Automotive Human Centred Design Methods by Gkatzidou, Voula Giacomin, Joseph Skrypchuk, Lee (z-lib.org).pdf

Voula Gkatzidou, Joseph Giacomin & Lee Skrypchuk
Automotive Human Centred Design Methods

Voula Gkatzidou, Joseph Giacomin & Lee Skrypchuk
Automotive Human Centred
Design Methods

ISBN 978-3-11-067736-2
e-ISBN (PDF) 978-3-11-067751-5
Library of Congress Control Number: 2020931693
Bibliographic information published by the Deutsche Nationalbibliothek
The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data
are available on the internet at http://dnb.dnb.de.
© 2021 Walter de Gruyter GmbH, Berlin/Boston
Cover image: marcoventuriniautieri/E+/Getty Images
Illustrations: Makayla Lewis
Typesetting: Meta Systems Publishing & Printservices GmbH, Wustermark
Printing and binding: optimal media GmbH, Röbel
www.degruyter.com
Enquiries to: voula.gkatzidou@gmail.com

Contents
Preface 1
Methods
1. AEIOU 24
2. Affinity Diagram 26
3. Bodystorming 28
4. Brainstorming 30
5. Buy a feature 32
6. Card Sorting 36
7. Co-Design 38
8. Cognitive Walkthrough 40
9. Cognitive Map 42
10. Competitive Analysis 46
11. Contextual Inquiry 48
12. Crazy 8s 50
13. Crowdsourcing 52
14. Cultural Probes 54
15. Customer Journey 56
16. Delphi Survey 60
17. Design Fiction 62
18. Desirability Testing 64
19. Diary Study 66
20. Empathy Map 68
21. Experience Prototyping 72
22. Extreme Users 74
23. Fly-on-The Wall 76
24. Focus Group 78
25. Harris Profile 80
26. Heuristic Evaluation 84
27. How Might We? 86
28. Interview 88
29. Laddering 90
30. Love/Break up Letter 92
31. Persona 96
32. Picture Cards 98
33. Repertory Grid Technique 100
34. Role Playing 102
35. Scenario 104
36. Scenario Mapping 108
37. Stakeholder Analysis 110
38. Storytelling 112
39. Storyboarding 114
40. Survey 118
41. Think-Aloud 120
42. Touchstone Tour 122
43. Tomorrow’s Headlines 124
44. Wizard of Oz 126
45. Word Concept Association 128
46. Zaltman Metaphor
Elicitation 130
47. 5 Whys 132
Appendix 1 135
Photo credits 136

1
Preface
To achieve human acceptance in any field, the specific challenges of that field must be taken into account. Some fields
offer more challenges than others and one such field, which is characterised by a number of specific challenges, is that
of automotive design.
Users of vehicles are wide and varied, experience different habitats and have many different motivations for use. The
way in which users operate their vehicle is unique and unlike any other product domain. When designing a vehicle it
is fundamental to consider the context and inherent constraints, so as to streamline the creative process such that
focused, targeted design can evolve.
It is because of this that Jaguar Land Rover supports the idea of Human Centred Design by using methods that are
entirely appropriate for the context which is being explored.
Human Centred Design should be at the heart of the creation of any product, system or service. This reduces the cost of
development while producing more effective outcomes that are in tune with the nature of the automotive environment.
Jaguar Land Rover believes that the methods contained within this handbook can be used to create innovative products
which satisfy customer needs and emotions, while fitting seamlessly into the intended target environments.

3
What is Automotive Design?
Automotive design is a creative process used to define the properties of motor vehicles, encompassing interior and
exterior design. Technological and sociological developments in the automotive sector are shifting the focus of design
towards developing a better understanding of customers’ needs, desires and emotions. This book aims to equip you
to better meet the desires and expectations of 21st century customers, by providing you with a toolbox of automotive
appropriate Human Centred Design methods to answer any given automotive design question.
This book is for you if you ...
• Want to understand your customer – how they think,
feel and behave around your product, system or
service.
• Want to fuel your decisions about what really matters
to your customers by meeting them in their world.
• Want to place the human at the centre of your inno-
vation process.
What you will learn ...
• HOW to gain insight and understand and connect
with your customers.
• METHODS and techniques to empathise with your
customer.
• HOW to make sense of your customer data and
achieve actionable insights.

5
Why adopt a Human Centred Design (HCD) approach?
Human Centred Design is an approach for designing products, systems and services which are physically, perceptually,
cognitively and emotionally intuitive (Giacomin, 2014).
Today’s Human Centred Design is based on the use of techniques which communicate, interact, empathise and stimu-
late the people involved, obtaining an understanding of their needs, desires and experiences which often transcends
that which the people themselves actually realised. Human Centred Design can be thought of as a form of structured
empathy. Practised in its most basic form, Human Centred Design leads to products, systems and services which are
physically, perceptually, cognitively and emotionally intuitive.
The toolbox of Human Centred Design techniques grows continuously, including methods that gather facts about peo-
ple such as anthropometric, biomechanical, cognitive, emotional, psychological and sociological data. It also includes
methods to interact with people in such a manner as to facilitate the detection of meanings, desires and needs. In order
to address such a challenging task, the designer needs to be equipped with the skillset, knowledge and experience to
select and apply the most appropriate method(s) to answer a given design question.
Giacomin, J. 2014, What is Human Centred Design?, The Design Journal, Vol. 17, No. 4, pp. 606–623.

7
Sources of HCD Information
Human Centred Information can be collected through vari-
ous different methods and at different stages in the design
process.
Methods that collect information about human physical,
perceptual, cognitive and emotional characteristics are usually
applied BEFORE meeting the customer. Such information,
often scientific, leads to minimal requirements and to variation
envelopes. The collection and description of such methods
are beyond the scope of this work and are not included in this
book.
This book focuses instead on methods that capture the visible
and invisible information about dynamics, motivations and
meanings, including data about interactions with the motor
vehicle, behaviour towards certain components, and beliefs
and values about the brand as a whole.”
Beliefs Values Meanings
Interactions Behaviours Metrics
Physical Perceptual Cognitive
facts
visible
invisible

WHICH HCD METHODS ARE MOST APPROPRIATE
TO AUTOMOTIVE DESIGN?
Which Human Centred Design methods would be the most efficient towards
answering a given automotive design question?

9
Selecting HCD Methods
An extensive literature search was performed to review
all currently available Human Centred Design methods.
Search sources included both academic and non-academ-
ic databases.
The inclusion criteria applied to the search were the
following:
• Methods that capture information about customers
with regard to their interactions, behaviours, emo-
tions, beliefs, meanings and/or values
• Methods that provide a framework to organise or
structure the data collected
• Methods that visualise the complex process of Human
Centred Design
• Methods that include more than one stand-alone
method, such as co-design, prototyping etc.
Over 600 methods were initially identified using the
search terms, of which 327 were eligible, 270 were
excluded because of duplication and 47 were collected
and included in the handbook.
A series of workshops with automotive designers was
carried out to validate the method set collected.

HOW IS THIS HANDBOOK ORGANISED?
What is the most appropriate way to organise methods for automotive design?

11
Taxonomy & Ontology of HCD methods
Organising methods by the specific phase(s) they are
most appropriate for is problematic, as design phases are
not always explicit and may be specific to the component,
system or type of vehicle which is being designed.
Organising methods by the specific design activity you
wish to achieve (i.e. to gather concepts, to understand,
to test etc.) might also be problematic given the inte-
grated nature of automotive design which requires that
all interactions contribute to the overall metaphors and
meanings (Giacomin, 2017) which were chosen for the
motor vehicle.
Similarly, organising methods according to which compo-
nent or system they are most suitable for might be insuffi-
cient given that technology is constantly changing.
In this handbook the HCD methods are categorised into
three broad categories, based on the type of human
information which they are trying to uncover:
• Information about the customer that is ‘visible’,
including how they interact with a product, system or
service, how they behave and metrics to measure.
• Information about the customer that is ‘invisible’, in-
cluding the metaphors, meaning and values involved.
• Information about the customer that involves both
visible and invisible characteristics of their behaviour.
Giacomin, J. 2017, What is design for meaning? Journal of Business & Technology. Vol. 3, No. 2, pp. 167–190.

12
Human Centred Design Methods
A mapping workshop with automotive designers identified the type of information that each of the methods collected
best.
From the set of methods that are described in this book
• 20 methods capture mostly visible information
• 10 methods capture mostly invisible information
• 17 methods capture both visible and invisible information
The following table summarises the set of methods that are included in the book and the type of information each
method captures.

13
1 AEIOU
2 Affinity Diagram
3 Bodystorming
4 Brainstorming
5 Buy a Feature
6 Card Sorting
7 Co-Design
8 Cognitive Walkthrough
9 Cognitive Map
10 Competitive Analysis
11 Contextual Inquiry
12 Crazy 8s
13 Crowdsourcing
14 Cultural Probes
15 Customer Journey
16 Delphi Survey
17 Design Fiction
18 Desirability Testing
19 Diary Study
20 Empathy Map
21 Experience Prototyping
22 Extreme Users
23 Fly-on-The-Wall
24 Focus Group
25 Harris Profile
26 Heuristic Evaluation
27 How Might We?
28 Interview
29 Laddering
30 Love/Break Up Letter
31 Persona
32 Picture Cards
33 Repertory Grid Technique
34 Role Playing
35 Scenario
36 Scenario Mapping
37 Stakeholder Analysis
38 Storytelling
39 Storyboarding
40 Survey
41 Think-Aloud
42 Touchstone Tour
43 Tomorrow’s Headlines
44 Wizard of Oz
45 World Concept Association
46 Zaltman Metaphor Elicita-
tion
47 5 Whys
visible
invisible

HOW IS EACH HCD METHOD DESCRIBED?
What is the most ‘automotive appropriate’ way to describe Human Centred Design methods to facilitate their discovery,
selection and application?

