PREVIOUSLY IN INTERACTION 18

After having got started with Adobe Xd software, have seen the great Alan Cooper (but without offering her flowers) and having been able to attend the Presentation by Cheryl Platz, it's time for us to follow Quentin through his last afternoon at Interaction 18, the continuation and end of these two days in Lyon.

WAFFLE & WIREFRAMES

Remember the place where I left you a few days ago, I finished the inspiring keynotes of Alan Cooper and Cheryl PLatz and left for a break in the heights of La Sucrière. Apart from the usual stands of the big names in the sector: Amazon, Google, Facebook, Microsoft or the smallest solutions of the moment, the most interesting stand turned out to be that of… Adobe Xd with their Waffle & Wireframe! So that's where I came to relax for a good part of the afternoon 🙂

Enough waffles, here is the program:

#1 TV is dead, long live TV — crafting compelling living room experiences, Molly Lafferty
#2 The creative possibilities in design for social media conversations, Nina Lysbakken
#3 Animation in UX — The subconscious influence of motion
+ BONUS

#1 TV is dead, long live TV, crafting compelling living room experiences, Molly Lafferty

[Vimeo 254652532 w = h = 640 360] Molly Lafferty – TV is dead, long live TV! Crafting compelling living room experiences from Interaction Design Association on Vimeo.
Honestly, TV is something I don't watch or watch very little. It happens to me to relax but I don't last long, between the pubs and the fact of not being able to really choose what I want to watch: I gave up.
Video games, Netflix or even Molotov TV have changed the relationship I had with this screen, and I found Molly Lafferty's presentation very interesting. With all the same a small flat, it lacked very concrete examples.

TAKE AWAY

Just another big screen?

Invest on ethnographic research

The living room is a fixed and personal space and the question of the physical space around the TV in it is extremely interesting. Depending on the country, culture and available space, the answer will be quite different. For example, the Microsoft Kinect sensor was designed in the United States, where the average size of the living room is relatively large since the houses are just as large.
The Kinect requires enough space around the TV to be able to fully interact without knocking over a vase or almost breaking your shins on the coffee table. Paradoxically, a console that also uses gestures like Nintendo's Wii can be played sitting on the couch while consuming a limited space, the person who just has to move their wrists (see their arms).
The latter was designed in Japan, where apartments (rarely individual houses) are considerably smaller than in the United States. Exporting the Kinect was therefore relatively difficult outside of North America. Molly Lafferty's first point clearly emphasizes these cultural differences, and she recommends that we invest in studies to fully understand the international context before embarking on the search for a solution.

The paradox of the living room: a fixed space but whose flow is constantly changing

Design for TV as a touchpoint

Here, the point was more to emphasize the importance of designing multi-media experiences. TV is one to take into account within a more global experience. I therefore invite you to read the excellent book by Michael Levin on the subject : Multi-Device Experience Design.
The author refers to the 3 “C”, Consistent, Complementary, and Continuous approaches (or coherence, continuity and complementarity) to be respected in order to offer a rich and coherent experience.

Challenge existing conventions

The last point that I retain is therefore this: try to think beyond our comfort zone and find experiential levers different from those that we are used to using. Molly Lafferty takes here the example of Netflix and its home page, or how inspire users to watch content by speaking directly to their emotions.
Netflix has spent time studying what was the most clicked image for a specific content and it is not necessarily the original cover of a movie or a series but a different image according to profiles or cultures. There is a difference between “personal” customization and “process” customization.
It is different to offer a selection of films according to a profile than to personalize specific content to speak to a person's emotion.

#2 The creative possibilities in design for social media, Nina Lysbakken

[Vimeo 254669877 w = h = 640 360] Nina Lysbakken – The creative possibilities in design for social media conversations from Interaction Design Association on Vimeo.

TAKE AWAY

The design of the space depends closely on the nature of the conversation and the dialogue that one wishes to establish there.

In other words, thinking about our dialogue and interaction spaces amounts to focusing on the objective that we want to give to the conversation.
I invite you to discover his work here though she points out that it's still "under construction."

#3 Animation in UX — The subconscious influence of motion, Katie Swindler

[Vimeo 255578630 w = h = 640 360] Katie Swindler – Animation in UX — The subconscious influence of motion from Interaction Design Association on Vimeo.
I strongly recommend that you take the time to watch the video, full of very visual and… animated examples of course! Nothing particularly new here, but it always seems important to me to remember that motion, interactions and transitions are as important as the interface itself. They can unconsciously trigger strong feelings of sympathy or adoption.

TAKE AWAY

The animation in UX can be used for:
#1 Make clear connections (Clear connections)
#2 Organize information (less clutter)
#3 Manage the perception of speed, or loading (Perception of speed)
#4 Participate in story telling by creating narration (Creating a Narrative)
#5 Give feedback, clearly state progress and celebrate successes (Celebrate progress)

Brand IS a decision making tool, Vin Reed, brand strategist

For a brand, a solution or a product, it is important that the animations “embody” the personality that you want to convey. Katie Swindler invites us to do the exercise of describing our brand, our box or our product through 3 to 5 adjectives defining what we are but also what we are not.
We must then personify our animations to give them a “human” side:

• Fluidify
• Observing a moment of recognition (as a human would take time to digest information following an action or interaction)
• Respect our imperfections and our rhythm.

IN BONUS

I strongly invite you, when you have time, to listen or watch:

• Art game – Early interactive design at the office of Charles and Ray Eames by Jim Hoekema

How did the Eames couple's firm already think of an art painting recognition game (much like Google can do today with its Art Project) thanks to interaction design?

• Talking with machines? — Voice UI and conversation design by Stuart Reeves

A little visibility on the progress of voice interfaces and the issues that this raises. Even if it is the trend of tomorrow, there is still a long way to go…
For me, interaction 18 is over, I'm going to take the train again (trying not to miss it this time !) but I leave inspired for the rest. I would have liked to do the 4 days of this well-organized show with high-quality speakers, but that will be for next time. All videos are now available, Do not hesitate to go take a look.
But above all, if one day you have the opportunity to meet Alan Cooper yourself, don't forget the flowers and tell him it's from me!
Quentin Bouissou, Marketing Manager & UX Coach @UX Republic

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