The following checklist identifies core principles and best practices to assist software designers and developers to produce software that stands out in the marketplace.

1. Concepts from the product’s subject domain (for example, systems management) should be central and apparent in the software design – The relationships among user interface objects in products should be accurate, so that users can rely on their previous experience in the domain when learning and using the software.
2. Keep it simple – Give easy access to the features that most users will need most of the time; features used less often or by only a subset of users are placed less prominently.
3. Optimise the design for the most frequent or important tasks – Understanding how users will use the software you are designing is critically important. Designers should use that understanding to anticipate the information, task flows, and features that users require at key points within the user experience.
4. Make the interface accessible and visible to users – Design your Web site or application so that users can view and easily access objects or information within the interface. Choices should be visible to users rather than hidden with cryptic key sequences. When objects and choices are immediately visible, users learn and complete work tasks efficiently.
5. Use proper default values when supporting complex tasks – Use good defaults so that users can complete tasks relatively easily and quickly rather overwhelming them with choices.
6. Be flexible – Let users customise the application to meet their unique needs. For example, specialised users could be given a way to make secondary choices more prominent in the product. Also, don’t limit users by artificially restricting their choices to a “correct” sequence. Flexibility is also enhanced by letting users select options in various sequences and in letting them modify default values.
7. Keep your users informed and in control by providing informative and timely feedback tailored to the current situation – For example, progress indicators let users know that their system is healthy and is carrying out their request. At a minimum, alert users when they take actions that will result in the loss of data. (Ideally, such choices would be disabled or even eliminated when they are inappropriate in a particular situation.) All the information included in the feedback should be meaningful to the average user.
8. Things that look the same should behave in the same way, and an action should always produce the same result – Avoid modes that change the effects of actions. Where modes are unavoidable, make them clear to the user and easy to change.
9. Provide the ability to undo and redo actions – Applications must provide users with the ability to freely explore applications (which includes the ability to make mistakes) without fearing permanent damage.
10. Make your application predictable by using industry standard user interface conventions wherever possible – For example, users should be able to use standard selection models and keyboard equivalents like Ctrl+C and Shift+→ (to copy the currently selected object and extend the current selection one unit to the right, respectively) everywhere they work with data. Use a common set of design patterns and guidelines so that users don’t have to relearn how to perform common tasks.
11. Always keep your target users in mind as the product is designed – Developing personas and identifying and defining the roles your users fulfil can help you understand how various roles will use your product. Designs based on typical workflows and the other software that users might use in conjunction with yours will delight users.
12. Avoid adding features just so they can be ticked off a list – Remember that every additional feature equals a set of choices added to what is likely already a wide array of choices. Too many choices can overwhelm users.
13. Design your user interface so that it can be localised for other geographies without redesigning the interface – For example, don’t crowd form controls too tightly so they can accommodate longer German translations.
14. Consider persons with disabilities when designing your applications – Many users of your product may have impaired vision or physical limitations that affect their ability to use a mouse or a joystick.
15. Design the application so that contextual help is available to users when they need it – Users should not have to refer to Help constantly to complete their tasks.
16. Bring objects to life through good visual design – The goal of visual design in the user interface is to surface to the user in a cohesive manner all aspects of the design principles. Visual design should support the user model and communicate the function of that model without ambiguities. Visual design should not be the “icing on the cake” but rather an integral part of the design process. The final result should be an intuitive and familiar representation that is second nature to users.
17. Create user interfaces that promote clarity and visual simplicity – The following visual design principles help create that effect:
    • Subtractive design – Reduce clutter by eliminating any visual element that doesn’t contribute directly to visual communication.
    • Visual hierarchy – Understand the importance of users’ tasks and establish a visual hierarchy of these tasks. An important object can be given visual prominence. Relative position and contrast in colour and size can be used to convey task importance.
    • Affordance – When users can easily determine the action that should be taken with an object, that object displays good affordance. Objects with good affordance usually mimic actual objects.
    • Visual scheme – Design a visual scheme that maps to the user model and lets the user customise the interface. Do not eliminate extra space in your image just to save space. Use white space to provide visual “breathing room.”