15
Selection of HCD methods characteristics
A series of workshops with automotive designers was carried out to identify what are the most appropriate automotive
criteria to describe Human Centred Design methods, i.e. what criteria do automotive designers use to choose which
methods they will apply in their work?
The most automotive-relevant criteria to describe methods that will be used in this handbook are summarised below:
Method
Characteristic Definition Values
1 Time Taken Estimated time of completion 1 day, 2–3 days, 3+ days
2 Effort Information time for preparation, processing and analysing results Icon (easy, moderate, hard)
3 Cost Recruitment, participant reimbursement and staff times Icon (one icon per cost)
4 Staff Number of staff members required to apply each method Icon(one icon per staff member)
5 Input Description of artefacts required for method execution Probe(s), Concept(s), Prototype(s)
6 Participants Participant information and size Design team // Stakeholders // Experts // Users
7 Purpose Purpose of the method Textual Description
8 Output Format and typology of the benefits of the methods to the design
team.
Textual Description
9 Setting Details on the required setting of the method Artificial (lab) // Natural (in-situ) // Setting
independent
10 Related Methods Methods that discover similar type of information or methods that
can be triangulated with specific method
Textual Description
11 Resources Additional resources about the method with focus on automotive
design examples
Additional resources about the method with
focus on automotive design examples
12 Time perspective Time frame of the information collected Present or past // Future // N/A

HOW TO USE THIS HANDBOOK?
The methods collected through the literature review, together with the automotive specific criteria that were identified
through a series of design workshops are used throughout the handbook to present and describe the methods.
The methods are presented in an alphabetical order and, for each method, the type of information it collects is
illustrated by the use of the coloured circles (on the top right-hand side of the page).

17
Sample Page
Each method in this handbook is described in a two-page spread which includes the automotive specific criteria and
the bespoke classification model.
66 67
Description
Customer diaries (logs) of daily
activities as they occur give con-
textual insights about real time
behaviours and needs.
In diary studies, participants are
asked to keep a diary of their day
to day experiences of how they
engage in a particular behaviour,
encounter a situation, or have
specific types of interactions.
Diary studies are exploratory
and longitudinal, made of be-
havioural ‘snapshots’ captured over
extended periods that affect a cus-
tomer’s experience. Diary studies
are useful for collecting information
related to long term behaviours,
such as habits that cannot be
gathered in a lab setting.
Diary studies can focus on:
Product – Understanding inter-
actions (e.g. with the Heads Up
Display over a specific time frame).
Behaviour – Gathering general
information about customer
behaviour (e.g. smartphone usage
in the car).
General or specific activities –
Understanding how people
complete general activities (e.g.
buying a new car, setting up the
in car navigation system).
Purpose
To capture data and insights and collect
longitudinal information of actual custom-
er behaviour in a natural context.
Input
Diary kit (how people will capture their
experiences; for example: physical diary,
diary app, Whats app, voice notes etc.).
Participants
Customers.
Method Info
Time ●●○
Effort ●●○
Staff ●●○
Cost ●●○
Time perspective Present/Past
Setting Natural
Debrief: A post-study interview is typically conducted,
in order to supplement, validate and otherwise explore the
information gathered by the participants. Repeat this pro-
cess, creating a map to compare interviews.
4
Conduct: Give your participants the diary kit, and brief
them about the specified period of the study. Inform them
of the aims of research, the key dates for contact and follow
up. Give an example of a diary to explain your expectations
of them, e.g. requiring 2 entries per week etc.
3
Recruit: Recruiting is particularly important with diary
studies since they rely on a large investment of participants’
time. Due to the longitudinal nature of this method, partici-
pants would need to be monitored and supported through-
out the process (for example, through text messages).
2
Plan: Define the focus of the study and the long term
behaviours that you need to understand. Define a timeline,
select tools for participants to report data, recruit partici-
pants, and prepare instructions or support materials.
1
Steps
Outcome
Self reported
customer
interactions
or events with
a product or
system over
time.
Related Methods
Cultural Probes.
Resources
Zhao, C. & Popovic, Vesna & Ferreira, Luis &
Lu, Xiaobo. (2006). Vehicle design research
for Chinese elderly drivers. Proceedings of the
International Conference on Computer-Aided
Industrial Design and Conceptual Design,
(CAIDC).
Before
the
diary
study
During
&
after
the
diary
study
19. Diary Study
A method that allows you to collect self-reported experiences in context (i.e. when and where they happen)..
).
e
Purpose
Input
Diary kit (how people will capture their
experiences; for example: physical diary,
diary app, Whats app, voice notes etc.).
Participants
Customers.
Method Info
Time ●●○
Effort ●●○
Staff ●●○
Cost ●●○
Setting Natural
4
3
2
Plan: Define the focus of the study and the long term
select tools for participants to report data, recruit partici-
pants, and prepare instructions or support materials.
1
Steps
Before
the
diary
study
During
&
after
the
diary
study
t (i.e. when and where they happen)..
1
2
3
4
5
6
9
10
11
7
1 Description of the method, i.e. its aim, when it
should be applied etc.
2 Main aim of the method.
3 Description of material required for the method
execution.
4 Participant information (i.e. who to involve when
you apply each method).
5 Infographic on method’s characteristics that are
most relevant to automotive design.
6 Step-by-step breakdown on how the method can
be applied.
7 Type of information the method captures.
8 Illustration of method’s application and context
of use.
9 Description of the type of outcome for the
method.
10 Information on methods that might be similar,
or can be used in conjunction with method.
11 Resources about the method with automotive
design examples where possible.
8

HOW TO SELECT THE ‘RIGHT’ METHOD?

19
The need for method triangulation
Triangulation refers to the practice of using multiple sources of data or multiple approaches to analysing data to a more
comprehensive understanding of the phenomenon of interest.
No Right or Wrong Method!
For each given design project, there is no right or wrong method. The selection of methods is based on YOUR context
and frame of reference.
Methodological Triangulation
Improve the validity of your work by combining
MORE THAN ONE method in one study.
Aim to apply at least three methods which, between
them, can capture …
• What the customer SAYS
• What the customer DOES
• Contextual, physical, perceptual and cognitive
information
Human Centred Design
Contextual, physical, perceptual
and cognitive information
What the customer SAYS
What the customer DOES

20
Method Info
Time: Estimated time of completion.
Effort: Effort required for the preparation, processing and analysis of
results when applying a particular method.
Staff: Number of staff members required.
Cost: Recruitment, participant reimbursement and staff times.
Time perspective: Estimated time frame of use of the designed artefact.
Setting: Details on the required setting of the method. For example,
methods whose setting is recommended as ‘Artificial’ can be used in a
driving simulator lab. Methods whose setting is ‘Natural’ should be used
in the context in which the interaction would be taking place, i.e. on-road
study, interview whilst sitting in the car etc. ‘Artificial’ suggests that the
setting for the method will not affect the research outcomes.
Method Info
Time ●○○
Effort ●○○
Staff ●○○
Cost ●○○
Time perspective Past/Present/Future
Setting Natural/Independent
Legend

21
Legend
Purpose
Goal or aim of the method
Input
Description of the material required for the method exe-
cution. Example of this include: Design Probes, Design
Concept, Design Prototype
Outcome
Expected deliverable of the method
Participants
Participant information, i.e. who will you need to involve
when you apply each method. Examples include custom-
ers, other members of the design team, stakeholders,
experts in a particular area of automotive design,
automotive design. Where available and supported by
research or best practice, information on the participant
sample size will be given.
Steps
Step-by-step practical breakdown on how each method
can be applied. For the methods that act more as ‘frame-
works’ to support other methods (for example, AEIOU,
How Might We? etc.), the ‘Steps’ section provides addi-
tional information on how to apply them.
Related Methods
Similar methods, or methods that can or should be com-
bined with a specific method as well as complementary
methods.
Resources
Resources for further reading of examples of how each
method was applied in an automotive context.

24
Description
AEIOU is not an information
gathering method but a framework
that guides and structures the
data collected from other design
methods.
This is achieved by placing the
emphasis on five types of
data to observe, collect or doc-
ument: Activities, Environment,
Interactions, Objects and
Users.
The AEIOU method can be used:
• Before a customer workshop
to highlight what to observe
during customer observation
or to guide your interview.
• After a customer workshop to
organise the data you have
collected.
Activities are goal directed ac-
tions, that customers do, before,
during and after accomplishing
their goals.
Environment includes the physical
space and function of the context
that defines the customer
experience.
Interactions are between a person
and other people or things in the
environment.
Objects are the individual ele-
ments of an environment, which
might be put to simple or complex
uses (intended or unintended).
Users are the people who you are
designing for.
Purpose
To provide an organisational framework
to define the type of data that needs to be
collected.
To visually map the relationships and
interactions between the customer, the
environment and the product, system or
service of the car.
Input
Customer data collected from other
methods.
Participants
Design Team.
Method Info
Time ●○○
Effort ●○○
Staff ●○○
Cost ●○○
Setting Natural/Independent
1. AEIOU
A method that provides a framework for guiding and structuring
information about your customers.

25
Activities
What are the customers engaged in prior to, during,
and after the experience?
Can these behaviours be influenced?
Environment
What environments define this experience?
What is the physical condition of the environment?
What does the design or structure of the environ-
ment communicate to the customer?
Interactions
What interactions happen in and with the vehicle?
Objects
What objects are relevant to this scenario?
What tools do customers utilise to navigate their
way through this environment?
Are there different or more efficient objects which
could be used?
Steps
Outcome
Customer data that is organised
into a framework.
Related Methods
AEIOU can be used to
support Contextual
Inquiry, Fly On The
Wall Observation,
Focus Groups etc.
Resources
Interviews using AEIOU about future automotive contexts:
Kyungjoo Cha, Joseph Giacomin, Mark Lycett, Francis
Mccullough, Dave Rumbold (2015). Identifying human
desires relative to the integration of mobile devices into
automobiles, Proceedings of the International Conference
on Automotive User Interfaces and Interactive Vehicular
Applications, Nottingham, United Kingdom.
Customer data that is organised

26
Description
This method allows you to organise
qualitative data collected from
customers and others stakeholders
to understand themes, issues and
concerns.
This method may be
used to:
• Analyse findings
from field studies
(such as observa-
tions, interviews
etc.) or usability
evaluations.
• Identify and
group the various
functions of a
proposed design
concept.
Purpose
To collaboratively sort large amounts of
customer data to identify and group the
insights that will shape design directions.
Input
Customer data (obtained from interviews,
focus groups or observations).
Participants
Customers & Stakeholders.
Method Info
Time ●○○
Effort ●○○
Staff ●○○
Cost ●○○
Setting Independent
2. Affinity Diagram
A method to visually organise large amounts of data into groups with common themes or relationships that allow a
design direction to be established based on the associations uncovered.

