UNIT_IVHuman Factors and Background of Immersive Design.pptx

P.GOWSIKRAJA M.E., (Ph.D.,)
Assistant Professor
Department of Computer Science and Design
KONGU ENGINEERIG COLLEGE (AUTONOMOUS)
DEPARTMENT OF COMPUTER SCIENCE AND DESIGN
20CDH01-HONOR DEGREE-IMMERSIVE DESIGN THEORY
UNIT IV- Human Factors and Background of Immersive Design

⁕Human Factors:
⁕Designing the whole experience
⁕Theories of perception
⁕Creating hierarchy in 3D
⁕Human centered
⁕The Uncontrollable
Background:
⁕Expecting the unexpected
⁕Figure-ground
⁕Location, location, location
⁕Getting emotional
⁕Control is overrated

Human Factors How to design your experiences for humanity?
• DESIGNING THE WHOLE EXPERIENCE:- To
communicate a cohesive message.
• THEORIES OF PERCEPTION:- Understanding
how our brain perceives visual information is an
essential skill to have, especially as it relates to
spatial design.
• CREATING HIERARCHY IN 3D: Creating a
ranking system for your content is not a new
design process, but add z-space, things get
taken, literally, to a new dimension.

4.1 DESIGNING THE WHOLE EXPERIENCE
• A human-centered approach used to improve a product/ an environment to
enable the user to be most successful in accomplishing their task with or within it.
• A psychology aims to analyze and enhance the overall experience of the
interaction. Through the lens of these factors, that experience as a whole to best
measure success.
• Example: to analyze human factors for XR, head to the grocery store.
How the space is arranged for the kind of product it displays?
grid structure, lined with boxes, cans, and containers and shape.

2. Immersive design is the new product design
1. Packaging design
4. Tell a story
3. Holistic empathy

4.1.1. Packaging design 4.1 DESIGNING THE WHOLE EXPERIENCE
RealEats Packaging Design
• The boxes and bags that hold the food and other essentials
we need can provide a vast array of inspiration.
• The interior design of the grocery store, each product within
the store has been designed.
• The exterior packaging signals a lot about what you will get
in the interior.
• different shapes, colors, type treatments, size, placement
of the design, and even the product itself can help you as
you expand your 3D design skills.
• Each product must have the required information, such as
the nutrition facts, ingredients, barcodes, expiration
dates, and association marks, in addition to the other
elements of the package laid out by the designer.

• As you turn the box around, how does the design flow across each plane?
• Can you see the product inside?
• How can you tell the difference between various flavors of the same kind of snack?
• What is the shape of a single package, and how does that work if they have to be stacked on top
of or next to one another.
• The grocery store, each product a shopper selects tells a story.
• The goal is to tell the user about what is inside the package?
• It might be a story about how the product was made, the mission of the company, or how
much they care about the Earth—but each package holds a narrative.
• Part of this story should communicate what the product is and what it does.
• An example would be a woman’s protein bar for post-workout snacking. The story extends the
experience and adds a human connection.
4.1.1. Packaging design

• Especially any “design-first” companies such as
Spotify, Apple, Amazon, Google, or Airbnb.
• Product designers are in charge of the entire
product creation process.
• They are ultimately responsible for discovering and
defining a problem, and then empathically
designing a solution.
• The skills that a product designer must have range
from technical to human-centered design.
• Product designers take part in user research,
prototyping, visualization, testing, analyzing,
and communicating.
4.1.2. Immersive design is the new product design

• To combine the skills of the product designer and a packaging designer and top that off with
some motion-design skills—well, that is the whole package, all rolled in to immersive design.
• This sounds complicated, When you design from a human-centered approach, there are many
factors to consider.
Holistic empathy:- (4-up VIEW)
It is in the different levels-emotional, physical, mental, social, and maybe
even spiritual. How it connected each component connects a larger.
• The holistic approach to design places the user at the center and takes into account every
aspect of their experience, the environment, the time, the device they are using, their
motivations and their abilities, triggers, or emotional connections.
• It is important to be open to view the diverse perspectives each user has when interacting with
an object or product.

4-UP VIEW
views from the top, left, right, and
front all at once, with separate
images for each displayed across the
screen. In 2D, you often need to
zoom in and out as you work, but in
3D, you need to look at the whole.
Changing your views is easy and fast
to do on a computer screen, and
doing so reveals more of the
relationships among all the various
elements and the environment.

