Blog posts tagged as 'vending'

Earlier this year we hosted a workshop for Timo Arnall‘s Touch project. This was a continuation of the brief I set my students late last year, to design an icon or series of icons to communicate the use of RFID technology publicly. The students who took on the work wholeheartedly delivered some early results which I summarised here.

This next stage of the project involved developing the original responses to the brief into a small number of icons to be tested, by Nokia, with a pool of 25 participants to discover their responses. Eventually these icons could end up in use on RFID-enabled surfaces, such as mobile phones, gates, and tills.

Timo and I spent an intense day working with Alex Jarvis and Mark Williams. The intention for the day was to leave us with a series of images which could be used to test responses. The images needed consistency and fairly conservative limits were placed on what should be produced. Timo’s post on the workshop includes a good list of references and detailed outline of the requirements for the day.

I’m going to discuss two of the paths I was most involved with. The first is around how the imagery and icons can represent fields we imagine are present in RFID technology.

Four sketches exploring the presence of an RFID field

The following four sketches are initial ideas designed to explore how representation of fields can help imply the potential use of RFID. The images will evolve into the worked-up icons to be tested by Nokia, so the explorations are based around mobile phones.

I’m not talking about what is actually happening with the electromagnetic field induction and so forth. These explorations are about building on the idea of what might be happening and seeing what imagery can emerge to support communication.

The first sketch uses the pattern of the field to represent that information is being transferred.

The two sketches below imply the completion of the communication by repeating the shape or symbol in the mind or face of the target. The sketch on the left uses the edge of the field (made of triangles) to indicate that data is being carried.

I like this final of the four sketches, below, which attempts to deal with two objects exchanging an idea. It is really over complex and looks a bit illuminati, but I’d love to explore this all more and see where it leads.

Simplifying and working-up the sketches into icons

For the purposes of our testing, these sketches were attempting too much too early so we remained focused on more abstract imagery and how that might be integrated into the icons we had developed so far. The sketch below uses the texture of the field to show the communication.

Retaining the mingling fields, these sketches became icons. Both of the results below imply interference and the meeting of fields, but they are also burdened by seeming atomic, or planet sized and a annoyingly (but perhaps appropriately) like credit card logos. Although I really like the imagery that emerges, I’m not sure how much it is doing to help think about what is actually happening.

Representing purchasing via RFID, as icons

While the first path was for icons simply to represent RFID being available, the second path was specifically about the development of icons to show RFID used for making a purchase (‘purchase’ is one of the several RFID verbs from the original brief).

There is something odd about using RFID tags. They leave you feeling uncertain, and distanced from the exchange or instruction. When passing an automated mechanical (pre-RFID) ticket barrier, or using a coin operated machine, the time the machines take to respond feels closely related to the mechanism required to trigger it. Because RFID is so invisible, any timings or response feels arbitrary. When turning a key in a lock, this actually releases the door. When waving an RFID keyfob at reader pad, one is setting off a hidden computational process which will eventually lead to a mechanical unlocking of the door.

Given the secretive nature of RFID, our approach to download icons that emerged was based on the next image, originally commissioned from me by Matt for a talk a couple of years ago. It struck me as very like using an RFID enabled phone. The phone has a secret system for pressing secret buttons that you yourself can’t push.

Many of the verbs we are examining, like purchase, download or open, communicate really well through hands. The idea of representing RFID behaviours through images of hands emerging from phones performing actions has a great deal of potential. Part of the strength of the following images comes from the familiarity of the mobile phone as an icon–it side-steps some of the problems faced in attempting to represent an RFID directly.

The following sketches deal with purchase between two phones.

Below are the two final icons that will go for testing. There is some ambiguity about whether coins are being taken or given, and I’m pleased that we managed to get something this unusual and bizarre into the testing process.

Alex submitted a poster for his degree work, representing all the material for testing from the workshop:

The intention is to continue iterations and build upon this work once the material has been tested (along with other icons). As another direction, I’d like to take these icons and make them situated, perhaps for particular malls or particular interfaces, integrating with the physical environment and language of specific machines.