Products designed with appreciation for these natural principles will tend to be better received and more easily utilised by the general public. But what are some of these elements, laws and principles? Below is a list of 11 to whet your appetite.

Occam’s Razor

Occam’s razor (also spelled Ockham’s razor) states that the explanation of any phenomenon should make as few assumptions as possible. The principle is often expressed in Latin as the lex parsimoniae (law of succinctness): all things being equal, the simplest solution tends to be the best one. One consequence of this methodology is the idea that the simplest or most obvious explanation of several competing ones is the one that should be preferred until it is proven wrong.

But how does this relate to design? 37Signals’ book Getting Real provides a good overview: deliver just what customers need and eliminate anything they don’t. Start with the interface, the real screens that people are going to use. Begin with what the customer actually experiences and builds backwards from there. This lets you get the interface right before you get the software wrong. It’s about keeping things simple, iterating the design and lowering the cost of change; it is about launching, tweaking and constantly improving.

Hick’s Law

Hick’s Law, or the Hick–Hyman Law, describes the time it takes for a person to make a decision as a result of the possible choices he or she has. The Hick’s Law assesses cognitive information capacity in choice reaction experiments. The amount of time taken to process a certain amount of bits in the Hick’s Law is known as the rate of gain of information.

Hick’s Law can be expressed with the following equation:

This law has implications in areas such as website navigation and getting people to take action. Since the time it takes to make a decision increases as the number of alternatives increases, the more options you offer, the less likely any one of those options will be taken.

Hick’s Law can be visualised with the following image:

The conclusion from Hick’s law is to provide less options or present only those options that are necessary or required to complete the given task. Instead of a long list of menu options, think about how you can group them into as few high level choices as possible. Present those few options in common places like navigation and only present more options as someone digs deeper into one level of categorisation. 6 – 8 main navigational links is a general guide.

Fitts’ Law

Fitts’ Law is a model of human movement in human–computer interaction and ergonomics, which states that the speed and accuracy with which a user can select an on-screen object depends on the size of the object and how far the user has to move the pointer. Fitts’ Law is used to model the act of pointing, either by physically touching an object with a hand or finger, or virtually, by pointing to an object on a computer monitor using a pointing device.

Fitts’ Law can be visualised with the following image:

Fitts’ Law is expressed with the following equation:

Where: T = Time, a = start/stop time, b = speed of device, D = distance, and W = width of target, or allowable error of tolerance.

Fitts’ Law has implications for designers: features that require user interaction (e.g., links and buttons) should be as large as practically possible given display constraints and that frequently used features should be grouped near one another to minimise the distance that the user has to move the cursor to activate them.

Gestalt

Gestalt psychology is a theory of mind and brain positing that the operational principle of the brain is holistic, parallel, and analogue, with self-organising tendencies.

The Gestalt effect is the form-generating capability of our senses, particularly with respect to the visual recognition of figures and whole forms instead of just a collection of simple lines and curves.

The key principles of Gestalt systems are emergence, reification, multi-stability and invariance.

• Emergence – the process of complex pattern formation from simpler rules.
• Reification – the constructive or generative aspect of perception, by which the experienced percept contains more explicit spatial information than the sensory stimulus on which it is based.
• Multi-stability – the tendency of ambiguous perceptual experiences to pop back and forth unstably between two or more alternative interpretations.
• Invariance – the property of perception whereby simple geometrical objects are recognised independent of rotation, translation, and scale; as well as several other variations such as elastic deformations, different lighting, and different component features.

Prägnanz

Prägnanz is the fundamental principle of perceptual segregation proposed by Gestalt psychologists. It states that during visual perception, the best, simplest and most stable shape of any possibilities will be perceived.