4.1.

• Humans are storytellers by nature. When a user has a set goal or
destination, they will follow a sequence of events or actions over time in
order to reach it. This journey becomes the narrative.
• To create a successful experience, the user will need to have a
connection to it, and storytelling is a great catalyst for connection.
• Consider a basic story structure:
○ You have a character, a scene, a problem, and actions that happen
over time.
○ When you add a plot or the goal of the main character, then you
have a story. You have everything you need.
4.1.4 Tell a story

There are three main ways to establish a
narrative in XR:
1. narrative-first experience,
2. real-time experience,
3. capture-first experience.
Man vs. Man

• NARRATIVE-FIRST EXPERIENCE relies on the user walking through
all the actions to achieve their goal, Narrative-first examples in AR often
rely on a specific location or orientation and often will rely on GPS.
• all games are narrative first. The goal may change per game, but each
action is intended to bring the user closer to achieving it.
• REAL-TIME EXPERIENCES rely on the direct interaction with an object
or content. most effective at mimicking interactions to physical world.
• These are great for social VR and AR experiences, where people from
multiple devices can join the same virtual environment and interact with
the same digital content.

https://www.tiltfive.com/

This augmented reality entertainment
system uses proprietary miniaturized
projectors and a retro, reflective game
board to create 3D tabletop holographic
games and experiences in real time.
CAPTURE-FIRST EXPERIENCES: These rely on the user capturing an image
or a movie. Because these stories are meant to be shared, a perfect way to
bring others into your world.
It is prevalent on many social media platforms in the form of augmented
stickers and fun animations that anchor to a physical object, such as a face,
through motion tracking.
Tilt Five

Human Factors:
Designing the whole experience
Theories of perception
Creating hierarchy in 3D
Human centered
The Uncontrollable
Background:
Expecting the unexpected
Figure-ground
Location, location, location
Getting emotional
Control is overrated

• Visual pathway
• Gestalt
○ Proximity and similarity
○ Continuation
○ Closure
○ Prägnanz
○ Common fate
4.2. Theories of perception

How humans see, process, and perceive visual information is a
fascinating process that is still not fully understood.
many designers work intuitively from their foundation in good design
principles and are able to achieve a solid visual feel, scientific research
can help us understand what makes something effective.
Visual pathway:-
all the anatomical structures that work together to convert light into electric
waves that get sent to different parts of the brain to be interpreted.
Some go to the right cerebral hemisphere, and some go the left.

The primary visual cortex processes stimuli
that give clues about size, orientation, motion,
direction of motion, and binocular disparity.
The difference in view from each eye,
demonstrating how horizontal separation can alter
the accuracy of an interaction.
Interpreting between the different images seen
by the left and right eyes which arise as a result of
horizontal separation.
Ocular dominance The favoring of one eye over the
other for the receipt of visual input.

Gestalt:-
● Similarity: Grouping of similar things.
● Proximity: Association of near things.
● Symmetry: Recognition and balance.
● Regularity: Repeating pattern.
● Continuation: We follow lines.-road trip
● Closure:We fill in the gaps.(complete
picture)

●Prägnanz: Simple and clear. primary visual cortex
●Common Fate: Associated items travel together. a theater with lights
lining the roof of the marquee, then you have experienced the power of
common fate
●Figure/Ground: Foreground and background.

• Hierarchy
• Position
• Orientation vs. rotation
• Viewing distance
• Adaptive distance field
• Vergence-accommodation conflict
• Relationships
• Hierarchy of needs
4.3. Creating hierarchy in 3D

Hierarchy:-
The organizational system for content that involves the emphasizing of
some information and the deemphasizing of other information.
If you want one word in a line of text to stand out, you can make it bold or
highlight it.

Position
Depending on the kind of experience you are creating, you may have more
or less control over the exact position of elements.
VR gives you the most control. You can design the full environment to be
laid out in a specific and purposeful way.
point becomes the 0, 0, 0 location and is the point from which the x,
y, z coordinates will originate. The position of everything else will be based
on that location, and all elements are positioned from that origin. Knowing
this enables you to design accordingly, based on the type of medium used.

The 360-degree views of a 3D model, you can pick which view is shown on
the launch of an experience or when it is anchored into a space.
Orientation The angular position and direction of a 3D object. it is the
pose of the object.
Rotation The motion taken around a specific axis: x, y, or z. it is the
specific motion path taken to each pose.
To clarify, there is a difference between orientation and rotation. Because
many 3D software programs allow individual control of each of these
variables, it is important to understand the difference.

