by Peter Vistisen & Claus Rosenstand

1. THE FINAL CORE DESIGN
v. Claus Rosenstand & PeterVistisen
mandag den 19. september 16

2. idea 1
idea 2
this week
mandag den 19. september 16

3. Greenberg et al 2011
from many ideas, to one
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4. go back and change the previous steps. Kim & Wilemon [2002] points out that major
conceptual iterations can be attained easily and abundantly in the fuzzy front-end
phase because rejecting a proposal comes at a relatively small cost, while the later
development phase emphasizes iterations that mainly scale or adjust already
established concept details.
In continuation of Kim & Wilemon, Rosenstand & Kyed [2013] has detailed this
distinction between fuzzy front-end and production phases further towards the
design of digital media technologies. They detail fuzzy front-end as a major iterative
movement from the project setting to 1st usable. This is framed as product formation
of the digital media creation cycle (figure 1).
Figure 1: Digital Media Creation Cycle, by Rosenstand & Kyed, with product formation, realization and
Q.A. as the major steps, and a range of sub-steps, each indicating a decision point of the design process.
While the digital media creation cycle is generic and comparable to other design cycle
models, it is chosen as the organising framework for our contribution due to its
emphasis on decisions regarding the transgressions between each step of the design
process. The cycle illustrates a range of sub-decisions between the major phases, each
qualifying the transgression to next sub-decision. We see these sub-decisions as
crucial consensus points in the early design process, where it is important to mediate
a clear consensus for whether to transgress to the next decision or iterate further on
thedesigncycle
Rosenstand & Kyed 2013 +Vistisen & Rosenstand 2016
mandag den 19. september 16

5. fuzzy front-end of digital design projects. Afterwards, an overview of how animation
can be seen as an extended sketching capacity is provided. Thereafter animation-
based sketching as method is assessed/evaluated through a series of key moments
from the empirical study. Finally, a conclusion is given which reflects upon the
feasibility of using animation to facilitate consensus and framing the cooperative
decision making in a non-idiomatic design project.
3. PRODUCT FORMATION OF DIGITAL DESIGN
Various design methods, development models, and frameworks has been proposed
and tested in an attempt to tackle the fuzzy front end of digital design projects.
Stuart Pugh [1990] together with later contributions from Buxton [2010] uses a
funnel metaphor to show how the design process constantly converges, but with
iterative divergent loops for each phase in the process. The ISO 13407 standard
[1999] together with life cycle models like Boehm’s [2000] emphasise these iterations,
and how knowledge is generated through each step to guide the process forward or to
go back and change the previous steps. Kim & Wilemon [2002] points out that major
conceptual iterations can be attained easily and abundantly in the fuzzy front-end
phase because rejecting a proposal comes at a relatively small cost, while the later
development phase emphasizes iterations that mainly scale or adjust already
established concept details.
In continuation of Kim & Wilemon, Rosenstand & Kyed [2013] has detailed this
distinction between fuzzy front-end and production phases further towards the
design of digital media technologies. They detail fuzzy front-end as a major iterative
movement from the project setting to 1st usable. This is framed as product formation
of the digital media creation cycle (figure 1).
Figure 1: Digital Media Creation Cycle, by Rosenstand & Kyed, with product formation, realization and
Rosenstand,Vistisen & Johansen (forthcoming)
setting
mandag den 19. september 16

6. fuzzy front-end of digital design projects. Afterwards, an overview of how animation
can be seen as an extended sketching capacity is provided. Thereafter animation-
based sketching as method is assessed/evaluated through a series of key moments
from the empirical study. Finally, a conclusion is given which reflects upon the
feasibility of using animation to facilitate consensus and framing the cooperative
decision making in a non-idiomatic design project.
3. PRODUCT FORMATION OF DIGITAL DESIGN
Various design methods, development models, and frameworks has been proposed
and tested in an attempt to tackle the fuzzy front end of digital design projects.
Stuart Pugh [1990] together with later contributions from Buxton [2010] uses a
funnel metaphor to show how the design process constantly converges, but with
iterative divergent loops for each phase in the process. The ISO 13407 standard
[1999] together with life cycle models like Boehm’s [2000] emphasise these iterations,
and how knowledge is generated through each step to guide the process forward or to
go back and change the previous steps. Kim & Wilemon [2002] points out that major
conceptual iterations can be attained easily and abundantly in the fuzzy front-end
phase because rejecting a proposal comes at a relatively small cost, while the later
development phase emphasizes iterations that mainly scale or adjust already
established concept details.
In continuation of Kim & Wilemon, Rosenstand & Kyed [2013] has detailed this
distinction between fuzzy front-end and production phases further towards the
design of digital media technologies. They detail fuzzy front-end as a major iterative
movement from the project setting to 1st usable. This is framed as product formation
of the digital media creation cycle (figure 1).
Figure 1: Digital Media Creation Cycle, by Rosenstand & Kyed, with product formation, realization and
Rosenstand,Vistisen & Johansen (forthcoming)
idea
mandag den 19. september 16