Prägnanz is defined by six laws:

1. Law of Closure – the mind may experience elements it does not perceive through sensation, in order to complete a regular figure (that is, to increase regularity).
2. Law of Similarity – the mind groups similar elements into collective entities or totalities. These similarities may depend upon relationships of form, colour, size or brightness.
3. Law of Proximity – spatial or temporal grouping of elements may induce the mind to perceive a collective or totality.
4. Law of Symmetry (figure ground relationships) – symmetrical images are perceived collectively, even in spite of distance.
5. Law of Continuity – the mind continues visual, auditory and kinetic patterns.
6. Law of Common Fate – elements with the same moving direction are perceived as a collective or unit.

These laws can and should be used in user interface design. The laws of similarity and proximity can, for example, be used as guides for placing radio buttons.

Miller’s Law

Miller’s Law is based upon theories of communication. The law instructs us to suspend judgment about what someone is saying so we can first understand them without imbuing their message with our own personal interpretations.

The Magical Number 7, Plus or Minus Two

This law, also known as Miller’s Law, argues that the number of objects, or chunks, an average human can hold in working memory is 7±2. Later research on short-term memory and working memory revealed that memory span is not a constant even when measured in terms of a number of chunks. The number of chunks a human can recall immediately after presentation depends on the category of chunks used (e.g., memory span is around seven for digits, around six for letters, and around five for words), and even on features of the chunks within a category. For instance, memory span is lower for long words than it is for short words. In general, memory span for verbal contents (digits, letters, words, etc.) strongly depends on the time it takes to speak the contents aloud.

Fibonacci Sequence

The Fibonacci Sequence is a list of numbers is created by repeatedly adding the sums of the last two digits. It begins with 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144 and so on. What is fascinating is that this sequence appears repeatedly in nature, in tree branches, leaves on stems, in a wide variety of plants and the reproduction pattern of honeybees.

The Fibonacci sequence can be described as the function:

This is not the easiest function to punch out on your calculator but the concept is simple enough. You can easily determine the next or previous number in the sequence with a little old fashioned glance at the Fibonacci string.

The Fibonacci Sequence is often visualised in design with the following diagram:

The Fibonacci Sequence is closely related to the Golden Ratio.

Golden Ratio

The Golden Ratio is a term used in both mathematics and art. Two quantities are said to be in the golden ratio if the ratio of the sum of the quantities to the larger quantity is equal to the ratio of the larger quantity to the smaller one. The golden ratio is an irrational mathematical constant, approximately 1.6180339887. Other names frequently used for the golden ratio are the golden section and the golden mean.

The following figure can be used to express the geometric relationship that defines the constant:

But for those of you who are mathematically inclined, this is the ratio expressed algebraically:

The Golden Ratio describes the most aesthetically pleasing proportionate shapes and designs. A Fibonacci spiral, created by drawing circular arcs connecting the opposite corners of squares in the Fibonacci tiling (this one uses squares of sizes 1, 1, 2, 3, 5, 8, 13, 21, and 34), can be used to plan your design.

As a designer, you can use this ratio to place the elements on your pages to create mini golden ratio rectangles, which will be pleasing to the eye. It can be used for captions, text flowing beside images, advertising space and navigation buttons and menus. It is worth bearing this ratio in mind when creating rectangles for your pages.

You can read more about the Golden Ratio on the Smashing Magazine website.

Rule of Thirds

The Rule of Thirds is a compositional rule of thumb in visual arts such as painting, photography and design. The rule states that an image should be imagined as divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or the four intersections. Proponents of the technique claim that aligning a subject with these points creates more tension, energy and interest in the composition than simply centering the subject would.

In most cases it is neither possible nor useful to use all four points to highlight the most important functions or navigation options in a design. However, you can use some of them (usually one or two) to properly place the most important message or functionality of the site. The left upper corner is usually the strongest one, since users scan web-sites according to the F-shape.

You can read more about the Rule of Thirds on the Smashing Magazine website.

Pareto Principle

The Pareto Principle, also known as the “80-20 rule” and the “Law of the Vital Few”, states that, for many events, roughly 80% of the effects come from 20% of the causes.

