Slideshow Transcript

1. Slide 1: February 2008 User Observation Design insights through watching Chris Bernard, User Experience Evangelist, Microsoft How can user observation help you be more insightful. What techniques can be used for this. This presentation covers methods used at the Institute of Design and with a class project that was done for Bose.
2. Slide 2: Topics for discussion • Our session goals • Design methods defined • A design methods toolkit • A sampling of methods • A sample application: user research • Discussion on level of effort, skills required • Listing of resources and where to learn more 2 User Observation | Design Methods 02/23/08
3. Slide 3: Our goals for today’s session • Know what design methods are and why they are valuable • Know where they can bring extra value and differentiation to what you do • Know where to apply them • Know where to go to learn more about methods and the active design, development and business community that supports them 3 User Observation | Design Methods 02/23/08
4. Slide 4: Design methods defined The goal of design methods is to gain key insights or unique essential truths that can create more holistic solutions to improve products and services as well as create better experiences for users. Insight is derived from a process that is structured and linear but also flexible and iterative. Source: Nate Burgos and Adam Kallish, WikiPedia 4 User Observation | Design Methods 02/23/08
5. Slide 5: Design methods encompass a broad area that focuses on: • Redefining the specifications of design solutions which can lead to better guidelines for traditional design activities (graphic, industrial, architectural, web, etc.); Source: Nate Burgos and Adam Kallish, WikiPedia 5 User Observation | Design Methods 02/23/08
6. Slide 6: Design methods encompass a broad area that focuses on: • Redefining the specifications of design solutions which can lead to better guidelines for traditional design activities (graphic, industrial, architectural, web, etc.); (Incremental Innovations, Best Practices, Asset or Component-based Solutions) Source: Nate Burgos and Adam Kallish, WikiPedia 6 User Observation | Design Methods 02/23/08
7. Slide 7: Design methods encompass a broad area that focuses on: • Redefining the specifications of design solutions which can lead to better guidelines for traditional design activities (graphic, industrial, architectural, web, etc.); (Incremental Innovations, Best Practices, Asset or Component-based Solutions) • Exploring possibilities and constraints by focusing critical thinking skills to research and define problem spaces for existing products or services—or the creation of new categories; Source: Nate Burgos and Adam Kallish, WikiPedia 7 User Observation | Design Methods 02/23/08
8. Slide 8: Design methods encompass a broad area that focuses on: • Redefining the specifications of design solutions which can lead to better guidelines for traditional design activities (graphic, industrial, architectural, web, etc.); (Incremental Innovations, Best Practices, Asset or Component-based Solutions) • Exploring possibilities and constraints by focusing critical thinking skills to research and define problem spaces for existing products or services—or the creation of new categories; (Breakthrough Innovations) Source: Nate Burgos and Adam Kallish, WikiPedia 8 User Observation | Design Methods 02/23/08
9. Slide 9: Design methods encompass a broad area that focuses on: • Redefining the specifications of design solutions which can lead to better guidelines for traditional design activities (graphic, industrial, architectural, web, etc.); (Incremental Innovations, Best Practices, Asset or Component-based Solutions) • Exploring possibilities and constraints by focusing critical thinking skills to research and define problem spaces for existing products or services—or the creation of new categories; (Breakthrough Innovations) • Managing the process of exploring, defining, creating artifacts continually over time Source: Nate Burgos and Adam Kallish, WikiPedia 9 User Observation | Design Methods 02/23/08
10. Slide 10: Design methods encompass a broad area that focuses on: • Redefining the specifications of design solutions which can lead to better guidelines for traditional design activities (graphic, industrial, architectural, web, etc.); (Incremental Innovations, Best Practices, Asset or Component-based Solutions) • Exploring possibilities and constraints by focusing critical thinking skills to research and define problem spaces for existing products or services—or the creation of new categories; (Breakthrough Innovations) • Managing the process of exploring, defining, creating artifacts continually over time • Prototyping scenarios and solutions that incrementally or significantly address the problem Source: Nate Burgos and Adam Kallish, WikiPedia 10 User Observation | Design Methods 02/23/08
