 16. MARCH 2026

AARHUS UNIVERSITY

SUB-ASSIGNMENT 2

Deadline: 8[th] of April 2026 at 15.00

Should include:

• Methods section : What have you done, which methods did you use, use literature, talk

• pros/cons, and argue for methodology or lack hereof.

• Empirical Presentation: What data have you collected, highlight findings, summarize,

• describe patterns, present hypotheses.

• Working models : Minimum 2 of 5, include descriptive text segment to each. Argue for

• choice (using, not using).

• Scenarios: User scenarios. Sketches. Personas. Add-ons to working models.

Remember to read assignment instructions on Brightspace properly and carefully!

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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DEPARTMENT OF COMPUTER SCIENCE

AARHUS UNIVERSITY

IDEA GENERATION AND CONCEPT DEVELOPMENT

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

QUICK LITERATURE OVERVIEW

Girotra et al. (2010): How to be successful when doing ideation.

Djajadiningrat et al. (2000): Extreme Characters and Interaction relabelling as a tool for generating ideas. Kensing & Madsen (1992): Future Workshops as a tool for generating ideas. Halskov & Dalsgård (2006): Inspiration Cards as a tool for generating ideas. Carroll (1999): How using scenarios can help formalize your ideas into concepts.

DEPARTMENT OF COMPUTER SCIENCE

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ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

AARHUS UNIVERSITY

IDEA GENERATION ~~AND~~ CONCEPT DEVELOPMENT

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

IDEA GENERATION/IDEATION

You have maybe already started this, due to the "Research Through Design"-nature, that you were taught in FITDes.

As mentioned, this course follows the "User-centered Design"-approach.

Everything originates from your empirical work. If your ideas do not fit with tendencies, issues and aspects of your empirical work, it is (probably) not the right idea.

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DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

AARHUS UNIVERSITY

IDEA GENERATION/IDEATION

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DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

https://www.ideou.com/pages/brainstorming

AARHUS UNIVERSITY

IDEA GENERATION/IDEATION

Only a small subset of ideas are good.

As IT-Product Developers we are only interested in the best and most motivated ideas.

To maximise our chance of a good idea, we should maximise the amount of ideas we get.

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

Karan Girotra, Christian Terwiesch, Karl T. Ulrich, (2010) Idea Generation and the Quality of the Best Idea. Management Science 56(4):591-605. https://doi.org/10.1287/mnsc.1090.1144

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AARHUS UNIVERSITY

IDEA GENERATION/IDEATION

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DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

Karan Girotra, Christian Terwiesch, Karl T. Ulrich, (2010) Idea Generation and the Quality of the Best Idea. Management Science 56(4):591-605. https://doi.org/10.1287/mnsc.1090.1144

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AARHUS UNIVERSITY

IDEOS LIST OF BRAINSTORMING PROS

Brainstorming is an effective way to: Produce a large number of ideas Generate ideas quickly Expand your portfolio of alternatives Get people unstuck Inject insights from a broader group Build enthusiasm Improve team collaboration

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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https://www.ideou.com/pages/brainstorming

AARHUS UNIVERSITY

IDEO RULES FOR BRAINSTORMING

1. Defer judgement

2. Encourage wild ideas

3. Build on the ideas of others

4. Stay focused on the topic

5. One conversation at a time

6. Be visual

7. Go for quantity

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DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

https://www.ideou.com/pages/brainstorming

AARHUS UNIVERSITY

TEAM VS HYBRID BRAINSTORMING

Do you believe there is a difference?

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DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

Karan Girotra, Christian Terwiesch, Karl T. Ulrich, (2010) Idea Generation and the Quality of the Best Idea. Management Science 56(4):591-605. https://doi.org/10.1287/mnsc.1090.1144

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AARHUS UNIVERSITY

TEAM VS HYBRID BRAINSTORMING

“We find that groups organized in the hybrid structure are able to generate more ideas, to generate better ideas, and to better discern the quality of the ideas they generate.”

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

Karan Girotra, Christian Terwiesch, Karl T. Ulrich, (2010) Idea Generation and the Quality of the Best Idea. Management Science 56(4):591-605. https://doi.org/10.1287/mnsc.1090.1144

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AARHUS UNIVERSITY

TEAM VS HYBRID BRAINSTORMING

1) Hybrid structure is often able to get more and better ideas - and it gets everyone involved!

2) Hybrid structure is better at choosing which ideas are good!