Use the 80-20 rule to focus your resources in order to realise greater results. Identify what 20 percent of a products features are used 80 percent of the time and concentrate design and testing efforts on those resources. Or identify what critical 20 percent of a product’s features are responsible for 80 percent of the revenue and concentrate on that.

The 80-20 rule can help you decide what to redesign, what parts of a product or your time to downplay, what to throw away, or where to invest your scarce resources. It can help you resist efforts to correct and optimize designs beyond the critical 20 percent as more would yield diminishing returns.

Have you have discovered other guidelines that can be incorporated into your successful design strategy? If so, please feel free to post a comment.

Just as a composer follows a set of harmonic principles when he writes music, the system designer must follow some set of principles when he designs the sequence of give and take between man and machine. Hansen’s (1972) principles — called user engineering principles — where employed while designing the Emily text editing system.

1. First principle: Know the user – The system designer should try to build a profile of the intended user: their education, experience, interests, how much time they have, their manual dexterity, the special requirements of their problem, their reaction to the behaviour of the system, their patience.
2. Minimise memorisation — Because a user forgets, the system must augment their memory.
   • Selection not entry
   • Names not numbers
   • Predictable behaviour
   • Access to system information
3. Optimise operations — This stresses the physical appearance of the system — the modes and speeds of interaction and the sequence of user actions needed to invoke specific facilities. The guiding principle is that the system should be as unobtrusive as possible, a tool that is wielded almost without conscious effort. The user should be encouraged to think not in terms of the fight pen and keyboard, but in terms of how he wants to change the displayed information.
   • Rapid execution of common operations
   • Display inertia
   • Muscle memory
   • Reorganise command parameters
4. Engineer for errors — Modern computers can perform billions of operations without errors. Knowing this, system designers tend to forget that neither users nor system implementers achieve perfection. The system design must protect the user from both the system and themselves.
   • Good error messages
   • Engineer out the common errors
   • Reversible actions
   • Redundancy
   • Data structure integrity

Further reading:

• Hansen, W. J. (1971). User Engineering Principles for Interactive Systems. Proceeding AFIPS ’71 (Fall). Proceedings of the November 16-18, 1971, Joint Computer Conference, 523-532. New York, NY, USA: ACM Press. doi: 10.1145/1479064.1479159.

1. Strive for consistency — Consistent sequences of actions should be required in similar situations; identical terminology should be used in prompts, menus, and help screens; and consistent commands should be employed throughout.
2. Enable frequent users to use shortcuts — As the frequency of use increases, so do the user’s desires to reduce the number of interactions and to increase the pace of interaction. Abbreviations, function keys, hidden commands, and macro facilities are very helpful to an expert user.
3. Offer informative feedback — For every operator action, there should be some system feedback. For frequent and minor actions, the response can be modest, while for infrequent and major actions, the response should be more substantial.
4. Design dialog to yield closure — Sequences of actions should be organized into groups with a beginning, middle, and end. The informative feedback at the completion of a group of actions gives the operators the satisfaction of accomplishment, a sense of relief, the signal to drop contingency plans and options from their minds, and an indication that the way is clear to prepare for the next group of actions.
5. Offer simple error handling — As much as possible, design the system so the user cannot make a serious error. If an error is made, the system should be able to detect the error and offer simple, comprehensible mechanisms for handling the error.
6. Permit easy reversal of actions — This feature relieves anxiety, since the user knows that errors can be undone; it thus encourages exploration of unfamiliar options. The units of reversibility may be a single action, a data entry, or a complete group of actions.
7. Support internal locus of control — Experienced operators strongly desire the sense that they are in charge of the system and that the system responds to their actions. Design the system to make users the initiators of actions rather than the responders.
8. Reduce short-term memory load — The limitation of human information processing in short-term memory requires that displays be kept simple, multiple page displays be consolidated, window-motion frequency be reduced, and sufficient training time be allotted for codes, mnemonics, and sequences of actions.

