Five Design-Sheets Creative Design and Sketching for Computing a....pdf

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Cover

Preface

Contents

Part I Think

1 Introduction: Think, Prep, Sketch

1.1 Introduction

1.2 Think, Prep, Sketch

1.3 Focused Learning

1.4 What Software Tools Can You Build, as a Result of this Process?

1.5 Think: In Your Minds-Eye

1.6 Design by Sketching

1.7 Developing Your Skills

1.8 How to Read this Book

References

2 Overview of the Five Design-Sheets (FdS)

2.1 Introduction to the FdS

2.2 The Design By-Sketching Process

2.3 Take Time and Develop Your Skills

2.4 Thinking Holistically

2.5 History of the FdS

2.6 Who Has Used the FdS?

2.6.1 Teachers Can Use the FdS in an Assessment

2.6.2 Project Students, Creating a Chapter on Their Dissertation

2.6.3 In a Company Setting

2.7 Will It Work for Non-Visual Interface Development?

References

3 Thoughts, Ideas, Problems and Solutions

3.1 Types of Thinking

3.2 On Problems

3.3 Fast and Slow Thinking of Problems

3.4 The Importance of Reflection

3.5 Reflection, Metacognition and Critical Thinking

3.6 Problem Solving Stages

3.7 Characterising Problems (Well-Structured vs. Ill-Structured)

3.8 Being a Convergent and Critical Thinker

3.9 Divergent Thinking

3.10 Enthusiasm and Attitude to Thinking, Problem Solving and Creativity

3.11 Thinking, Problem Solving and the FdS

3.12 Exercises

References

4 Social, Ethical and Other Considerations to Interface Design

4.1 Our Self, Our Identity and Foresight

4.2 Triage: Making a Quick Judgment

4.3 Can You Do It? Resources, Utility, Authority

4.3.1 Can You: Do You Have the Resources?

4.3.2 Can You: Is There Utility?

4.3.3 Can You: Do You Have Authority?

4.4 Should You Do It? – Is It Ethical?

4.5 What If You? – Any Ramifications?

4.5.1 Business Response: Is There a Product?

4.5.2 Emotive Response: How Will People View It?

4.6 Thinking Through Issues, Use an Acronym!

4.7 Exercises

References

Part II Prep

5 Sketching Design Skills

5.1 Sketching as a Way to Plan

5.2 But I Cannot Draw!

5.3 Getting a Kit Together

5.4 Pens, Ink and Colour Washes

5.5 Why Is Sketching Useful?

5.6 Techniques: Bold Lines and Faint Lines

5.7 Improving and Enhancing Your Sketches

5.8 Other Mediums: Different Types of Low-Fidelity Prototyping

5.9 Sketching Alone or in a Group?

5.10 Sketching Alternatives

5.11 Exercises

References

6 Graphical Marks and Semiology for Sketching

6.1 Developing a Visual (Sketching) Language

6.2 Graphical Marks and Gestalt Laws

6.3 Graphical Semiotics: Arbitrary Symbols

6.4 Graphical Semiotics: Sensory Signals

6.5 Graphical Forms

6.6 Graphical Encapsulation and Environment

6.7 Exercises

References

7 Creative Thinking, Creativity and Ideation

7.1 Aim to Generate Many Ideas

7.2 Telling a Story with Sketches

7.3 Idea Generation: And Getting in the Right Mindset

7.4 Encouraging a Creative Mindset and Environment

7.5 The Importance of Sleep and Resting the Mind

7.6 Ideas from Nature: Mimicking and Bioinspiration

7.7 Ideas from Man-Made Structures and Models

7.8 Techniques to Help Find Alternative Ideas

7.9 Exercises

References

Part III Sketch

8 Sheet 1 of the Five Sheets

8.1 Get Prepared

8.2 Framing the Vision

8.3 How to Frame the Problem?

8.4 The Journey of Sheet 1

8.5 Ideas (Start with the Salient Features)

8.6 Ideas (Using Other Frameworks: Top-Down Thinking)

8.7 Ideas (Focusing on Tasks: Bottom-Up Thinking)

8.8 Filter

8.9 Categorise

8.10 Combine and Refine

8.11 Question

8.12 Exercises

References

9 Sheets 2, 3 and 4 (The Middle Sheets)

9.1 Pause and Deliberate on the Designs

9.2 Starting Sheets 2, 3 and 4

9.3 The Big Picture of the Puzzle Game Example

9.4 Examples of the Big Picture Panel

9.4.1 Technologies and Devices

9.4.2 User Interfaces

Websites

Smart Phone Application

Interfaces with Multiple Coordinated Windows

Virtual Reality and Tangible Interfaces

9.4.3 Designs That Focus on Animation

9.5 Operations and Components of the System

9.6 The Parti (The Main Focus)

9.7 Pros and Cons of Each Design Sheet

9.8 Exercises

References

10 Sheet 5 (Design Realisation)

10.1 Which Alternative Design?

10.1.1 Goals

