TINK - sketching product experiences of connected objects

14 - TINK
Table 1.
Sketchy qualities,
Buxton, B. (2010).
Sketching User Experiences
1.1.2 sketchy qualities
Processing files are called sketches. The
metaphor doesn’t only refer to the fact
that the programming language is primarily
aimed at the development of visual
materials, it also describes other important
characteristic of it:
Table 1 presents a list of relevant attributes
characterizing conventional sketches as
analysed by Bill Buxton.
Processing embeds several of the
characteristics of the table:
Programming in Processing is in fact way
faster than using other programming
languages, this promotes the exploration
of several ideas.
By tweaking some variables in the code
different results can be achieved in the
visualization. This can lead to unexpected
errors that might inspire the designer in
exploring new paths.
The level of detailing of a processing sketch
can be defined by the programmer.
Processing sketches as they are programmed
quickly are often rebuilt from scratch as
soon as the ideas get more concrete along
the design process.
At this point Someone might argue that
processing is for me a great sketching tool
just because I have good programming
skills; while more insight about the relation
between tools and designer will be given
later in this chapter, I’d like to state that
even though a pencil might be considered
a great tool for sketching, some skills are
required in order to draw with it. For me in
Quick:
A sketch is quick to make, or at least gives the impression that that is so.
Timely
A sketch can be provided when needed.
inexpensive
Disposable
Plentiful
Clear vocabulary
A sketch is cheap. Cost must not inhibit the ability to explore a concept, especially early in the design process.
Sketches are disposable. If you can’t afford to throw it away when done, it is probably not a sketch. The investment with a sketch
is in the concept, not the execution.
Sketches tend to not exist in isolation. Their meaning or relevance is generally in the context of a collection or series, not as an
isolated rendering.
The style in which a sketch is rendered follows certain conventions that distinguish it from other types of renderings. The style,
or form, signals that it is a sketch. The way that lines extend through endpoints is an example of such a convention,or style.
Distinct gesture
Constrained resolution
Appropriate Degree of
Refinement:
Not tight. Open. Free.
Sketches are not rendered at a resolution higher than is required to capture their intended purpose or concept. Going beyond
“good enough” is a negative, not positive. (Which is why I take marks off student’s work if it is too good.)
The resolution or style of a sketch’s rendering should not suggest a degree of refinement of the concept depicted that exceeds the
actual state of development, or thinking, of that concept
Ambiguity:
Suggest & explore rather
than confirm
Sketches are intentionally ambiguous, and much of their value derives from their being able to be interpreted in different ways,
and new relationships seen within them, even by the person who drew them.
More on this later, but sketches don’t “tell,” they “suggest.” Their value lies not in the artefact of the sketch itself,
but its ability to provide a catalyst to the desired and appropriate behaviours, conversations, and interactions.