Further reading:

• Designing the User Interface: Strategies for Effective Human-Computer Interaction

Details of the current seminar series can be found on Stanford HCI website, whilst the 2009 seminar series can be found on iTunes U. The topics of which are listed below:

Winter 2009

1. Pario: The Next Step Beyond Audio and Video
2. Sculpting Behaviour: Developing a Tangible Lnguage for Hands-on Play and Learning
3. Tap is the New Click
4. Social Annotation, Contextual Collaboration and Online Transparency
5. Enlightened Trial and Error – Gaining design Insight Through Prototyping Tools
6. Computer Graphics as a Telecommunication Medium
7. Not Invented Here: Online Mapping Revealed

Spring 2009

1. Firefox, Mozilla & Open Source: Software Design at Scale
2. Social Enterprise Software Design
3. The Interaction Design of APIs
4. Far Away Up Close
5. What Still Matters About Distance?
6. How We Use Data to Win the Presidential Election
7. Social Immersive Media
8. Launching Creative Communities: Lessons From the Spore Community
9. Designing Online Communities from Theory

Autumn/Fall 2009

1. Crowdsourcing Work
2. Backtracking Events as Indicators of Software Usability Problems
3. Programming by Sketching
4. Aesthetic Science of Colour: WAVEs of Colour, Culture, Music and Emotion

Previous talks are also available on iTunes U — with the notable speakers Bill Moggridge, Bill Buxton and Donald Norman featuring — or on YouTube: 2006-07, 2007-08, 2008-09

The following are free-to-read books on user experience, available online:

Human Computer Interaction

• Mental Models in Human-Computer Interaction: Research Issues About What the User of Software Knows by John M. Carroll and Judith Reitman Olson
• HCI Models, Theories and Frameworks: Toward a Multi-disciplinary Science by John M. Carroll

User Experience / Interaction Design

• Search User Interfaces by Marti A. Hearst
• Designing Interfaces – Patterns for Effective Interaction Design by Jenifer Tidwell
• Thoughts on Interaction Design by Jon Kolko. with contributions from Ellen Beldner, Uday Gajendar, Chris Connors and Justin Petro
• The Fable of the User-Centered Designer by David Travis

Web Accessibility

• Just Ask: Integrating Accessibility Throughout Design by Shawn Henry
• Building Accessible Websites by Joe Clarke
• Dive Into Accessibility: 30 Days to a More Accessible Website by Mark Pilgrim

If there are any more you think need or can be added to the list, please leave a comment.

1. Visibility of system status — The system should always keep users informed about what is going on, through appropriate feedback within reasonable time.
2. Match between system and the real world — The system should speak the users’ language, with words, phrases and concepts familiar to the user, rather than system-oriented terms. Follow real-world conventions, making information appear in a natural and logical order.
3. User control and freedom — Users often choose system functions by mistake and will need a clearly marked emergency exit to leave the unwanted state without having to go through an extended dialogue. Support undo and redo.
4. Consistency and standards — Users should not have to wonder whether different words, situations, or actions mean the same thing. Follow platform conventions.
5. Error prevention — Even better than good error messages is a careful design which prevents a problem from occurring in the first place. Either eliminate error-prone conditions or check for them and present users with a confirmation option before they commit to the action.
6. Recognition rather than recall — Minimise the user’s memory load by making objects, actions, and options visible. The user should not have to remember information from one part of the dialogue to another. Instructions for use of the system should be visible or easily retrievable whenever appropriate.
7. Flexibility and efficiency of use — Accelerators — unseen by the novice user — may often speed up the interaction for the expert user such that the system can cater to both inexperienced and experienced users. Allow users to tailor frequent actions.
8. Aesthetic and minimalist design — Dialogues should not contain information which is irrelevant or rarely needed. Every extra unit of information in a dialogue competes with the relevant units of information and diminishes their relative visibility.
9. Help users recognise, diagnose, and recover from errors — Error messages should be expressed in plain language (no codes), precisely indicate the problem, and constructively suggest a solution.
10. Help and documentation — Even though it is better if the system can be used without documentation, it may be necessary to provide help and documentation. Any such information should be easy to search, focused on the user’s task, list concrete steps to be carried out, and not be too large.

