This paper questions the nature of qualitative user studies as currently applied in the context of experience-centered design. We suggest that conceiving knowledge as if it were an entity that can be captured in some form and transferred unchanged oversimplifies the situation in the case of  design, and, for the purpose of opening a dialogue on the topic is  problematic. We put forward an alternative perspective, that of supportive resources, which go beyond social science-based approaches, such as  user studies, to focus on the forming of knowledge  by designers. Supportive  resources are intended to  inspire, but equally they are intended to  help frame, guide and support the design process in a non-prescriptive way. Designers can apply them as needed to support existing approaches. In order to better describe supportive resources and their role in design, the authors present four examples from projects currently being undertaken by the authors; storytelling, language and touch, material knowledge, and video

Jones, Malcolm

Leitner, Michael

Teinaki, Vicky

English

Northumbria Research Link

 Supportive Resources: Mastering the Art of Making Sense Malcolm Jones Northumbria University Newcastle upon Tyne malcolm2.jones@northumbria.ac.uk Michael Leitner Northumbria University Newcastle upon Tyne Michael.leitner@northumbria.ac.uk  Vicky Teinaki Northumbria University Newcastle upon Tyne Vicky.teinaki@northumbria.ac.uk  ABSTRACT This paper questions the nature of qualitative user studies as currently applied in the context of experience-centered design. We suggest that conceiving knowledge as if it were an entity that can be captured in some form and transferred unchanged oversimplifies the situation in the case of design, and, for the purpose of opening a dialogue on the topic is problematic. We put forward an alternative perspective, that of supportive resources, which go beyond social science-based approaches, such as user studies, to focus on the forming of knowledge by designers. Supportive resources are intended to inspire, but equally they are intended to help frame, guide and support the design process in a non-prescriptive way. Designers can apply them as needed to support existing approaches. In order to better describe supportive resources and their role in design, the authors present four examples from projects currently being undertaken by the authors; storytelling, language and touch, material knowledge, and video. Author Keywords User experience; story telling; design tools; language; video; materials; touch.  ACM Classification Keywords  General Terms Human Factors; Design. INTRODUCTION Designers face a twofold issue when it comes to the use of qualitative user methods. Not only must they assemble background contextual material that can inform design, they must also interpret the findings from this material in ways that both inform and rationalize design choices. This is complicated by that fact that contextual material is captured in a range of forms and media that cannot be directly translated for use in design, but rather must be interpreted and reinterpreted throughout design. Issues of this kind are closely linked to language and the activity of sense-making. Also, these issues are not restricted to a single phase of design, but arise in any situation where design draws on external sources for understandings and inspiration. The material outcomes of qualitative user studies are only one of many assets a designer will base his/her design decisions on. Our research aims to increase a designer’s opportunities for inspiration and for gaining insights throughout the design lifecycle. We are not simply concerned with helping designers identify, gather and manage ‘concrete’ contextual materials, but rather in providing designers with new opportunities for knowledge generation. We do this by readdressing what is, in design, a long-standing question; what do designers need? Expanding on the work of Woolrych et al. (2011), we propose supportive resources. Our approach questions the efficacy of traditional social science-based, user-centered methods in design research. Furthermore, we are cautious about the use of terminology that tends to be associated with them, such as ‘knowledge capture’ and ‘knowledge transfer’. While methods that claim to support design (e.g. qualitative user studies) have been systematically improved over the past four decades, many of them have also become prescriptive (prescribing rules or procedures that are considered “good” or correct). Use of these methods can give the false impression that if certain methods are used, certain outcomes can be expected: one only need apply it and, voilá. These approaches, we propose, do not adequately serve the needs of contemporary design work and will not support the kinds of challenges that design expects to face in the future.  We are affiliated with the Making Sense Through Insights theme in the School of Design at Northumbria University. As such, we adhere to a Research for Design approach that is focused on helping designers make sense of the communities they serve and the challenges they encounter by providing them with novel perspectives and worthwhile ‘insights’. Our resources help to inspire novel and productive thinking during key design activities, such as framing (helping designers decide whom they are designing for and for what purpose), guiding (helping designers to navigate design situations), and choice support (providing designers with what they need to make informed choices). In the following section we present four research perspectives that provide an overview of supportive resources.  Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. DIS’12, Jun 11-15, 2012, Newcastle Upon Tyne, UK. Copyright 2012 ACM 978-1-4503-1015-4/12/05...$10.00.  SUPPORTIVE RESOURCES Getting the Right Story and the Story Right As design has focused on the complex challenge of understanding the "user", it has inherited another challenge, that of working with representations of users and experiences. Stories have emerged as one of the most effective forms of user and experience representation (Quesenbery & Brooks, 2010). Numerous storytelling methods and tools are available to designers, yet one of a designer’s greatest challenges remains the ability to get the right story and the story right. The challenge includes: gaining understandings to inform choices about which stories to tell, choosing appropriate forms of representation, managing the evolution of stories (including evaluation of the effective transfer of value statements), and translating stories from one form or modality to another. A survey of the literature suggests that support for competencies in storytelling and story management lag behind support for methods and tools. Knowledge resources that can support designers in this area are needed.  Figure 1. Naturalistic storyboards An example of a situation in which these challenges become extreme is when textual scenarios are transcribed into ‘naturalistic storyboards’ (refer to Figure 1; a sequence of images with human participants that are ‘akin to story-writing’; Kress & van Leeuwen, 2006: 62). The project aims to develop a set of storytelling knowledge resources that support designer’s understandings of how story, narrative and scenarios work in design. The resources are envisioned as a loose collection of game-like activities that simulate design storytelling situations. It is proposed that this will facilitate informed choices and lead to more effective use of existing scenario-based approaches. Increasing Designers’ Expertise in Touch Through Language In research on design and language, especially that in relation to touch, attention is generally focused on users rather than designers (e.g. Dagman, 2010), or seeks to quantify sensory responses to their work (Kansei Engineering, as described by Schütte; 2005). However, in apprentice-based learning (such as design studio education) language plays a key part in knowledge acquisition, acting as a means for novices to not only pick up the vocabulary of experts in situ, but also understand the means by which to evaluate their decisions (Seely Collins et al, 1991). In other words, language is a tool for informing perception and spurring further action (Bardzell, 2010). Why is there no generally accepted designers language relating to touch? In comparison, visuals and sound have generally accepted language systems. Music has a long-standing language system that supports notation, dissemination and knowledge composition. Visuals, while with a shorter history, have a stable language due to the Bauhaus, Gestalt psychology and semiotics. Part of the difficulty surrounding language and touch is its situatedness (see for example McCullough; 1998): touch, unlike other senses such as vision and sound, is personal and exploratory, and thus a less likely candidate for discussion.  This project therefore looks at the means with which to both collect and encourage a vocabulary relating to touch. By collecting the language of designers in various stages of their career and in different disciplines, it will help to create a framework with which designers can both acquire the vocabulary used by other experts and also understand how their use of language can help make more informed and reflexive design decisions.   Figure 2. Video showing descriptions of touch  These findings will also use video as a means of both collecting and disseminating information. In this aspect they will act as a decision-making resource, enabling designers to become more aware of the role of language without dictating the use of rigid dictionary terms. Material Representations of Knowledge  Cultural probes (Gaver 1999) help researchers and designers identify ‘what to design’. Cameras, postcards and maps are only one way to collect such open and unexpected data formats. One current project explores the use of materials for insight collection and representation, specifically looking at mobile device experience. People are encouraged to reflect on their experience by sewing their daily paths and device use with colored threads onto an  abstract map printed onto a handkerchief. The aim of the material (e.g. fabric, threads) is to more fully engage people, to make the recording tool portable and to raise the potential for collecting open, unexpected and surprising data. By making a physical artefact, our participants articulate and preserve their experience through an object.  