Saturday, 12 July 2008
Tuesday, 8 July 2008
Usability Test - Computer Screen Based
Date: 2nd July 2008
Participants:
Babu Rahman: Aged 17
Shyan Rahman: Aged 32
Ahbida Rahman: Aged 49
Janjeb Rahman: Aged 55
Technique:
After setting the scene to the subjects (you walk onto a train platform and you see this image on the other side of the wall), I tell them to do whatever they naturally do on entering a train station.
Babu: Understands the concept quickly and plays the game, moving his arms appropriately
Shyan: Goes for the mouse immediately and realises it's not mouse-based. This is mainly because of the fact it is being tested on a computer.
Ahbida: Ahbida, who is not technologically savvy at all, understands very fast, since the game reacted with her as soon as she walked by. Seeing herself reflected, she started bashing the balls with vigour.
Janjeb: Was fascinated, and is a football fan, so he bumped the balls on the top of his head, expecting them to be bouncey footballs.
Reaction:
Single User: The users had fun, popping the balls, they were a little more reserved alone.
Multiuser: The technology worked fine, the users enjoyed playing with each other, laughing and being far more relaxed, hitting each other's balls and being sociable.
Quotes: "It's addictive!" by Dieter De Deuschaever
Participants:
Babu Rahman: Aged 17
Shyan Rahman: Aged 32
Ahbida Rahman: Aged 49
Janjeb Rahman: Aged 55
Technique:
After setting the scene to the subjects (you walk onto a train platform and you see this image on the other side of the wall), I tell them to do whatever they naturally do on entering a train station.
Babu: Understands the concept quickly and plays the game, moving his arms appropriately
Shyan: Goes for the mouse immediately and realises it's not mouse-based. This is mainly because of the fact it is being tested on a computer.
Ahbida: Ahbida, who is not technologically savvy at all, understands very fast, since the game reacted with her as soon as she walked by. Seeing herself reflected, she started bashing the balls with vigour.
Janjeb: Was fascinated, and is a football fan, so he bumped the balls on the top of his head, expecting them to be bouncey footballs.
Reaction:
Single User: The users had fun, popping the balls, they were a little more reserved alone.
Multiuser: The technology worked fine, the users enjoyed playing with each other, laughing and being far more relaxed, hitting each other's balls and being sociable.
Quotes: "It's addictive!" by Dieter De Deuschaever
Monday, 7 July 2008
Usability Test Questionnaire
Usability Testing
You are on a Tube Platform and you see this projection on the opposite side of the train.
1. Walk by. What do you notice?
__________________________________________________________________________
2. What do you think this is?
__________________________________________________________________________
3. What do you think it’s for?
__________________________________________________________________________
4. Did you enjoy the experience?
__________________________________________________________________________
5. What do you feel about the look and feel?
__________________________________________________________________________
6. If more games were commissioned, would you be interested?
__________________________________________________________________________
7. Did it get boring after a while?
__________________________________________________________________________
8. Do you think it portrays the Olympic spirit?
__________________________________________________________________________
You are on a Tube Platform and you see this projection on the opposite side of the train.
1. Walk by. What do you notice?
__________________________________________________________________________
2. What do you think this is?
__________________________________________________________________________
3. What do you think it’s for?
__________________________________________________________________________
4. Did you enjoy the experience?
__________________________________________________________________________
5. What do you feel about the look and feel?
__________________________________________________________________________
6. If more games were commissioned, would you be interested?
__________________________________________________________________________
7. Did it get boring after a while?
__________________________________________________________________________
8. Do you think it portrays the Olympic spirit?
__________________________________________________________________________
Friday, 4 July 2008
Leaflets Designs
Colour Schemes for the business cards. We're going to pick four colours and print them. We've decided to go for number 3, 4, 5 and 6.
C3. Social and Environmental Responsibilities
Design can play a role in contributing to environmental and social problems. Can shape and lead environmentally and socially aware future and lead to valuable competitive advantage amongst increasingly and environmentally involved audiences.
long-term view - rapidly shifting trends
Environmentally-aware design seeks to reduce the material and energy used and waste created at each stage in the development process.
Socially-aware design seeks to broaden the accessibility and inclusiveness of people able to make use of the products and services on offer.
