Artifact models in Java

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Artifact models
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Artifact models represent, as the name suggests, different artifacts that users employ in their tasks and workflows. Often these artifacts are online or paper forms. Artifact models typically capture commonalities and significant differences between similar artifacts for the purpose of extracting and replicating best practices in the eventual design. Artifact models can be useful later in the design process, with the caveat that direct translation of paper systems to digital systems, without a careful analysis of goals and application of design principles (especially those found in Part II of this book), usually leads to usability issues.
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Physical models
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Physical models, like artifact models, endeavor to capture elements of the user s environment. Physical models focus on capturing the layout of physical objects that comprise the user s workspace, which can provide insight into frequency of use issues and physical barriers to productivity. Good persona descriptions will incorporate some of this information, but it may be helpful in complex physical environments (such as hospital floors and assembly lines) to create discrete, detailed physical models (maps or floorplans) of the user environment. Personas and other models make sense out of otherwise overwhelming and confusing user data. Now that you are empowered with sophisticated models as design tools, the next chapter will show you how to employ these tools to translate user goals and needs into workable design solutions.
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Part I: Understanding Goal-Directed Design
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Notes
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1. Cooper, 1999 2. Constantine and Lockwood, 2002 3. Grudin and Pruitt, 2002 4. Mikkelson, N., and Lee, W. O., 2000 5. Grudin and Pruitt, 2002 6. Grudin and Pruitt, 2002 7. Constantine and Lockwood, 1999 8. Beyer and Holtzblatt, 1998 9. Dillon, 2001 10. Goodwin, 2001 11. Goodwin, 2002, 2002a
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The Foundations of Design: Scenarios and Requirements
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In the two previous chapters, we talked about how to gather qualitative information about users and create models using that information. Through careful analysis of user research and synthesis of personas and other user models, we create a clear picture of our users and their respective goals. This brings us, then, to the crux of the whole method: how we use this understanding of people to create design solutions that satisfy and inspire users, while simultaneously addressing business goals and technical constraints. This chapter describes the first part of a process for bridging the research-design gap. It employs personas as the main characters in a set of techniques that rapidly arrive at design solutions in an iterative, repeatable, and testable fashion. This process has four major activities: developing stories or scenarios as a means of imagining ideal user interactions, using those scenarios to define requirements, using these requirements in turn to define the fundamental interaction framework for the product, and filling in the framework with ever-increasing amounts of design detail. The glue that holds the processes together is narrative: using personas to create stories that point to design.
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Part I: Understanding Goal-Directed Design
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Scenarios: Narrative as a Design Tool
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Narrative, or storytelling, is one of the oldest human activities. Much has been written about the power of narrative to communicate ideas. However, narrative is also one of our most powerful creative methods. From a very young age, we are accustomed to using stories to think about possibilities, and this is an incredibly effective way to imagine a new and better future for our users. Imagining a story about a person using our product leverages our creativity to a greater power than when we just imagine a better form factor or configuration of screen elements. Further, because of the intrinsically social aspect of narrative, it is a very effective and compelling way to share good ideas among team members and stakeholders. Ultimately, experiences designed around narrative tend to be more comprehensible and engaging for users because they are structured around a story. Evidence of the effectiveness of narrative as a design tool is all around us. The famous Disney Imagineers would be lost without the modern-day myths they use as the foundation for the experiences they build. Much has been written about this idea: Brenda Laurel explored the concept of structuring interaction around dramatic principles in her 1991 book Computers as Theater, where she urges us to . . . focus on designing the action. The design of objects, environments, and characters is all subsidiary to this central goal. 1 John Rheinfrank and Shelley Evenson also talk about the power of stories of the future for developing conceptually complex interactive systems,2 and John Carroll has created a substantial body of work about scenario-based design, which we discuss later in this chapter. Narrative also lends itself to effective visual depictions of interactive products. Because interaction design is first and foremost the design of behavior that occurs over time, a narrative structure, combined with the support of fast and flexible visualization tools (such as the humble whiteboard), is perfectly suited for motivating, envisioning, representing, and validating interaction concepts. Interaction design narratives are quite similar to the comic-book-like sequences called storyboards that are used in the motion picture industry. They share two significant characteristics: plot and brevity. Just as storyboards breathe life into a movie script, design solutions should be created and rendered to follow a plot a story. Putting too much detail into the storyboards simply wastes time and money and has a tendency to tie us to suboptimal ideas simply because drawing them consumes significant resources. In the initial requirements definition phase we are free to focus only on the plot points, allowing us to be fluid as we explore design concepts. Because they are enough to convey the action and the potential experience, many millions of Hollywood dollars
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