Viewing distance:-
Each HMD and mobile device has different specifications for field of view
and size of screens. If you know something will be viewed on the Oculus,
then you need to design specifically for that.
Adaptive distance field
The lenses on our eyes play an integral role in the way we perceive space,
especially depth.
Our eyes naturally adapt to depth, so if you focus on something that is
closer to your eyes, or father away, you are changing the focus distance and
the plane that is in focus. That process creates an adaptive distance field.

Vergence-accommodation conflict
If you can, find a place where you can see the
horizon line, such as looking out a window or
physically going outside and looking far off
into the distance.
When your brain receives misaligned signals
about the distance of a virtual 3D space or
object which alters the eyes’ ability to focus on
it.

Relationships
Establishing a hierarchy is really about organizing. In order to organize,
you need to group elements together and establish a relationship.
Parenting. The Extrude layer, as shown in this screenshot from Cinema
4D, is the top layer (representing the parent), while each Cube layer
becomes a child of that extrusion.

Hierarchy of needs:- hierarchy
ranking, Abraham Maslow’s
Hierarchy
● FUNCTIONALITY
● RELIABILITY
● USABILITY
● PROFICIENCY
● CREATIVITY

Human centered
When you are working within a field that is very technologically reliant, it is
important to continue to bring humanity back to the central focus. You can
often get so lost in the limitations and advances of what computers can do
that you lose focus on who you are designing for. You want to design the
full experience from start to end focusing on each detail, for not just a user,
but rather a living, breathing, creative, individual with their own needs,
perceptions, influences, and challenges. Make your designs as human as
the people you are designing for.

DESIGN A PAPER CUBE
For this challenge you will create a design that goes across all the planes of
a cube. Using what you have learned in this chapter, consider how to create
a design that will get a user to interact with the cube. Think about how a
design on one plane will encourage the user to rotate it to see the next one.
Your challenge is to use a minimum of three gestalt principles to guide a
user to rotate the cube to see every square of it.

But here’s the trick: You cannot explicitly give the user any direction to do
so.
Using the diagram here, you can lay out your flat cube first and then cut it
out and tape it together. You can decide if you want to design it first flat
and then assemble or to assemble and then design. You can use only lines
and dots in your design. Consider how people will hold the cube, the way
you will orient the cube when you hand it to someone, and what other
materials you might want to use to create your design.

The Uncontrollable Background:
How the environments, both digital and physical, are dynamic—and
therefore unpredictable. How do you design for the unknown?
Figure-ground
Getting emotional

EXPECTING THE UNEXPECTED You may not be able to control
everything, but you can predict certain components. Don’t design for
everything, but rather create rules to help your experience adapt with the
unpredictabilities.
FIGURE-GROUND When combining digital and physical worlds, it is
important to define the relationship between figure and ground to help the
mind perceive each element.
LOCATION, LOCATION, LOCATION The best view allows for the most
impact. To create a positive, emotional experience, you can set up the
scene for the million-dollar view, free of charge.

To create responsive designs for interactive experiences,
Example: how you can enhance spaces: everywhere from the driver’s seat of
a car to a street to the rooms in your own home.
Lighting and background conditions may vary from moment to moment in
dynamic AR usage contexts.
Example: Day and Night lighting
EXPECTING THE UNEXPECTED

Background light types:
1. Ambient light
2. Outdoor illuminance
3. Indoor Illuminance
4. Blending
5. Agency
1. Ambient light:-
You can use the available light, or you can add your own custom lighting
to the scene. This concept is the same in AR, because you are also reliant
on the ambient lighting.
Blending Modes:
1. NORMAL
2. MULTIPLY
3. COLOR BURN
4. COLOR DODGE
5. SCREEN
6. OVERLAY
7. SOFT LIGHT

Ambient light Any available light that is already present in a scene; can
include both sunlight and any artificial lights.
luminance is the amount of light that comes from, passes through, or
reflects off an object.
This is the combination of the brightness of the light source as well as the
surface.
we are designing for the physical space, it is the illuminance that we want
to pay specific attention to. Luminance is measured in the unit called lux.