Figure 3: Hankerchiefs showing paths The resulting ‘artefact’ is used as stimuli for experience accounts in interviews. The artefacts and experience accounts are then used in design meetings and the designers need to interpret the artefact, i.e. they need to make sense of it in order to identify design purposes rather than to respond to well-described problems. This, we believe, can be seen as a valuable aspect in design-centred user research. Video as a Way of Representing Insights: Within HCI, video is typically used for data collection, interpretation, evaluation, or to show fictional scenarios (Ylirisku and Buur, 2007). For an ongoing project located in the area of mobile interaction design we use video formats to communicate use and experience scenarios to designers. The videos were based on interview data and video is used as a sense-making tool to select foci, to explore the data and to depict context and experience (compare Saldaña, 2005 on Ethnodrama). The scenarios are acted out, recorded and displayed in short films. This contrasts with traditional text-based approaches, where analysis tries to describe phenomena and problems exhaustively and in a generalised way. By introducing this media in a novel way, we channel the designer's attention onto specific aspects in the data without losing the empathic qualities of personas or the power of scenarios to envision future opportunities.   Figure 4: video showing device use CONCLUSION AND DISCUSSION: We challenge the notion that knowledge can be either “captured” or “transferred”, because it focuses only on the kind of knowledge can be physically and temporally located in external representations. This simplistic notion appears to go hand-in-hand with, and indeed underpin, the notion that the use of certain design methods can lead to a set of prescribed design outcomes. We propose that existing prescriptive-type design methods can be profitably supplemented and ‘softened’, i.e. applied in less rigid ways, by using loose collections of supportive resources. Our case studies illustrate how these resources work to inspire, frame, guide, and support design: • Getting the right story and the story right is not straightforward. The problem extends beyond a focus on tools and methods, which have traditionally supported story crafting and communication rather than understandings about how stories work. Narrative-based knowledge resources will support designer’s understandings of how story, narrative and scenarios work. These can be applied as needed to gain insights, make informed choices, and ensure effective use. • While designers may not realise it, there is a language around touch: becoming fluent in articulating these qualities can enable better work. Creating a means to capture, share, and built upon this language will help designers make better design decisions, and looking towards the future, be suitably equipped for the ‘anonymous materials’ of the future that do not fit our existing categories (Manzini, 1989).  • New ways of using materials in user centered research can open up new opportunities to collect, store, and represent experience. These knowledge resources can be used to communicate insights to design. As open and interpretive data they present an alternative to the formulation of problems and closed solution scenarios. • Video formats function as a means to edit and process collected insights. They present them to designers in a condensed but accessible format. This resource helps to evoke design insights, from which design opportunities can be derived. Resources are, by their nature, raw. It is for others to take them and shape them to their needs. By changing our focus from methods to resources, we support a new perspective on user centered design research. We anticipate that this will enable designers to not just follow prescriptive methods, but play with resources that support their practices throughout design. REFERENCES 1. Bardzell, J. (2011). Interaction Criticism  : An Introduction to the Practice. Interacting with Computers. 2. Dagman, J., Karlsson, M., & Wikström, L. (2010). ‘Investigating the Haptic Aspects of Verbalised Product Experiences’, Design, 1-15. 3. Gaver, B.; Dunne, T. & Pacenti, E. (1999), 'Design: Cultural probes', interactions 6, 21--29. 4. Kress, G. & Van Leeuwen, T. (2006) Reading Images: The grammar of visual design. Routledge. 5. Manzini, E. (1989). The material of invention. Cambridge, Mass: MIT Press.  6. McCullough, M. (1998) Abstracting craft: the practiced digital hand. Cambridge, Mass: MIT Press. 7. Quesenbery, W. M. and Brooks, K. (2010) Storytelling for User Experience Design. Rosenfeld Media. 8. Saldaña, J (Ed.). Ethnodrama. An antology of reality theatre. Altamira Press, 2005 9. Schütte, S. 2005, Engineering Emotional Values in Product Design. Institute of Technology, Linköping, Dissertations No. 951, ISBN 91-85299-46-4.University of Technology, Braunschweig, Germany 10. Linköping University, Linköping Sweden 11. Seely Brown, J., Collins, A., & Holum, A. (1991). ‘Cognitive Apprenticeship: Making Thinking Visible’. American Educator, 6, 38-46. 12. Woolrych, A. Hornbæk, K. Frøkjær, E. Cockton, G. (2011) 'Ingredients and Meals Rather Than Recipes: A Proposal for Research That Does Not Treat Usability Evaluation Methods as Indivisible Wholes', International Journal of Human-Computer Interaction, 27 (10), pp. 940-970. 13.Ylirisku, S., & Buur, J. (2007). ‘Designing with video: Focusing the user-centred design process’. London: Springer. 14.Northumbria University, ‘Insights’ (n.d). Retrieved from http://www.northumbria.ac.uk/sd/academic/scd/research/themes/makingsense/themes/insights/on 22 March 2012 