Managers:
Sourcing raw materials
materials chosen to satisfy number of factors, for example:
Production processes
Design can make manufacturing and production processes more efficient through:
Environmental cost
Environmental costs and the amount of natural resources to produce a good service is an increasingly influential factor in our purchasing choices.
Design has a direct impact on the energy and source consumption of the products and services we buy and use.
Design can also raise social and environmental awareness by communicating broader issues to consumers.
End disposal
to find new ways to be more responsible for the total lifecycle of the products and services.
Long-term view of how to deal with waste is a valuable competitive advantage.
Packaging is a major contributor to unnecessary cost and waste, both in manufacture and transportation.
________________________________________
For Major Project
The product would use large amount of energy. To make it more 'green', we could propose use of:
long-term view - rapidly shifting trends
Environmentally-aware design seeks to reduce the material and energy used and waste created at each stage in the development process.
Socially-aware design seeks to broaden the accessibility and inclusiveness of people able to make use of the products and services on offer.
Managers:
- improving the flow of information on new sustainable materials and techniques
- monitor changes in legislation and financial incentives (consumer trends indicate people would pay more for 'ethical' products)
Sourcing raw materials
materials chosen to satisfy number of factors, for example:
- aesthetics
- function
- costs
- how it was made
- where it was made
- who made it
- under what working conditions
Production processes
Design can make manufacturing and production processes more efficient through:
- refining existing workflows
- setting up a whole new system from scratch in order to reduce massive environmental burdens.
Environmental cost
Environmental costs and the amount of natural resources to produce a good service is an increasingly influential factor in our purchasing choices.
Design has a direct impact on the energy and source consumption of the products and services we buy and use.
Design can also raise social and environmental awareness by communicating broader issues to consumers.
End disposal
to find new ways to be more responsible for the total lifecycle of the products and services.
Long-term view of how to deal with waste is a valuable competitive advantage.
Packaging is a major contributor to unnecessary cost and waste, both in manufacture and transportation.
________________________________________
For Major Project
The product would use large amount of energy. To make it more 'green', we could propose use of:
- overground solar panels
- wind turbines which are using the pressured air in the tube tunnels
Thursday, 3 July 2008
platform for show
possibilities to create 'platform', walking area higher than floor to create a real gap between people and wall.
Pallets
http://www.postpack.co.uk/acatalog/pallet.html
New & Reconditioned Pallets
Sterling Boards
http://www.rembrand-timber.com/product_range/sheet_materials/sterlingosb.php
Pallets
http://www.postpack.co.uk/acatalog/pallet.html
New & Reconditioned Pallets
Sterling Boards
http://www.rembrand-timber.com/product_range/sheet_materials/sterlingosb.php
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Oriented Strand Board (OSB) is an engineered wood-based panel designed for construction and other industrial use. SterlingOSB or ‘Sterling Board’ as it is often called is one of Europe’s most widely used and trusted structural panels.corrugated cardboards
sheets:
http://www.postpack.co.uk/acatalog/board_pads.html
837x600mm singlewall £1.08 (also smaller and larger)
rolls another shop:
http://www.bagnboxman.co.uk/catalogue/page31_corrugated-cardboard.php
pads in packs of 10:
single
http://www.thepackagingstore.co.uk/products.asp?subcatid=336
double
http://www.thepackagingstore.co.uk/products.asp?subcatid=337
http://www.postpack.co.uk/acatalog/board_pads.html
837x600mm singlewall £1.08 (also smaller and larger)
rolls another shop:
http://www.bagnboxman.co.uk/catalogue/page31_corrugated-cardboard.php
pads in packs of 10:
single
http://www.thepackagingstore.co.uk/products.asp?subcatid=336
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CBS Outdoor ALIVE
I found this site and realised this might be better place to contact CBS. This is the digital part, they care about the advertisement etc. Let's try today email them.
http://www.cbsoutdoor-alive.co.uk/
contact form: http://www.cbsoutdoor-alive.co.uk/contact/
email send to: Lisa Rokny, alive@cbsoutdoor.co.uk
Address:
Alive
CBS Outdoor
28 Jamestown Road
Camden
London NW1 7BY
http://www.cbsoutdoor-alive.co.uk/
contact form: http://www.cbsoutdoor-alive.co.uk/contact/
email send to: Lisa Rokny, alive@cbsoutdoor.co.uk
Address:
Alive
CBS Outdoor
28 Jamestown Road
Camden
London NW1 7BY
Tuesday, 1 July 2008
C2. Project Management in Practice
No project ever goes exactly according to plan.
