Service Design masterclass links and goodies

I recently taught a Service Design in Helsinki for Ratekoulutus and put together a set of links for the participants. They have their own special, private page for it including some extras, but the rest of it would probably be useful to a wider audience, so here they are. It it by no means exhaustive, but just the things I talked about in the Masterclass.

You will see that there are several books from Rosenfeld Media. This is not simply nepotism – they really do publish most of the best books on UX and related themes. If you use the code POLAINE at checkout you not only get 25% of our book, but all Rosenfeld books. They have a European distribution centre, so ordering direct from the publisher is usually pretty fast and supports both publisher and authors better than using Amazon. But we won’t cry if you opt for Amazon’s convenience instead. Not much, at least.

Some slides, templates and book

Insights gathering

Brainstorming

Re-thinking organisations/structures/businesses

Service design & UX agencies/examples

Storyboarding & Experience Prototyping

Future Thinking

Switching hemispheres

Fjord

I have some big news to announce.

After six years teaching and researching service design at the Hochschule Luzern I will be leaving my post there at the end of August. It has been an informative and formative time for me.

Thanks to all my former students on whom I have inflicted my prototypes of how to teach service design. Also my colleagues who have put up with me complaining about our own, internal, services. They have all given me some great insights and experiences over the years.

The biggest part of my news is that my family and I will be returning to Sydney, Australia in early January 2016. My new position will be as a Service Design Director for Fjord’s Fjord’s Service Design Academy in their Sydney office. The Sydney office is headed up by Bronwyn van der MerweThe Service Design Director there.

As well as working under Fjord’s Group Director of Organizational Evolution, Shelley Evenson, helping to shape and teach service design and innovation within the group in Australia and globally, I’ll also involved in providing strategic input, mentoring and guidance on client engagements. I really couldn’t ask for a more suitable job description to match my skills.

Since Fjord was acquired by Accenture Interactive almost two years ago, it opens up the challenges of working in such a large organisation, but also the opportunities of working at an enterprise scale with a level of access to top tier clients that few design agencies get the chance to do. I have a healthy mix of excitement and anxiety about the whole move and new position, but I’m really looking forward to doing some great work with talented colleagues. Feel the fear and do it anyway, as they say.

Obviously the excitement is tinged with sadness about leaving behind family, friends, cats and our lovely apartment that we renovated only 18 months ago. But we are compensated by reigniting our old friendships in Sydney, great working challenges, lifestyle, yoga, food, weather and beaches. Oh, and a Prime Minister with the rhetorical flair of a ten year-old bully, but incompetent politicians seem to be par for the course everywhere at the moment.

The other noticeable change from when we used to live in Australia is that smartphones and social media happened. Despite the time and attention sucking negatives of these, I feel somuch more connected to friends and family back in the UK and around the world than in the pre-2006 Dark Ages that I sometimes forget I haven’t actually seen these people for some time.

HSLU will be looking for a person or people to replace me before September, so if you are interested in a mix of teaching and research in Service Design and, ideally, speak German and English, let me know. There will obviously be an official process, but we want to put the feelers out already.

See you on the sunny side of the planet.

(P.S. That is not Fjord’s actual logo in the photo above. I walked past it the other day at Europa Park. It must be a sign.)

The Apple Watch, skeuomorphism and metaphors

I had a Twitter exchange with John Gruber yesterday in response to his point about the Apple Watch and skeuomorphism:

I don’t think iOS or OS X needed to eschew skeuomorphic textures, but Apple Watch did.

Gruber was referring to Craig Hockenberry’s piece about the Apple Watch’s OLED display. In particular Hockenberry’s argument that the move to flatness was strategic:

I’ve always felt that the flattening of Apple’s user interface that began in iOS 7 was as much a strategic move as an aesthetic one. Our first reaction was to realize that an unadorned interface makes it easier to focus on content.

But with this new display technology, it’s clear that interfaces with fewer pixels have another advantage. A richly detailed button from iOS 6 would need more of that precious juice strapped to our wrists. Never underestimate the long-term benefits of simplification.

My response was that several of the Apple Watch faces are skeuomorphic, especially the Mickey Mouse one, to which Gruber replied “How so? I don’t see any 3D shadows or textures.”

You can read the back and forth that followed at your leisure, but the summary of the arguments is that I believe the dial faces are still screens pretending to be analogue/physical hands and dials (or Mickey Mouse watches) and thus skeuomorphic. Gruber doesn’t believe them to be inherently skeuomorphic.