27
Prioritise the affinity groups or individual items for
further consideration by asking participants to vote on
their preferred ideas.
4
Ask participants to individually organise the items
into “affinity groups” , groups that “go together”, or that
are similar in some way and label them. Larger affinity
groups (i.e. more than 10 to 12 items) should be broken
down.
3
Use a ‘post-it’ note for each separate data item (i.e.
text, images, artefacts). Shuffle the ‘post-it’ notes to
eliminate any pre-existing ordering and place them on
an ‘affinity surface’ (a wall or large table).
2
Gather customer data (i.e. notes from interviews or
observations, transcripts, videos etc.). Assign a ‘post-it’
note to each of the separate data items. Each ‘post-it’
should represent a separate data item (such as quotes
from interviews, artefacts produced at co-design ses-
sions, images from customer observations etc.).
1
Before
the
workshop
During
the
workshop
Outcome
Large customer data set organised into smaller sets,
and clustered into design themes for further consid-
eration by topic or prioritised by importance.
Related Methods
Card Sorting can identify common patterns in the
way different individuals group information.
Affinity Diagram can be used as part of a
Brainstorming session to organise or prioritise
participants’ ideas.
Resources
https://medium.com/@ruiminong/ux-case-study-
fixir-a-startup-connecting-drivers-workshops-
b2fb808d7fc2
Steps

28
Description
Bodystorming is based on
interaction and movement that
allows the designer to observe
customer interactions, and
to generate ideas around an
envisioned design scenario.
This method is based on bodily
engagement, to elicit the knowl-
edge that is not easily address-
able by words.
This method requires setting
up an experience, including
necessary artefacts and people and
physically “testing” it. The focus
of bodystorming is to observe your
customers interacting with the
environment and the choices they
make while in it.
For example, to envision new
social situations in the car, the
input for a bodystorming workshop
would be a setup with an outline of
a car served as a stage for enacting
as well as other props and proto-
typing material.
Purpose
To derive new ideas and unexpected
ideas by witnessing participants who are
physically experiencing a situation.
Input
A setup that serves as a stage for enact-
ing, conceptualising an envisioning the
future ideas you are exploring.
Participants
Customers.
Method Info
Time ●●●
Effort ●●●
Staff ●●○
Cost ●●○
Time perspective Future
Setting Natural
3. Bodystorming
A method of physically experiencing a situation to imagine new interactions and explore new ideas.

29
Ask participants to work in groups to bodystorm your
design scenario(s). Each group will enact each scenario
and each group member needs to have a role. Ask
participants to write down ideas to depict their solutions
to the problem in a story format.
4
Identify the environment of the given interaction.
For example, if you are designing for family commuting
experiences in the car, you might identify several potential
sites where this activity is taking place, such as outside the
house, at school drop off, at the supermarket car park, etc.
1
Prepare a number of scenarios that will be bodystormed
by the participants. Create more than one scenario because
the multiple scenarios will be your springboard for ideation.
3
Create the ‘enactment’ experience, as a setup with
props. A ‘pretend’ car can be enacted by the use of four
chairs arranged in a car cabin format, props could in-
clude personal possessions (to explore interactions with
others), or car components (such as steering wheel etc.)
2
Steps
Before
the
workshop
During
the
workshop
Outcome
Feedback (in the form of stories) for design concepts
and an understanding of contextual factors that are
important in designing novel interactions.
Related Methods
The difference between Bodystorming and other types
of prototyping is that Bodystorming does not depend
on the use of a specific product or system that could
potentially constrain the directions of the interaction.
Resources
Living Room on the Move: Autonomous Vehicles and
Social Experiences: Pettersson, Ingrid & Rydström,
Annie & Strömberg, Helena & Hylving, Lena &
Andersson, Jonas & Klingegård, Maria & Karlsson,
Marianne. (2016). Living Room on the Move:
Autonomous Vehicles and Social Experiences. 1–3.1
Designing for social experiences with and within
autonomous vehicles: Strömberg, H., Pettersson, I.,
Andersson, J., Rydström, A., Dey, D., Klingegård, M.,
& Forlizzi, J. (2018). Designing for social experiences
with and within autonomous vehicles – exploring
methodological directions. Design Science, 4, E13.

30
Description
Brainstorming is a way to generate
multiple ideas by leveraging the
collective thinking of a group.
This method is used to spur group
creativity with the intention of
generating concepts and ideas
regarding a specific design
challenge.
There are variations of
brainstorming such as:
• Brainwriting: where ideas are
generated in a parallel, rather
than a serial, fashion. For
example, each person writes
ideas down on paper and then
passes the paper to a new
person who reads the first set
of ideas and adds new ones.
This variation of brainstorming
is useful when time is limited,
groups are hostile, or you
are dealing with a culture or
participants where coming up
with and sharing divergent
ideas might be difficult.
• Braindrawing: a method of
visual brainstorming that is
used to generate ideas for
visual elements, such as icons,
other graphics, or user inter-
face layouts.
Each of these variations of brain-
storming allows for the generation,
presentation and evaluation of
designs by customers.
Purpose
To generate ideas or find solutions
to design challenges.
Input
Design challenge.
Participants
Customers, Stakeholders, Design Team.
Method Info
Time ●○○
Effort ●○○
Staff ●○○
Cost ●○○
Setting Independent
4. Brainstorming
An ideation method where efforts are made to find a solution for a specific challenge by gathering a list of ideas or
concepts.

31
Discuss: Critique, and possibly prioritise the results
for later action. This last step is called the “conver-
gent” phase where the list of ideas are synthesised into
themes that are most applicable to your design chal-
lenge.
4
Generate solutions: Ask the group to generate solu-
tions or ideas with no criticism or judgement. Do not set
any limits to the type and number of ideas. This is the
“divergent” phase in which you want as many ideas as
possible without any censorship.
3
Recruit: Select a group of participants with differ-
ent backgrounds and pose the question, challenge or
opportunity to the group. Depending on your design
goal, you can have a brainstorming workshop involving
customers, or just your design team and stakeholders.
2
Define domain and plan: Define a challenge or
opportunity to explore further. Establish the documen-
tation of the brainstorming workshop (i.e. how will you
record and document the participants’ ideas).
1
Outcome
Large number of ideas
for your design oppor-
tunity or challenge.
Related Methods
How Might We?
Questions can be
used to frame a
brainstorming
session.
Crazy 8s
Can be used to structure the drawing/sketching part
of the brainstorming session.
Resources
Brainstorming, Brainwalking, Brainwriting and
Braindumping on https://www.interaction-design.org
Steps
Before
the
workshop
During
the
workshop Interactions Behaviours Metrics

32
Description
Buy a feature is a gamification
method for obtaining customer
perspectives and preferences
for the features of a product or
system.
This includes preferences that
currently exist, or
preferences that
they would like to
be available in the
future and are likely
to find desirable in
a product.
Product features are
identified and are
given a price (based
on development
costs, customer
values, etc.).
Participants are given fake cash
with which to buy features. By only
providing enough cash to buy a
limited set of features, participants
are forced to choose the features
they most want.
Purpose
To reveal customers’ preferences and
values.
Input
Probes (feature cards with prices as-
signed, fake money).
Participants
Customers.
Method Info
Time ●●○
Effort ●●○
Staff ●●○
Cost ●●○
Time perspective Present/Past/Future
Setting Independent
5. Buy a feature
A method that explores the features people are likely to find desirable in a given product, system or service
and the reasons why.

33
Listen to your customers, especially when they are
negotiating for a feature. Document the discussions and
the reasons behind their decisions.
4
Ask participants to work individually or in groups
to buy the features they mostly like and ask them to
explain the reasons behind their purchases.
3
Provide each of the features with a price. Make
sure that some features cost more than others, so that
customers will need to ‘pool’ their money and negotiate.
Your prices can be based on development costs, cus-
tomer value, etc.
2
Identify the list of features of your design concept.
Include a combination of features that have been sug-
gested by customers, features that have been imple-
mented by rival products and features that have perhaps
been identified as desirable by other departments in
your organisation (i.e. marketing department).
1
Steps
Before
the
workshop
During
the
workshop
Outcome
List of features on the product, system or service you
are designing, prioritised by customer desirability
and information on the reasons why.
Related Methods
Card Sorting is a similar method that can be used
if the number of features for the product you are
designing is too large (more than 10 to 15).
Affinity Diagramming can be used to summarise the
result of the Buy a feature method.
Resources
How to organise a Buy a feature workshop on:
http://www.uxforthemasses.com/buy-the-feature/

When designing a vehicle, it is
fundamental to consider the context
and inherent constraints, so as to
streamline the creative process such that
focused, targeted design can evolve.
“ ”

36
Description
Card Sorting allows you to under-
stand how (and why) your customers
break down a big concept, problem
or relationship into component
parts, revealing a mental pattern.
In Card Sorting, participants group
individual labels written on cards
according to criteria that make
sense to them.
In Open Card Sorting, participants
are free to assign the names they
want to the groups they have
created with the cards. This reveals
patterns in how participants clas-
sify, which in turn helps generate
ideas for organising information.
In Closed Card Sorting, partici-
pants are given a predetermined
set of category names and
categories.
This evaluates whether a given
set of category names provides an
effective way to organise a given
collection of content.
Imagine that you’re designing the
menu for the infotainment system
and there is a considerable amount
of features that the customers
can control. With Card Sorting,
your customers can organise the
available features into groups that
make sense to them. This way, you
can organise those features into
categories that people can browse
to quickly find their preferred
feature.
Purpose
To uncover participants’ mental models
with regard to complex concepts.
Input
Design Probes (cards and card deck).
Participants
Customers.
Method Info
Time ●○○
Effort ●○○
Staff ●○○
Cost ●○○
Setting Independent
6. Card Sorting
A method that explores how participants group items or concepts into categories and how they relate these to one
another.

