We have written our individual reports, the group project summary, design brief and prototype report based on the overall process of the “Faces of Amnesty” project. With this complete, we began to prepare for the VIVA presentation on the 24th April.

The final presentation consists of a 7 minute dialogue telling the story of the overall design process, a user scenario scene and question asked by the examiner. Below, we’ve discussed the overall process.

Final setup

As a group, we spent two days prior to the viva preparing the technical equipment to ensure that setup was quick and sufficient on the day. Similarly to previous user testing, we placed the projector and relative equipment inside of the projector tower.

The cube interface was assembled as a whole and looked quite impressive, to our relief. Preparing two days in advance showed initiative as we encountered a few software-related difficulties. The Modul8 projection mapping software couldn’t save the correct image adjustments. After a while, we were able to fix the issue and get the face mosaic slide up and running.

 

This meant that we had time to practise our presentation, aiming to keep the atmosphere light hearted and engaging via intonations of vocal pitch and hand gestures.

The user scenario scene featured Abbey and Kate taking the role of a user and ‘Faces of Amnesty’ volunteer. Watch the final scene here:

The Viva Presentation

The final presentation went well. We were the first group to present and felt confident that we had done enough preparation. Nerves were present but we didn’t let them override our ability to explain the design story. There were a few stumbles along the way, after all we’re only human. Overall, we were really happy with the outcome and would be proud to pitch the idea to Amnesty International, if given the opportunity.

The Presentation Transcript:

INTRODUCTION

Welcome everyone to our Digital Media Interaction Design Viva presentation. We were tasked with researching and creating a prototype system to support our chosen organisation in response to an identified problem.

WHO

We chose to design for Amnesty International, a global movement of over 7.5 million people in more than 150 countries, campaigning to fight human rights abuse.

Bristol is well known for its human rights activists and political advocates, themed throughout the city in graffiti and fundraising campaigns. For this reason, we couldn’t have agreed on a more relevant and admirable charity to design for than Amnesty.

PROJECT SUMMARY

The Faces of Amnesty is an interactive street projection designed to educate the people of Bristol and raise awareness of Amnesty’s achievements.

The project aims to inspire the public to join Amnesty’s people power movement by highlighting their accomplishments and emphasising that we are collectively responsible in the fight for our human rights.

The Faces of Amnesty projection consists of four cubes:

  • Cube one will display “Amnesty International” to show affiliation with the organisation.
  • Cube two will display positive statements, for example, “55,000 prisoners of conscience freed since 1961.”
  • Cube three displays selfies taken by members of the public, translated into a face mosaic, for example made up of the 55,000.
  • Cube four will display “#FacesOfAmnesty” to raise awareness, educate and reach as many people as possible.

INITIAL RESEARCH

Contextualise Amnesty – figure out exactly who they are, what they do and how they do it. Initial research was daunting due to the vast amount of global issues and campaigns. However, the forefront of Amnesty’s many aims was to generate awareness.  

Creating awareness of the brand to gain support from the public is imperative in funding Amnesty’s movements. We learnt that Amnesty use current technology in their street demonstrations to attract the public in an innovative manner.

Researching Amnesty opened a can of worms. We were reading about things that were totally diabolical and in some cases, relevant to us. Yet we had no idea that any of this was going on behind closed doors. This insight lead to our desire to spark the same response from members of the public.

INTERVIEW

With this in mind, we arranged an interview with Alice Podd an Amnesty Manager to gain insights on Amnesty’s challenges, pain points, use of technology and successes.

Qualitative data obtained from the interview revealed:

  • Amnesty are consistently looking for innovative street demonstration ideas
  • And although Amnesty are well-known, their movements aren’t recognised by everyone.

In response to this, we started to research street campaigns and demonstrations with similar aims to ours.

TECHNOLOGICAL RESEARCH

Research into street projections, for example Heineken Ignite by Project Artworks, found that not only are projections visually appealing, the software is open source, cost effective and accessible.

ETHNOGRAPHIC RESEARCH

Having determined potential technologies that could be utilised, we aimed to find a public space for our street demonstration. This lead to ethnographic research in Bristol – The Waterside, Cabot Circus and The Bearpit.

Whilst observing people in The Bearpit, we noted interactions and the communal centrality of the area. We will utilise The Bearpit to bring people of all backgrounds and ethnicities together, chosen for its political atmosphere, community feel and central location.

During, we informally interviewed a fundraiser who highlighted that compassion fatigue affects people who are bombarded with negative messages, which deters as opposed to encourage. In response, we decided to celebrate Amnesty’s achievements through positive statements.

Recognising that projecting onto surrounding walls would be difficult, we decided to design an object to project onto. Research also found that people are drawn towards unfamiliar objects. This lead to the design of the cubes.

MISSION STATEMENTS

To define the project, we thematically analysed Amnesty’s campaigns, defined mission statements and looked into the aims of the Bearpit Improvement Group.

A clear definition of our aims meant that we could confidently design a projection demonstration that responded to insights gathered.

USER STUFF

We defined that the interactive feature of the projection could involve a user taking a selfie on one of our devices, which could then be uploaded to the cube. Selfies have been a trend for years and are now considered as “normal”. They are quick and easy to take, and often light hearted.

To spread awareness and promote Amnesty, we decided to create a “Faces of Amnesty” hashtag. Once the user had seen their face mosaic on the cube, they could then tag and upload their picture to the Amnesty Twitter feed using one of our iPads. This meant that the user was likely to follow up on Amnesty after the street demonstration by finding their image, generating awareness in a fun and personalised way.

To maintain a user-centred design perspective, we constructed a series of personas and user journeys which emphasised the need for informational leaflets.

PROTOTYPE

We started to prototype the project, which turned out to be an entirely iterative process. We began with pen and paper, which lead to experimenting with face mosaic cut outs and mini cardboard constructions.

Small-scale prototypes evolved to large scale lo-fi models. At every stage, we were considering dimensions, levels of impact, engagement factors and technical production.

The final prototype shown here, represents a to-scale version of the object interface and a demonstration of the face mosaic projection.

USER TESTING

Throughout the construction process, we kept in mind we were designing for a range of users and the end outcome had to respond to the insights obtained.

To ensure that the face mosaic aspect intrigued users, we needed hard evidence. User-testing the prototype identified that the project was intriguing and provoked user engagement. User flow and technical aspects were analysed throughout the testing.

An identified problem was that one user couldn’t recognise that his selfie was made up of faces. In response, we adjusted the face mosaic overlay so that the symbolism was recognisable by all.

USER SCENARIO

Now, we’d like to show you how the projection would work in a real user scenario.

CONCLUSION

Knowing that the project flowed in terms of technical production and user engagement, we began to design a technical requirements list so that Amnesty could adopt the demo in the future. If the demonstration were to be held in The Bearpit, we would need Amnesty staff on hand for selfies, camera equipment, a selfie photobooth, two projector towers, as well as other essential components.

Overall, our project “The Faces of Amnesty” responds to several insights obtained from in-depth research, field trips, interviews and UX methods.
Thank you for listening.

Questions

  • What do you mean by awareness? (Abbey)
  • Overall, what did you learn throughout this process and what would you do better? (Lucy)
  • What were you problems and if given 50k, what would your next steps be? (Kate)

Overall

We can’t believe that we have finally completed this project and it was great to be  involved with such an inspiring organisation. The design process involved lots of backtracking and feedback loops, it was far from perfect – for example, our initial idea was rushed so we used our UX intuition to take a step back and thematically analyse our findings. We feel that our ability to shift focus at the correct times shows our in-depth understanding of interaction design processes.

 

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