Abstracting craft: the practiced digital hand.

An antology of reality theatre.

Cognitive Apprenticeship: Making Thinking Visible’.

Design: Cultural probes',

Designing with video: Focusing the user-centred design process’.

Engineering Emotional Values

Ingredients and Meals Rather Than Recipes: A Proposal for Research That Does Not Treat Usability Evaluation Methods as Indivisible Wholes',

Insights’ (n.d). Retrieved from http://www.northumbria.ac.uk/sd/academic/scd/research /themes/makingsense/themes/insights/on 22

Interaction Criticism An Introduction to the Practice. Interacting with Computers.

Investigating the Haptic Aspects of Verbalised Product Experiences’, Design,

Reading Images: The grammar of visual design.

Storytelling for User Experience Design.

The material of invention.

Supportive Resources: Mastering the Art of Making Sense

Northumbria Research Link
Citation: Jones, Malcolm, Teinaki, Vicky and Leitner, Michael (2012) Supportive Resources: Mastering 
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Supportive Resources: Mastering the Art of Making Sense 
Malcolm Jones 
Northumbria University 
Newcastle upon Tyne 
malcolm2.jones@northumbria.ac.uk 
Michael Leitner 
Northumbria University 
Newcastle upon Tyne 
Michael.leitner@northumbria.ac.uk  
Vicky Teinaki 
Northumbria University 
Newcastle upon Tyne 
Vicky.teinaki@northumbria.ac.uk 
 
ABSTRACT 
This paper questions the nature of qualitative user studies as 
currently applied in the context of experience-centered 
design. We suggest that conceiving knowledge as if it were 
an entity that can be captured in some form and transferred 
unchanged oversimplifies the situation in the case of 
design, and, for the purpose of opening a dialogue on the 
topic is problematic. We put forward an alternative 
perspective, that of supportive resources, which go beyond 
social science-based approaches, such as user studies, to 
focus on the forming of knowledge by designers. 
Supportive resources are intended to inspire, but equally 
they are intended to help frame, guide and support the 
design process in a non-prescriptive way. Designers can 
apply them as needed to support existing approaches. In 
order to better describe supportive resources and their role 
in design, the authors present four examples from projects 
currently being undertaken by the authors; storytelling, 
language and touch, material knowledge, and video. 
Author Keywords 
User experience; story telling; design tools; language; 
video; materials; touch.  
ACM Classification Keywords 
 