Illuminance The amount of
light that falls onto a surface.
Luminance The amount of light
that comes from, passes
through, or reflects off an
object.
Luminance and Illuminance.
The books and table are
illuminated by the luminating
desk light.
Illumination based on weather and time of day

Outdoor illuminance:-
The variety of possible day and
night illumination levels, based on
research by Engineering ToolBox.
Illumination based on weather and
time of day.

Indoor Illuminance:-
the outdoor light level
can reach up to 10,000
lux on a sunny day,
inside light is a different
story.
Areas closest to a
window will likely be
your brightest areas,
which may reach a
maximum of 1000 lux.

Many programming languages allow for true or false check-ins. For
example:
if daytime=true, then...
Blending: to influence how your design elements interact with their
surroundings. Graphic design software, such as Adobe Photoshop, uses
blending modes to control how the images and objects on two different
layers (such as your foreground AR elements and the user’s background
environment)react to and affect one another.
Depending on the mode you select, the relationship between the upper
(foreground) and lower (background) layers will change.

Blending Modes:
1. NORMAL
2. MULTIPLY
3. COLOR BURN
4. COLOR DODGE
5. SCREEN
6. OVERLAY
7. SOFT LIGHT

NORMAL Opaque pixels cover the pixels
directly below them without any alteration.
Changing the opacity of the upper layer to
reveal the pixels below will make it appear
more transparent.
MULTIPLY A darkening blending mode.
This multiplies the luminosity of the
background color with the foreground’s
blending color.
The resulting color is always a darker color.
Objects that are white will disappear.

If you have any elements that are
white, you don’t want to use
Multiply as they won’t be visible at
all.
COLOR BURN A darkening blending
mode. Color Burn gives a darker
result than Multiply by increasing
the contrast creating highly
saturated midtones and decreased
highlights.

COLOR DODGE A lightening blending
mode. This is a brightening effect that
decreases the contrast between the
background and the blend colors,
resulting in saturated midtones and
blown-out highlights.
SCREEN A lightening blending mode.
The resulting color is always a brighter
color. If you have any elements that are
black, you don’t want to use Screen as
they won’t be visible at all.

OVERLAY A contrast blending mode. It’s a
combination of Multiply and Screen and
allows the background layer to always be
visible.
Dark colors will shift the midtones to be
darker colors;
light tones will shift the midtones to brighter
colors.
Overlay is a great solution for all the
unexpected environments in XR as it
allows a full range of contrast in dark and
lighting settings.

SOFT LIGHT A contrast blending
mode. This mode is very similar to
Overlay, but uses more subtle contrast.
It will apply either a darkening or
lightening effect depending on the
luminance values.
Applying a blending mode to some of
your digital elements may help the
visibility of your content stay as
dynamic as the space around it.

Agency
Part of the reason that there are so many unexpected elements in
AR/MR is that the user has more agency.
If you recall, agency is how much control the user has within an
interactive experience.
Through a successful UI and adaptable experience design, you can
assist them to have the best possible experience even with limited
understanding.
Here are some ways to ensure contrast between the digital elements you
create even in unexpected conditions in the location your user may
choose:

● Use blending modes.
● Apply a gradient overlay under your object.
● Add a shadow under your object.
● Use a solid background to separate the object from the background,
such as a window, flag, or callout box.
● Use a partially transparent shape or element to separate the object
from the background.
● Use lighting estimation technology to adjust the design for the
lighting condition.

● Preview and test your design over a variety of backgrounds
throughout the design process (even just with video).
● Create different designs for different variables (think dark mode/light
mode).
This relationship between your main foreground element and the
background elements can take different forms, and luckily, you can rely on
the core concepts of visual perception to handle them.

Background light types:
1. Ambient light
2. Outdoor illuminance
3. Indoor Illuminance
4. Blending
5. Agency
Blending Modes:
1. NORMAL
2. MULTIPLY
3. COLOR BURN
4. COLOR DODGE
5. SCREEN
6. OVERLAY
7. SOFT LIGHT

Figure-ground
Types of figure-ground relationships: Stable and unstable
Break it up
Make connections: Anchors-
PLANE ANCHORS,
FACE ANCHORS,
IMAGE ANCHORS,
3D ANCHORS,
Tracking

Figure-ground
What we see and focus on is reliant on the relationship it has with the
environment around it.
● This gestalt principle of perception is called the figure-ground
relationship. One element will fade to the back as the “ground”—
this is the background. Another object will stand out in front,
the figure. This is also known as positive-negative space.
● Figure-ground A visual relationship in which elements are perceived
as either the foreground or background.