7. fuzzy front-end of digital design projects. Afterwards, an overview of how animation
can be seen as an extended sketching capacity is provided. Thereafter animation-
based sketching as method is assessed/evaluated through a series of key moments
from the empirical study. Finally, a conclusion is given which reflects upon the
feasibility of using animation to facilitate consensus and framing the cooperative
decision making in a non-idiomatic design project.
3. PRODUCT FORMATION OF DIGITAL DESIGN
Various design methods, development models, and frameworks has been proposed
and tested in an attempt to tackle the fuzzy front end of digital design projects.
Stuart Pugh [1990] together with later contributions from Buxton [2010] uses a
funnel metaphor to show how the design process constantly converges, but with
iterative divergent loops for each phase in the process. The ISO 13407 standard
[1999] together with life cycle models like Boehm’s [2000] emphasise these iterations,
and how knowledge is generated through each step to guide the process forward or to
go back and change the previous steps. Kim & Wilemon [2002] points out that major
conceptual iterations can be attained easily and abundantly in the fuzzy front-end
phase because rejecting a proposal comes at a relatively small cost, while the later
development phase emphasizes iterations that mainly scale or adjust already
established concept details.
In continuation of Kim & Wilemon, Rosenstand & Kyed [2013] has detailed this
distinction between fuzzy front-end and production phases further towards the
design of digital media technologies. They detail fuzzy front-end as a major iterative
movement from the project setting to 1st usable. This is framed as product formation
of the digital media creation cycle (figure 1).
Figure 1: Digital Media Creation Cycle, by Rosenstand & Kyed, with product formation, realization and
Rosenstand,Vistisen & Johansen (forthcoming)
contract
&concept
mandag den 19. september 16

8. fuzzy front-end of digital design projects. Afterwards, an overview of how animation
can be seen as an extended sketching capacity is provided. Thereafter animation-
based sketching as method is assessed/evaluated through a series of key moments
from the empirical study. Finally, a conclusion is given which reflects upon the
feasibility of using animation to facilitate consensus and framing the cooperative
decision making in a non-idiomatic design project.
3. PRODUCT FORMATION OF DIGITAL DESIGN
Various design methods, development models, and frameworks has been proposed
and tested in an attempt to tackle the fuzzy front end of digital design projects.
Stuart Pugh [1990] together with later contributions from Buxton [2010] uses a
funnel metaphor to show how the design process constantly converges, but with
iterative divergent loops for each phase in the process. The ISO 13407 standard
[1999] together with life cycle models like Boehm’s [2000] emphasise these iterations,
and how knowledge is generated through each step to guide the process forward or to
go back and change the previous steps. Kim & Wilemon [2002] points out that major
conceptual iterations can be attained easily and abundantly in the fuzzy front-end
phase because rejecting a proposal comes at a relatively small cost, while the later
development phase emphasizes iterations that mainly scale or adjust already
established concept details.
In continuation of Kim & Wilemon, Rosenstand & Kyed [2013] has detailed this
distinction between fuzzy front-end and production phases further towards the
design of digital media technologies. They detail fuzzy front-end as a major iterative
movement from the project setting to 1st usable. This is framed as product formation
of the digital media creation cycle (figure 1).
Figure 1: Digital Media Creation Cycle, by Rosenstand & Kyed, with product formation, realization and
Rosenstand,Vistisen & Johansen (forthcoming)
coredesign
mandag den 19. september 16