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DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

Karan Girotra, Christian Terwiesch, Karl T. Ulrich, (2010) Idea Generation and the Quality of the Best Idea. Management Science 56(4):591-605. https://doi.org/10.1287/mnsc.1090.1144

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AARHUS UNIVERSITY

TEAM VS HYBRID BRAINSTORMING

Certain group dynamics can be a hinderance for ideation.

Hybrid ideation ensures involvement from the entire team.

Choosing the right idea is more important than coming up with it – and this is truly difficult no matter what type of structure you use. Let your empirical findings guide these.

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

Karan Girotra, Christian Terwiesch, Karl T. Ulrich, (2010) Idea Generation and the Quality of the Best Idea. Management Science 56(4):591-605. https://doi.org/10.1287/mnsc.1090.1144

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DEPARTMENT OF COMPUTER SCIENCE

AARHUS UNIVERSITY

IDEATION METHODS

Inspiration Card Workshops Future Workshops

Interaction Relabeling / Extreme Characters

(Experience Prototyping/Bodystorming from FITDes – Buchenau & Suri)

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

INSPIRATION CARD WORKSHOPS

“We present the Inspiration Card Workshop as a collaborative method for combining findings from domain studies, represented in Domain Cards, with sources of inspiration from applications of technology, represented in Technology Cards, to create new concepts for design.”

Domain card: People, settings, situations, contexts. Can be divided into multiple card types.

Technology cards: A technology or ”system” of tech. Inspiration card: Domain card + Technology card

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

Halskov, K., & Dalsgård, P. (2006, June). Inspiration card workshops. In Proceedings of the 6th conference on Designing Interactive systems (pp. 2-11). ACM.

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DEPARTMENT OF COMPUTER SCIENCE

AARHUS UNIVERSITY

INSPIRATION CARD WORKSHOPS

Structure (4-6 person teams):

• Create several domain and tech cards per participant (5 min)

• Introduce cards (7 min)

• Use combinations of cards to create new concepts (10 min)

Documentation:

• Document each idea on A3 paper

• Title, users, what and why • Use sketches and cards on the A3 poster

• Annotate and refine in the presentation phase

• Present each idea in the group and refine (7 min) (requires one facilitator and one time-keeper)

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DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

AARHUS UNIVERSITY

INSPIRATION CARD PROCESS

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

Finn Kensing and Kim Halskov Madsen. 1992. Generating visions: future workshops and metaphorical design. In Design at work, Joan Greenbaum and Morten Kyng (Eds.). L. Erlbaum Associates Inc., Hillsdale, NJ, USA 155-168.

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AARHUS UNIVERSITY

INSPIRATION CARDS

Pros:

Rapid Idea Generation

Combines domain observations with tech High throughput of ideas Might highlight ”misunderstandings” or behavioral misconceptions

Cons:

Can be too technology centric Subject to group dynamics (same as before) Can be somewhat “limited” by the cards

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT

SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

FUTURE WORKSHOPS

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DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

Finn Kensing and Kim Halskov Madsen. 1992. Generating visions: future workshops and metaphorical design. In Design at work, Joan Greenbaum and Morten Kyng (Eds.). L. Erlbaum Associates Inc., Hillsdale, NJ, USA 155-168.

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AARHUS UNIVERSITY

FUTURE WORKSHOPS

Structure:

Critique phase (10 min) Fantasy phase (10 min) Implementation phase (10 min) (requires one facilitator and one time-keeper)

Documentation:

Document each issue in each phase Summarise key ideas

Written descriptions, short scenarios, details, etc. Identify next steps for each idea

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

FUTURE WORKSHOPS

Pros:

Problem focused

Includes domain knowledge and observations Participatory and co-creative

Cons: Might focus on symptoms and shallow problems, but not underlying issues Implementation centric (Can be) Time consuming

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

INTERACTION RELABELLING/EXTREME CHARACTERS

“Moving beyond a narrow focus on usability […] requires new methods for understanding design possibilities. Here we describe two: interaction relabelling, in which possible interactions with a known mechanical device are mapped to the functions of an electronic device to be designed; and extreme characters, in which fictional users with exaggerated emotional attitudes are taken as the basis of design to highlight cultural issues.”

Can be used individually

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

Djajadiningrat, J. P., Gaver, W. W., & Fres, J. W. (2000, August). Interaction relabelling and extreme characters: methods for exploring aesthetic interactions. In Proceedings of the 3rd conference on Designing interactive systems: processes, practices, methods, and techniques (pp. 66-71). ACM.