Gestalt principles
● The positive shape is the figure, and the negative shape is the
ground.
● You can see a positive shape only in contrast to the negative shape.
● The relationship they have to one another is as important as the
shapes themselves.
In XR, especially in AR and MR work out as you establish this dynamic
relationship.
We’ll look at types of figure-ground relationships and then techniques
you can use in designing them, specifically with an unknown
background.

Types of figure-ground relationships
● The navigation design on the left has an
unstable relationship, because the outlines
and the text make the distinction between
figure and background ambiguous.
● The navigation on the right stabilizes this
relationship by making it clear that the gray
rectangles are the background, and as a
result the text comes forward as the figure.

Stable Unstable
A stable figure-ground relationship
doesn’t always have a rely on making
the figure look different from real
world.
The relationship between the figure
and the ground can be ambiguous,
An interactive storybook experience
for children
reversible: The elements can reverse
to be either the figure or the ground.
To make the figure standout, you can
consider its styling: colors, size,
brightness, contrast, and placement.
Example: the face-or-vase illusion,
also known as the Rubin vase.

Reversible Figure-Ground:- Based on Rubin vase, the relationship of the
figure and ground in this image is reversible.
● If the black shape is perceived as the figure, then the white background
falls to the ground.
● If the white becomes the figure, then the black falls to the ground and
you identify the two face profiles looking at one another.
● The unstable relationship is often used in illustrations, logo, and
branding design, and it can be very effective way to communicate more
than one message within one space.
● limit the use of reversible figure-ground elements in XR space: portray
information.

Break it up:- AR and MR create some specific challenges of creating a
relationship between the known figure and the unknown background.
● Plan from the ideation stage, and sketch transparently. It allows to
background as a variable in your design equation from the beginning.
● Consider the horizon line: Elements on the lower half of a
composition, or below the horizon line, are often perceived as the
figure. Elements in the upper section of a composition, or above the
horizon line, are more likely perceived as a ground.
● Consider shape and location: Figures typically have a more defined
shape with a clear location in space, while grounds have a less clear
shape and location in space.

● Use occlusion so that the figure feels immersed into the space with the
ground continuing behind it.
● Use lighting estimation to automatically detect the lighting in the
physical space to replicate on your digital objects. This can also help
create shadows to further separate elements.
Make connections:- The relationship between the figure and the ground is
important in any type of design, but when it comes to merging physical and
digital spaces in XR, the need to define this relationship brings it to the next
dimension.
figure-ground relationship are the use of anchors and tracking.

Anchors
The user will be the one who will be relying on the figure-ground
relationship, why not give them the ability to create it?
Allowing the user to create anchors in their scene is a great option to
connect your 3D objects (the figure) to the environment (the ground).
For example, in AR, you could allow the user to select where to place a
figure and, in response, define the ground as everything else around it.
This selection happens through the creation of anchors.
Types of Anchor:- PLANE ANCHORS,
FACE ANCHORS,
IMAGE ANCHORS,
3D ANCHORS,

PLANE ANCHORS:- The user can select a
flat surface, such as floor, table, or wall. The
surface can be vertical or horizontal, but you
may want to limit the user to pick only one
or the other based on the aspect ratio and
orientation of your digital objects.
● Once the plane is selected, the scene will
display from that anchor point.
Example: Ikea Place app allows the user to
see furniture in their space before they buy
it.
Ikea app

FACE ANCHORS:- Using the front-facing,
depth-enabled cameras on smartphones to
scan facial features, the user can select face
anchors.
It allow dynamic, real-time rendering based on
the motion of the face, paying specific attention
to the location of the placed anchors.
Example, Memojis on Apple devices to
customize their appearance with an image &
apply that image mesh to the motion of their
face.
Memoji. AR Memoji app on
Apple iPhone, replaces your
face with the face of a
character (here a unicorn),
imitating your every facial
expression.

IMAGE ANCHORS Users can capture a static
target image in their physical space to activate
an AR experience, such as a video or
animation.
When in a browser or application experience,
the camera in the user’s mobile device
captures the target image to launch the action.
character to life and hear their backstory of
crime, rebellion, or injustice.