9. fuzzy front-end of digital design projects. Afterwards, an overview of how animation
can be seen as an extended sketching capacity is provided. Thereafter animation-
based sketching as method is assessed/evaluated through a series of key moments
from the empirical study. Finally, a conclusion is given which reflects upon the
feasibility of using animation to facilitate consensus and framing the cooperative
decision making in a non-idiomatic design project.
3. PRODUCT FORMATION OF DIGITAL DESIGN
Various design methods, development models, and frameworks has been proposed
and tested in an attempt to tackle the fuzzy front end of digital design projects.
Stuart Pugh [1990] together with later contributions from Buxton [2010] uses a
funnel metaphor to show how the design process constantly converges, but with
iterative divergent loops for each phase in the process. The ISO 13407 standard
[1999] together with life cycle models like Boehm’s [2000] emphasise these iterations,
and how knowledge is generated through each step to guide the process forward or to
go back and change the previous steps. Kim & Wilemon [2002] points out that major
conceptual iterations can be attained easily and abundantly in the fuzzy front-end
phase because rejecting a proposal comes at a relatively small cost, while the later
development phase emphasizes iterations that mainly scale or adjust already
established concept details.
In continuation of Kim & Wilemon, Rosenstand & Kyed [2013] has detailed this
distinction between fuzzy front-end and production phases further towards the
design of digital media technologies. They detail fuzzy front-end as a major iterative
movement from the project setting to 1st usable. This is framed as product formation
of the digital media creation cycle (figure 1).
Figure 1: Digital Media Creation Cycle, by Rosenstand & Kyed, with product formation, realization and
Rosenstand,Vistisen & Johansen (forthcoming)
1st usable
mandag den 19. september 16

10. fuzzy front-end of digital design projects. Afterwards, an overview of how animation
can be seen as an extended sketching capacity is provided. Thereafter animation-
based sketching as method is assessed/evaluated through a series of key moments
from the empirical study. Finally, a conclusion is given which reflects upon the
feasibility of using animation to facilitate consensus and framing the cooperative
decision making in a non-idiomatic design project.
3. PRODUCT FORMATION OF DIGITAL DESIGN
Various design methods, development models, and frameworks has been proposed
and tested in an attempt to tackle the fuzzy front end of digital design projects.
Stuart Pugh [1990] together with later contributions from Buxton [2010] uses a
funnel metaphor to show how the design process constantly converges, but with
iterative divergent loops for each phase in the process. The ISO 13407 standard
[1999] together with life cycle models like Boehm’s [2000] emphasise these iterations,
and how knowledge is generated through each step to guide the process forward or to
go back and change the previous steps. Kim & Wilemon [2002] points out that major
conceptual iterations can be attained easily and abundantly in the fuzzy front-end
phase because rejecting a proposal comes at a relatively small cost, while the later
development phase emphasizes iterations that mainly scale or adjust already
established concept details.
In continuation of Kim & Wilemon, Rosenstand & Kyed [2013] has detailed this
distinction between fuzzy front-end and production phases further towards the
design of digital media technologies. They detail fuzzy front-end as a major iterative
movement from the project setting to 1st usable. This is framed as product formation
of the digital media creation cycle (figure 1).
Figure 1: Digital Media Creation Cycle, by Rosenstand & Kyed, with product formation, realization and
Rosenstand,Vistisen & Johansen (forthcoming)
coredesign
mandag den 19. september 16

11. PRIMARY CRITERIA
SECONDARY CRITERIA
TERTIARY CRITERIA
QUANDARY CRITERIA
FUNCTIONS
ASSETS
Rosenstand & Vistisen (2014)
mandag den 19. september 16

12. and discuss the potential, and establish consensus about the most feasible decision.
Following Kacprzyk & Fedrizzi’s [1988] consensus definition, animation-based
sketching here took the role of the facilitating medium, which helped the
stakeholders express design alternatives and challenge opinions about the design,
and to frame the discussion towards the decisions needed to be made. This mediating
role of the animations would further be the basis for creating the first functional
prototypes for the 1st usable, where the complexity of ‘how to realise the design most
efficiently’ was reduced. In total, the production formation for the augmented reality
development is depicted in figure 6.
Figure 6: The product formation of the North Sea case. Our focus on facilitating consensus in the
transgression between initial concept and core design is highlighted together with the tested animation-
based sketches used to facilitate consensus
The next section presents four examples of animation-based techniques used in
transgression between concept and core design. We describe the applied animation
technique, and how it enabled the group decision making process in order to reach
consensus about the issues at hand. The animated sketches can be examined by
viewing the video link in the corresponding references for each sketch [AAU 2015b,
trangressionswe use design tools to trangress the steps in the cycle
Vistisen & Rosenstand 2016
mandag den 19. september 16

13. caseexample1
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14. theproblema great experience for kids, not great for tweens
The visitor group of tweens (10-12
years) mostly saw a visit with their
family to the Oceanarium as more of
duty, rather than a fun experience...
...instead they sat with their phones
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15. skitsering
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16. skitsering af
konceptet
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17. skitsering af
arkitektur
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18. mock-ups
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19. ?
#!
andthenwecandothis
andthisandthisand
thisandthisandthis
andthisandthenthis
andthisandthisand
thisandthisandthis
stopmandag den 19. september 16