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AARHUS UNIVERSITY

INTERACTION RELABELING EXERCISE

Structure:

Pick an idea and either a completely random artifact, or an artifact from within the community.

Relabel the prop to work for your idea.

Documentation:

Describe the initial idea

Summarise the interaction relabeling.

Summarise how the exercise has changed your previous idea

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

INTERACTION RELABELING/EXTREME CHARACTERS HYBRID EXERCISE

Structure:

Pick an idea and an unrelated product

Relabel the prop to work for your idea

Redesign it for an extreme character (requires one facilitator and one time-keeper)

Documentation:

Describe the initial idea

Summarise the interaction relabeling and the extreme character design Summarise how the exercise has changed your previous idea

DEPARTMENT OF COMPUTER SCIENCE

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ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

AARHUS UNIVERSITY

INTERACTION RELABELING/EXTREME CHARACTERS

Pros:

Good for reframing your understanding of the design space Excellent for breaking fixation

Cons:

Conceptualizes, generates thoughts, and perspectives rather than new ideas Small throughput - but plenty of reflection

DEPARTMENT OF COMPUTER SCIENCE

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ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

AARHUS UNIVERSITY

~~IDEA~~ GENERATION AND CONCEPT DEVELOPMENT

DEPARTMENT OF COMPUTER SCIENCE

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AARHUS UNIVERSITY

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

CONCEPT DEVELOPMENT

So now you have an idea

How do you mold this into a concept?

What is the difference?

Concept = "Conceptus” = ”that which is conceived or formed in thought” Develop = ”Desveloper” = ”Disvolvere” = to unveil/to unwrap

You need to communicate and "sell" your idea, before it is a concept. Scenarios can help with this, and trigger multiple considerations/reflections.

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

SCENARIOS

”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.”

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

Carrol, J. M. (1999, January). Five reasons for scenariobased design. In Systems Sciences, 1999. HICSS-32.

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DEPARTMENT OF COMPUTER SCIENCE

AARHUS UNIVERSITY

SCENARIOS

“Scenarios are stories. They are stories about people and their activities.” – Carroll (1999)

An externalisation of, e.g., the context, the design space, design ideas, an interaction, a feeling, etc.

Different representations:

Written stories, sketches, videos (Binder 1999) Pictures (Pedell et al. 2004). Personas (Chang et al. 2008). Techsonas (Bødker & Klokmose 2013). Drama and props (Brandt & Gunnet 2000).

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

SCENARIO-BASED DESIGN: PRINCIPLES… OR PROBLEMS?

Action vs. Reflection

Design Problem Fluidity

Design Moves Have Many Effects

Scientific Knowledge Lags Design Application

External Factors Constrain Design

DEPARTMENT OF COMPUTER SCIENCE

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ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

AARHUS UNIVERSITY

ACTION VS REFLECTION

Carroll: Prototypes are amazing, but

“There is a fundamental tension between thinking and doing: thinking impedes progress in doing, and doing obstructs thinking”…

Scenarios can be used for (self-)reflection about actors, roles, communities and tasks

“[Scenarios are] vivid descriptions of end-user experiences [that] evoke reflection about design issues”

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

DESIGN PROBLEM FLUIDITY

“Design, and especially the design of new technology, undermines the stability of the world […]”

It is vital to ensure that everyone always agrees on the requirements of the project.

“Scenarios (edit: can) concretely fix an interpretation and a solution, but are open-ended and easily revised”

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DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

AARHUS UNIVERSITY

DESIGN MOVES HAVE MANY EFFECTS

“Every element of a design, every move that a designer makes, has a variety of potential consequences.”

“Scenarios can be written at multiple levels, from many perspectives, and for many purposes.”

We can, with a design, end up creating more/worse problems/issues if we are not careful.

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DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

AARHUS UNIVERSITY

SCIENTIFIC KNOWLEDGE LAGS DESIGN APPLICATION

How do we make sure, that we actually learn something from design activities? When does knowledge become applied practice?

“Scenarios can be abstracted and categorized to help design knowledge cumulate across problem instances”

“The design and development of technology aspires to occupy the high, hard ground […] but at the same time, technology design and development is inevitably driven to pursue novelty and innovation”

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DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

AARHUS UNIVERSITY

EXTERNAL FACTORS CONSTRAIN DESIGN

Requirements are formed from empirical data; work, tasks, culture, people, and other external factors (technological development).

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Scenarios are great at anchoring requirements in practice, or with a new design.

Scenarios can help explore interaction/technology possibilities without investing in prototype development.

