9. User Experience & Schematics

As I explained to Chris and Holger in the final presentation, being an IPD student left me stabbing in dark whilst attempting to learn new software very quickly and employ animation thinking, techniques and terminology. I feel like I took on the challenge well and also brought some thinking and skills from service design and design strategy towards the end of the project.

Some skills I was able to being into the group and the presentation were user experience (in this case, audience experience), system and journey mapping and creative visualisation of a design. In particular, I employed a technique I have developed myself in product design that I have called the 10,000 ft method. In short, the method allows you to diverge and look at all considerations be it stakeholders, materials, context or the system we preside in. From there you more down to 5,000 ft to 1,000 ft to 1 ft. At each step I converge, find trends and illustrate insights that are increasingly clarified.


Above is the 10,000 ft visualisation of the pre-museum, exhibit and post-exhibit audience experiences. Step one at 10,000 ft, in the top left of the circle details the how and why of the animation: are we tackling a social issue? How might we contextualise and take the idea of an estuary into abstraction? Do the sub-sets of territory and intruder relate to broad social issue that we might want to bring to the fore in this exhibition?

From here, step two at 5,000 ft in the top right looks to find individual experiences within this context. As Chris mentioned a few times, ‘what do you want the visitor to gain from there experience with your animation?’. The Subdermal Currents wanted to establish a meditative experience that provokes the audience to consider the balance of rationality and emotion.

Step three at 1,000 ft considers insight directly related to the animation that could be interactive. In the final presentation I mentioned to Chris and Holger the great potential for this animation to be an interactive piece whereby a literalisation of the estuarious motion capture data is held in the palm of the users hand. From here the user is able to foray into some kind of educational aspect of the piece that may or may not relate to a greater theme held within the Maritime Museum.


The above ideation is a proof of concept for a journey map. I attempted visualise a few key points that Kevin Sumption brought up including:



(above) The context of the animation – what feeling the user brings in – experiences and takes out of it.



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