37
Debrief: Encourage participants to talk about their
thought process out loud to understand their opinions,
rationales, and stories. Make sure that you or another
member of the team is available to take notes.
3
Show participants your card deck and ask them
to arrange the cards using an organisation “prompt”
based on your preferred sorting technique. This could
be to arrange the cards in ways that make sense to
them, or based on what is important to them etc. Once
the participants have grouped all the cards to their sat-
isfaction, give them blank cards and ask them to write
down a name for each group they created.
2
Plan: Create a card deck for participants to sort
using index cards. Aim for a card set of 30 to 40 max
to avoid participant fatigue. Ensure that your cards can
provide insight to your specific design question. Ran-
domise the order of presentation of the cards to avoid
bias. You can arrange the card sorting workshop to be a
one to one or group session.
1
Steps
Before
the
workshop
During
the
workshop
Outcome
Insights on how your customers rank or arrange fea-
tures of a concept based on a set of criteria they have.
Related Methods
‘Buy a Feature’ is a similar method but can only be
used if the number of features for the product you are
designing is no bigger than 10–15.
Resources
Card Sorting to rank importance of features of a car
dashboard. IBM Card sorting on https://medium.com/

38
Description
A Co-Design workshop is a form of
participatory design that brings to-
gether a variety of creative design
methods into an organised session
for participants to work with the
design team members.
Co-Design can be used:
• To ideate and establish design
implications when exploring
the design of new products.
• To collectively review, offer
feedback, and contribute in-
sights for design iteration and
refinement when evaluating
existing design concepts.
A Co-Design workshop can employ
numerous design methods,
such as picture cards (to get
the participants engaged with
the design brief), Role Playing
(to understand the challenge
and empathise), Brainstorming
and Crazy 8s (for ideation), and
prototyping.
Purpose
To convene a group of people you are
designing for and actively bring them into
the design process.
Input
Low-fidelity sketching supplies: post-its,
markers, pens, timer, snacks.
Participants
Customers.
Method Info
Time ●●○
Effort ●●●
Staff ●●○
Cost ●●○
Setting Independent
7. Co-Design
A method that actively involves all stakeholders in generating ideas and collaboratively creating concepts.

39
Collect & Analyse: Allow each group to present (pitch)
their designs and for the entire group to discuss any
common themes that emerged. Document the ideas and
sketches and discuss these further with the design team.
4
Workshop: Brief participants on the scope and
aim of the co-design session. The brief may include a
specific product to improve, or a general challenge you
want participants to address (the specific scenario or
customer journey faced by your customers).
3
Recruit & Group: Recruit participants and group
them into teams in advance, ensuring the groups are
mixed (i.e. not all customers in one group, not all stake-
holders in one group, not all design team members in
one group).
2
Plan: Define the exact scope of what to ask
participants to design during the workshop and allow
for sufficient time for the activity. According to your
design goals, decide which method(s) to apply during
your co-design workshop.
1
Steps
Outcome
New ideas based on direct input from your customers
can help to clarify that your design(s) meet the needs
of your customers.
Related Methods
Most of the methods in this book can be used as
a part of a Co-Design workshop (apart from the
Usability Evaluation Methods).
Resources
A Co-Design workshop to elicit what feels natural
when interacting with an automobile’s secondary
controls on: https://www.tandfonline.com/doi/abs/
10.1080/14606925.2018.1395228
Before
the
workshop
During
the

40
Description
Cognitive Walkthroughs provide a
systematic way to identify distinct
points during an interaction
sequence and evaluate whether
each step in the interaction helps
people make the next correct
decision in the interaction. The
method’s focus on how people
solve problems.
Cognitive Walkthroughs are
sometimes confused with heuristic
evaluations, as both methods
uncover usability problems.
Cognitive Walkthrough is a task-
specific approach to usability,
while heuristic evaluation is a
more holistic usability inspection.
As both usability evaluation
methods uncover different
classes of design
issues and different
usability problems, it
is recommended that
these methods should
be used together, rather
than in lieu of another.
Purpose
To examine the usability of a product or
system with respect to the tasks which
the customer will be required to carry out
within a given system.
Input
Design prototype.
Participants
Usability experts (3 to 5 in total).
Method Info
Time ●●○
Effort ●●○
Staff ●○○
Cost ●○○
Setting Independent
8. Cognitive Walkthrough
An expert-based usability evaluation method in which one or more evaluators work through a series of tasks with a
product, system or service.

41
As the experts evaluate each step in a task, record
success stories, failure stories, design suggestions,
problems, comments about the tasks, and other infor-
mation that may be useful in design. Brainstorm with
the rest of the design team on potential solutions to any
problem identified.
4
Ask the evaluators (experts) to attempt to complete
these tasks and document their experience while com-
pleting them.
3
Define the task or tasks that the customer would be
expected to carry out. It is important to choose realistic
tasks that are carried out often as well as tasks that are
safety critical and carried out less often. Tasks are then
divided up into a simple process to follow.
2
Identify the customer goal you want to examine.
1
Steps
Before
the
walkthrough
During
the
workshop
Outcome
Specific feedback for each action in an interaction
sequence that can be used to generate design
recommendations.
Related Methods
Heuristic Evaluation
Resources
Cognitive Walkthrough to design in-car navigation
systems: Curzon, P. & Blandford, Ann & Butterworth,
R. & Bhogal, R. (2002). Interaction design issues for
car navigation systems. In: Faulkner, X. and Finlay, J.
and Detienne, F., (eds.) People and Computers XVI –
Memorable yet Invisible: Proceedings of HCI 2002.
Springer Verlag, London, UK.

42
Description
A method that provides a visualisa-
tion of how people make sense of
a particular problem and identifies
the relationships your customers
assign between concepts. A Cog-
nitive Map is a drawing of how
customers make sense of a particu-
lar problem, issue or idea, how they
think about the problem and how
they structure ideas around it.
Cognitive Mapping is not an infor-
mation gathering method but a
method that guides and structures
other design methods. It can facili-
tate the notetaking process during
interviews or focus groups, and
when transcribing qualitative data.
The format and structure of a
Cognitive Map requires no central
node (or concept) that works as
the focus of the visualisation. The
nodes of a cognitive map are made
up of the exact words and phrases
spoken by participants.
Purpose
To reveal how your customers think about
a problem and visualise how they process
and make sense of their experiences.
Input
Customer data obtained from Interviews,
Focus Groups and/or Observations.
Participants
Design Team.
Method Info
Time ●●○
Effort ●●●
Staff ●●○
Cost ●●○
Setting Independent
9. Cognitive Map
An information visualisation method that reveals people’s underlying decision-making rules.

43
Take notes of what participants describe, take spe-
cial note of moments where the participants backtrack
or change their primary goal. Analyse the different maps
and flows.
4
Ask other participants to navigate through the map,
and to explain how they perform a task or “read” some
space.
3
Ask participants to create a Cognitive Map showing
how they navigate in a real or virtual space. Keep in
mind that maps can be created in collaboration by a
group of people to incorporate different viewpoints.
2
Recruit participants and organise materials and a
space for a workshop. Choose the focus of the Cognitive
Mapping activity; it has to be related to a task or pro-
cess that people usually develop a mental model for.
For example, this might include a Cognitive Map of the
infotainment system menu or of a vehicle navigation
system.
1
Before
the
workshop
During
the
workshop
Steps
Outcome
Graphical representation of your customers’ mental
models, their decision-making rules, how they make
sense of a problem and what they believe about a
product.
Related Methods
Cognitive Maps be used to help the analysis of data
collected from Contextual Inquiry, Interviews and/or
Observations.
There are different types of Cognitive Maps:
Concept Maps illustrate how people visualise rela-
tionships between various concepts.
Mind Maps explore associations between ideas.
Resources
Cognitive Mapping simulator study for the user in-
terface design of in-car navigation systems: Burnett,
Gary & Lee, Kate. (2005). The Effect of Vehicle
Navigation Systems on the Formation of Cognitive
Maps. Traffic and Transport Psychology: Theory and
Application.

Owing to the growing sophistication
of digital technologies and the increasing
complexity of modern social behaviours,
the 21st century automobile can no longer
be considered as an environment solely
characterised by the performance
of the driving task.
“ ”

46
Description
A Competitive Analysis provides
an opportunity to assess a
competitor’s product from the
customer’s point of view. It is a
method to collect and compare
data about products (and com
panies) in the marketplace to
make more informed decisions
about your product strategy.
Assessment criteria that can be
used are:
• Aesthetics: visual, auditory,
tactile, olfactory, taste.
• Ergonomics: safety, comfort,
ease of use.
• Identity: point in time, sense of
place, personality.
• Emotion: security, confidence,
independence, emotion,
sensuality, adventure.
• Impact: social, environmental.
• Technology: reliable, enabling
• Quality: craftsmanship,
durability.
A Competitive Analysis identifies
‘what exists’ but not the reason(s)
why. For example, it might help
you identify a long feature list for a
specific product or system but you
won’t know which features users
value and use the most.
Purpose
To inform the design process by enabling
a deeper understanding of where your
product or service stands in the market,
and highlighting the strengths and weak-
ness of your competition.
Input
Competitor’s products.
Participants
Design team, Stakeholders.
Method Info
Time ●○○
Effort ●●○
Staff ●●○
Cost ●○○
Setting Independent
10. Competitive Analysis
A method that identifies the strengths and weaknesses of competing products or services by surveying them and
comparing them against customer requirements.

47
Generate discussion about how your design com-
pares to the competing products, and stimulate rec-
ommendations about design improvements and new
features.
4
In a group setting with your design team and stake-
holders, rate each competitor’s product on a separate
sheet. Use a different sheet to rate your own product.
3
Generate the assessment criteria you will be using
for the competitive analysis. On a piece of paper or
spreadsheet, list each criterion and its attributes in a
column, and then add columns to either rate them (i.e.
each on a scale of low, medium, and high), or simply
mark the availability (i.e. yes or not).
2
Define your goals and decide the reasons for doing
the competitive analysis. Your goals should ideally be
specific and measurable.
1
Steps
Before
the
workshop
During
the
workshop
Outcome
List of recommendations for new design directions.
Related Methods
Suggested methods to be applied after Competitive
Analysis: Card Sorting, Buy-a Feature.
Resources
How to do a Competitive Analysis, step-by-step guide
on: http://www.usabilitygeek.com

48
Description
Contextual Inquiry (also known
as Ethnographic Interview) is a
method by which the designer
is embedded in the user’s
environment, alternately
observing and interviewing
the customer.
Contextual inquiry allows for a
detailed, empathetic view of your
customer and their behaviour and
interactions in the car.
This method provides a com-
prehensive understanding of
the system in which the user
plays a part, and a thorough
exploration of their actual inter-
actions (which might not match
those which were intended by the
designer).
Purpose
To gather behavioural information and
contextual insights on customer expe-
rience when using a particular product,
system, service, or performing a particular
activity in the car.
Input
N/A
Participants
Customers.
Method Info
Time ●●○
Effort ●●●
Staff ●●○
Cost ●●○
Setting Natural
11. Contextual Inquiry
An immersive method of observing and interviewing customers in context to understand their behaviour and
interactions.