General Terms 
Human Factors; Design. 
INTRODUCTION 
Designers face a twofold issue when it comes to the use of 
qualitative user methods. Not only must they assemble 
background contextual material that can inform design, they 
must also interpret the findings from this material in ways 
that both inform and rationalize design choices. 
This is complicated by that fact that contextual material is 
captured in a range of forms and media that cannot be 
directly translated for use in design, but rather must be 
interpreted and reinterpreted throughout design. Issues of 
this kind are closely linked to language and the activity of 
sense-making. Also, these issues are not restricted to a 
single phase of design, but arise in any situation where 
design draws on external sources for understandings and 
inspiration. The material outcomes of qualitative user 
studies are only one of many assets a designer will base 
his/her design decisions on. Our research aims to increase a 
designer’s opportunities for inspiration and for gaining 
insights throughout the design lifecycle. We are not simply 
concerned with helping designers identify, gather and 
manage ‘concrete’ contextual materials, but rather in 
providing designers with new opportunities for knowledge 
generation. We do this by readdressing what is, in design, a 
long-standing question; what do designers need? Expanding 
on the work of Woolrych et al. (2011), we propose 
supportive resources. 
Our approach questions the efficacy of traditional social 
science-based, user-centered methods in design research. 
Furthermore, we are cautious about the use of terminology 
that tends to be associated with them, such as ‘knowledge 
capture’ and ‘knowledge transfer’. While methods that 
claim to support design (e.g. qualitative user studies) have 
been systematically improved over the past four decades, 
many of them have also become prescriptive (prescribing 
rules or procedures that are considered “good” or correct). 
Use of these methods can give the false impression that if 
certain methods are used, certain outcomes can be 
expected: one only need apply it and, voilá. These 
approaches, we propose, do not adequately serve the needs 
of contemporary design work and will not support the kinds 
of challenges that design expects to face in the future.  
We are affiliated with the Making Sense Through Insights 
theme in the School of Design at Northumbria University. 
As such, we adhere to a Research for Design approach that 
is focused on helping designers make sense of the 
communities they serve and the challenges they encounter 
by providing them with novel perspectives and worthwhile 
‘insights’. Our resources help to inspire novel and 
productive thinking during key design activities, such as 
framing (helping designers decide whom they are designing 
for and for what purpose), guiding (helping designers to 
navigate design situations), and choice support (providing 
designers with what they need to make informed choices). 
In the following section we present four research 
perspectives that provide an overview of supportive 
resources. 
 
Permission to make digital or hard copies of all or part of this work for 
personal or classroom use is granted without fee provided that copies are 
not made or distributed for profit or commercial advantage and that copies 
bear this notice and the full citation on the first page. To copy otherwise, 
or republish, to post on servers or to redistribute to lists, requires prior 
specific permission and/or a fee. 
DIS’12, Jun 11-15, 2012, Newcastle Upon Tyne, UK. 
Copyright 2012 ACM 978-1-4503-1015-4/12/05...$10.00. 
 
SUPPORTIVE RESOURCES 
Getting the Right Story and the Story Right 
As design has focused on the complex challenge of 
understanding the "user", it has inherited another challenge, 
that of working with representations of users and 
experiences. Stories have emerged as one of the most 
effective forms of user and experience representation 
(Quesenbery & Brooks, 2010). Numerous storytelling 
methods and tools are available to designers, yet one of a 
designer’s greatest challenges remains the ability to get the 
right story and the story right. The challenge includes: 
gaining understandings to inform choices about which 
stories to tell, choosing appropriate forms of representation, 
managing the evolution of stories (including evaluation of 
the effective transfer of value statements), and translating 
stories from one form or modality to another. A survey of 
the literature suggests that support for competencies in 
storytelling and story management lag behind support for 
methods and tools. Knowledge resources that can support 
designers in this area are needed. 
 
