Fig 4 - uploaded by Froukje Sleeswijk Visser
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Three categories of images used in idea generation sessions. A famous person; Snoop Dogg, a stock photo of a business man, and an everyday person
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Images of real people trigger designers to empathise with users. This paper explores the use of visual representations of a person's face in conveying results of user studies to design teams. Several small and large studies with different explorations around the search, choices and use of images are described. The paper concludes with tentative gui...
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... of faces of people. When original photos are missing, or privacy issues forbid their use, other images must be substituted. Fig. 4 shows three categories from practice: Famous people, stereotypes and everyday people. Each category is inter- preted differently. Famous people are recognized immediately, but come pre- packaged with messages: they already represent a set of values and norms and other connotations. These may interfere with the user study results to be ...
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Citations
... However, already the process of creating the personas helped them to make the assumptions about the target audience more explicit [26]. Personas make use of images and the act of finding the right image for the persona can already stimulate empathy with users [37]. ...
Gathering health-related data is quite easy, but visualizing them in a meaningful way remains challenging, especially when the application domain is very complex. Research suggests that empathy can facilitate the design process and that narratives can help to create an empathic encounter between designers and the prospective users. We conducted an exploratory quasi-experiment in order to explore whether narratives in form of online reviews are able to evoke designer’s empathy when developing an online platform for a direct-to-consumer genetic testing service. The results suggest that the narratives can help designers to engage with and take the perspective of the prospective user, who is then represented in more detail. Lacking narratives from real people leaves the designers to their own imagination, which can lead to the use of rather abstract stereotypes that do not enable an understanding of the user, but affect the subsequent design decisions.
... Participants knew Usain Bolt's story beforehand so they said the image strongly suggested 'victory and domination' to them, more so than competition. These findings are in line with the work of Lucero (2009), and Sleeswijk Visser and Stappers (2007). In his studies on how designers use mood boards, Lucero has found that designers tend to avoid the use of pictures of famous people in their mood boards, as clients tend to get sucked into the images and thus narrow down possible interpretations. ...
... Firstly, at different times we received feedback from the evaluations saying that some of the images felt 'stereotypical and uninspiring'. Studies on using images to create personas (Pruitt and Grudin, 2003;Sleeswijk Visser and Stappers, 2007) have identified that using stock photos inevitably results in showing a stereotype and in evoking a standard. ...
Playfulness can be observed in all areas of human activity. It is an attitude of making activities more enjoyable. Designing for playfulness involves creating objects that elicit a playful approach and provide enjoyable experiences. In this paper, we introduce the design and evaluation of the PLEX Cards and its two related idea generation techniques. The cards were created to communicate the 22 categories of a playful experiences framework to designers and other stakeholders who wish to design for playfulness. We have evaluated the helpfulness of both the cards and their associated techniques in two studies. The results show that the PLEX Cards and its associated techniques are valuable sources of inspiration when designing for playfulness.
... Participants knew Usain Bolt's story beforehand so they said the image strongly suggested "victory and domination" to them, more so than competition. These findings are in line with the work of Lucero [15] and Sleeswijk and Stappers [20]. In his studies on how designers use mood boards, Lucero has found that designers tend to avoid the use of pictures of famous people in their mood boards, as clients tend to get sucked into the images and thus narrow down possible interpretations. ...
... First, at different times we received feedback from the evaluations saying that some of the images felt "stereotypical and uninspiring." Studies on using images to create personas [19,20] have identified that using stock photos inevitably results in showing a stereotype and in evoking a standard. Slick stock images contain a polished set of presuppositions and prejudices. ...
Playfulness can be observed in all areas of human activity. It is an attitude of making activities more enjoyable. Designing for playfulness involves creating objects that elicit a playful approach and provide enjoyable experiences. In this paper we introduce the design and evaluation of the PLEX Cards and its two related idea generation techniques. The cards were created to communicate the 22 categories of a Playful Experiences framework to designers and other stakeholders who wish to design for playfulness. We have evaluated the practical use of the cards by applying them in three design cases. The results show that the PLEX Cards are a valuable source of inspiration when designing for playfulness and the techniques help create a large amount of ideas in a short time.