11. Slide 11: Incremental innovation • Builds on an existing product or model • Creates incremental improvements that can differentiate 11 User Observation | Design Methods 02/23/08
12. Slide 12: Breakthrough innovation • Combine multiple factors (such as product design, branding and service) • Can create new value propositions (time savings) 12 User Observation | Design Methods 02/23/08
13. Slide 13: Disruptive innovations • Are usually ‘platform’ based and are a ‘collection’ of innovations that may fall out of the typical ‘offering’ category Source: Doblin Group 13 User Observation | Design Methods 02/23/08
14. Slide 14: What is a ‘typical’ design method process? Source: Vijay Kumar, Institute of Design 14 User Observation | Design Methods 02/23/08
15. Slide 15: The process is iterative Source: Vijay Kumar, Institute of Design 15 User Observation | Design Methods 02/23/08
16. Slide 16: …And typically uses a toolkit-based approach Source: Vijay Kumar, Institute of Design 16 User Observation | Design Methods 02/23/08
17. Slide 17: A focus on knowing users Source: Vijay Kumar, Institute of Design 17 User Observation | Design Methods 02/23/08
18. Slide 18: How a toolkit is applied: Knowing users Source: Vijay Kumar & Patrick Whitney, Institute of Design 18 User Observation | Design Methods 02/23/08
19. Slide 19: Collecting data around insights and needs Source: Vijay Kumar & Patrick Whitney, Institute of Design 19 User Observation | Design Methods 02/23/08
20. Slide 20: Collecting data around insights and needs Source: Vijay Kumar & Patrick Whitney, Institute of Design 20 User Observation | Design Methods 02/23/08
21. Slide 21: Collecting data around insights and needs Source: Vijay Kumar & Patrick Whitney, Institute of Design 21 User Observation | Design Methods 02/23/08
22. Slide 22: Collecting data around insights and needs Frameworks can be used to sort, massage and prioritize data Source: Vijay Kumar & Patrick Whitney, Institute of Design 22 User Observation | Design Methods 02/23/08
23. Slide 23: POEMS Framework • The POEMS framework is a structure that classifies data against modes that can impact the object or item being created and the human factors of an individual interacting with the object or item being created. Source: Vijay Kumar, Institute of Design 23 User Observation | Design Methods 02/23/08
24. Slide 24: POEMS Framework • The POEMS framework is a structure that classifies data against modes that can impact the object or item being created and the human factors of an individual interacting with the object or item being created. Source: Vijay Kumar, Institute of Design 24 User Observation | Design Methods 02/23/08
25. Slide 25: Insights and needs to patterns Source: Vijay Kumar & Patrick Whitney, Institute of Design 25 User Observation | Design Methods 02/23/08
26. Slide 26: Insights and needs to patterns Source: Vijay Kumar & Patrick Whitney, Institute of Design 26 User Observation | Design Methods 02/23/08
27. Slide 27: Insights and needs to patterns Source: Vijay Kumar & Patrick Whitney, Institute of Design 27 User Observation | Design Methods 02/23/08
28. Slide 28: Insights and needs to patterns Source: Vijay Kumar & Patrick Whitney, Institute of Design 28 User Observation | Design Methods 02/23/08
29. Slide 29: Patterns to criteria Source: Vijay Kumar & Patrick Whitney, Institute of Design 29 User Observation | Design Methods 02/23/08
30. Slide 30: From criteria to concepts Source: Vijay Kumar & Patrick Whitney, Institute of Design 30 User Observation | Design Methods 02/23/08
31. Slide 31: From criteria to concepts (Let’s not move too fast) Source: Vijay Kumar & Patrick Whitney, Institute of Design 31 User Observation | Design Methods 02/23/08
32. Slide 32: How can we make it relevant to what we do? Project Vision Information Architecture Content User Profiles & Scenarios Content Assessment Feature Map Content Matrix Information Architecture Content Plan / Strategy Visual Design Usability / Accessibility Visual Design Accessibility Review Graphic Production Usability Test Plan Design Style Guide Usability Test Report User Support Materials 32 User Observation | Design Methods 02/23/08
33. Slide 33: Design methods can be used to augment our traditional requirements definition in a more meaningful way and provide traceability and validation for design decisions that is more accurate than JRDs and stakeholder interviews Project Vision Information Architecture Content User Profiles & Scenarios Content Assessment Feature Map Content Matrix Information Architecture Content Plan / Strategy Visual Design Usability / Accessibility Visual Design Accessibility Review Graphic Production Usability Test Plan Design Style Guide Usability Test Report User Support Materials 33 User Observation | Design Methods 02/23/08