49
Gather insight. Contextual inquiry is an important
starting point for capturing information. Discuss your
findings (i.e. what seemed intriguing) further with your
team, and compare and compile data from multiple
observations.
4
Capture your findings. Write down all that the
customer is doing. If you have questions for the user, be
sure to write them down. It is important to inquire about
anything interesting that occurred, but only afterwards.
Do not interrupt or disturb the user during their work.
3
Prepare: Decide your medium for documentation.
This could include taking photographs, keeping notes,
recording videos etc. Video recording the session would
facilitate the inquiry as it will allow you to minimise the
note taking during the session.
2
Plan: Decide who you will be observing and inter-
viewing. Use a framework such as the AEIOU to structure
what you will be observing and what you will be asking
in the interview.
1
Steps
Before
the
workshop
During
the
workshop
Outcome
Rich insights into customer experience.
Related Methods
AEIOU can be used to structure and guide
Observations and Interviews.
Affinity Diagramming, Empathy Map and Customer
Journey are methods that can be used to summarise
the data collected by a Contextual Inquiry.
Resources
Contextual Inquiry of Future Commuting in
Autonomous Cars: Krome, Sven & Walz, Steffen &
Greuter, Stefan. (2016). Contextual Inquiry of Future
Commuting in Autonomous Cars.
Contextual Inquiry to gain a deeper understanding
of how drivers interact with today’s entertainment,
communication, navigation, and information systems
in vehicles: Gellatly, Andrew & Hansen, Cody &
Highstrom, Matthew & Weiss, John. (2010). Journey:
General Motors’ Move to Incorporate Contextual
Design into Its Next Generation of Automotive HMI
Designs. 156–161.

50
Description
Crazy 8s is a method that allows
the generation of a wide variety of
concepts to your design challenge
by following a quick sketching
exercise that challenges people to
sketch 8 ideas in 8 minutes. This
could be specified to be 8 distinct
design concepts.
The goal is to push beyond the
first idea. The imposing of a fixed
time limit should help minimise
emotional investment in specific
concepts, thus favouring the
achievement of a wider range of
designs.
This method can be applied to well
defined issues and contexts, or to
highly abstract design problems.
If the design question is abstract,
ensure that the participants focus
on practical, and actionable solu-
tions to a specific problem.
This method can be applied indi-
vidually (for yourself) or in a group
workshop format (either with
your customers or with the design
team).
Purpose
To ideate and generate concepts quickly
on a design challenge.
Input
Design challenge.
Participants
Customers, Design team, Stakeholders.
Method Info
Time ●○○
Effort ●○○
Staff ●○○
Cost ●○○
Setting Independent
12. Crazy 8s
A method in which participants are required to generate a number of designs during a short timeframe.

51
After everyone has finished the
Crazy 8s exercise, ask each participant
to share the ideas they have generated
and discuss with the group. After the
entire team has presented their sketch-
es, hold a round of voting and ask par-
ticipants to vote for their favourite ideas
out of the whole group. The objective is
to generate as many ideas as possible
within a short timeframe, focusing on
quantity of ideas not quality (divergent
to convergent).
Take a piece of A4 paper and fold
it into 8 sections. Set the timer for
8 minutes. Decide how you will be using
this method (for example as part of a
Co-Design workshop with customers,
as part of a brainstorming session with
your design team and stakeholders
etc.). Ask each participant or member of
your design team to sketch one idea in
each rectangle on each piece of paper.
Outcome
Large number of ideas for
your design challenge.
Related Methods
Brainstorming, Co-Design,
How Might We? Questions
Resources
Crazy 8s to sketch ideas for
designing rituals for autono-
mous cars: Rolling Chairs,
Wagging Cars, & Designing
Ritual Interactions for
Autonomous Cars article on:
www.medium.com
Steps
Before
the
workshop
Aft
er
the
1
2

52
Description
Crowdsourcing is based on a
decentralised model that brings
together customers and ‘tes-
ters’ – members of the crowd to
complete specific design ‘micro-
tasks’. A microtask is defined as a
short task – either qualitative or
quantitative – that is accessed via
a common platform.
Purpose
To harness the ‘power of a crowd’ and
gather collaborative intelligence to sup-
port creativity and innovation.
Input
Design Prototype (if crowdsourcing is used
for evaluation of a specific prototype) or
abstract design brief (if used for crowd-
sourcing design competitions).
Participants
Large sample.
Method Info
Time ●●○
Effort ●●●
Staff ●●○
Cost ●●○
Setting Independent
13. Crowdsourcing
Crowdsourcing is a method in which a function or design task is ‘outsourced’ to a large network of people in the form
of an ‘open call’.

53
Post crowdsourcing: Set a deadline for the execution of the
design task and evaluate these according to predefined success
criteria.
4
Crowd: Depending on the design task, you will need to define the
associated design tool required (i.e. is your crowdsourcing task part of
a design competition where people would submit their concepts/ideas
online? If so, you would need an online platform to gather that data)
3
Platform: Decide the crowdsourcing platform to host your design
process. The platform selection depends on the nature of your task.
2
Design task: Plan your crowdsourcing task(s). Design your tasks
to be uncomplicated and easy so as to ensure wide participation.
1
Steps
Before
the
crowdsourcing
study
Aft
er
Outcome
Large scale data from your customers.
Related Methods
Co-Design is a similar method as it
harnesses the power and creativity of
a group of people, but not in such a big
scale as Crowdsourcing.
Resources
Using Crowdsourcing for Brand
Recognition in Automotive Brand Styling:
Burnap, A., Hartley, J., Pan, Y., Gonzalez,
R., & Papalambros, P. (2016). Balancing
design freedom and brand recognition
in the evolution of automotive brand
styling. Design Science, 2, E9

54
Description
Cultural Probes is a method that
consist of designing a number
of materials to inspire people to
thoughtfully consider personal
context and circumstance.
A Cultural Probe is a ‘documen-
tation mechanism’, such as a
workbook, postcards, maps,
disposable camera, audio or
video recorder, that is given to a
participant with instructions on
how to use it. For example, the
participant may be instructed
to create a diary entry each day
at a specific time, or to take
photos of various situations or
circumstances.
The participant completes the
cultural probe artefact on their
own and a follow up interview is
conducted.
Cultural Probes are appropriate
when you need to gather
information from users with
minimal influence on their
actions, or when the process
or event you’re exploring takes
place intermittently or over a long
period of time.
Purpose
To gather inspirational data about your
customers’ lives, beliefs, values and
thoughts.
Input
A Cultural probe kit (for example a diary,
scrap
book, camera, a voice recorder, pens,
post-it notes, anything that can help the
participant gather and record information.
Participants
Customers.
Method Info
Time ●●○
Effort ●●○
Staff ●●○
Cost ●●○
Setting Natural
14. Cultural Probes
Cultural probes are provocative instruments to inspire new forms of self-understanding and communication about your
customers’ lives, environments, interactions and thoughts.

55
Debrief: A post-study interview is typically conduc-
ted, in order to supplement, validate and further explore
the information gathered by the participants.
4
Conduct: Give your participants the cultural probe
kit, and brief them about the study requirements and
the specified time frame of the cultural probe.
Recruitment: Recruiting is particularly important
with cultural probes, since they rely on a large invest-
ment of participants’ time. Due to the longitudinal
nature of this method, participants would need to be
monitored and supported throughout the process (for
example through text messages etc).
Design the cultural probe: List the types of data you
want to gather from the audience (i.e. your participants’
daily activities in the car, or their feelings about certain
components or features of the car). Think about the
situational context in which a participant should
describe the data you want (i.e. where, when, who with).
3
2
1
Before
the
study
During
the
study
Steps
Outcome
Contexts,
interactions,
thoughts and
moods which
might suggest
unanticipated
customer needs,
values and desires.
Related Methods
Card Sorting, Affinity
Diagramming can be used to analyse the data gath-
ered by Cultural Probes.
Resources
Cultural Probing to Inform the Design of the Rear Seat
for Family Cars: Wilfinger, David & Meschtscherjakov,
Alexander & Murer, Martin & Osswald, Sebastian
& Tscheligi, Manfred. (2011). Are We There Yet? A
Probing Study to Inform Design for the Rear Seat of
Family Cars.

56
Description
A Customer Journey map is a visual
interpretation of the overall story
from a customer’s perspective of
their relationship with an organi-
sation, brand, service or product
over time and across channels.
Customer Journey maps provide a
bird’s eye view of the interactions
that make up a customer’s
experience including complexity,
successes, pain points, and
emotions.
A Customer Journey map can be
used for your own empathy work,
or to communicate your findings to
others.
A Customer Journey map should
include the following elements:
Personas: the main characters
that illustrate the needs, goals,
thoughts, feelings, opinions,
expectations, and pain points.
Timeline: a finite amount of time
(e.g. 1 week or 1 year) or variable
phases of the interaction.
Emotion: peaks and valleys
illustrating frustration, anxiety,
happiness etc.
Touchpoints: customer actions and
interactions (the WHAT).
Channels: where interaction takes
place and the context of use (the
WHERE).
Purpose
To understand your customer’s interaction
experiences with a product, system or ser-
vice and to identify design opportunities.
Input
Customer data from other methods (Inter-
views, Focus Groups, Observations etc.).
Participants
Representatives of as many as possible of
the agreed stakeholder groups including
Customers, Senior Managers, Market
Researchers and Designers.
Method Info
Time ●●○
Effort ●●○
Staff ●●○
Cost ●●○
Setting Independent
15. Customer Journey
A method for describing and visualising an interaction experience including the different touchpoints that
characterise the interaction.