The process requires each member to be comfortable with continual change.
Critical path
is used to track progress of the project implementation. It identifies those tasks which must occur on time and in sequence for the final project deadline to be achieved.
managers are responsible for:
Weak will be identified and solutions proposed.
By monitoring actual progress of the project against an agreed schedule, potential delays can be proactively brought to the attention of the client and the design team.
Proposing solution at this stage reduces the risk of the delivery date incurring actual delay.
if the priority is to meet a deadline:
if the tasks grow beyond what has been agreed, designers can unwittingly agree to carry out additional design or redesign work in response to client request, without being fully aware of the implications on the original agreements in the design brief.
a good manager will:
managing the project budget requires the control of 3 types of costs:
manager should create regular opportunities for clear and open communication, both with the design team and the client team.
reviews should happen:
reviews held after the completion.
they are always a better ways to do things.
both sides can:
__________________________________________
For Major Project
critical path
tasks selected how they need to occur one after other in the gantt chart.
risk management and audits
- the priority is to meet a deadline, but we can't extend the design team or costs. We have to keep the size of the project realistic. If delay, the size needs to be decreased.
scope creep
client isn't extending the original brief with extra work. I'm making sure that within the team we are keeping realistic.
cost effectiveness
no budget selected (yet, maybe after MA)
regular review meetings
- daily informal conversations are held
- regular meetings too, about 1-4 per week, depends of the stage of the project.
post-project review
will be held in mid September
The process requires each member to be comfortable with continual change.
Critical path
is used to track progress of the project implementation. It identifies those tasks which must occur on time and in sequence for the final project deadline to be achieved.
managers are responsible for:
- monitoring actual progress against the proposed schedule
- controlling the project
- steering it back on track if necessary
- the original project plan to be saved as the baseline version
- the project plan needs to be regularly and honestly updated so that it reflects the progress actually being made
- the baseline plan should be compared to the updated one; if they don't match, an appropriate course of remedying can be taken.
- identify where problem areas are most likely to crop up on a project
- propose what should happen in the event of one occurring
Weak will be identified and solutions proposed.
By monitoring actual progress of the project against an agreed schedule, potential delays can be proactively brought to the attention of the client and the design team.
Proposing solution at this stage reduces the risk of the delivery date incurring actual delay.
if the priority is to meet a deadline:
- the client and manager can increase the size of the project team
- this will mean increased costs
- it might be agreed to extend the deadline for completion
- but alter the material specification
- or reduce the size of the project team
if the tasks grow beyond what has been agreed, designers can unwittingly agree to carry out additional design or redesign work in response to client request, without being fully aware of the implications on the original agreements in the design brief.
a good manager will:
- act as the first line of defence against scope creep
- work internally with the design team to estimate the time and resources needed to carry out any extra work
- present the proposal to the client for consideration
- always refer the client back to manager
- it can create additional opportunities for the design resource to win more work and generate more income
- client team can also benefit by addressing additional organisational concerns through already established design projects.
managing the project budget requires the control of 3 types of costs:
- the type of payment
- the actual budgeted costs
- cost effectiveness
- what they consider to be value for money
- what they are getting in exchange for their investments of time, money and resources
- the benefits of long term relationships
manager should create regular opportunities for clear and open communication, both with the design team and the client team.
reviews should happen:
- daily through informal conversations
- regular and frequent review meetings to assess and monitor progress
- negotiate on behalf of the design team leaving the designers free to concentrate on work
- manages the client contact with the design team as an opportunity for discussion
- simultaneously reduces potential conflicts over scope creep and hasty promisses of results
- keeps the client abreast of the project progress
- reviews and revises the project schedule
- keeps the design team informed of changes within the client organisation
reviews held after the completion.
they are always a better ways to do things.
both sides can:
- acknowledge key achievements
- identify areas for improvement
- learn from the process
- the relationship between the client and the design team also can be reviewed
__________________________________________
For Major Project
critical path
tasks selected how they need to occur one after other in the gantt chart.
risk management and audits
- the priority is to meet a deadline, but we can't extend the design team or costs. We have to keep the size of the project realistic. If delay, the size needs to be decreased.
scope creep
client isn't extending the original brief with extra work. I'm making sure that within the team we are keeping realistic.
cost effectiveness
no budget selected (yet, maybe after MA)
regular review meetings
- daily informal conversations are held
- regular meetings too, about 1-4 per week, depends of the stage of the project.
post-project review
will be held in mid September
Flexible OLEDs and amorphous silicon.