... The coordinators presented to the students a set of photographs depicting people close to their age which they had selected from a variety of cultural magazines. All photographs depicted every day, common people and had a balanced ratio of background, body and face characteristics, leaving students with an open space for interpretations [24]. Photographs of famous people and stock photos were not used. ...
... Several students stated that they were inspired by the physiological and style features of their selected photograph in order to envision their design alter ego's personality traits. This is in agreement with [24] and the observation that images of users are suggestive and trigger people's creativity. Thus, the selection of the photograph proved to be a rather intricate action, since in a very short period of time students had to project their stereotypical interpretations of external appearance, confront social desirability bias and expose themselves to the others through their choice. ...
Throughout the mechanical design process, designers, the majority of whom are men, often fail to consider the needs of women, resulting in consequences ranging from inconvenience to increased risk of serious injury or death. Although these biases are well-studied in other fields of research, the mechanical design field lacks formal investigation into this phenomenon. In this study, engineering students (n = 300) took a survey in which they read a Persona describing a student makerspace employee and a Walkthrough describing their interaction with the makerspace while completing a project. During the Walkthrough, the user encountered various obstacles, or Pain Points. Participants were asked to recall and evaluate the Pain Points that the user encountered, then evaluated their perceptions of the makerspace and user. The independent variables under investigation were the gender of the user Persona (woman, gender-neutral, or man), Walkthrough room case (crafting or woodworking makerspace), and modality of the Persona and Walkthrough (text- /audio-based). Results showed that participants from the Text-based modality were better able to recall Pain Points compared to participants from the Audio-based modality, although the Pain Points were assessed as more severe when they impacted women users. In addition to finding that the gender of a user impacted the way a task environment was perceived, results confirmed the presence of androcentrism, or “default man” assumptions, in the way designers view end users of unknown gender. Promisingly, providing user Persona information in an audio modality eliminated this bias compared to text-based modalities.
Deepfakes, realistic portrayals of people that do not exist, have garnered interest in research and industry. Yet, the contributions of deepfake technology to human-computer interaction remain unclear. One possible value of deepfake technology is to create more immersive user personas. To test this premise, we use a commercial-grade service to generate three deepfake personas (DFs). We also create counterparts of the same persona in two traditional modalities: classic and narrative personas. We then investigate how persona modality affects the perceptions and task performance of the persona user. Our findings show that the DFs were perceived as less empathetic, credible, complete, clear, and immersive than other modalities. Participants also indicated less willingness to use the DFs and less sense of control, but there were no differences in task performance. We also found a strong correlation between the uncanny valley effect and other user perceptions, implying that the tested deepfake technology might lack maturity for personas, negatively affecting user experience. Designers might also be accustomed to using traditional persona profiles. Further research is needed to investigate the potential and downsides of DFs.
Personas represent the needs of users in diverse populations and impact design by endearing empathy and improving communication. While personas have been lauded for their benefits, we could locate no prior review of persona use cases in design, prompting the question: how are personas actually used to achieve these benefits? To address this question, we review 95 articles containing persona application across multiple domains, and identify software development, healthcare, and higher education as the top domains that employ personas. We then present a three-stage design hierarchy of persona usage to describe how personas are used in design tasks. Finally, we assess the increasing trend of persona initiatives aimed towards social good rather than solely commercial interests. Our findings establish a roadmap of best practices for how practitioners can innovatively employ personas to increase the value of designs and highlight avenues of using personas for socially impactful purposes.
The environments we grow old in present a challenge to be adaptive to our changing needs and limitations. Environments, in the context of this paper, are the spaces, products and product service systems that we engage with, alone or with others, within and outside the home.
HCI has developed rich understandings of people at work and at play with technology, moving beyond users' minds to their moods, buddies and bodies. However, understandings of designers remain trapped within the information processing paradigm of first wave HCI, remaining focused on minds that execute design methods as if they were computer programs, and producing the same results on a range of architectures and hardware. Designers are people too, with minds, moods, buddies and bodies, which all interfere substantially (generally to good effects) with the 'code' of design methods. We need to take full account of designers' humanity when assessing design and evaluation methods. This juried alt.chi paper moves from critique to a logocentric proposal based on resource function vocabularies as a more appropriate basis for understanding and assessing methods.