57
Collect & Analyse: Once the basis of the customer
journey map is complete, question the customers about
their emotional experiences throughout their interac-
tion. Ask them to describe how the interaction with the
car is making them feel, and to think about different
factors that influence those feelings. Document these in
the journey map as they will highlight weak points in the
customer’s journey and help you identify design oppor-
tunities.
3
Run: Ask participants to individually write down all
the steps they take when interacting with your product/
system on a timeline. Encourage them to include infor-
mation on how they interact with other technologies or
other people during this experience. For each step of
the experience, encourage participants to include their
thoughts and expectations.
2
Research: Collect any customer insights you might
have and bring together everyone who has knowledge
of the customer and their experience to ensure that
you’ve got the complete picture.
1
Steps
During
the
Before
Outcome
A better understanding of
your customers’ needs in
the form of design
opportunities that
address your
customer’s
‘pain
points’
in their
interac-
tions with
your product.
Related Methods
Scenarios, Storyboards
Resources
How to create a customer journey map article on:
https://uxmastery.com/how-to-create-a-customer-
journey-map/
A better understanding of
your customers’ needs in
the form of design
opportunities that
address your
your product.

Technological and sociological
developments in the automotive
sector are shifting the focus of
design towards developing a better
understanding of driver needs,
desires and emotions.
“ ”

60
Description
A Delphi Survey involves a series
of questionnaires to investigate
potential developments around
an issue by soliciting and sharing
ideas between experts.
This method relies on a panel of
experts that answer question-
naires in two or more rounds.
After each round of questions,
the responses are summarised
and incorporated into the next
questionnaire. Through multiple
rounds, ideas are clarified and
strengths and weaknesses are
identified.
The method can be used to:
• Forecast future automotive
scenarios and identify a range
of future trends from automo-
tive experts in the field.
• Build consensus during the
evaluation of your design
concept to promote and en-
courage involvement from all
stakeholders.
Purpose
To forecast future scenarios, determine the
range of experts’ opinions on a particular
automotive trend and to explore (or
achieve) consensus on disputed topics.
Input
Design trends.
Participants
Experts and Stakeholders (no less than 10
to 15 participants).
Method Info
Time ●●○
Effort ●●○
Staff ●●○
Cost ●○○
Setting Independent
16. Delphi Survey
A method that provides a systematic interactive forecasting process which relies on a panel of experts.

61
Collect & Analyse: Repeat this process until the
experts/participants reach a satisfactory degree of con-
sensus. If you need to explore your data further, you can
carry out follow-up interviews with expert/participants
after each survey.
4
Launch second survey(s): Design another survey
based on the responses to the first one and re-send it to
the same participants, asking them to revise their origi-
nal responses and/or answer other questions based on
group feedback from the first survey.
3
Recruit: Select your expert panel according to your
design goal. Your chosen experts should be knowledge-
able to answer the questions accurately. Panel partici-
pants are anonymous to each other so they can express
their views freely.
2
Plan: Design the survey questions according to your
design goal. The issues typically investigated are those
of high uncertainty and speculation.
1
Steps
Outcome
Expert opinions to
support decision-
making in relation
to future
needs or trends.
Related Methods
Survey, Interviews.
Resources
Connected Vehicle
Technology Industry Delphi Study article on:
https://www.cargroup.org/publication/
automotive-product-design-development-delphi/
The Delphi Method as a Research Tool: An Example,
Design Considerations and Applications: Chitu Okoli,
Suzanne D. Pawlowski, (2004). The Delphi method
as a research tool: an example, design considerations
and applications, Information & Management,
Volume 42, Issue 1.
During
the
survey Interactions Behaviours Metrics
Before

62
Description
Design fiction is a speculative
method that allows you to
visualise and materialise future
automotive scenarios and
concepts. Through this method,
you can explore, prototype and
test these futures.
Design Fiction uses
fictional narrative
scenarios to envision
and immerse your
customers in a future
automotive concept,
product or service.
These scenarios can be
used to raise questions
about possible automo-
tive future concepts and
technologies. These can take
the form of prototypes.
Design fiction is a way to create
compelling visions of the future
without any constraints (such
as money, current technological
capabilities etc) and to provoke
a dialogue about what could or
should be possible.
Purpose
To discover the ‘unknown unknowns’ of a
future automotive concept.
Input
Design fiction narrative (whether in the
form of a video, animation, written story,
presentation, interactive prototype) to im-
merse the participants in the future expe-
rience you are designing for and suspend
any potential disbelief.
Participants
Customers, Design team.
Method Info
Time ●●●
Effort ●●●
Staff ●●○
Cost ●●○
Setting Independent
17. Design Fiction
A method that involves the construction of a narrative to immerse an audience in a future experience that provokes
emotional responses.

63
Analyse: Collect the various design concepts from the
groups and run a debrief session to further explore the
design concepts created by the participants.
3
Workshop: Organise a Co-Design workshop with par-
ticipants (representatives of your customers). Allow them
to interact with the design fiction prototype and then give
them a design task to collaboratively work on.
2
Plan: Choose the nature of your design fiction prototype,
according to what you are designing for. This will be a tangi-
ble design from the (near) future that the participants could
interact with during your design fiction workshop. This is
called a ‘diegetic prototype’ and could take the form of a
short film or a product. For example, if you want to explore
how people would interact with autonomous vehicles in the
near future, your diegetic prototype could be a ‘Quick Start
Guide’ manual for an autonomous vehicle that describes
the things car owners might do first and do often with their
first self-driving vehicle. You might need to run a co-design
workshop with your design team to help you design the
diegetic prototype.
1
Steps
Before
the
workshop
Aft
er
the
workshop
Outcome
Customer feedback on future concepts or
technology in a human context (rather than
engineering-driven scenarios).
Related Methods
Cultural Probes, Co-Design and Prototyping (can
be used for the construction of the design fiction
narrative/prototype).
Resources
Design Fiction for the Interaction Design of a Self-
Driving Car: http://www.liamwoodsdesign.com/
near-future-laboratory-research
Design Fiction. A Short Essay on Design, Science
and Fiction: https://drbfw5wfjlxon.cloudfront.
net/writing/DesignFiction_WebEdition.pdf

64
Description
Desirability Testing provides a way
for your customers to identify and
articulate how a design or stimulus
makes them feel. A range of index
cards with adjectives written
on them (positive, neutral, and
negative) is used to help them to
tell the story of their experience.
By selecting the words on the
cards that have meaning to them,
participants can express their
feelings, negative or positive,
about a specific product, system or
service.
The method can be conducted
both with low fidelity prototypes,
or with existing products already
in the public domain (for a re-
design). When applied on existing
products, desirability testing can
be used to explore the emotional
responses people have to compe-
ting products or systems.
Purpose
To explore the emotional responses your
customers have to your or your competi-
tors’ products, or technologies.
Participants
Customers.
Input
Design prototype.
Method Info
Time ●○○
Effort ●○○
Staff ●○○
Cost ●○○
Setting Independent
18. Desirability Testing
A method that allows people to articulate how a design makes them feel by employing a range of cards.

65
Collect & Analyse: Record the participants’
selections and use a word count software to calculate
word frequency. Depending on the goals of your project,
you can also cluster similar words to present themes
emerging from the words the participants have chosen.
3
Run: Show participants your product (prototype or
a competitor’s product) and allow them to interact with
it. Ask them which words best describe that product.
Participants should be allowed to select the 5 or 6 ad-
jectives that best describe how they feel about the prod-
uct. Once finished, ask participants to tell you why they
picked each adjective or descriptive phrase and what it
means to them.
2
Plan: Write each adjective or descriptive phrase on
its own index card, and place all of the cards on a table.
You can use the full set of cards (as originally created
by Microsoft) or you can create your own card deck with
specific words to reflect the goals of your study. Full
deck of cards can be found in Appendix 1.
1
Outcome
Self-reported emotional responses to a design
concept or prototype.
Related Methods
Card Sorting.
Desirability Testing should be used alongside usabil-
ity or satisfaction evaluation methods to understand
all aspects of the customer experience.
Resources
Barnum, Carol & Palmer, Laura. (2010). More than a
feeling: understanding the desirability factor in user
experience. CHI Proceedings the International
Conference on Human Factors in Computing
Systems (CHI)
Steps
Before
the
workshop
Aft
er
the

66
Description
Customer diaries (logs) of daily
activities as they occur give con-
textual insights about real time
behaviours and needs.
In diary studies, participants are
asked to keep a diary of their day
to day experiences of how they
engage in a particular behaviour,
encounter a situation, or have
specific types of interactions.
Diary Studies are exploratory
and longitudinal, made of be-
havioural ‘snapshots’ captured
over extended periods that affect
a customer’s experience. Diary
Studies are useful for collecting
information related to long term
behaviours, such as habits that
cannot be gathered in a lab
setting.
Diary studies can focus on:
Product – Understanding inter-
actions (e.g. with the Heads-Up
Display over a specific time frame).
Behaviour – Gathering general
information about customer
behaviour (e.g. smartphone usage
in the car).
General or specific activities –
Understanding how people
complete activities (e.g. buying a
new car, setting up the
in-car navigation system).
Purpose
Input
Diary kit (Understanding how people will
capture their experiences; for example:
physical diary, diary app, Whats app, voice
notes etc.).
Participants
Customers.
Method Info
Time ●●○
Effort ●●○
Staff ●●○
Cost ●●○
Setting Natural
19. Diary Study
A method that allows you to collect self-reported experiences in context (i.e. when and where they happen).