34. Slide 34: Design methods can also be used to figure out the what and not just the how of solving a problem Case Study for Bose: Enhancing the buying experience for the Personal Amplification System Source: Chris Bernard, Institute of Design 34 User Observation | Design Methods 02/23/08
35. Slide 35: Project topics • Understanding of the product • Traditional amplification • Bose Personal Amplification (PAS) • Understanding the customer • Plans, methods, and analysis • Findings • Synthesis • Recommendations Source: Chris Bernard, Institute of Design 35 User Observation | Design Methods 02/23/08
36. Slide 36: How the Bose personal amplification system differs from traditional amplification Public Address or PA speakers Source: Chris Bernard, Institute of Design 36 User Observation | Design Methods 02/23/08
37. Slide 37: How the Bose personal amplification system differs from traditional amplification Instrument Amplifiers Source: Chris Bernard, Institute of Design 37 User Observation | Design Methods 02/23/08
38. Slide 38: How the Bose personal amplification system differs from traditional amplification Monitors or Wedge Speakers Source: Chris Bernard, Institute of Design 38 User Observation | Design Methods 02/23/08
39. Slide 39: How the Bose personal amplification system differs from traditional amplification Mixing Board Source: Chris Bernard, Institute of Design 39 User Observation | Design Methods 02/23/08
40. Slide 40: How the Bose personal amplification system differs from traditional amplification 1 2 3 Source: Chris Bernard, Institute of Design 40 User Observation | Design Methods 02/23/08
41. Slide 41: How the Bose personal amplification system differs from traditional amplification 1 2 3 Source: Chris Bernard, Institute of Design 41 User Observation | Design Methods 02/23/08
42. Slide 42: Protocol: Plan Phase 1 - Secondary Research Information about the consumer electronics industry and “music- based” products. BOS E background information Bose P AS Apple store; B&O store; ABT store; Bose experience; Phase 2 - Primary Research purchasing experience; set-up experience; performing experience; experience with other musical products Musicians’ experience with BOSE and PAS; strengths Secondary Research and weaknesses of PAS; purchasing Phase 3 - Analysis What do we know about musicians? Phase 4 - Synthesis What is important to musicians? Recommendations How can we better sell the Personal Amplification System to musicians? Source: Chris Bernard, Institute of Design 42 User Observation | Design Methods 02/23/08
43. Slide 43: Protocol: Methods & analytics • Ethnographic methods • Survey: 14 respondents • Interview: 3 musicians • Videotape • Digital Camera: 4 stores Apple, B&O, ABT, Guitar Center) • 1 household • 1 concert • Field Notes • Participatory methods • Shadowing methods Source: Chris Bernard, Institute of Design 43 User Observation | Design Methods 02/23/08
44. Slide 44: Protocol: The Journey Areas of focus Source: Chris Bernard, Institute of Design 44 User Observation | Design Methods 02/23/08
45. Slide 45: Themes • ‘The collector’ • ‘Worship your hero’ • ‘This isn’t art, it’s my job’ • ‘Extreme hobbyist’ • AEIOU Defined • ELITO Defined • Activities • Metaphor • Environments • Observation • Interactions • Judgment • Objects • Value • Users • Concept Source: Chris Bernard, Institute of Design 45 User Observation | Design Methods 02/23/08
46. Slide 46: Themes Ke y O b s e r v a t io n J u d g m e nts V a lu e C o n c e p t o r C r it e r ia Me ta p h o r W o r s h ip People buy gear because If they are a 'purist' they Connection musicians Make this product what your yo u r h e ro their heros or performers may reject the Bose to more musicians 'hero' uses. they like use it. approach outright. Some of this gear is old Adoption of the PAS may Flexibility, you can Make it easier to worship. so they go on eBay to get depend on age and mimic all of your it. technographic. 'heros.' This is stuff buy and don't Back to basics. rent. There is new technology that can mimic the sound of 'classic' equipment. Like the Line 6 PodXT and the Varilex Guitars. Source: Chris Bernard, Institute of Design 46 User Observation | Design Methods 02/23/08