References

• http://www.useit.com/papers/heuristic/heuristic_list.html
• Nielsen, J. (1994b). Heuristic evaluation. In Nielsen, J., and Mack, R.L. (Eds.), Usability Inspection Methods, John Wiley & Sons, New York, NY.

The list is still as relevant today as it was back in 1997.

1. Know thy user, and YOU are not thy user.
2. Things that look the same should act the same.
3. Everyone makes mistakes, so every mistake should be fixable.
4. The information for the decision needs to be there when the decision is needed.
5. Error messages should actually mean something to the user, and tell the user how to fix the problem.
6. Every action should have a reaction.
7. Don’t overload the user’s buffers.
8. Consistency, consistency, consistency.
9. Minimize the need for a mighty memory.
10. Keep it simple.
11. The more you do something, the easier it should be to do.
12. The user should always know what is happening.
13. The user should control the system. The system shouldn’t control the user. The user is the boss, and the system should show it.
14. The idea is to empower the user, not speed up the system.
15. Eliminate unnecessary decisions, and illuminate the rest.
16. If I made an error, let me know about it before I get into REAL trouble.
17. The best journey is the one with the fewest steps. Shorten the distance between the user and their goal.
18. The user should be able to do what the user wants to do.
19. Things that look different should act different.
20. You should always know how to find out what to do next.
21. Don’t let people accidentally shoot themselves.
22. Even experts are novices at some point. Provide help.
23. Design for regular people and the real world.
24. Keep it neat. Keep it organized.
25. Provide a way to bail out and start over.
26. The fault is not in thyself, but in thy system.
27. If it is not needed, it’s not needed.
28. Color is information.
29. Everything in its place, and a place for everything.
30. The user should be in a good mood when done.
31. If I made an error, at least let me finish my thought before I have to fix it.
32. Cute is not a good adjective for systems.
33. Let people shape the system to themselves, and paint it with their own personality.
34. To know the system is to love it.

References

1. Lund, A. M. (1997). Expert ratings of usability maxims. Ergonomics in Design, 5(3), 15-20. A study of the heuristics design experts consider important for good design.

Norman’s approach is based on classical ABC model of attitudes. However, Norman changed the concept to be suitable for application in design. The three dimensions have new names (visceral, behavioural and reflective level) and partially new content. In the book, Norman shows that design of most objects are perceived on all three levels (dimensions). Therefore a good design should address all three levels.

• The Visceral level is obtained through intuition rather than from reasoning or observation. This level is influenced significantly by appearance, texture and sound of objects.
• The Behavioural level refers to the actions or reactions of a person, usually in relation to the environment, to an object or person. Behaviour can be conscious or unconscious, overt or covert and voluntary or involuntary. This level is about functionality and is influenced by pleasure and effectiveness of use (accessibility and usability).
• The Reflective level refers to the capability of quiet thought or contemplation. This level is influenced strongly by self-image, satisfaction, memory and the meaning of things. This level becomes more important as products mature.

Norman postulates that these three dimensions are interwoven through any successful design and that it is not possible to have design without all three.

The three dimensions interweave both emotions and cognition. Emotion is a necessary part of life, affecting how you feel, how you behave and you think. Without emotions, Norman suggests any decision making would be impaired. Emotion passes judgement and gives continual feedback allowing you to make valuable decisions and is therefore key in any approach to successful design.

A user persona is a representation of the goals and behaviour of a real group of users. In most cases, personas are synthesised from data collected from interviews with users. They are captured in 1–2 page descriptions that include behaviour patterns, goals, skills, attitudes, and environment, with a few fictional personal details to make the persona a realistic character. For each product, more than one persona is usually created, but one persona should always be the primary focus for the design.