67
4
3
2
Plan: Define the focus of the study and the long-term
select tools for participants to report data, select appropri-
ate stakeholder groups and prepare support materials.
1
Steps
Outcome
Self-reported
customer
interactions
or events with
a product or
system over
time.
Related Methods
Cultural Probes.
Resources
Zhao, C. & Popovic, Vesna & Ferreira, Luis &
Lu, Xiaobo. (2006). Vehicle design research
for Chinese elderly drivers. Proceedings of the
International Conference on Computer-Aided
Industrial Design and Conceptual Design,
(CAIDC).
Before
the
diary
study
During
&
aft
er
the
diary
study Interactions Behaviours Metrics

68
Description
Empathy mapping is a tool to help
you reach a deeper understanding
of the personas that epitomise the
customer you are designing for.
An empathy map is a collabo-
rative visualisation of what you
know about a particular type of
customer.
An empathy map allows you to
‘humanise’ and gain a shared
understanding of your customers’
needs, desires, emotions and
problems.
An empathy map is a template
for organising observations and
representing your user.
It has four quadrants:
• Say (quotes, words);
• Do (actions, behaviours);
• Think (possible thoughts);
• Feel (possible feelings).
Purpose
To create a shared understanding of
customer needs to aid in decision-making.
Input
Qualitative data from other methods such
as interviews, observations, focus groups
etc.
Participants
Customers, Design Team.
Method Info
Time ●●○
Effort ●●○
Staff ●○○
Cost ●○○
Setting Independent
20. Empathy Map
A method for characterising your customer(s) to gain a deeper insight about them, by collecting and organising
information about what they say, do, think and feel.

69
Identify needs: “Needs” are human, emotional or
physical necessities. Needs are verbs (activities and
desires with which your customer could use help with),
and not nouns (solutions). Identify needs out of the
customer traits you observe, or from contradictions
between two traits such as a disconnect between what
a customer says and what a customer does.
3
Populate: Allow the team to digest the data and ask
them to fill out the empathy map.
SAY: What are some quotes and defining words your
customer said?
DO: What actions and behaviours did you notice?
THINK: What might your customer be thinking?
FEEL: What emotions might your customer be feeling?
2
Research: Gather the research data you will be using
for the empathy map. Qualitative data inputs could be
data from interviews, contextual inquiry, diary study,
survey, observation etc. Write them on separate sticky
notes.
1
Steps
Before
the
workshop
Aft
er
the
workshop
Outcome
Physically, mentally and emotionally driven insights
into customer needs and experiences.
Related Methods
Persona, Interviews, Focus Groups, Observations and
other information gathering methods can be used as
input for the Empathy Map.
Resources
Empathy for autonomous cars – an animation:
https://prezi.com/hk-xhjvj8hhu/empathy-map-for-
autonomous-cars/

Where possible, aim to apply a method
that captures what the customer
says AND what the customer does.
Synthesise the information collected
to identify design opportunities.
“ ”

72
Description
Prototyping in general is the
tangible representation of design
concepts at various levels of
resolution, for the
development
and testing
of ideas
within
design
teams and
with clients
and users.
Whereas many prototypes only
demand passive viewing for con-
cept communication and review,
experience prototyping fosters
active participation to encounter
a ‘live experience’ with products,
systems, services, or spaces.
An experience prototype is a
simulation of a system or ex-
perience that foresees some of its
performance through the use of
specific physical touchpoints.
Experience Prototyping is valuable
to:
• Understand existing customer
experiences and context
• Explore and evaluate design
concepts
• Communicate ideas to an
audience
Purpose
To test a design through the active partici-
pation of your customers.
Input
Prototype.
Participants
Customers, Design Team.
Method Info
Time ●●○
Effort ●●○
Staff ●●○
Cost ●○○
Time perspective Present/Future
Setting Independent
development
and testing
of ideas
within
design
teams and
with clients
and users.
21. Experience Prototyping
A method that fosters active participation through subjective engagement with a prototype product, system or service.

73
Identify needs: Take breaks for discussion after each
scene to discuss any issues or problems the acting out of
the scene has uncovered.
4
Run: Gather the participants and/or design team mem-
bers. Introduce one card at a time and allow them time to
‘improvise’ and act out the scene.
3
Prepare: Decide which ‘scenes’ in the experience you
want to explore. Create a card for each scene describing it,
explaining the goal and the roles of the players, and any
other instructions. In the example of an autonomous bus
journey, you might include cards with instructions such as
‘Buy a ticket’, ‘Bring your luggage onboard’ etc.
2
Define & Plan: Define the scope and goals. For example,
you might explore an autonomous bus/shuttle journey and
use experience prototyping to explore the activities and
contextual situation of those journeys.
1
Steps
Outcome
Possible directions towards a more informed
development of the customer experience and the
components that create it.
Related Methods
Role Playing, Bodystorming
Resources
Buchenau, M., Fulton. J. (2000). Experience
Prototyping. Proceedings of the Conference on
Designing interactive systems: processes, prac-
tices, methods, and techniques
Before
the
workshop
During
the
workshop

74
Description
Designing a product that works
for everyone involves engaging
and empathising with both
extreme users and those in
the middle of your target audi-
ence.
Extreme users have the potential
to influence the design of innova-
tive solutions by allowing you
to take your design and reframe
it. By taking a design out of con-
text and increasing the scope
of exploration, you are increas-
ing the opportunity for innova-
tion.
When you engage with extreme
users, (either by interviewing or
observing them) their needs are
amplified.
As their interactions with your
product, system or service are
often more notable, they can
highlight issues that are not
often considered. Engaging with
extreme users allows to discover
surprising use cases and learn
more about your product or
service.
Purpose
To identify meaningful needs and oppor-
tunities that might not be captured when
engaging with your primary or ‘main-
stream’ customers.
Input
N/A
Participants
Atypical Customers.
Method Info
Time ●●○
Effort ●●○
Staff ●○○
Cost ●●○
Setting Independent
22. Extreme Users
A method that focuses on the engagement of participants beyond the mainstream of your customer target audience,
to spark creativity to explore design opportunities.

75
Engage: Observe and interview your extreme user
as you would your primary customers. Look out for
‘workarounds’, or other ‘extreme’ behaviours that can
serve as inspiration and uncover insights. Then work to
understand what resonates with the primary users you
are designing for.
2
Define & Plan: Determine your ‘extreme’ users. Think
of all the different people who might use the product
you are designing.
Extreme users can fall on a number of spectra and you
want variety. Determining who is an extreme user starts
with considering what aspect of your design challenge
you want to explore to an extreme. List a number of
facets to explore within your design space. Then think
of the people who may be extreme in those facets. For
example, if you are looking for fresh insights on the de-
sign of the car cabin, you can observe customers whose
physical needs make interacting with the cabin difficult.
1
Steps
Before
the
workshop
During
the
workshop
Outcome
Use cases of your product or service applied in
extreme circumstances.
Related Methods
Interview, Observation, Contextual Inquiry can be
used to engage and interact with your extreme users.
Resources
Fast Company article on Designing for Extreme
Users: https://www.fastcompany.com/90160000/
how-to-design-for-everyone-in-3-steps

76
Description
Fly-on-The-Wall is different to other
types of observation because it
intentionally removes the re-
searcher from direct in
volvement
with the activities or people. This
can minimise potential bias or
behavioural influences that might
result from engagement with
customers.
This method is generally con-
ducted flexibly, without prede-
termined criteria to specifically
categorise or code observations.
Nevertheless, guiding frameworks
such as AEIOU can be applied to
inform the observation.
There are two types of fly-on-the
wall observations, according to
the role of the observer:
• Secret outsiders are distant
observers, with a vantage
point that removes them from
participants, minimising any
influence the presence of
the researcher or recording
equipment may have on their
behaviour.
• Recognised outsiders who
have been made known to
the participants in their role
as observers, who position
themselves in natural and
unobtrusive ways within the
environment under study.
Purpose
To observe and gather information
about your customer as unobtrusively as
possible.
Input
No prior artefacts required for method
execution.
Participants
Customers.
Method Info
Time ●●○
Effort ●●○
Staff ●○○
Cost ●●○
Setting Natural
23. Fly-on-The Wall
A method to unobtrusively gather information by looking and listening without directly participating in the activities
or interfering with the behaviours.

77
Analyse: Analyse your observations and notes using
frameworks, such as AEIOU or clustering. Further dis-
cuss these with your design team to formulate insights,
questions, and theories.
4
Observe: Try to be as unobtrusive as possible. Do
not let yourself or your equipment get in the way.
3
Plan: Choose the type of observation according to
your design goals. If you choose to observe them as a
‘recognised outsider’ make sure your participants are
aware of the reason for your study and obtain their con-
sent prior to recording them.
2
Define: Determine the environment, participants,
behaviours and interactions to observe. Gather any note
taking tools, including cameras and observation frame-
works.
1
Before
the
observation
During
the
observation
Steps
Outcome
Rich insights
of customer
experience
capturing indi-
vidual nuances
of interaction.
Related Methods
Triangulate this method with other methods that
collect self-reported qualitative data on your custom-
ers such as: Contextual Inquiry, Interviews, Focus
Groups.
Resources
Currano, R. & Park, So Yeon & Domingo, Lawrence &
Garcia-Mancilla, Jesus & Santana, Pedro & Gonzalez,
Victor & Ju, Wendy. (2018). ¡Vamos!: Observations
of Pedestrian Interactions with Driverless Cars in
Mexico.

78
Description
Focus groups are interactive and
discursive and provide a forum
for understanding peoples’
experiences, feelings, thoughts
and attitudes.
The dynamic created by a small
group of well-chosen people can
provide deep insight into themes,
patterns, trends and the under-
lying emotions people feel, to
understand constructs and mental
models.
Focus groups should always be
supplemented with other methods
that investigate attitudes and be-
haviours, and allow you to observe
people in the actual context for
which your product or service will
be used. Results from focus groups
should not be extrapolated for how
the population in its entirety feels. Purpose
To understand customer needs and
thoughts and their decision-making
through interactions in a group setting
Input
Design idea or design concept.
Participants
Customers (group size should be kept to 4
to 8 people).
Method Info
Time ●●○
Effort ●●○
Staff ●○○
Cost ●●○
Setting Independent
24. Focus Group
A method in which a group of people interactively discuss their perceptions, opinions and attitudes towards a
concept, product, system or service.