OLED technology is used in commercial applications such as small screens for mobile phones and portable digital audio players (MP3 players), car radios, digital cameras, and high-resolution microdisplays for head-mounted displays. Such portable applications favor the high light output of OLEDs for readability in sunlight, and their low power drain.
The biggest technical problem for OLEDs is the limited lifetime of the organic materials. In particular, blue OLEDs historically have had a lifetime of around 14,000 hours (5 years at 8 hours a day) when used for flat-panel displays, which is lower than typical lifetime of LCD, LED or PDP technology – each currently rated for about 60,000 hours, depending on manufacturer and model.
The intrusion of water into displays can damage or destroy the organic materials. Therefore, improved sealing processes are important for practical manufacturing and may limit the longevity of more flexible displays.
OLED technology is used in commercial applications such as small screens for mobile phones and portable digital audio players (MP3 players), car radios, digital cameras, and high-resolution microdisplays for head-mounted displays. Such portable applications favor the high light output of OLEDs for readability in sunlight, and their low power drain. Portable displays are also used intermittently, so the lower lifespan of OLEDs is less important here.
Prototypes have been made of flexible and rollable displays which use OLED's unique characteristics. They use amorphous silicon a type of flexible foil rather then glass panels to protect the OLED, thus making them flexible unlike the current OLEDs tv's.
OLEDs have been used in most Motorola and Samsung color cell phones, as well as some Sony Ericsson phones, notably the Z610i, and some models of the Sony Walkman[43]. It is also found in the Creative Zen V/V Plus series of MP3 players. Nokia has also introduced recently some OLED products, including the 7900 Prism and Nokia 8800 Arte.
On October 1st, 2007, Sony became the first company to announce an OLED television.The XEL-1 11" OLED (Organic Light Emitting Diode) Digital Television sells for $2499.99 in Canada (as of April 24, 2008). They are available in the United States at select Sony Style stores for US$2499.99. - not a truly flexible tv, because it is displayed using glass not with the flexible foil called amorphous silicon.
The radically different manufacturing process of OLEDs lends itself to many advantages over flat-panel displays made with LCD technology. Since OLEDs can be printed onto any suitable substrate using an inkjet printer or even screen printing technologies,[30] they can theoretically have a significantly lower cost than LCDs or plasma displays. Printing OLEDs onto flexible substrates opens the door to new applications such as roll-up displays and displays embedded in fabrics or clothing.
OLEDs enable a greater range of colors, brightness, and viewing angle than LCDs, because OLED pixels directly emit light. OLED pixel colors appear correct and unshifted, even as the viewing angle approaches 90 degrees from normal. LCDs use a backlight and cannot show true black, while an "off" OLED element produces no light and consumes no power. Energy is also wasted in LCDs because they require polarizers which filter out about half of the light emitted by the backlight. Additionally, color filters in color LCDs filter out two-thirds of the light.
OLEDs also have a faster response time than standard LCD screens. Whereas a standard LCD currently has an average of 4-8 millisecond response time, an OLED can have less than 0.01ms response time.
Samsung unveiled a 31-inch OLED TV at the January 2008 CES in Las Vegas and is promising much larger screens to come. “We have the technological ability to make 40-inch OLED,” said a spokesman, before adding that it won’t be until 2010 that the company will be in a position to mass produce such panels: - But this wont be totally flexible because it will be encased in glass not using the amorphous silicon.
Sony flexible display
from this site.
Sony today unveiled a new screen that will forever change the future of electronic devices. This new 2.5-inch OLED screen is made of a glass substrate that allows you to casually bend the screen. Since the display is wafer-thin, you one day might see these inside magazines as advertisements or perhaps on the back of a cellphone for viewing movies. It uses organic TFT technology to keep clarity in-tact and to retain its 0.3mm thickness.