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ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

DEPARTMENT OF COMPUTER SCIENCE

AARHUS UNIVERSITY

SCENARIOS

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ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

Carrol, J. M. (1999, January). Five reasons for scenariobased design. In Systems Sciences, 1999. HICSS-32.

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DEPARTMENT OF COMPUTER SCIENCE

AARHUS UNIVERSITY

SCENARIOS SUMMARY

We need ways to manifest and maintain our requirements, ideas and knowledge. IT Product Development has many challenges; knowledge, practice, fluidity, context, contraints.

We also need team-based consensus regarding above.

Scenarios are a good way to ensure (or reflect upon) this.

Scenarios can anchor and ”test” your ideas.

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

LAST BUT NOT LEAST

Definition is what makes a concept:

Planning

Speccing

Rapid prototyping Researching (and READING!) UI drafts Usability/User Experience notions

All of the above adds to a defined mental construct and shared understanding

DEPARTMENT OF COMPUTER SCIENCE

ITPDP - IDEATION AND CONCEPT DEVELOPMENT SIMON HOGGAN CHRISTENSEN 16. MARCH 2026 LAB COORDINATOR

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AARHUS UNIVERSITY

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ITPDP2026- WEEK 3: DESIGN PROCESSES, PROJECT MANAGEMENT, AND DESIGN ETHICS

Clemens Nylandsted Klokmose Department of Computer Science Human-Centered Computing Section clemens@cs.au.dk

AARHUS UNIVERSITY

https://studypedia.au.dk/haandter-pensum/laesestrategier

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2026

ITPDP

2

AARHUS UNIVERSITY

PLAN

› Design processes

› Involving users

› Project management

› Design ethics

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› GDPR

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ITPDP 2026
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AARHUS UNIVERSITY

PEOPLE AND PROTOTYPES

• › Chapter in Moggridge (2006) describes IDEO's methods

• › What is design? (Covered in FIT-DES)

• › It is important to understand the needs and desires of users

• › Observation and participation

• › Often tacit and implicit knowledge that can only be uncovered experimentally

• › Many versions of prototypes are needed (Later lecture)

• › Prototypes are tangible and visible proposals

• › User can "experience" a prototype and thus better evaluate proposed solutions

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2026

ITPDP

AARHUS UNIVERSITY

THE GOOD DESIGN?

• Transparency and tacit knowledge (Polanyi, Bødker, and more)

• › Fluid use without breakdowns

• › Leverages the users' intuition* (that is uncovered experimentally)

• › Scientific verification is often long and complex

Examples of assessment criteria for design projects:

• The height of creativity/innovation

• Aesthetics/quality

• Whether human factors/values are taken into account

• Performance and technology

• Finish and presentation

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2026

ITPDP

AARHUS UNIVERSITY

THE GOOD DESIGN: AFFORDANCES (BILL GAVER)

› Perceptible possibilities (Gibson, 1979)

› We sense immediately

• › That one can walk up a flight of stairs

› Sitting on a chair

› Tilting a door handle › Turning on faucet

• › Computer user interfaces should be designed with equally clear affordances...

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2026

ITPDP

AARHUS UNIVERSITY

AFFORDANCES

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2026

ITPDP

7

AARHUS UNIVERSITY

Need to repair a design that does not ”afford" the right action possibilities to the user

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DESIGN DISCIPLINES AND TECHNIQUES

How do we understand the problem area and the needs of users?

AARHUS UNIVERSITY

LIMITATIONS WITH INCREASING COMPLEXITY

› For a holistic understanding of groups, organizations, society and the globe

›

› From the facts of human proportions and physics

ITPDP 2026

›

AARHUS UNIVERSITY

ANALYSIS METHODS

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2026

ITPDP

AARHUS UNIVERSITY

ITERATIVE DESIGN PROCESS

• › Same type of activity is repeated to reduce uncertainty about the design

• › Many cross-cutting jumps between activities

• › From limitations to idea generation over prototyping less uncertainty back to remaining limitations

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2026

ITPDP

AARHUS UNIVERSITY

IDEO: 51 WAYS TO LEARN ABOUT USERS › IDEO Method cards

• › 4 Categories

• › Learn – from facts that can be collected

• › Look – at what users do

• › Ask – about their contributions;

• › Try – out ideas

• › The entire collection of 51 cards is available as a book/card box

› https://stoutbooks.com/products/ideo-method-cards-51-ways-to-inspire-design-61457

• › In the chapter, only 4 examples from each category

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AARHUSUNIVERSITY LEARN

› Analyze the information you’ve collected to identify patterns and insights.