3D ANCHORS:- It allow the user to anchor their
experience to a 3D object in their physical space.
It must scan the object & then they must import it into
an authoring program to edit and customize it.
Ex: lightform projection mapping allows the user to scan
an object and then project the experience to display on
that object only. Or, the user can display an interactive
light projection of content around a physical object, such
as the mug on the table.
Interactive Light Concept. Vision work, by argodesign,
uses a physical 3D object, such as the mug shown here,
as an interface to adjust the lighting around the space.

Tracking
Tracking The process that monitors the position and orientation of
the device or its sensors as well as the objects and space around it.
To gather information about the environment, computers use a process
called world tracking to scan, analyze, recognize, categorize, and
organize the space.

This location is really all about the position of the viewer in relation to the
focal point of a scene.
Being close to the action changes the viewer into an active participant versus
a passive observer.
With XR, you can be front, center, and immersed in the action. Let’s look at
how to create the best view. Layout and composition
Perspective
Focal lengths
Motion parallax
Realism

Layout and composition
To start off creating your XR environment using the basic building blocks of
the scene. Using basic primitives you can block out a simple idea of what a
space will look like.
Just as in your sketch stage, during the creation of the layout you are
looking at the overall idea and should not get hung up on the details yet.
At this current stage, it is about the relationship of objects and the balance
of all the components versus the actual elements themselves.
Because you are designing for 3D, be sure to map out where elements will
be in relation to the x-, y-, and z-axes.

Perspective
As you design each individual experience there will be a list of
constraints and a list of opportunities.
To access, or even limitations created by the physical location. As you are
creating the experience, list the constraints first. Having these written out
can ignite ideas that will turn into opportunities.
A traditional computer in a VR experience, then they can’t move around
freely. But knowing that someone will be staying within a certain space does
allow you the opportunity to use that space to the fullest extent.

With XR, people have the ability to experience places and things that
they would have otherwise thought impossible: going back to a time in
history, visiting a place that has since been destroyed, seeing what it
would be like to fly like a bird, or seeing and feeling what an
experience may be like to another person.

Focal lengths
To create the best view of the experience, you will need to consider the
angle of the view. Remember that the user’s eyes are the main camera of
the scene, but you still have to determine what that view will look like.
Just as you would choose the right lens for a photograph, you also need to
choose the right lens to capture your digital scene.
Lenses are broken down by focal length. The focal length of a lens is
calculated by measuring the distance from the point where the image
is created (thanks to the unification of light rays) to the digital sensor.
When thinking about lens focal length, you need to consider the angle of
view (wide or narrow) and the magnification (high or low).

Focal length The measure of the optical distance between the unification of
light rays on an object to the sensor of a camera.
● The lens focal length determines how much of the scene will be
captured: This is the angle of view.
● The lens focal length determines how large elements will be: This is
the magnification.
● The longer the focal length, the narrower the angle of view and the
higher the magnification.
● The shorter the focal length, the wider the angle of view and the lower
the magnification.

we will examine the three main lengths by category:
● Standard 50–60mm: This lens gives the equivalent field of view to
normal human vision. This focal length has the least amount of
distortion.
● Wide 14–35mm: This wide-angle lens allows you to fit in more of the
scene with its extreme angles. This wide view does create heavy lens
distortion around the edges.
● Telephoto 70–200mm: This lens compresses the space and flattens
the composition, removing depth and lens distortion.

Motion parallax
When you stare out the window of a fast-moving car, you may notice
that elements close to the car, like street signs at the edge of the road,
seem to fly by as you try to look at them.
However, if you look at a farm way off in the distance, the farm appears
to move by slowly. This visual phenomenon is called parallax and relates
specifically to a change in position.
Parallax Visual depth cue in which objects that are closer appear of be
moving much faster than those that are far away, even if they are
traveling at the same speed.

Realism
● Look at the physical world for inspiration. Because we are constantly
surrounded by a variety of textures and materials in real life, similar
textures create a sense of realism and depth in a digital environment.
● Collect references as you navigate and explore through spaces that
inspire you, and then use them as you design.
● Visiting an old factory, you might find a beautiful juxtaposition between
wood and metal, and that combination could be the backbone of your
design.
● Turning the pages of a home furnishing catalog provides rich inspiration
for combinations of colors, textures, and shapes. If you would like your
experience to feel realistic, then you should incorporate realism into it.