10.1.2 Fit

10.1.3 Usable

10.1.4 Useful

10.1.5 Aesthetics

10.1.6 Cost

10.1.7 Eco-Friendly and Sustainable

10.1.8 Unique

10.1.9 Buildable

10.2 Creating the Final Design Realisation Sheet

10.3 Delivering and Using the Realisation Sheet

10.4 Exercises

References

11 Five Design-Sheet Examples and Applications

11.1 Worked Example of the FdS (Heritage Scenario)

11.1.1 Heritage Example: Sheet 1

11.2 Heritage Example: Sheets 2, 3, 4 and 5

11.3 Worked Example of the FdS (Explanatory Visualisation Scenario)

11.4 Visualisation Example: Sheet 1

11.5 Visualisation Example: Sheets 2, 3, 4 and 5

11.6 Conclusion

References

Index

Jonathan C. Roberts Christopher J. Headleand Panagiotis D. Ritsos Five Design-Sheets: Creative Design and Sketching for Computing and Visualisation

Five Design-Sheets: Creative Design and Sketching for Computing and Visualisation

Jonathan C. Roberts • Christopher J. Headleand Panagiotis D. Ritsos Five Design-Sheets: Creative Design and Sketching for Computing and Visualisation 123

Jonathan C. Roberts Bangor University Bangor, UK Panagiotis D. Ritsos Bangor University Bangor, UK Christopher J. Headleand University of Lincoln Lincoln, UK ISBN 978-3-319-55626-0 DOI 10.1007/978-3-319-55627-7 ISBN 978-3-319-55627-7 (eBook) Library of Congress Control Number: 2017940639 © Springer International Publishing AG 2017 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, speciﬁcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microﬁlms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a speciﬁc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional afﬁliations. Printed on acid-free paper This Springer imprint is published by Springer Nature The registered company is Springer International Publishing AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland

Preface One of the many challenges that programmers face is knowing how to start, when setting out to solve a computing problem. For instance, when we give our computing students programming assignments, many of them leave the development of their code until the last minute, just because they do not know how or where to start. Starting a project, or a programming assessment, is often the hardest part to the problem. When we (the authors) are faced with problems ourselves, whether for work or at home, we have often found ourselves reaching for sheets of paper to make sketches, draw a rough plan and take some notes down. The very act of putting pen to paper helps us think through the problem in a deeper way. It is these initial sketches, done on a back of an envelope (so to speak), that help us get our creative juices starting; they help us to quickly express our ideas and also quickly reject them. Each of us is different in how we do this creative thinking. Jonathan will get his drawing pens out of his bag, reach for his pad of A3 sheets of drawing paper, write down words to explore the landscape and draw a quick diagram. Chris, on the other hand, will jump to the wipe board, clean it off from the previous conversation and draw large pictures on the board, while Panos will pull up a mind-mapping or graphical editor on his computer, type in a few categories and brainstorm different phrases, and draw a picture on the screen. While we are different with regard to the tools that we use, we all are planning and thinking creatively, trying to work through the problem in our minds, using different depictions to externalize and perpetuate our thoughts. We are considering alternative solutions and ascertaining which is the best one to follow. We are organizing our thoughts into our courses of actions or grouping them into strategies. Any of our methods could be used on its own or in combination with the others. These tools (sketching, wipe board or graphics program) help us, not only to work our ideas through but also to share them and communicate them to others. Indeed, group work can often be beneﬁcial because you can collectively draw upon everyone’s knowledge and ideas. Other times this can be problematic, with some people pushing their idea for their own interest or itinerary, rather than working toward the common, collective good. v