› FLOW ANALYSIS

• › How Represent the flow of information or activity through all phases of a system or process.

• › Why This is useful for identifying bottlenecks and opportunities for functional alternatives.

• › Example Designing an online advice Web site, flow analysis helped the team to gain a clearer sense of how to make it easy to find your way around the site.

› COGNITIVE TASK ANALYSIS

• › How List and summarize all of a user’s sensory inputs, decision points, and actions.

• › Why This is good for understanding users’ perceptual, attentional, and informational needs and for identifying bottlenecks where errors may occur.

• › Example Logging the commands that would be involved in controlling a remotely operated camera helped the team establish priorities among them.

› HISTORICAL ANALYSIS

• › How Compare features of an industry, organization, group, market segment or practice through various stages of development.

• › Why This method helps to identify trends and cycles of product use and customer behavior and to project those patterns into the future.

• › Example A historical view of chair design helped to define a common language and reference points for the team members from the client and consultancy.

› AFFINITY DIAGRAMS

• › How Cluster design elements according to intuitive relationships, such as similarity, dependence, proximity, and so forth.

• › Why This method is a useful way to identify connections among issues and to reveal opportunities for innovation.

• › Example This affinity diagram shows what’s involved in transporting young children, and helps to identify the opportunities to improve the design of a stroller.

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AARHUSUNIVERSITY LOOK

• › Observe people to discover what they really do—not what they say they do.

› FLY ON THE WALL

• › How Observe and record behavior within its context, without interfering with people’s activities.

• › Why It is useful to see what people do in real contexts and time frames, rather than accept what they say they did after the fact.

• › Example By spending time in the operating room, the designers were able to observe and understand the information that the surgical team needed.

› A DAY IN THE LIFE

• › How Catalog the activities and contexts that users experience for an entire day.

• › Why This is a useful way to reveal unanticipated issues inherent in the routines and circumstances people experience daily.

• › Example For the design of a portable communication device, the design team followed people throughout the day, observing moments at which they would like to be able to access information.

› SHADOWING

• › How Tag along with people to observe and understand their day-to-day routines, interactions, and contexts.

• › Why This is a valuable way to reveal design opportunities and show how a product might affect or complement user’s behavior.

• › Example The team accompanied truckers on their routes in order to understand how they might be affected by a device capable of detecting drowsiness.

› PERSONAL INVENTORY

• › How Document the things that people identify as important to them as a way of cataloging evidence of their lifestyles.

• › Why This method is useful for revealing people’s activities, perceptions, and values as well as patterns among them.

• › Example For a project to design a handheld electronic device, people were asked to show the contents of their purses and briefcases and explain how they use the objects that they carry around everyday.

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AARHUSUNIVERSITY ASK

› Enlist people’s participation to elicit information relevant to your project.

› CONCEPTUAL LANDSCAPE

• › How Ask people to diagram, sketch, or map the aspects of abstract social and behavioral constructs or phenomena.

• › Why This is a helpful way to understand people’s mental models of the issues related to the design problem.

• › Example Designing an online university, the team illustrated the different motivations, activities, and values that prompt people to go back to school.

› COLLAGE

• › How Ask participants to build a collage from a provided collection of images and to explain the significance of the images and arrangements they choose.

• › Why This illustrates participants’ understanding and perceptions of issues and helps them verbalize complex or unimagined themes.

• › Example Participants were asked to create a collage around the theme of sustainability to help the team understand how new technologies might be applied to better support people’s perceptions.

› FOREIGN CORRESPONDENTS

• › How Request input from coworkers and contacts in other countries and conduct a crosscultural study to derive basic international design principles.

• › Why This is a good way to illustrate the varied cultural and environmental contexts in which the products are used.

• › Example A global survey about personal privacy helped to quickly compile images and anecdotes from the experiences of the correspondents.

› CARD SORT

• › How On separate cards, name possible features, functions, or design attributes. Ask people to organize the cards spatially, in ways that make sense to them.

• › Why This helps to expose people’s mental models of a device or system. Their organization reveals expectations and priorities about the intended functions.

• › Example In a project to design a new digital phone service, a card-sorting exercise enabled potential users to influence the final menu structure and naming.

2026

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AARHUSUNIVERSITY TRY

• › Create simulations and prototypes to help empathize with people and to evaluate proposed designs.

› EMPATHY TOOLS

• › How Use tools like clouded glasses and weighted gloves to experience processes as though you yourself have the abilities of different users.

