doodling and sketching

The act of sketching is an integral part of the creative process at the early stages of concept development. Three aspects of sketching constitute salient and unique characteristics.

- First, intuitive externalisation – subconscious exploration of the problem space and dynamic idea generation.

- Second, ambiguity of components and their relationships – implying fluidity of the captured structure and inviting ongoing interpretation.

- Third, expression of an unfinished/rough state – a form still open to changes and likely to stimulate further exploration and one which clearly isn't indicative of the aesthetic intentions for the final design.

The first is by far the most critical aspect and one that is least understood. The physical aspect of sketching is often recognised as a bridge between the idea 'in the head' and its representation in the world. The process of informally expressing uncertain ideas appears to have an energising quality of experiencing the emergence of new insights and a dialogue with the resulting form.

I'll offer an analogy which may help to explain this phenomenon; Doodling on paper when one is waiting or bored, presents a comprehensible scenario. The activity begins without specific intentions and is predominantly a physical act, but in time it transforms towards an explicit refinement of the emerging features. The later intentions are motivated by subliminal exploration of the rough form which itself provokes or suggests possible interpretations.

An issue related to this analogy arises in context of a widely accepted hypothesis that conceptual sketching with computer tools takes on a different and an inferior work-flow pattern. For example, Vinod Goel of UC Berkeley studied designers generating ideas by sketching on paper or using a drawing program. He noted that the designers sketching freehand quickly followed the initial idea with several versions. However, those who used a drawing program tended to focus on refining the initial design, instead of generating additional variations.

Therefore, the question is; do we have any evidence that people doodle with their computer tools? I've never observed this to be true in my extensive experience with graphic and design professionals who are constantly exposed to an environment most suitable to facilitate behaviours like doodling. Perhaps my analogy confirms the hypothesis of the diminished productivity in computer based idea generation and innovative problem solving tasks.

effective tools for creative design

A well designed tool is in effect 'invisible' in its application. The user embodies the utility (physical or cognitive) and performs their task in synergy with the tool unaware of the actual artefact. A simple example may be a hammer, the user doesn't observe the constantly changing physical situation, but rather hammers away as if their arm naturally included the tool's utility. Subtle feedback of the actions performed with the tool is critical to support that state. In the ideal situation, a level of trust arises in the process, allowing for a degree of risk inherent in the operation to be readily overlooked. As a result, the intent of the high level task constitutes the only concern for the user.

In context of creative design, the only such tool remains to be a pencil/pen. Unlike routine production work (CAD, image manipulation, etc.), the tasks of generation, exploration and interpretation in design process are not well supported by computer based tools. Even the most basic and essential act of sketching, feels stilted and non-expressive using a computer. It seems that, a sense of ambiguity, avoided in the final product, is essential to the intuitive process of externalising and exploring early ideas. These pursuits appear to be severely compromised in the on-screen paradigm, irrespective of the additional capabilities on hand e.g. versioning, undoing or attribute editing capabilities.

A likely exception, in my experience, may be the creation of music. In its traditional form, it is focused on motor skills and dexterity directed at instrument interfaces and these can be readily integrated into a computer environment. However, even this proposition is debatable if we consider that the gestalt state of musical creation and performance appears to exist in the head and muscles on an intuitive level, quite apart from the creative problem solving paradigm. Rhythm and melody tend to adhere to various rules, similar to grammar in language and these have no equivalents in common sense reasoning or general intelligence which underscore creative design. Consequently, while the design processes and methodologies can be readily taught, creativity just like Artificial Intelligence encounters impassable boundaries. Common-sense knowledge continues to elude our attempts to formulate, let alone formalise, a general set of context-free rules beyond discrete specialised heuristics. Similarly, the creative or inventive endeavors remain an illusive challenge as far as tools are concerned.

the dilemma of UI design based on metaphors

Originally published in 1996 on my personal website at infomania.net and www.thepla.net/~piotr

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the problem

My first design of a user interface (UI) was the Sydney Water Control Database front-end implemented by Applied Control Systems in 1992. This demanding project confronted me with a significant dilemma, namely: Metaphor based user interfaces, like the Sydney Water’s database, promise an immediate advantage of defining the system’s functions, purpose and current state to the user through a graphic illustration of the process involved. This methodolgy may seem appropriate to a broad range of UI implementations, but isn't always the optimal solution.

The problem continues to constitute one of the most important decisions in UI design projects. In my experience, the metaphor solution is only viable for systems whose actions are substantially reinforced or literalily represented by the given metaphor. In many cases however, the user is destined to be burdened and fatigued by the superfluous visual information, especially in prolonged or recurrent practice. Additionally, the metaphor may not lend itself to accommodate all functions of the interface, a problem readily illustrated by the design of this website, see the logo and additional navigation elements it incorporates. (screen capture below)

A tabbed notepad metaphor website UI showing a detail from the Sydney Water Control Database front-end implemented as a symbolic metaphor representing the system structure.