Clock hands and dials exist because of the clock-making history of cogs, pendulums, springs and dials, the latter of which almost certainly took their form from sun dials. Digital versions of them are as skeuomorphic as fake digital knobs on screen-based software synthesisers.

Gruber argued that dials are not inherently skeuomorphic since

Analog clock design is useful on screen as any chart or graph. See the definition of ‘analog’

He also pointed out, quite rightly, that mechanical watches can have digital displays, such as the Groundhog Day clock and these (pretty ugly) examples of mechanical digital watches.

My point was not whether dial faces are useful or not. They clearly are, since many people are used to reading the time from dial faces and that’s how most of us learn about time as kids.

Dials are useful on digital displays because analogue—in the sense of continuous measurement instead of stepped, digital units—offer useful visual cues. Phrases like “a quarter of an hour” or “half-past nine” (or even the German version of “halb Zehn”, which means “half of ten,” a.k.a 9:30) are visual references to quantities in a circle. But it is exactly those references to previous technologies that makes dial faces on a screen skeuomorphic, in my view.

Most people don’t use a watch’s analogue nature that much, unless you’re timing something in seconds with a watch that has a sweep hand. In fact, analogue watch faces are not really continuous measuring devices in the strict definition of “analogue”, since the hands move in tiny steps as the ratchets click across the teeth of cogs. Also, you don’t usually stare at your watch for long periods time, but take glances at it, as Apple makes a point of telling us:

Since wristwatches were invented in the 19th century, people have been glancing at them to check the time. With Apple Watch, this simple, reflexive act allows you to learn so much more. We optimized your favorite apps for the wrist by developing Glances — scannable summaries of the information you seek out most frequently.

The OED lists two definitions of skeuomorphic:

  1. An ornament or ornamental design on an artefact resulting from the nature of the material used or the method of working it.

  2. An object or feature copying the design of a similar artefact in another material.

Wikipedia’s entry generally sides with the first definition, but the expanded example includes the second. Gruber’s original comment specifically says “textures,” which I have to admit I missed in my response. But the debate led me to think about many of the interesting ideas about interactivity contained within this term.

Skeuomorphism and metaphor are closely related and metaphor is an intrinsic part of interaction design. Arguably, skeuomorphs are just a visual subset of metaphor—plastic that looks like wood, screen-based calendars that look like paper and stitched leather—but sometimes the metaphorical relationships are more complex.

The Digital Crown of the Apple Watch interface is skeuomorphic in a broad sense too. Here I’m not arguing that the material metal of the Digital Crown is different from its forebears, but that “the nature of the material” includes what the interface controls. There are few technical reasons for the Digital Crown being the controlling interface. Apple could have used a non-moving touch sensor on the side, for example. It is a carefully thought-through aesthetic and interaction design decision. It makes sense to our perception and understanding—our mental models—of what a watch is. A crown is part of the watchness of a watch.

I would warrant that a tiny part of our brain has a mental model of the Digital Crown mechanically controlling the Apple Watch display, even though we consciously and intellectually know that is not the case. It’s the same reason we bang the side of our monitor when the computer isn’t working.

This a subtle interface magic trick that interaction designers pull off over and over again. We think we’re pinching and stretching a picture on a touchscreen, for example, but of course we’re wiping our fingers in a certain pattern across a pane of glass and not actually pinching anything.

Interestingly, there are few physical world equivalents of the pinch and spread actions that I can think of. The two obvious examples of this are what we do with our bodies and with dough—both things we learn to work with at the youngest of ages and probably why it feels so intuitive.

Metaphors tend to become ever more nested and complicated, especially in language, as Lakoff and Johnson argue in detail. Indeed, it is difficult to use language without using metaphors. That last sentence is full of them, for example. Metaphors and language are “tools” that can be “used.” In the next sentence, sentences are “vessels” that can be “filled.” (Once you start thinking this way, you’ll start to go mad trying to use language without them).

When interfaces go digital, albeit with some physical input devices, the boundaries start to collapse. In my PhD, I wrote about this conflation of the metaphorical and actual and used the example of files and folders:

This goes some way to explaining the issues of interface metaphors being half ‘real’ and half metaphorical and why Apple’s Exposé was able to break the desktop metaphor without it jarring. Because operating a computer is both physical and virtual the process gets blurred – at some point in the usage of a system that retains its metaphorical conventions fairly rigorously the ‘desktop’, with its ‘files’ and ‘folders’, ceases to be a metaphor for its users. It is as though the willing suspension of disbelief is not just suspended, but dispensed with. The desktop really is the desktop and our files really are our files and not just metaphorical representations – something that anyone who has experienced a hard drive crash and lost all their data will appreciate. (p. 53-54)

I used Apple’s Exposé back then as an example of what I called an “intentional metaphor.” Exposé breaks the desktop metaphor because I can’t actually make all my papers hover in the air while I choose the one I want and then have them snap back. But it does have a real-world equivalent in the form of spreading everything over a large table or on the floor to make sense of it. The extra magic part of Exposé—the “hovering in the air” part—is what I would really like to be able to do and I understand the metaphorical intention of it.