79
Analyse: When analysing focus group data, you need
to pay attention to the stories people tell, the metaphors
and analogies they use, and how they describe their expe-
riences and memories. By looking for recurring themes
that produced strong responses, you can generate a
hypothesis that will guide the design process.
4
Run: Some participants may become invested in
conversation and get carried away, however allow them
to talk, because such moments can lead to interesting
insights. As long as the discussion isn’t obviously
irrelevant, you should let your participants talk.
3
Recruit: Recruit participants to representatively
sample your target group. Gender, age, power, and per-
sonality will all influence how they will act around each
other.
2
Plan: Choose a moderator and an assistant who will
be responsible for recording what is being said during
the session and taking notes. Prepare the questions and
ensure they are open ended to facilitate group discus-
sion and phrase them in a way to be unbiased.
1
Outcome
A report to summarise the recurrent topics of the
discussion in regard to participants’ perceptions,
attitudes and opinions.
Related Methods
Focus Groups should be triangulated with other
methods that explore customer needs in context,
such as Contextual Inquiry and/or Fly on the Wall
Observation.
Resources
Politis, Ioannis & Langdon, Pat & Bradley, Michael
& Skrypchuk, Lee & Mouzakitis, Alexandros &
Clarkson, P. (2018). Designing Autonomy in Cars:
A Survey and Two Focus Groups on Driving Habits
of an Inclusive User Group, and Group Attitudes
Towards Autonomous Cars.
During
and
aft
er
the
focus
group
Before
the
focus
group
Steps

80
Purpose
To select between alternative design con-
cepts and to make this selection explicit.
Input
Alternative design concepts.
Participants
Design Team, Stakeholders.
Method Info
Time ●○○
Effort ●○○
Staff ●○○
Cost ●○○
Setting Independent
Description
A Harris (or Product) Profile is
a graphic representation of the
strengths and weaknesses of
design concepts with respect to
predefined design requirements.
Whenever a number
of alternative product
concepts need to be
compared and
evaluated, the
Harris Profile can
be used to make
you and your team’s
evaluation explicit.
This method is useful
to stimulate discussion
with your project’s
stakeholders when design
requirements change as
your design concept
evolves.
25. Harris Profile
A method that identifies and prioritises the most promising opportunities in multiple design concepts.
predefined design requirements.
Whenever a number
of alternative product
concepts need to be
you and your team’s
This method is useful
to stimulate discussion
stakeholders when design
requirements change as
your design concept

81
Discuss: Present the profiles next to each other to
allow discussion with stakeholders and to determine
which design concept has the best overall score.
4
Create Harris Profile: Create a Harris Profile for each
of the design alternatives by evaluating the relative per-
formance of each alternative concept with respect to the
requirements. Draw the profile by marking the scores in
the four-point scale matrix.
3
Plan: Create a four point scale matrix next to each
requirement, coded −2, −1, +1, and +2. Interpret the
meaning of the scale positions as: −2 = bad, −1 = moder-
ate, +1 = good and +2 = very good. When attributing the
−2 or +2 values to a criterion, colour all the blocks in the
Harris Profile to create a visual overview of the overall
score of a design alternative.
2
Research: Collect the design requirements for the
product or service which you are designing. List them
in a column in order of importance (the most important
requirement being on the top of the list).
1
During
the
workshop
Before
the
workshop Steps
Outcome
A short list of design concepts to develop and a clear
overview on which concepts fit the requirements.
Related Methods
Repertory Grid Technique, Card Sorting or Buy a
Feature can guide the selection between alternative
design concepts, but they are usually conducted with
customers, while Harris Profile should only be con-
ducted internally (with your design team or internal
stakeholders).
Resources
Harris Profile: How to? https://courses.edx.org/c4x/
DelftX/DDA691x/asset/DDG_HarrisProfile.pdf

Successful interface design requires
deep understanding of how humans
perform tasks but the private, silent
and often subconscious execution of
driver-automobile interactions
makes this very challenging.
“ ”
Ramm, S., Giacomin, J., Malizia, A., Anyasodo, B. (2018) An Exploratory Design Workshop to Elicit what Feels Natural when Interacting with an Automobile’s
Secondary Controls, The Design Journal, 21:1, 109–137

84
Description
A heuristic evaluation is a usabil-
ity inspection method that asks
evaluators to assess an interface
against a set of predefined design
principles, commonly referred to
as “heuristics”.
Although heuristic evaluations
do not focus on identifying
breakthrough opportunities in the
design, they detect critical but
missing features and interactions
early in the design process.
Heuristic evaluations
enlist usability experts
to inspect an interface
or product and detect
the baseline usability
problems that should be
fixed before user testing
begins.
In a heuristic evaluation, a set of
evaluators assesses a designed
interface for compliance against
an agreed set of principles.
Purpose
To identify interface features and
characteristics which can create friction
and reduce usability.
Input
Design prototype.
Participants
3 to 5 expert evaluators can identify approx-
imately 75% of usability issues.
5 to 8 evaluators can uncover over 80% of
usability issues.
Method Info
Time ●●○
Effort ●●○
Staff ●○○
Cost ●○○
Setting Independent
26. Heuristic Evaluation
A method to assess a product or interface against a set of agreed-upon usability practices.
ommonly referred to
Although heuristic evaluations
breakthrough opportunities in the
design, they detect critical but
missing features and interactions

85
Collect & Analyse: Collect the findings from all the
evaluators and aggregate them into a single overall re-
port. Discuss with the team the degree of priority of each
identified usability issue, and how each might be solved.
4
Run: Ask your expert evaluators to perform the as-
sessment independently and to aggregate their find-
ings into a single report. Each usability problem and its
cause will be identified and discussed.
3
Plan: Recruit the heuristic evaluation experts.
Experts would typically come from the disciplines of
Human Factors, Interaction Design, Human Computer
Interaction and User Experience Design.
2
Define: Start by scoping the heuristic analysis.
For example, if you are looking to carry out a heuristic
evaluation of the sat-nav system in the car, decide
whether the focus will be on the usability of the system
input (touchscreen, buttons, etc.) or the usability of the
system output (audio, display, etc.).
1
Steps
Outcome
A report which identifies usability issues, and ranks
them on a scale from mildly problematic to severe.
Related Methods
Heuristic Evaluation should always be triangulated
with Cognitive Walkthrough to uncover issues from
watching customers in a usability test.
Resources
Heuristics for User Interface Design by the Nielsen
Norman Group: https://www.nngroup.com/articles/
ten-usability-heuristics/
During
the
heuristic
evaluation
Before
the
heuristic
evaluation Interactions Behaviours Metrics

86
Description
Once you have defined your
challenge, collected customer
data, and analysed it, you can
start ideating ways of meeting the
customer needs or desires. You
can start asking a specific question
starting with: “How Might We?” or
“In what ways might we?”.
For example: How might we design
a driverless car, which is environ-
mentally friendly, cheap and easy
for more people to share?
By defining themes and insights,
you can identify problem areas that
pose challenges to the people you
are designing for. By refram-
ing your insight statements
as ‘How Might We?’ ques-
tions you can turn those
challenges into opportuni-
ties for design.
The ‘How Might We?’
method doesn’t suggest
a particular solution, but
gives you the frame for
innovative thinking.
Purpose
To use the insights gathered from
customer research by framing them
into design opportunities or design
alternatives.
Input
Design challenge.
Participants
Customers, Design team.
Method Info
Time ●○○
Effort ●○○
Staff ●○○
Cost ●○○
Setting Independent
27. How Might We?
A method that reframes insight statements into challenges and opportunities for design.

87
Finally, make sure that your ‘How Might We?’ questions
aren’t too broad. A good ‘How Might We?’ question should
give you both a narrow enough frame to let you know
where to start your brainstorm, but also enough breadth
to give you room to explore wild ideas.
3
Now take a look at your ‘How Might We?’ question
and ask yourself if it allows for a variety of solutions. If it
doesn’t, broaden it. Your ‘How Might We?’ should gener-
ate a number of possible answers.
2
Start by looking at the insight statements that you
have collected from customer workshops or created with
the design team. Try rephrasing them as questions by
adding “How Might We” at the beginning.
1
Steps
Outcome
Reframing of design insights.
Related Methods
‘How Might We?’ can be used as a launchpad for your
Brainstorming sessions.
Resources
Define and frame your design challenge by asking
‘How might we?’ by the Interaction Design Founda
tion: https://www.interaction-design.org/literature/
article/define-and-frame-your-design-challenge-by-
creating-your-point-of-view-and-ask-how-might-we

88
Description
Interviewing is a method that is
based on one-to-one contact with
participants, to collect first-hand
personal accounts of perceptions,
experiences, attitudes and
opinions.
Interviews are best conducted in
person so that nuances of personal
expression and body language
are recognised in conversation,
but they can also be conducted
remotely by phone/video call.
Interviews can be structured to
follow a script of questions, or
relatively unstructured (semi
structured) allowing for flexible
detours in the conversation.
Interviews are often just one
component of a research design
strategy and you will need to use
complementary methods such as
questionnaires or observations to
verify the self-reported data.
Depending on the nature of the
design inquiry, the interview
questions might be asked flexibly
or read out exactly as scripted by
each interviewer, to avoid the in-
troduction of subtle bias or altered
interpretations by the participant.
Interviews can be made more
productive when based around
artefacts, the inspiration behind
integrated methods such as Card
Sorting, Buy a Feature and Picture
Cards.
Purpose
To gain deep insight and rich views into
the behaviours and reasoning of your
customers so you can formulate your
research questions.
Input
Design Concept, Prototype.
Participants
Customers.
Method Info
Time ●●○
Effort ●●○
Staff ●●○
Cost ●○○
Setting Independent
28. Interview
A method that involves asking customers to provide information about their actions and motivations.

Automotive Human Centred Design Methods by Gkatzidou, Voula Giacomin, Joseph Skrypchuk, Lee (z-lib.org).pdf

Automotive Human Centred Design Methods by Gkatzidou, Voula Giacomin, Joseph Skrypchuk, Lee (z-lib.org).pdf

Recommended

Recommended

More Related Content

What's hot

What's hot (17)

Similar to Automotive Human Centred Design Methods by Gkatzidou, Voula Giacomin, Joseph Skrypchuk, Lee (z-lib.org).pdf

Similar to Automotive Human Centred Design Methods by Gkatzidou, Voula Giacomin, Joseph Skrypchuk, Lee (z-lib.org).pdf (20)

Recently uploaded

Recently uploaded (20)

Automotive Human Centred Design Methods by Gkatzidou, Voula Giacomin, Joseph Skrypchuk, Lee (z-lib.org).pdf