• › Why This is an easy way to prompt an empathic understanding for users with disabilities or special conditions.

• › Example Designers wore gloves to help them evaluate the suitability of cords and buttons for a home health monitor designed for people with reduced dexterity and tactile sensation.

› SCENARIOS

• › How Illustrate a character-rich storyline describing the context of use for a product or service.

• › Why This process helps to communicate and test the essence of a design idea within its probable context of use. It is especially useful for the evaluation of service concepts.

• › Example Designing a community Web site, the team drew up scenarios to highlight the ways particular design ideas served different user needs.

› NEXT YEAR’S HEADLINES

• › How Invite employees to project their company into the future, identifying how they want to develop and sustain customer relations.

• › Why Based on customer-focused research, these predictions can help to define which design issues to pursue for development.

• › Example While designing an Intranet site for information technologists, the team prompted the client to define and clarify their business targets for immediate and future launches.

› INFORMANCE

• › How Act out an “informative performance” scenario by role-playing insights or behaviors that you have witnessed or researched.

• › Why This is a good way to communicate an insight and build a shared understanding of a concept and its implications.

• › Example A performance about a story of mobile communications shows the distress of a frustrated user.

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AARHUS UNIVERSITY

REMEMBER THE EXTREMES

› ”Extreme characters”

Example

• › Extremes in IT design for the home

• › The homeless living in a shopping cart

› The film actor with uniformly decorated apartments in New York, Paris, Tokyo and LA

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2026

ITPDP

IDEATION

AARHUS UNIVERSITY

IDEO - IDEA GENERATION

• › 8-10 participants – responsible for documentation appointed

• › 50-100 ideas in an hour

• › Rules

• › No critical assessments

• › Stimulate wild ideas

• › Build on other people's ideas

• › Stay focused on the topic

• › Hold on to one "thread" at a time

• › Really good ideas can stop the process and restart it somewhere new

• › Ideas are taken over into an "envisionment" activity, where it is visible and tangible

›

2026

ITPDP

AARHUS UNIVERSITY

FUTURE WORKSHOPS

› Critique phase

› Brainstorming problems in current practice

› No discussion – just get problems on the board › Group issues and prioritize importance

› Fantasy phase

› Brainstorm wild/utopian ideas (that can solve the problems identified)

› No discussion – just get ideas on the board

› Group ideas and prioritize them in terms of value creation

› Realization phase

› Take the high-priority ideas › Delimit to realistic visions

• › Prepare concrete proposals for realization

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(Jungk & Müllert, 1987;Kensing & Halskov, 1991)

2026 21

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THE ROLE OF THE DESIGNER & THOUGHTFUL INTERACTION DESIGN

Löwgren and Stolterman

AARHUS UNIVERSITY

LÖWGREN & STOLTERMAN

Places the designer at the core of the process

L&S argue that the responsibility for the vision at the designer (p.34ff)

L&S argue that the responsibility for the design process is at the designer (p.38ff)

L&S argue that the designer should engage and manage the relations in the design process (p.32ff).

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2026

ITPDP

AARHUS UNIVERSITY

LÖWGREN & STOLTERMAN Designing the design process

› Design starts earlier than project owners may think

› Select appropriate methods/techniques

• › Pay attention to and care for a common vision

• › Pay attention to roles and stakeholders

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• › Pay attention to design as a project

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AARHUS UNIVERSITY

LÖWGREN & STOLTERMAN

Divergence

“Designer expands her thinking to cover broader issues, find alternatives, and explore more opportunities” (L&S, p. 29)

Convergence

“Convergence is about focusing on a specific solution or a synthesis of several ideas” (Ibid.)

• What is the primary issue?

• • Who to involve and how?

• How would the shape look like?

• • What is the interaction modality?

• • What kind of feedback it give?

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Design choices

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2026

ITPDP

AARHUS UNIVERSITY

LÖWGREN & STOLTERMAN

• › Vision : The first organising principle that help the designer respond to the situation at hand

• › Operative Image : The first (and consecutive) externalisations of the vision

• › Specification : The final “design”

