ANALYSIS operating space (lesson 3)
Last updated
Last updated
0. Write down as many annoying interactions in VR that you can come up with. Do the same for very nice interactions in VR.
Take or create a map of your virtual space. Print or draw it. Make it physical.
Draw one or more routes (or transitions of space) on the map that the user will take.
Define 1-4 places on the map that are most important to the user and define its primary, secondary and tertiary zones (as you have seen in the video above). Draw this in your map.
Interacting with the environment in VR/AR can be done via bare hands (gestures), controllers, gloves, embodied suits or interactive props. They interact with elements:
Environment (walls, doors, floor, ceiling, sky, planes, etcetera)
Objects (active - passive objects, flying birds - door knobs, curtains - cubes, etcetera)
Cues (what triggers the user to see, to learn or to do something in an experience)
Multiplayers (voice-visual)
7. Define all the interactive elements in your prototype so far. Draw them on a sheet. 8. Take the physical and virtual canvas of step 5 & 6. What cues do you use at the specific place. Draw them in your canvas (step 6) and discuss them with your peers.
Option A: Don't forget the user's height. Play your experience on your knees and test your prototype by means of height. Write down all problems that occur and define the most relevant. Option B: Don't forget the user's eye vision. Play your experience with one eye closed and test your prototype by means of vision. Write down all problems that occur and define the most relevant. Option C: Don't forget the user's balance. Pirouette yourself for about 10-15 times and then put on the headset and start the experience. Write down all problems that occur and define the most relevant. Option D: Don't forget the user's degrees of freedom (I). Play your experience with one hand and one finger and put the other hand behind your back. Write down all problems that occur and define the most relevant. Option E: Don't forget the user's degrees of freedom (II). Play your experience by using the controller with your arms or legs (no hands). Write down all problems that occur and define the most relevant.
Reference frames. Egocentric (first person: head-torso-hands-legs-eyes) and exocentric (third person). More can be found on the .
4. Imagine a cilinder (or better: ) around each point. Its diameter is determined by the arm length(s) of your user. Make sure to use multiple cilinders, for at least 2 different arm lengths. This is your physical real-world canvas for selection and manipulation, it is the space in which the user can operate in the experience. (You can create physical cilinders if this is helpful.) 5. Select one of the places you defined at step 3 and make a layout (rectangle) of your physical real-world canvas. Do it again for the other places. 6. Imagine this canvas to be connected to your GUI virtual canvas in VR. (as seen below) What does match really great and what doesn't?
Menus (point-pallet, pallet UI, fixed context UI, look and lock, scaling) See or
9. Choose 1 cue in your canvas. What is the intent for this cue, what should it trigger? Look at other cues in your experience as well, as many as you can. 10. Try to come up with as many other ideas for implementing cues to trigger users. Do this by means of a . Use the elements listed above (environment, objects, etcetera) and use visual, auditory, haptic cues all together. 11. Which (kind of) cues are very consistent in your experience? Try to define the rules behind these cues via 'if.....then' propositions. (if I position the bow and arrow, then I will get a haptic cue that it is ready to shoot)