20. allways
simpilfy
Record 1 clips a’
post
Cut together 1
final movie
Share movie
with friends
and family
Become shared
and used by the
North Sea
1
2
3
4
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21. OPTAGE, VÆLGE
KLIP, GEMME
FLERE FILM,
EKSPORT FILM
FLERE ANIMATIONER
INTERAKTION MED INDHOLD UNDER
OPTAGELSE
TRACKING AF OPTAGEDE
PERSONER
FEATURES
NORDSØEN
MOVIE MAKER
ASSETS
mandag den 19. september 16

22. different formssketchingfromstatictoanimation-basedvideo
STATIC SKETCH CLICKABLE MOCKUP
10 SECOND ANIMATION
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23. themoviemakerdirect a slap stick movie of your family’s visit
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24. mandag den 19. september 16

25. GØR DET SJOVT
AT OPTAGE ÉT
KLIP TIL ÉN FILM
DEL PÅ FLERE
PLATFORME
TAGGE FILM AUTOMATISK EFTER
EKSPORTERING
NORDSØEN
MOVIE MAKER
INDBYGGET WAYFINDING VIA
iBEACONS
CO-CREATE
CREDITS
ASSETS
FEATURES
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26. x
caseexample2
A group of design students were tasked to
come up with concepts for how to better
introduce immigrants and fugitives to the
danish labour marked, and integrate them in
the working culture of Denmark
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27. x
caseexample2
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28. x
caseexample2
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29. x
caseexample2
Informedadesignmovetowardscreatingthe1stusable
interactiveprototypeoftheproduct...
Thus,theinformationwasfunctionalinmovingthedesignprocessforward.
mandag den 19. september 16

30. GETTING TO
KNOW CULTURE
AT WORKPLACES
ONLINE PLATFORM
BIG DATA INTEGRATION
CROSS COUNTRY SERVICE
DESIGN
ASSETS
FEATURES
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31. the final
sketch
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32. conceptcommunicationprepare your concepts to meet reality
“The art and science of preparing information
so that it can be used by human beings with
efficiency and effectiveness. Information
design thus makes information easier to
understand and to use.”
Edward Tufte (1990)
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33. thejourney...re-focus from ‘sketching’ to ‘the sketch’
Investigation Exploration
Explanation Persuasion
Olofsson & Sjölén’s sketching phases
‘Sketching’ very processual dimensions
‘The Sketch‘ communicative dimensions
mandag den 19. september 16

34. Investigation Exploration
Explanation Persuasion
Olofsson & Sjölén’s sketching phases
‘Sketching’ very processual dimensions
‘The Sketch‘ communicative dimensions
thejourney...re-focus from ‘sketching’ to ‘the sketch’
mandag den 19. september 16

35. the final sketch must both tell a story and argument
thesketchnarrative
PointofnoReturn
Conflict
Escalation
Climax
Elaboration
Teaser
Resolution
Presentation
mandag den 19. september 16

36. Problem
Background&
contextforproblem
Thesolutionis...
Presentationofconcept
Outtro&Credits
Title
PointofnoReturn
Conflict
Escalation
Climax
Elaboration
Teaser
Resolution
Presentation
the final sketch must both tell a story and argument
thesketchnarrative
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37. mandag den 19. september 16

38. Story Empathy Meaning
Not only argument Not only logic Not only accumulation
Are you creating a good video sketched design fiction?
evaluationcriteria
mandag den 19. september 16

39. evaluationcriteriaAre you creating a good video sketched design fiction?
Play Symphony
Not only seriousness Not only focus
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40. reflection-on-video
Moore & Buur’s interpretive stance on video in design
FOCUS REFLECT REFRAME
WHAT IS
INTERESTING?
WHY IT IS
INTERESTING?
HOW DOES IT
CHANGE MY
UNDERSTANDING?
MOORE & BUUR 2009
mandag den 19. september 16

41. Getting the right design...
...and getting the design right
...andthesketchanswers!
Why is this the right solution, and how does it work?
Why?
How?
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42. in all levels of fidelity
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43. From LowFi to HiFi
Gestikulation
Words
Whiteboardscribbles
Papersketches
Mixedmodality
Mock-ups
Wireframes
Slidewares
Videosketches
Hi-fiprototypes
Codedprototype
Low-fidelity
High-fidelity
Thehigherfidelity...
...thelowerflexibility
(againit’sallaboutthecompromise)
mandag den 19. september 16

44. rememberwwwuploadallvideosandprocessreportsonline
case, process, sketches & final video
mandag den 19. september 16

45. rememberwwwuploadallvideosandprocessreportsonline
mail this to vistisen@id.aau.dk if you have special requests
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46. usethesplashthisshouldbeatthestartofthefinalvideo
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47. HTML & Stuff
Splash screen
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48. Rock on!...you must
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