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the approach

The challenge therefore, is to define orientation and navigation methods specific to the context and to employ an appropriate level of abstraction with high visibility of the interactive elements within it. A critical objective in the design process is to identify correct idioms and meaningful symbolism for visual and verbal representation of the system at hand.

Every aspect of the interface must be aimed at sign-posting and guiding the user towards meeting their goals with minimum effort. Meeting these criteria, in my opinion, is more integral to the success of the concept than the often debated ‘look and feel’ or aesthetic characteristics and gimmicks which only attract the attention of first time users.

(C) 1996 Piotr Kulaga aka Charlette Proto.

the medium shapes the message

This essay was originally published in 1997 on my personal website at infomania.net and www.thepla.net/~piotr

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more channels

Two dominant trends are currently shaping the ‘voice’ of our culture. On one hand, the previously clear market boundaries between computer software and service providers, media/entertainment industry and the telecommunication companies are constantly being eroded and on the other, the multiplicity of sources is escalating beyond expectations. While new technologies and media delivery routes are being introduced with varying degrees of acceptance we are witnessing an explosion in volume and diversity of source material produced.

When we examine the new ‘on-demand’ media delivery systems like the Internet, this argument takes on exaggerated proportions. Whether in pursuit of entertainment, personal interests or in research activities, Internet users establish millions of private channels in a combination of media environments at any given moment.

The logistics of the network-based media distribution platform allows information publishers and in particular those catering to marginal interest groups, to explore the opportunities for development of specific audience focused content. This as realised, further increases the choice, leading to growth in specialised services offered by mainstream publishing houses and stimulates the emergence of dedicated market-segment media providers.

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a new kid

In my opinion, the new entrants amongst content and technology providers will continue to gain a substantial share of the changing entertainment market at the expense of the established media and software houses. This will be inevitable during the impending transformation and re-positioning of the respective industries.

The majority of creative output from the mainstream media organisations is currently driven by budgetary constraints synonymous with the established high cost production and concept development methods. As a result, many publishers rely on proven ‘formula’ productions and repackaging of material whilst adding value or re-focusing for the projected audience. These restrictions more often than the creative talent have defined existing media/entertainment markets but they will not shape the less rigid network-based media operations.

Many problems will need to be overcome before the adaptation of existing programs for on-line access is at all possible. Obvious complications include copyright restrictions, royalty fees and moral rights arising from the specific contracts entered into for the production of the existing media material. More importantly, the very business structure and practices established in the media and publishing industry at large will hinder their initial ability to dominate the on-ramp marketplace.

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making copies

Excluding TV broadcasting and cinema, the majority of media and software publishers rely on mass manufacturing, printing/packaging processes and distribution of 'copied' material as core infrastructure components of their operations. This commercial model is contrary to the ideals of online business practice.

In the virtual environment, ‘copies’ are generated on-demand and essentially do not represent a major part in the overall structure of the revenue generating processes. Whilst online delivery requires substantial resources like network bandwidth and server capacity to meet the demand for product (synonymous with the process of handling retail copies), these can be efficiently tailored as necessary, in complete transparency to the user.

A system geared to respond to the on-demand characteristics of the network can achieve the highest levels of operating revenue optimisation. Needing only to satisfy the total volume of requests for new material, regardless of the product mix or success of any individual item, gives publishers and resellers the most cost-effective model for distribution.

Unfortunately, this scenario doesn’t easily translate to the traditional business practices and/or skill/employment structures established in the industry. The current workforce evolved around a warehouse of stock and a costly distribution chain and may soon be an obsolete link.

Additionally, the established pricing structures for software and entertainment titles reflect the inherent costs of manufacturing copies, packaging, distribution and the losses associated with unsold and returned stock, rather than the real cost of development and user support needed by the given product.

Due to the above factors, in the immediate future we should not expect the media or software ‘majors’ to deliver the revolutionary content, since they too are starting from scratch, if not constricted in their operations by the inherent infrastructure.

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online cowboys

Some of the recent technology blunders have now become legendary. It is important to keep in mind the Apple e-World and Microsoft Network episodes which help us realise the extent to which the computer industry underestimated the impact of the Internet on its future. Put aside Microsoft’s ability to survive a 180 degree turn in its Net policy to become a monopoly player on all levels and you will find that the thrust behind major success stories has been the very nature of the medium itself.

The 1990 legislation of the ‘High Performance Computing Act’ and the memorable address to the US Congress by the then Senator Al Gore ‘The Data Superhighway’, set plans for the development of fibre-optic computer networks and stimulated many technologically competent entrepreneurs to start up companies devoted to the new medium. In an unforeseen grab for credence and recognition, small and not so accomplished service providers, able to capitalise on the policy push for ‘information-age’ technology, all over the world penetrated the established ‘blue chip’ IT business elite. The amazing rise of Netscape Corp. and Yahoo! or the later examples of Sausage Software and Oz-Email in Australia set a dangerous precedent for exaggerated expectations on behalf of participating market observers. These in fact, remain the major credibility hurdle for the online industry at the end of the 1990’s.