47. Slide 47: Themes Ke y O b s e r v a t io n J u d g m e nts V a lu e C o n c e p t o r C r it e r ia Me ta p h o r T h is is n ' t People play in churches Some people want it cheap. Simplicity on the Develop your audience a r t , it ' s m y Money matters. equipment site/easy jo b ( C y n ic a l setup p r o f e s s io n al or In s t it u t io n a l Us e r) People play in schools Comes apart without tools Portable The PAS would be Connect audience to considerably easier for a musicians new beginner. Difference practice and Flexibility performance environment. People play Gospel Source: Chris Bernard, Institute of Design 47 User Observation | Design Methods 02/23/08
48. Slide 48: Themes Ke y O b s e r v a t io n J u d g m e n ts V a lu e C o n c e p t o r C r it e r ia Me ta p h o r T h is is n ' t Some people play Comes apart without any Sound quality, clarity Music sponsorship a r t , it ' s m y multiple venues tools jo b Some people play The artists are not in Simplicity on the Jam session in retail multiple music genres control of the traditional equipment side/easy environment set up set-up The PAS would be And big starts won't use it. Portable Focus general business considerable easier to musicians set up for a show for a beginner Musicians and audience One system for electric Connecting musicians hear two different and acoustic guitars. sounds. Doesn't take up a lot of Connecting audience space. to musicians You can play it quiet. Connecting musicians and audience New tech that mimic Audiovisual classic sound. consistency/Eys and ears and harmony Existing equipment can be too loud, vicious cycle. Source: Chris Bernard, Institute of Design 48 User Observation | Design Methods 02/23/08
49. Slide 49: Themes Ke y O b s e r v a t io n J u d g m e n ts V a lu e C o n c e p t o r C r it e r ia Me ta p h o r Ex tre m e People play multiple Some people are more Connecting musicians Endorsement by the \"Heros.\" h o b b y is t music genres about the technology than the music New technology Some people want it Flexibility Underlying tactic/Work of cheap -money matter. mouth Sometimes you want to One system for electronic Simplicity on the Jam session in specific retail mess with your gear, and acoustic guitars equipment side/easy environment. sometimes you want to set-up Play! Most people own as Comes apart without any opposed to renting tools People purchase equipment on ebay and guitar center. You can play it quiet New technology that can mimic classic sound Musicians like to play around with equipment in the purchase environment Source: Chris Bernard, Institute of Design 49 User Observation | Design Methods 02/23/08
50. Slide 50: Who decides how the sound is? • Musicians or… • Venues (i.e ‘techs’ or sound engineers) Source: Chris Bernard, Institute of Design 50 User Observation | Design Methods 02/23/08
51. Slide 51: Who decides how the sound is? • Is is likely that venues that targeted musicians play in will adopt this system? Source: Chris Bernard, Institute of Design 51 User Observation | Design Methods 02/23/08
52. Slide 52: What is important to musicians? • Endorsement by heroes • Culture of having stuff Source: Chris Bernard, Institute of Design 52 User Observation | Design Methods 02/23/08
53. Slide 53: What is important to musicians? • Trust word-of-mouth • Proprietary sound Source: Chris Bernard, Institute of Design 53 User Observation | Design Methods 02/23/08
54. Slide 54: Current retail channel Problems: • Current retail store is not helping consumers learn about the system • People don't know the difference between Bose’s personal amplification system and other amplifiers Source: Chris Bernard, Institute of Design 54 User Observation | Design Methods 02/23/08
55. Slide 55: Where is the Bose amplifier? Source: Chris Bernard, Institute of Design 55 User Observation | Design Methods 02/23/08
56. Slide 56: Where is the Bose amplifier? Source: Chris Bernard, Institute of Design 56 User Observation | Design Methods 02/23/08
57. Slide 57: Recommendations Sell to the existing market by: • Setting up demo areas • Setting up and subsidizing practice environments • Selling products on ebay Source: Chris Bernard, Institute of Design 57 User Observation | Design Methods 02/23/08
58. Slide 58: Set up demo areas • Use already established distribution channel (Guitar Center) • Educate consumers • Improved display area to showcase and explain the Bose personal amp system • Knowledgeable sales staff • Try Bose system • Demo areas to compare both systems • Allow musicians to practice with equipment Source: Chris Bernard, Institute of Design 58 User Observation | Design Methods 02/23/08
59. Slide 59: Subsidize a practice environment “It’s expensive to rent practice rooms, so we rent a practice room with a few other bands to split the cost and create a schedule for our practice times.” “If one of the bands has equipment they are willing to share with the rest of the bands, they leave it in the practice room. In exchange for letting us use their equipment, they pay a smaller portion of the rent.” Jenny Choi & Phillip Stone of Sanawan Source: Chris Bernard, Institute of Design 59 User Observation | Design Methods 02/23/08