vi Preface Fig. 1 Working through an algorithm to manipulate three-dimensional data The challenge with these techniques being used on their own, however good they may be, is that they are ad hoc. There is no speciﬁc structure for drawing on a wipe board or for sketching. An empty wipe board or a sheet of paper is merely a blank starting point. But structure is very important for group activities, as it allows the group to follow the same guidelines. Structure is also especially beneﬁcial to students who are learning – as a method can be taught, the students know what to do by repeating the steps of the method and they can be assessed on how well they implemented it. So, how can we provide a structure over the sketching and critical design process? What would it look like? What information will the structure contain? We believe that such a structure will help students learn how to plan and think through alternatives for building software interfaces. It will help learners to have a method that they can apply and reapply. It will help companies, who are building interfaces, exchange and compare ideas and different solutions. Drawing and sketching have always been an important part of human expression. Just consider Leonardo da Vinci who created many beautiful notebooks of his ideas. These books are still inspiring researchers and inventors today, in art and design of tools and mechanical devices. Likewise, we have used sketchbooks to record events and develop our thoughts. We start our story in October 1992 when Jonathan was studying for his PhD. It was during this time that he started to use research notebooks. These were A4 glue-bound hardback notebooks that were ruled. Jonathan can remember walking to every meeting with his notebook and pen. Every page started with the date of that meeting and every event started on a new page. Meetings, conferences, thoughts, ideas, concepts, diagrams, etc. all

Preface vii made it into the notebooks. Importantly, sketches formed an important part of the recording process. At the time, Jonathan was investigating methods to render and explore three-dimensional datasets, such as those from magnetic resonance imaging (MRI) or computed tomography (CT) scans. It was only a few years earlier that Lorensen and Cline had published the marching cubes1 algorithm. Jonathan can remember drawing many sketches of how to visualise and render three-dimensional data (Fig. 1). These algorithms were eventually included into the Waltz visualisation system, to manipulate and analyze three-dimensional data. An early sketch of the Waltz interface (dated March 1995) is shown in Fig. 2a. This was used as a “plan” to help design the interface (Fig. 2b). It was used not only to work out the ﬁnal appearance but also to help plan the individual aspects of the code. Drawing, sketching and design are always featured in all our teaching and work. We pick up the story, once again, in 2007. Jonathan had just moved to Bangor University and set up a graduate module on information visualisation. It was during this module that Jonathan started to develop the Five Design-Sheet sketching methodology. We needed a method to allow students to plan their data visualisation tools. At ﬁrst, the methodology was informal and merely encouraged students to make sketches to plan their goals. But after reﬁning the module and the technique over several years, the format and advice of sketching and planning interfaces were gradually developed. At the same time, Chris completed a degree in education and design. He joined Harlech College, where he developed and led a creative technologies course. Panos was working for the industry as a software engineer, having completed his PhD in 2006. From 2011 and over the next few years, we see the coming together of many events. The ﬁrst Five Design-Sheets2 paper was published; Panos moved to Bangor to work with Jonathan, and then Chris followed. Working collaboratively, we started to generalise and develop the Five Design Sheet further. The outcome of this process was our journal paper on “Sketching Designs Using the Five Design-Sheet Methodology”3 that was presented at the IEEE Visualisation Conference in 2015. Collectively we realised that together we had a common interest in design, sketching, professional development and encouraging others to develop good software. It is these aspects that have motivated us to write this book. Not only does the Five Design-Sheet methodology provide a useful structure for students and learners to follow in an academic setting, but it can also be helpful for those doing research and development of new software tools and those developing software in companies. Moreover, it is not only the mere act of sketching that is important, but it is the thinking that surrounds the sketching of an idea. What is often difﬁcult 1Lorensen, W.E. and Cline, H.E., 1987, August. Marching cubes: A high resolution 3D surface construction algorithm. In ACM SIGGRAPH computer graphics (Vol. 21, No. 4, pp. 163–169). ACM. 2Roberts, J.C., 2011. The Five Design-Sheet (FdS) Approach for Sketching Information Visualiza- tion Designs. Proc. Eurographics Education Papers, pp. 27–41. 3Roberts, J.C., Headleand, C. and Ritsos, P.D., 2016. Sketching designs using the Five Design- Sheet methodology. IEEE transactions on visualization and computer graphics, 22(1), pp. 419–428.

viii Preface Fig. 2 The Waltz visualisation tool. (a) Sketches were ﬁrst made that plan and explain the interface. (b) The sketches provide a vision for the completed tool. Both sketch and the Waltz tool were created by Jonathan Roberts while studying for his doctor of philosophy (PhD) thesis, University of Kent, 1995

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