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• specification

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2026

ITPDP

AARHUS UNIVERSITY

LÖWGREN & STOLTERMAN

› Leaping between detail and the whole

• › Focusing on dilemmas in the domain

• › Alternatives and contraditions

• › Get the dilemmas and

trade offs on the table early in the Vision activity

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2026

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INVOLVING USERS

AARHUS UNIVERSITY

PERSPECTIVES ON PEOPLE AND MACHINES

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2026

ITPDP

AARHUS UNIVERSITY

USER INVOLVEMENT

• None, very little, and/or only at the end

• User-centred design

• Participatory design

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2026

ITPDP

AARHUS UNIVERSITY

USER-CENTERED DESIGN

• Involvement of users in all parts of the design process

• Focus groups for ideation

• Evaluation of low-fidelity prototypes

• Evaluation of new features through AB testing and interviews

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2026

ITPDP

AARHUS UNIVERSITY

PARTICIPATORY DESIGN

• More radical approach to user involvement than user-centred design

• Users as direct design partners and active first-class members of the product design team

• Developed in Scandinavia in the 70s and 80s (Aarhus University was a key player)

• Methodology developed laid the foundation for user-centred design

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2026

ITPDP

AARHUS UNIVERSITY UTOPIA PROJECT

Early participatory design project

• Alliance between typesetters union and IT researchers

• How to empower instead of replace typesetters with computers

• Design of computer systems based on the people on the shop floor rather than the management

• Introduced low-fi prototyping in systems design

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ITPDP 2026

Morten Kyng & Susanne Bødker

AARHUS UNIVERSITY

PARTICIPATORY DESIGN TECHNIQUES

• › Ethnographic field studies

• › Observations, interview and video analysis

› "Fictional inquiries”

• › Playful analysis in a fictional setting

• › Structured brainstorming

• › Future Workshop, Metaphorical Design, Inspiration Cars, Organizational Games

• › Scenarios

› Descriptions, tableau, video

› Mock-ups

• › Physical models, paper windows

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› Video prototyping

› Stop-motion, blue studio techniques

• › Prototyping

• › Exploratory, experimental, evolutionary, cooperative

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AARHUS UNIVERSITY

INTERNATIONAL BOOKS AND ARTICLES ON SCANDINAVIAN PARTICIPATORY DESIGN

• › Bødker, S., Grønbæk, K., & Kyng, M. (1995). Cooperative Design: Techniques and Experiences from the Scandinavian Scene. In R. M. Baecker, J. Grudin, & W. A. S. Buxton (Eds.), Readings in Human-Computer Interaction: Toward the Year 2000 . San Francisco: Morgan Kaufmann Publishers, Inc., 215-224.

• › G. Bjerknes, P. Ehn, & M. Kyng (Eds.) (1987) Computers and Democracy . Aldershot: Avebury. › Greenbaum, J., & Kyng, M. (1991). Design at Work: Cooperative Design of Computer Systems . Hillsdale, NJ: Lawrence Erlbaum Associates.

• › D. Schuler & A. Namioka (Eds.) (1993) Participatory Design: Principles and Practices . Hillsdale, New Jersey: Lawrence Erlbaum Associates, 157-175.

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2026

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AARHUS UNIVERSITY

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UNIVERSITY

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PROJECT MANAGEMENT

AARHUS UNIVERSITY

UNCERTAINTY ABOUT THE PRODUCT SHOULD BE REDUCED

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2026

ITPDP

AARHUS UNIVERSITY

PROJECT MANAGEMENT: SYSTEMATIC APPROACH

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2026

ITPDP

AARHUS UNIVERSITY

PROJECT MANAGEMENT

Project management

› Focus on the project, starting point, purpose, budget etc.

› Focus on deadlines, deliveries, quality etc.

› Focus on progress, evaluation, success/failure Leadership

› Focus on competencies and roles

› Focus on performance and well-being

• › Focus on the team over time (and more projects)

• Self-management

• › Focus on your own tasks, satisfaction, prioritization, progression!

›

2026

ITPDP

AARHUS UNIVERSITY

PITFALLS

› Technical Rationality (Gedenryd 1998)

› Believe that you can follow a linear process

• › Optimistic estimation (Brooks 1975)

› Software is highly malleable compared to other materials

• › Brooks Law (Brooks 1975)

• › Believe that you can finish faster by putting more people on a project

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AARHUS UNIVERSITY ILLUSION OF TECHNICAL RATIONALITY

• Most straightforward model of a project • Most projects to some degree or the other follows this model • Pitfall • Paralysis by fear of wrong requirements can halt the process • Mistakes are expensive too fix late in the process

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Schön 1987; Gedenryd 1998

2026

ITPDP

AARHUS UNIVERSITY

AGILE INTERACTION DESIGN / AGILE DEVELOPMENT

• Break design process down in small iterations each involving all phases

• Iteratively develop software in working (and deployable) increments

• The software is never finished (for good … and for ill)

• Affords extensible software architectures that enables rapid prototyping of new features

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2026

AARHUS UNIVERSITY

MAKE A GOOD PLAN WITH ROOM FOR ERRORS AND ITERATIONS

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2026

ITPDP

ETHICS

AARHUS UNIVERSITY

WHY DO WE EVEN TALK ABOUT ETHICS

› We build things

› … that affects people’s lives

• › … potentially a lot of people

• › ... that change their perspectives on things

• › … even their possibilities of action, self-understanding and daily life

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2026

ITPDP

AARHUS UNIVERSITY

UNETHICAL TECHNOLOGY?