The potential for commercial gain in the ‘virtual world’ is not obvious or by any means implicit. Outside of the US, where the desired security technologies are an exclusive implementation and home shopping has long been part of the culture, the majority of users shy away from commercial participation on public networks. At the same time a number of the international niche market operators are successfully attracting immense public attention and avalanches of financial market interest.

Most businesses pioneering sales on the Web however, have been unable to demonstrate profit in their operations and in some cases appear to manifest absolute focus on attaining market presence alone. The Internet indeed offers a perfect backbone for the virtual shop-front but in my opinion, the benefits of online commerce will never be realised by the likes of amazon.com and online CD retailers or their investors.

The full advantage of the network’s retail value and the efficiencies it promises can only be capitalised on by providing ‘soft’ product. The network offers a unique ability to conduct transactions and deliver on request any form of media which can be digitally encoded. This alters the operating criteria, especially for the software and entertainment publishers able to respond to the changing perspective.

However, this won't occur until products like the .MP3 audio files and .MPG video are accepted by the industry as viable formats for distribution and suitable commerce standards/regulations are enforced internationally. Only in this context will we see any viable inroads for the dominant media publishers being made on the network.

At present, predominantly the providers working outside of traditional market restrictions who specialise in services catering to the esoteric needs of the public, continue to explore new commerce opportunities and together with the participating audience, constitute a large part of the overall growth of the activity on the networks.

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net rules ok!

In this new global playing field, it is increasingly difficult to evaluate your supplier. Anything other than advertising or network presence may be out of reach. This creates an ideal climate for a budding industry in the service and associated technologies as well as content development and production areas.

A new marketing platform has emerged, setting its own standards. Online technical resources are fast replacing the traditional telephone and on-site product support that was once available from locally based suppliers. Practices like ‘download before you buy’ promise to improve efficiency by eliminating a substantial portion of misguided purchases where incompatible or inappropriate product would have been selected. Whilst providing substantial savings for the publisher, this regrettably also shifts the responsibility for competency into the hands of consumers.

This trend is readily evident in the software industry which increasingly chooses to provide a ‘pay per minute’ help-desk only for its product. The consumer, by definition may find this a cold reality yet all publishers will follow Microsoft in the practice of ‘pay as you use’ for support on product freely distributed. I'm not suggesting that anyone will go broke giving away software, possibly the opposite. We’ve known this argument since Henry Ford postulated: "I'll give everyone in the world a model T if they guarantee they will buy the spare parts from me" and while this was far from practical with Ford vehicles, it presents a new vision for software delivered at user’s expense.

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lonely rider

The very nature of hyper-media empowers the users to play a more active role as customers, both in the selection process and more importantly - the on-demand participation with access to services at all times. These include net broadcasts, hypermedia, newsgroups, feedback and real-time activities like Chat and IRC.

Online participants define their own extent and progress of interest, making the experience an almost exclusively ‘one-on’ environment. In a group situation, the inherent interactive characteristics of the hyper-media are lost, or in fact, present an immediately apparent hindrance, just like someone switching TV channels in spite of other participants. Any situation other than a demonstration or a training session, where the audience passively engages in a presentation, is bound to encounter these limitations.

Yet, this brings us to the very strength of the hypertext world where the audience and consumers are able to control the selection of source material with an unprecedented degree of opportunity to individually evaluate the product.

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me too

It is debatable whether there is any evidence for an unprecedented rise in creativity and expression throughout the communicating world, yet the data entering the global information systems, seems to be taking on explosive growth patterns.

Some of this deluge is merely the countless ‘me too’ responses to the attention the ‘new media’ has generated amongst the established public forums. These will diminish as the ‘lime-light’ of popular media moves on to the next attraction.

By far the majority of content on digital networks today is created and survives in an entirely new paradigm. The contributions keep coming, just because now they can. Like any space, if it is there, it will be filled guaranteed... and if it grows?

Virtual space has opened opportunities for many to publish their own data and explore the traditional boundaries of public access to information. Whilst the real value of material remains unrealised, it is this very phenomenon which dramatically accelerates the state of play in the IT industry and creates new consumer markets for technology eg. the search and indexing systems which are suddenly so prominent.

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garbage in – garbage out

The majority of data is simply accumulated to the maximum available capacity. Once it is committed to storage, data will usually survive for the life of the system and end-up on the scrap pile if it is not transferred to the next generation of computers.

However, at large information remains hidden behind the indexing regime, if indeed one is at all observed. There will never be enough time to clean-up the discs or evaluate the contents since this process is not as transparent as it is with conventional junk. For instance, old copies of documents don’t get scuffed corners and often display the date of the last system transfer or upload instead of the actual record.

Unlike anything in the material world, data can be produced with relatively negligible requirements of source material or energy. Even less effort or resources are required to make copies of existing data and additional versions. These will forever hog storage and indexing space of our computer systems, which hopefully will just cope with the bottom line expectations of the users.

(C) 1997 Piotr Kulaga aka Charlette Proto.