Figure 1. Naturalistic storyboards 
An example of a situation in which these challenges 
become extreme is when textual scenarios are transcribed 
into ‘naturalistic storyboards’ (refer to Figure 1; a sequence 
of images with human participants that are ‘akin to story-
writing’; Kress & van Leeuwen, 2006: 62). The project 
aims to develop a set of storytelling knowledge resources 
that support designer’s understandings of how story, 
narrative and scenarios work in design. The resources are 
envisioned as a loose collection of game-like activities that 
simulate design storytelling situations. It is proposed that 
this will facilitate informed choices and lead to more 
effective use of existing scenario-based approaches. 
Increasing Designers’ Expertise in Touch Through 
Language 
In research on design and language, especially that in 
relation to touch, attention is generally focused on users 
rather than designers (e.g. Dagman, 2010), or seeks to 
quantify sensory responses to their work (Kansei 
Engineering, as described by Schütte; 2005). However, in 
apprentice-based learning (such as design studio education) 
language plays a key part in knowledge acquisition, acting 
as a means for novices to not only pick up the vocabulary of 
experts in situ, but also understand the means by which to 
evaluate their decisions (Seely Collins et al, 1991). In other 
words, language is a tool for informing perception and 
spurring further action (Bardzell, 2010). 
Why is there no generally accepted designers language 
relating to touch? In comparison, visuals and sound have 
generally accepted language systems. Music has a long-
standing language system that supports notation, 
dissemination and knowledge composition. Visuals, while 
with a shorter history, have a stable language due to the 
Bauhaus, Gestalt psychology and semiotics. Part of the 
difficulty surrounding language and touch is its situatedness 
(see for example McCullough; 1998): touch, unlike other 
senses such as vision and sound, is personal and 
exploratory, and thus a less likely candidate for discussion.  
This project therefore looks at the means with which to both 
collect and encourage a vocabulary relating to touch. By 
collecting the language of designers in various stages of 
their career and in different disciplines, it will help to create 
a framework with which designers can both acquire the 
vocabulary used by other experts and also understand how 
their use of language can help make more informed and 
reflexive design decisions.  
 
Figure 2. Video showing descriptions of touch  
These findings will also use video as a means of both 
collecting and disseminating information. In this aspect 
they will act as a decision-making resource, enabling 
designers to become more aware of the role of language 
without dictating the use of rigid dictionary terms. 
Material Representations of Knowledge  
Cultural probes (Gaver 1999) help researchers and 
designers identify ‘what to design’. Cameras, postcards and 
maps are only one way to collect such open and unexpected 
data formats. One current project explores the use of 
materials for insight collection and representation, 
specifically looking at mobile device experience. People are 
encouraged to reflect on their experience by sewing their 
daily paths and device use with colored threads onto an 
 
abstract map printed onto a handkerchief. The aim of the 
material (e.g. fabric, threads) is to more fully engage 
people, to make the recording tool portable and to raise the 
potential for collecting open, unexpected and surprising 
data. By making a physical artefact, our participants 
articulate and preserve their experience through an object. 
 
Figure 3: Hankerchiefs showing paths 
The resulting ‘artefact’ is used as stimuli for experience 
accounts in interviews. The artefacts and experience 
accounts are then used in design meetings and the designers 
need to interpret the artefact, i.e. they need to make sense of 
it in order to identify design purposes rather than to respond 
to well-described problems. This, we believe, can be seen 
as a valuable aspect in design-centred user research. 
Video as a Way of Representing Insights: 
Within HCI, video is typically used for data collection, 
interpretation, evaluation, or to show fictional scenarios 
(Ylirisku and Buur, 2007). For an ongoing project located 
in the area of mobile interaction design we use video 
formats to communicate use and experience scenarios to 
designers. The videos were based on interview data and 
video is used as a sense-making tool to select foci, to 
explore the data and to depict context and experience 
(compare Saldaña, 2005 on Ethnodrama). The scenarios are 
acted out, recorded and displayed in short films. This 
contrasts with traditional text-based approaches, where 
analysis tries to describe phenomena and problems 
exhaustively and in a generalised way. By introducing this 
media in a novel way, we channel the designer's attention 
onto specific aspects in the data without losing the empathic 
qualities of personas or the power of scenarios to envision 
future opportunities.  
 