Getting emotional
Emotional connection
Visceral
Behavioral
Reflective
When I becomes we

Getting emotional
This impact is how the user feels. This is not something you can control,
but certainly is something you can influence.
The combination of the perspective, focal length, materials, textures, and
composition, you will also create a mood evoking an emotion.
how people will feel during the experience, instead of how they will
interact with it.
How do you want people to feel at the end?
Is that different from how you want them to feel in the beginning and
at the middle?

visitors move and gesture in the space before the 1913 image, their
silhouettes reveal the 2008 state of the glacier—making an emotional
connection between the dramatic change in the ice-cover and their lives.
Emotional connection
This emotional reaction has been broken down into three levels by Don
Norman, in his book titled Emotional Design:1
1 Norman, D. A. (2004). Emotional design: Why we love (or hate) everyday
things. Basic Books.

● Visceral: This refers to the emotional reactions we are born with.
These instinctual reactions from a first impression connect to our
past.
● Behavioral: This is the subconscious evaluation of how something
helps us achieve a goal. This is essentially how we make our
experiences happen. It can include all the challenges and triumphs.
We can question an experience by saying, “not sure if this is going
to work,” for example. This connects with the present.
● Reflective: This is the response after the experience. We will judge
the overall experience to determine if we will continue using it or
not. This connects to our future.

Emotion adds value. If you have only an understanding of something, that
doesn’t use the full potential of the emotional connection and
understanding.
People can understand what is happening around them, but then they also
use their intuition to deepen their understanding and connection of what
is happening around them.
Fredrickson, B. (2009). Positivity. Harmony.
Joy(happy), Gratitude(appreciation),
Serenity(free from stree/emotion) Interest
Hope(trust)
Pride(self-esteem)

When I becomes we
● The only thing better than experiencing something wonderful is
sharing it with someone.
● It is important to note that these experiences can be created for
multiple users at the same time.
● The technology has allowed for XR to become social. So, instead of just
experiencing spaces on your own, you can explore them with others.
● This can be with people in the room or environment, but also from
across the world. Using VRChat, you can meet people in a virtual
environment from anywhere to connect.
● Virtual memes are used to represent each user as you chat. Apple’s
ARKit 2 release unleashed the power to experience the same AR

Collaborative XR. Designers use augmented reality brainstorming about a
mobile app interface wireframe.
Using AR to brainstorm allows everyone on the team to see the same
digital content in the same space, instead of looking at their own individual
screens.

As designers (and humans) we strive for control. We like to have some kind
of an idea about what will happen next, but the truth is we can’t control
the future.
We don’t actually know what is going to happen next—just like we can’t
control and design every part of an interactive experience, thanks to the
uncontrollable background of AR.
The beauty of giving the user control is that they will make the experience
even better with what they add to it.
There are things you can do as a designer to help ensure that the
experience is usable, and you even can write some of the rules for the user
on what to do in certain situations.

You can make sure to establish visual relationships that add contrast and
distinguish between the digital and physical worlds.
But ultimately, you need to embrace that you simply cannot design every
part of the experience and plan on the unexpected to happen. When you
do, it means that you have created a space for the user to connect with
the experience on a personal and emotional level.
They can take an active role in the experience, because it becomes theirs.
That adds a touch of magic to it all.

DESIGN CHALLENGE
3D ICON:- To help you explore the figure-ground relationship in 3D, this
challenge pushes you to think about how to incorporate the three figure-
ground relationships.
At the same time, you can expand your 3D modeling skills.
1. Pick a flat 2D icon.
2. Sketch this icon in 3D with a stable figure-ground relationship.
3. Make this digital using your preferred 3D modeling software and
technique.
4. Sketch the icon using a reversible figure-ground relationship.

5. Make this digital using your
preferred 3D modeling software and
technique.
6. Sketch the icon using an
ambiguous figure-ground relationship.
7. Make this digital using your
preferred 3D modeling software and
technique.
8. Compare and contrast: Which
design do you feel is most successful?
Why?

Human Factors:
Designing the whole experience
Theories of perception
Creating hierarchy in 3D
Human centered
The
Uncontrollable
Background:
Figure-ground
Getting emotional

UNIT_IVHuman Factors and Background of Immersive Design.pptx

Recommended

Recommended

More Related Content

Similar to UNIT_IVHuman Factors and Background of Immersive Design.pptx

Similar to UNIT_IVHuman Factors and Background of Immersive Design.pptx (20)

More from GOWSIKRAJA PALANISAMY

More from GOWSIKRAJA PALANISAMY (14)

Recently uploaded

Recently uploaded (20)

UNIT_IVHuman Factors and Background of Immersive Design.pptx