Last term during an interim crit, I saw the work my students had produced on the RFID icons brief I set some weeks ago. It was a good afternoon and we were lucky enough to have Timo Arnall from the Touch project and Younghee Jung from Nokia Japan join us and contribute to the discussion. All the students attending showed good work of a high standard, overall it was very rewarding.

I’ll write a more detailed discussion on the results of the work when the brief ends, but I suspect there may be more than I can fit into a single post, so I wanted to point at some of the work that has emerged so far.

All the work here is from Alex Jarvis and Mark Williams.

Alex began by looking at the physical act of swiping your phone or card over a reader. The symbol he developed was based on his observations of people slapping their Oyster wallets down as they pass through the gates on to the underground. Not a delicate, patient hover over the yellow disc, but a casual thud, expectant wait for the barrier to open, then a lurching acceleration through to the other side before the gates violently spasm shut.

More developed sketches here…

I suspect that this inverted tick will abstract really well, I like the thin line on the more developed version snapping the path of the card into 3D. It succeeds since it doesn’t worry too much about working as an instruction and concentrates more on a powerful cross-system icon to be consistently recognisable.

Verbs

The original brief required students to develop icons for the verbs: purchase, identify, enter (but one way), download, phone and destroy.

Purchase and destroy are the two of these verbs with the most far-reaching and less immediate consequences. The aspiration for this work is to make the interaction feel like a purchase, not a touch that triggers a purchase. This gives the interaction room to grow into the more complex ones that will be needed in the future.

This first sketch, on purchase, from Alex shows your stack of coins depleting, something nice about the dark black arrow which repeats as a feature throughout Alex’s developments.

Mark has also been tackling purchase, his sketches tap into the currency symbols, again with a view to represent depletion. Such a blunt representation is attractive, it shouts “this will erode your currency!”

Mark explores some more on purchase here:

Purchase is really important. I can’t think of a system other than Oyster that takes your money so ambiguously. Most purchasing systems require you to enter pin numbers, sign things, swipe cards etc, all really clear unambiguous acts. All you have to do is wave at an Oyster reader and it costs you £2… maybe: The same act will open the barrier for free if you have a travel card on there. Granted, passengers have already made a purchase to put the money on the card, but if Transport for London do want to extend their system for use as a digital wallet they will need to tackle this ambiguity.

Both Mark and Alex produced material looking at the symbols to represent destroy, for instances where swiping the reader would obliterate data on it, or render it useless. This might also serve as a warning for areas where RFID tags were prone to damage.

I like the pencil drawing to the top right that he didn’t take forward. I’ve adjusted the contrast over it to draw out some more detail. Important that he distinguished between representing the destruction of the object and the data or contents.

Mark’s sketches for destroy include the excellent mushroom cloud, but he also looks at an abstraction of data disassembly, almost looks like the individual bits of data are floating off into oblivion. Not completely successful since it also reminds me of broadcasting Wonka bars in Charlie and the Chocolate Factory and teleporting in Star Trek, but nice none the less.

Drawing

This is difficult to show online, but Alex works with a real pen, at scale. He is seeing the material he’s developing at the same size it will be read at. Each mark he makes he is seeing and responding to as he makes it.

He has produced some material with Illustrator, but it lacked any of the impact his drawings brought to the icons. Drawing with a pen really helps avoid the Adobe poisoning that comes from Illustrator defaults and the complexities of working out of scale with the zoom tool (you can almost smell the 1pt line widths and the 4.2333 mm radius on the corners of the rounded rectangle tool). It forces him to choose every line and width and understand the success and failures that come with those choices. Illustrator does so much for you it barely leaves you with any unique agency at all.

It is interesting to compare the students’ two approaches. Alex works bluntly with bold weighty lines and stubby arrows portraying actual things moving or downloading. Mark tends towards more sophisticated representations and abstractions, and mini comic strips in a single icon. Lightness of touch and branching paths of exploration are his preference.

More to come from both students and I’ll also post some of my own efforts in this area.

So I’ve been thinking about hands and arms. I started by thinking of extremely small hands, on my hands. So here are some drawings from that thinking.