60. Slide 60: Sell product on eBay • Many musicians buy equipment on eBay, but do not associate Bose with guitar amps Source: Chris Bernard, Institute of Design 60 User Observation | Design Methods 02/23/08
61. Slide 61: Redefine your market • The current Bose marketing strategy for the PAS is too Rock-focused. • The culture of the Rock musician doesn’t directly relate to the nature of the Bose PAS. • The guy in this picture is NOT the guy that would buy a PAS Source: Chris Bernard, Institute of Design 61
62. Slide 62: Redefine your market • The image of rock music is exhibited in the large speakers, large spools of wire, large sound boards—the large image of rock in general seems to have become fundamental to the artist. • The PAS is solving the fundamental problems of unnecessarily large amounts of equipment. In doing so, it immediately pushes itself out of the marketing range of a mainstream Rock market. Source: Chris Bernard, Institute of Design 62
63. Slide 63: Suggestions for how to redefine the target market: • Major venue placement • Major entertainment programming with musical acts • Musical festivals (with a focus on different genres) Source: Chris Bernard, Institute of Design 63
64. Slide 64: Summary
65. Slide 65: Design methods summary • Design methods aren’t a replacement for your existing processes, they are a set of techniques and methods for improving the quality of the data and insights that go into existing artifacts we create everyday and drive the creation of business strategy, requirements, vision, user profiles, user scenarios and information design. 65 User Observation | Design Methods 02/23/08
66. Slide 66: Design methods summary • Design methods aren’t a replacement for our existing processes, they are a set of techniques and methods for improving the quality of the data and insights that go into existing artifacts we create everyday and drive the creation of business strategy, requirements, vision, user profiles, user scenarios and information design. • Design methods aren’t just for web sites or application development, they can be used to shape and define business problems and the space in which solutions can reside 66 User Observation | Design Methods 02/23/08
67. Slide 67: Design methods summary • Design methods aren’t a replacement for our existing processes, they are a set of techniques and methods for improving the quality of the data and insights that go into existing artifacts we create everyday and drive the creation of business strategy, requirements, vision, user profiles, user scenarios and information design. • Design methods aren’t just for web sites or application development, they can be used to shape and define business problems and the space in which solutions can reside • Design methods (when more fully developed into our practice) can enable our user experience team to work on a larger variety of projects and provide a new dimension of customer value through their ability to generate tangible and insightful solutions 67 User Observation | Design Methods 02/23/08
68. Slide 68: So, how much does it cost? • Design methods are a collection of techniques that can be added to any project • Small, modest efforts for focused problems (i.e. how to improve a registration process) can be completed with 1 to 2 FTEs in 2 to 3 week in 4 to 6 days • Moderate efforts (i.e. how to improve an online shopping cart) require 2 to 3 FTEs and can be completed in 4 to 6 weeks • Transformational efforts that look at an entire enterprise (i.e. what business should we be in) can take 6 to 8 FTEs and require up to six months to complete 68 User Observation | Design Methods 02/23/08
69. Slide 69: What’s the skill set? • Individuals that have the following skills can usually pick up design methods quickly • Interaction designers • Information designers • User researchers (ethnographers and anthropologists) • Analysts • User experience leaders • User interaction designers and developers 69 User Observation | Design Methods 02/23/08
70. Slide 70: Resources • Web • Design methods in detail, Wikipedia • Design Consulting Services, IBM • Design at SAP, Hasso Plattner (Keynote) • Institute of Design • Institute of Design Strategy Conference • The D-School at Stanford • BusinessWeek Innovation Design Channel • Elito Framework • POEMS Framework • AEIOU Framework (Framework discussion around ethnography) • Related Books • Designing for Interaction, Dan Saffer • Designing Interaction, Bill Moggridge • Tools • IDEO, Method Cards • …or my blog, www.designthinkingdigest.com/ 70 User Observation | Design Methods 02/23/08