This is the way that I think Apple’s Digital Crown and also the Taptic Engine will also make sense to us. They connect into existing ideas of how we use and interact with things and people and extend them. Ex-Apple Human-Interface Inventor, Bret Victor, wrote a wonderful rant about this. I see this all as a form of interactive or intentional skeuomorphism and it will be interesting to see how this expands as designers and developers explore this new realm.

Stop researching and start doing

Austin Kleon with some sage advice for anyone considering writing a book. It’s all good, but this is especially true:

  1. Stop researching, start writing.

“There’s an awful temptation to just keep on researching,” says David McCollough. “There comes a point where you just have to stop, and start writing. When I began, I thought that the way one should work was to do all the research and then write the book. In time I began to understand that it’s when you start writing that you really find out what you don’t know and need to know.”

Students should take note of this. We lecture them, literally, about the need to research. We say it for good reason, because project ideas need some to be built on knowledge. But my experience is that students research and research and research and often don’t really know what to do with it and what to do next. So more research becomes a form of easily legitimised procrastination. Recognising when to just start designing is an important ability. You can always go back and research what you don’t know once you work out you actually find out what you do know.

And lest you think this is a problem that only writers and students have, plenty of large organisations fail to do anything without requiring more data. They’re often so drowning in data, requirements documents, processes, trying to nail everything down and avoid risk that they fail to come up with anything beyond what they already know.

Safety in games, from Shakespeare to Plato to Play Theory

Interesting piece from Jesper Juul on play with this note about Brian Sutton-Smith:

On two occasions I heard Brian Sutton-Smith claim that play provides a modicum of joy in our pain-filled lives. Although that wasn’t meant as a definition of play, it is interesting by reversing the order of events: we aren’t safe, and therefore we play. Rather, play is the animal deliberately pretending to be safe, while play lasts.

I find it fascinating and rather pleasing that such a universal and cross-species activity still defies definition.

Antirom 20th Anniversary Event

Antirom Splash

REWIND to 1995 – A collective of young Londoners launches Antirom, a CD-ROM of experimental interactive software, at Cameraworks gallery in Bethnal Green. The many brief, playful, funny ‘toys’ on the disc have quite an influence in interaction design circles.

FFWD to 2015 – Generations of computer hardware rush past leaving Antirom unplayable on any current device.

But now Antirom is coming back to the East End so you can have a go (again?). We’re having a party, and talking about interaction design hosted by Protein’s Studio 2 Gallery at EC2A 3EY.

There’s a panel discussion and demos on Friday 27th Feb and a party in the evening. Saturday 28th will see another panel discussion about the history of the interactive interface and a chance to drop-in and play with some of these early interactives on the original hardware.

I’m flying to London for a couple of days just to be there, so I would love to see you there.

Some of the events need a (free) RSVP so we can gauge numbers. You can find all the details on the antirom website.

Comcast Customer Receives Bill Addressed to ‘Super Bitch‘

In our book on service design and elsewhere, we often talk about how much people are at the heart of services.

Although branding folk like to speak of products having personalities, your car does not wake up with a hangover, and your iPhone does not hate its boss and act surly with its user all day.

Comcast’s employees insulting customers via address labels exactly illustrates the point. Whoever is in charge of customer experience at Comcast has a problem, but I bet it’s a problem created by management culture more broadly.

From hunch to research direction to design concept

The hand

The most common issue service design students face is project paralysis in the face of infinite possibilities and the synthesis of a mass of research material. Services are often complex and the interconnectedness of problems can soon appear too difficult to tackle. Taking the leap to tentatively develop an idea, and letting go of the need for it to be the best idea possible is often a real challenge, especially when the concept remains an abstract and complex.

I wrote a post over on Medium titled Getting From Here to There about moving from a hunch to research direction to concept. It looks at what the service design equivalent is of an architect’s rough sketches of a large project as opposed to the detail of a single touchpoint. It started as a mail to my service design students, but I thought others might find it useful in teaching, learning or practice too.

I’d love to hear your feedback in the margin comments on Medium.