This drawing is of a toy that shrinks your hands down so you can play in a small world, with small figures. Your fingers are all connected up to a group of flex sensors, which converts the analogue movement to a cluster of servos. The servos collectively control fingers on the small hands by tightening or loosening. So the movements of your fingers become roughly and awkwardly analogous to those of the small hands in the toy. There is also a screen inside some goggles hooked up to a small camera in a glass ball between the two small arms. So when you look in to the goggles, you see what is in front of your arms. There are two wheels which you can twist to point the camera in different directions, like an eye. Kind of like an analogue version of virtual reality, only right in front of you and not virtual.

I would also like to have a very small hand at the end of my finger. To pick up pens and things. You control the small hand on one finger using your other fingers, with flex sensors (same as above). You lose one of your big hands to gain a little hand on the end of one of your fingers.

I came across Chad Thornton‘s work. He is at Google now, but he made a mechanical finger as part of his work at Carnegie Mellon Interaction Design programme (nice video here).

Maybe I’m carrying some latent affection for the Radio Shack Armatron here, I don’t know. These themes are common in films. This must be informed by Ripley’s Power Loader from Aliens:

The belt buckle, and rubberised keyboard make her rig seem really convincing, her trainers too, and how she locks into the unit. The cyborg fingers for typing in Ghost in the Shell are nice too.

No doubt there are more. It makes me think of Robocop‘s gun hip too although slightly off topic.

I like them, robot arms. I see them as a celebration of industrial process. I predict they will become a more widespread part of our lives. They are cheaper now (it appears that non-load bearing ones don’t require three phase power either) and since they are multi modal they can perform many tasks, in strange contexts. No doubt FDM or other fittings are/will be available, implications of that could be very large. Imagine a robot arm in your drive thr(o)u(gh), changing a tyre, and then printing out your happy meal. Our lives could become peppered with arrays of multi-buildy-arms.

Robotlab (via Roger Ibars) are a German partnership who have used industrial robot arms to perform a DJ set. Witnessing the arms is as important as their role. I find them disconcertingly accurate, mechanised confidence in something typically so analogue and expert and careful. There is also something about their inflexibility, their inability to reach inside certain arcs, too close to themselves. I like the way they occasionally find a sync with each other, and at other times drift out. I think these guys have a business model set up around this, so I’m very interested to see how that develops.

I want one.

My favourite television ad at the moment is the Coca Cola one where the chap pushes his money into the vending machine and it triggers a sequence of magical adventures in a fantasy world, culminating in the fireworks-accompanied delivery of a cold bottle of Coke.

I like to think that all vending machines look like this inside. It’s a great way to make special the purchasing act.

Aside from product-specific events, like drinking for Coke, almost all our interactions with products are punctuated with moments like this: encountering, selecting, purchasing, showing off, selling. There are more. Each moment is an experience that good product design and advertising can make special, and use as a hook for brand communication. Each is a threshold at which, while the mere physical reality of the world doesn’t change, we’re taken us from one life to another–perhaps from being content with our lot to feeling covetous, or from not owning something to having it. These thresholds may appear small but they carry tremendous weight and meaning for us, are important in our individual and social lives, and are opportunities for design.

Some companies understand this very well. Apple make products that are legendarily pleasurable to unbox. The laptops have a charged battery from the get-go; the iPod box opens to reveal the device like a pearl. Unboxing is a weblog celebrating precisely this experience. Tiffany use high quality packaging to protect the jewels–but also because the glamour of passing over this ownership threshold reflects back on the glamour of the jewellery. (Tiffany have also clothed models in the packaging paper, which builds up the glamourous associations.) As a very different kind of business, Amazon understands that it’s not just about selling books. It’s about being present for customer for the duration of the life-cycle of the book, during browsing, discovering, learning about, wanting, purchasing, reviewing and finally selling on to someone else.

I think that discerning consumers – and we’re all more discerning now – delight in products when these acts are delightful, not because a product is like a cool big brother to us, or has a particular lifestyle we want to associate with.

Anyway, I like the Coke advert because it speaks directly to one of those acts, and also because it’s terribly pretty and vending machines are cool. Duncan’s TV Ad Land has more about Coke Happiness Factory and the team behind it (including a link to a large movie download), and you can watch the ad at YouTube.