The use of personas as a technique was popularised by Alan Cooper in his 1999 book The Inmates are Running the Asylum. The book outlines the general characteristics, uses, and best practices for creating personas.

So, how do you actually go about creating a persona or a set of personas for your project? The following is based upon work carried out by Dr. Lene Nielsen in her 2004 thesis and published in HCI Vistas.

Finding the Users

The initial step is to get hold of as much knowledge of the users as possible.

Questions asked:

• Who are the users?
• How many are they?
• What do they do within the system?

Methods used:

• Contextual interviews
• Online surveys
• Observations
• Second-hand information
• Reports (e.g. from marketing)
• Cultural probes

Documents produced:

• Reports

Building an Hypothesis

Working with personas really means focusing on users in a certain context, which originates from the project that is being researched. Often companies have a certain way of talking about their users, or should we say customers, which does not take into account the different context in which the users use a website or a system.

Questions asked:

• What are the differences between the users?

Methods used:

• Looking at the material
• Labelling groups of people

Documents produced:

• A draft description of the target groups

Verifications

The focus here is on finding data that supports the initial patterns and at the same time supports the personas descriptions and the scenario writing.

Questions asked:

• Data for personas — What are the likes/dislikes, needs and values?
• Data for situations — What are the areas of work and work conditions?
• Data for scenarios — What are the work strategies and goals. What are the information strategies and goals?

Methods used:

• Quantitative data collection

Documents produced:

• Reports

Finding Patterns

Questions asked:

• Does the initial labelling hold true?
• Are there other groups to consider?
• Are all equally important?

Methods used:

• Categorisation
• Task analysis

Documents produced:

• Descriptions of categories

Constructing Personas

A crucial step is what to include in a persona’s description and how to avoid creating stereotypes if at all possible. The purpose of a persona is not to describe users as such, but to create solutions that use the needs of the persona as a starting point.

Questions asked:

• What are their basic attributes — name, age, gender?
• What is their psyche — introvert/extrovert?
• What is their background — occupation and interests?
• What are their emotions and attitude towards technology, the company or the information needed?
• What are their personal traits?

Methods used:

• Categorisation

Documents produced:

• Descriptions of categories

Defining Situations

The real purpose of the personas is to create scenarios from the descriptions. Each need or situation is the beginning for a scenario.

Questions asked:

• What is the need of this persona?
• What is the situation?

Methods used:

• Looking for situations and needs in the data

Documents produced:

• Catalogue of needs and situations

Validation and Buy-in

Personas are often viewed as a means for communicating users (read: customers) to developers and stakeholders, but it is as much about a process that ensures a user-centered development.

Questions asked:

• Do you know someone like this?

Methods used:

• People who know (of) the persona read and comment on the persona descriptions

Dissemination of Knowledge

Not only do personas need to be distributed to everybody on the project, but also the data behind the personas and how and for what you are to use the personas. Many projects forget to inform and teach developers and designers on how to use the personas, how to think in scenarios or how to use them in the use-cases.

Questions asked:

• How can we share the personas with the organisation?

Methods used:

• Posters
• Meetings
• Emails
• Events

Creating Scenarios

A scenario is like a story, it has a main character (the persona) a setting (somewhere the action takes place), it has a goal (what the persona wants to achieve), it has actions that lead to the goal (interactions with the system/website/device), and last but not least, it has obstacles that block the way to the goal. Scenarios should be both positive and negative.

Questions asked:

• In a given situation, with a given goal, what happens when the persona uses the technology?

Methods used:

• The narrative scenario, using personas, descriptions and situations to form scenarios

Documents produced:

• Sceanrios
• Use Cases
• Requirement Specifications

On-going Development

Finally, always update information on the personas, afterall you may find some interesting scenarios that weren’t originally considered, or new situations in which the system/website/device is used. Indeed you may discover new personas!

Questions asked:

• Does new information alter the personas?

Methods used:

• Usability tests
• Focus groups
• Surveys (online)