This display will allow for the development of bigger, better, lighter, and “softer” electronics Sony says. In case you were wondering, the screen has a resolution of 120×169 pixels and weighs only 1.5 grams. Extremely impressive. Imagine if this became a low-cost media solution years down the road. DIY video players made from magazine ads? I think so.
__________________________________________________________From this site
No one can deny OLED displays are superior in quality to LCD or Plasma screens. One problem which has been constraining the commercialization of large-size OLED TVs, however, is the high level of power consumption.
On Monday however, Sony and Japanese chemical company Idemitsu announced they succeeded in increasing the internal quantum efficiency (IQE) in deep-blue fluorescent OLED devices to 28.5%. I know, right? Until today, 25% was believed to be the maximum level of luminous efficiency achievable. Among the RGB colors, blue OLED devices are the most energy-intensive.
The two companies have been jointly working on the improvement of OLED display technology since 2005. Sony Japan plans to mass-produce big-screen OLED TVs (20 inches and larger) at the end of 2009.
This is definitively good news since Sony’s current OLED TV XEL-1 is cool but simply too small (11 inches) and too expensive.
________________________________________________Toshiba is trying to be even faster then Sony...
From this site
Toshiba isn’t about to let Sony get the upper hand in the television market. Yesterday, [October 3rd, 2007] Sony announced an 11-inch OLED TV that is only 0.3-inches thick, has a 1,000,000:1 contrast ratio, and costs $1745. Considered a huge leap in technology, now other companies are scrambling to get on the bandwagon. Toshiba is claiming that by 2009, a 30-inch OLED TV will be available for purchase, ready to compete with anything Sony might have up its sleeve.
One of the major issues with OLED displays is lifespan. Sony’s 11-incher is supposed to only get three to three-and-a-half years of continuous use. Though the average consumer probably won’t be watching that much television, it still isn’t comforting knowing that your TV is going to die eventually. No word yet on what price Toshiba’s 30-inch model will go for.
Toshiba pledges 30in OLED TV will ship in 2009Sony innovation centre
The flexible screens are developed at sony, so I'm looking for someone to contact.
SONY Innovation Centre
Info from: http://www.wda.co.uk/index.cfm/digitaltechnium_sony/en4520
http://www.wda.co.uk/index.cfm/digitaltechnium_sony/en4520?siteMapMode=full
Technium Digital@Sony provides the right environment for young technology companies to turn ideas into commercial reality. The design for manufacture elements of the facility makes it an ideal environment for young technology businesses manufacturing electronic/digital devices. Technium Digital@Sony is a satellite to Technium Digital in Swansea University, giving it excellent links to academic collaboration, graduate skills and research excellence. Located in Pencoed, Bridgend (South Wales) immediately adjacent to the M4 Motorway (Junction 35), 30 minutes drive from Cardiff city centre and Cardiff International Airport. Contact:
SONY Innovation Centre
Info from: http://www.wda.co.uk/index.cfm/digitaltechnium_sony/en4520
http://www.wda.co.uk/index.cfm/digitaltechnium_sony/en4520?siteMapMode=full
Technium Digital@Sony forms part of the Technium Wales network, a series of technology-led innovation centres dedicated to providing the relevant knowledge, business support and physical facilities to help young technology businesses realise their potential for long-term growth.
With modern, fully serviced office space and a strong relationship with SONY manufacturing, the facility provides the opportunity for companies to go from big ideas to big business.
“It is a massive endorsement when a global corporation like SONY - which is a by-word for innovation - joins forces with the University and public sector in Wales to actively support and participate in such a major initiative.”
Andrew Davies, Economic Development Minister
Technium Digital@Sony contact us
A "Registration of Interest" form can be downloaded for completion by following the link below:
Alternatively, make an enquiry directly by clicking here, or use the contact details below:
Main address and contact details:
Technium Digital@Sony
Sony Technology Centre
Pencoed
Bridgend
CF35 5HZ
Contact: Evan Jones, Manager
Tel: 02920 444777
E-mail: evan.jones@wales-uk.com
For general enquiries, please contact the Welsh Assembly Government at:
Technium
c/o Welsh Assembly Government
Brunel House
2 Fitzalan Road
Cardiff
CF24 OUY
Tel International: +44 (0)1443 845500
Tel Local (English Speaking): 08450 103300
E-mail: ein@Wales.GSI.Gov.UK
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