Graphics Reference
In-Depth Information
When an aspect of your design survives and is featured in the final product (and many
aspects will), then, like Stanislavski's method actor, you are controlling your audience's ac-
tions. But when you revise your design to fit the user's criteria, you allow your audience to
take control. Stanislavski's method recognizes the need for this too. He encourages actors
to use their imagination to identify the moments when each is appropriate.
As designers, we use these moments to surprise our users in ways that wash away their
fears. In the initial phases of imagining, we designers are on our own. Though the need
might come from the potential users of a product, the first perception of a solution is ours.
As you examine the problem and have your first inklings of how to solve it, you are your
own test user. Though you may picture others with the product, you are assigning their ac-
tions. You create their problems from your own knowledge, observation and experience.
Inevitably, your imagination is only as good as you want it to be. This is when you are in
complete control of the audience, but that's only because your only
real
audience is you.
Empathy carries you beyond that to the world of real people. As you extend your ima-
gination to others, you begin to ask questions. You carry the design from your interior
thoughts to the external world. Most designs have components that are already out there:
hardware items, like screens, speakers, keypads, and software basics, such as menus, but-
tons, icons, and all the rest. You should always take into account how prospective users
are already using these things. Their experience informs your design by showing you what
they're likely to do. Should the cord be shorter? Should the keypad be larger? Will seniors
be the biggest market? If so, are the visuals suited for those with aging eyes? Have you de-
signed audio with older, impaired ears in mind? Does it have a traditional appearance? Or
are you aiming for grade school kids? Do you want it to look as if it just arrived from the
future? Do the kids like a strong bass in the audio? Should there be two screens for visuals?
Is it for business people? Will they want video conferencing? Can they use this to display
their services in the most attractive way possible?
Users know what they want to do; the digital designer knows the inner workings of how
it might get done. This is where audience meets design. This is your chance to surprise
your audience, evoking joy and delight. Like the actor, you want to stand at that juncture
where character meets the crowd. There you can exercise control of the design's direction,
while reacting to audience cues. Your emulation of the actor continues as long as you pay
attention. As a designer, you are performing on the stage of commerce. As you internalize
the role, you hear the audience. Instead of laughing at jokes, crying at disasters, and hum-
ming the tunes, they are clicking on icons, reading dropdown menus, and reacting to audio
prompts. The play is the world we're all living in. The product is the part, and it's yours to