Figure 4: video showing device use 
CONCLUSION AND DISCUSSION: 
We challenge the notion that knowledge can be either 
“captured” or “transferred”, because it focuses only on the 
kind of knowledge can be physically and temporally located 
in external representations. This simplistic notion appears to 
go hand-in-hand with, and indeed underpin, the notion that 
the use of certain design methods can lead to a set of 
prescribed design outcomes. We propose that existing 
prescriptive-type design methods can be profitably 
supplemented and ‘softened’, i.e. applied in less rigid ways, 
by using loose collections of supportive resources. Our case 
studies illustrate how these resources work to inspire, 
frame, guide, and support design: 
• Getting the right story and the story right is not 
straightforward. The problem extends beyond a focus on 
tools and methods, which have traditionally supported 
story crafting and communication rather than 
understandings about how stories work. Narrative-based 
knowledge resources will support designer’s 
understandings of how story, narrative and scenarios 
work. These can be applied as needed to gain insights, 
make informed choices, and ensure effective use. 
• While designers may not realise it, there is a language 
around touch: becoming fluent in articulating these 
qualities can enable better work. Creating a means to 
capture, share, and built upon this language will help 
designers make better design decisions, and looking 
towards the future, be suitably equipped for the 
‘anonymous materials’ of the future that do not fit our 
existing categories (Manzini, 1989). 
 
• New ways of using materials in user centered research 
can open up new opportunities to collect, store, and 
represent experience. These knowledge resources can be 
used to communicate insights to design. As open and 
interpretive data they present an alternative to the 
formulation of problems and closed solution scenarios. 
• Video formats function as a means to edit and process 
collected insights. They present them to designers in a 
condensed but accessible format. This resource helps to 
evoke design insights, from which design opportunities 
can be derived. 
Resources are, by their nature, raw. It is for others to take 
them and shape them to their needs. By changing our focus 
from methods to resources, we support a new perspective 
on user centered design research. We anticipate that this 
will enable designers to not just follow prescriptive 
methods, but play with resources that support their practices 
throughout design. 
REFERENCES 
1. Bardzell, J. (2011). Interaction Criticism  : An 
Introduction to the Practice. Interacting with 
Computers. 
2. Dagman, J., Karlsson, M., & Wikström, L. (2010). 
‘Investigating the Haptic Aspects of Verbalised Product 
Experiences’, Design, 1-15. 
3. Gaver, B.; Dunne, T. & Pacenti, E. (1999), 'Design: 
Cultural probes', interactions 6, 21--29. 
4. Kress, G. & Van Leeuwen, T. (2006) Reading Images: 
The grammar of visual design. Routledge. 
5. Manzini, E. (1989). The material of invention. 
Cambridge, Mass: MIT Press.  
6. McCullough, M. (1998) Abstracting craft: the practiced 
digital hand. Cambridge, Mass: MIT Press. 
7. Quesenbery, W. M. and Brooks, K. (2010) Storytelling 
for User Experience Design. Rosenfeld Media. 
8. Saldaña, J (Ed.). Ethnodrama. An antology of reality 
theatre. Altamira Press, 2005 
9. Schütte, S. 2005, Engineering Emotional Values in 
Product Design. Institute of Technology, Linköping, 
Dissertations No. 951, ISBN 91-85299-46-4.University 
of Technology, Braunschweig, Germany 
10. Linköping University, Linköping Sweden 
11. Seely Brown, J., Collins, A., & Holum, A. (1991). 
‘Cognitive Apprenticeship: Making Thinking Visible’. 
American Educator, 6, 38-46. 
12. Woolrych, A. Hornbæk, K. Frøkjær, E. Cockton, G. 
(2011) 'Ingredients and Meals Rather Than Recipes: A 
Proposal for Research That Does Not Treat Usability 
Evaluation Methods as Indivisible Wholes', 
International Journal of Human-Computer Interaction, 
27 (10), pp. 940-970. 
13.Ylirisku, S., & Buur, J. (2007). ‘Designing with video: 
Focusing the user-centred design process’. London: 
Springer. 
14.Northumbria University, ‘Insights’ (n.d). Retrieved from 
http://www.northumbria.ac.uk/sd/academic/scd/research
/themes/makingsense/themes/insights/on 22 March 2012
 


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Supportive Resources: Mastering the Art of Making Sense

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