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AARHUS UNIVERSITY

UNETHICAL TECHNOLOGY?

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AARHUS UNIVERSITY

THREE SCHOOLS OF ETHICS

› Consequentialism (da: nytteetik )

› Cares for consequences: “The truth can hurt”

› Deontology (da: pligtetik )

• › Cares for rules: “You must not lie”

› Virtue ethics (da: dydsetik )

› Cares for principles: “I always tell the truth”

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2026

ITPDP

ETHICS

Verbeek’s Materializing Morality

AARHUS UNIVERSITY

VEERBEEK’S CLAIM

› ‘If technology mediates how we perceive and act in the world, it can also be designed to mediate perception and action in ethical or unethical ways.’

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AARHUS UNIVERSITY

MEDIATION OF PERCEPTION

• › Simple : Me -> World

› Mediated : Me -> Technology -> World

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AARHUS UNIVERSITY

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AARHUS UNIVERSITY

MEDIATION OF ACTION

• › Inscription

› ‘The designer, who can be seen as the inscriber of scripts.’ › When we design

• › Scripts

› The influence of artifacts on human actions is a “script”

› Typical patterns of action

• › Translation

• › To new (or less) action possibilities (e.g., citizen+gun)

› Typical(/possible) outcomes

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AARHUS UNIVERSITY

MEDIATION OF ACTION - EXAMPLES

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AARHUS UNIVERSITY

MEDIATION OF ACTION - EXAMPLES

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ETHICS

Dark Patterns

AARHUS UNIVERSITY

DARK PATTERNS

• › Basic assumption that UX features can be linked to similar user behavior

• › (Dark) patterns as a way to describe design → ‘scripts’ (cf Verbeek)

• › Pattern use suggests a causal relationship between intention → feature → behavior

• › Gray et al paper

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AARHUS UNIVERSITY

DARK PATTERNS

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AARHUS UNIVERSITY

DARK PATTERNS

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AARHUS UNIVERSITY

DARK PATTERNS & SOCIAL MUSIC THEME?

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GDPR

AARHUS UNIVERSITY

GDPR

• › General Data Protection Regulation is an EU regulation aimed at strengthening and harmonising the protection of personal data in the European Union.

• › Must protect the individual's rights and processing of personal data – consent, security, the right of access and the right to be forgotten, etc.

• › It is something we must relate to when we involve others than ourselves in the design

• process

• › Until now, you have mostly been the 'data subject' – now you will potentially also be data responsible!

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AARHUS UNIVERSITY

GDPR RULES

• › Consent must be clearly obtained independently of other requests.

› Consent must be obtained with clear information about scope, purpose, responsibility and contact persons

• › In case of security breach, participants must be informed no later than 72 hours after discovery

• › The right to be forgotten must be implemented as a procedure in the process

• › A responsibility to be taken seriously ( but no need for further concern )

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AARHUS UNIVERSITY

GDPR IN STUDENT PROJECTS

• › https://studerende.au.dk/en/it-support/information-security/data-protectiongdpr/projects

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AARHUS UNIVERSITY

DOCUMENTS

• › Consent statement is used to obtain consent from participants – customize template as needed

• › The register of purposes is used to explain the purpose of the data collection

• › Data responsibility is used, as a group, to enter into an internal agreement on joint data responsibility

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AARHUS UNIVERSITY

DOCUMENTS

› You are responsible for the preparation of the documents

› You are responsible for storing the documents

› You are responsible for the storage of data and GDPR

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AARHUS UNIVERSITY

TIPS

• › Just get it done and learn that it is part of the study and our practice

• › Don't collect data you don't know what you need for (sensor data?)

• › Try to anonymize and 'get away from' data as early as possible (Clemens → Respondent M1)

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AARHUS UNIVERSITY

WHAT CAN WE HELP WITH?

› Read through the documents when they are finished (to help)

› Answer questions

› Not so much more – it's agreements and your responsibility

› TA session where you’ll look at it!

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