In UX design projects, in a superior-degree classroom context, the implementation of new methods of image diagnostic are more and more important, because, they allow the students to retrieve information using a systematic approach. This method enables more transparent settings in project development capable of being duplicated as reference to future similar projects.

This article presents a strategy applied in a teaching module on UX design dealing with a mobile app development. This project was implemented in the course of Interactive Systems, bachelor of Communication Design in the Superior School of Applied Arts – Polytechnic Institute of Castelo Branco, Portugal.

The strategy explained in this article deals with conceptual tools retrieved from border areas of branding communication, applied in this experiment, to allow a better communication between the mobile app image and the final user.

The described experimental teaching strategy on UX Design focuses specifically on an image diagnostic segment. The UX Design sequence developed with students includes phases of interventionist and diagnostic nature arranged in sequence.

The image diagnostic segment relates with the aesthetics settings and makes use of Emotional Archetypes assessment and the consumer insight through trend research analysis. Due to the contemporaneous context in UX Design, the image diagnostic based on Emotional Archetypes blends with other processes related with context analysis. Allowing useful symbolic and aesthetic information to cope with the remaining user experience process dealing with a list of features, wireframes and accessibility tests. Due to the nature of image interface, new challenges arise in integrating with a sequential fashion the aesthetic element with the functions sequence. This experimental approach contributes in new perspectives on image assessment.

In a classroom context, during the development of UX projects, specifically in mobile app design, one of the interesting aspects present in the image diagnostic is the diagnostic incorporation in a larger UX diagnostic evaluation. In the project sequence after the last wireframe consensus, before starting the “pixel layout”, the image diagnostic research, can retrieve useful data, for future overall aesthetic quality in the app. In the UX project design scope, the image diagnostic works the image bonds and limits, in a more efficient and sequential fashion the proposed aesthetic solutions, coherent with the app strategy underway. In this perspective, the image diagnostic is the third diagnostic present in the project sequence chain, after the persona research and wireframe tests.

The diagnostic tools help distance the design from the artistic process. In art the author can conceive a message applying a code that is independent from the audience decoding knowledge. In the Design project, the Designer encodes the media message, for a certain culture and context, to achieve communication effectiveness of a service, product or idea. The model presented in this article is a contribution for a more systematic approach, in reasoning the aesthetic solutions in design project settings.

The followed UX sequence model, applied in the course of Interactive System, has eight steps divided in the categories of diagnostic and interventionist nature. The image diagnostic occurs in sixth place, figure 1.

In a UX project design, there are some branding related solutions that can empower the aesthetic results and by so, encourage a more systematic work in the aesthetic approach.

The Communication Design approach still lacks in the project implementation different diagnostic methods, refined as tools and easily applied in the classroom, more specifically when starting a new project briefing. From the several authors; Kapferer (1992, 2004), Aaker (1997), Martins (2006) and Mark, Pearson (2001) presenting brand model evaluations. The authors present in their work, several frameworks concerning the brand’s meaning, and how it resonates in the public emotional perception. They also relate the brands success in correspondence with significant patterns in the unconscious mind, known as archetypes. The authors engage in providing tools and procedures, to achieve a proven system for identifying the most appropriate and amplifier archetypes for any company, a brand, or both. Moreover, the brand development has the potential to harness the power of the archetype, and to align the corporate strategy to sustain competitive advantage. However in these references, there´s still missing the “how” to develop in practice and effectively a diagnostic for a more practical work implementation, as also communication and project dialog with the client.

The first step in engaging the project in a classroom context is to find the right metaphor able to explain and validate a diagnostic method. However, this approach is valid only in the perspective of Design as a ‘problem-solving’. This structure presents a process structure, where the focus in the projects offers certain ‘problematic symptoms’ where the Designer acts as a researcher and a problem-solver. During the approach the designer can even detect or not, other problems not previously felt by the client.

When adopting in classroom the doctor/patient metaphor, the metaphorical relation uses the interviewing doctor/patient representation, to explain the approach of design as ‘problem-solving’. In an interview, the doctor presents an evaluation session followed by a diagnostic composed by several tests. From the resulting findings, the doctor will more precisely define and specify the patient problem, starting then the treatment and evaluate the resulting impact on the patient health. This approach applied in the classroom project, explains to students how to avoid some uncertain situations, guided by intuition, in the common jargon; the throwing the clay to the wall to see if it holds. The more intuitive approaches in problem solving are a lucky strike that can end badly. In classroom project context, are very demotivating for new learners that try to structure their reasoning on the design project.

From the different configurations of symbolic attributes and tables of reference, the Martins (2006) model, mentioned in the previously referred references, although not yet translated to English, offers a rich tonal range of associations delivering a pleasant didactic approach. The cultural placement contextualization follows the emotional archetypes selection in different levels of intensity.

The cultural placement is achieved, by finding synonymous tags, associated with the emotional archetypes in cultural placement services. Those services exist as commercial stock photo services online, where the students achieve that cultural placement of images, by choosing the right tag, and retrieving those images from the service search engine.

This research action works in parallel with the picture reasoning and the correlation of emotional archetypes concepts. This model delivers a method that avoids hasty results. The student can perform an approach in two levels; systematic approach to research diagnostic, using coherent tools with visual communication design; and visual literacy update through cultural placement settings. This strategy aims in overcome some lack of structure in introducing the Design project.

The proposed strategy does not replace the model continuous test and drill, but allows a more detailed approach to a consulting perspective. A student can obtain a holistic perspective where visual elements play a role as tools or bricks, holding in the message different meanings in their individual or group configuration settings.

The model is adaptable to classroom or bLearning context, developed in one session.

Delivering to students a reasoning process, distributed in different stages, from the first retrieval of information, to archetypes evaluation followed by correspondences with images matching each set of archetypes with the brand profile and cultural placement, given by the image tags and categorization.

When finding tagging categorization, students learn to harness information from commercial stock photo services, taking advantage from the constant update of concept categorization already developed by those commercial services.

The vector set, results in different values of intensity for each E.A., which influence the image assessment before researching on image culture placement.

The set of images, retrieved from cultural placement analysis, using stock photo engines, displays in their configuration and group size the vector intensity. The search criteria work with concepts and tags system of reference. Working in these search tasks, the students develop the concept of visual literacy in cultural settings.

The same way symbols act as coordinates of thought, they are also coherent with the company, institution concept or core activity that they represent. Images portray concepts and perspectives. The group of elements in the frame represents individually different ideas, but their configuration in specific settings, links to archetype reasoning. The image link to the emotional archetypes is ephemeral and changes over time.

The quest in this research, test and drill aims not in creating a formula but instead a working tool, a model consisting in a system of references. Over time, this system will allow expansion and adaptation to future contextual changes. This implementation allows the students to understand the project flow as a systematic approach, a system that allows multiple contributions empowering the diagnostic perspective.

The proposed diagnostic aims on delivering a more systematic approach when finding solutions on image analysis and therefore encompassing some of the aesthetic solutions with the product cultural placement. This diagnostic evaluates the image, cultural trends and main concepts. The image diagnostic differs from other tests on the aesthetic references and cultural framework, delivering aesthetic indicators to the final layout development.

Moreover, this strategy, nurtures the perception of a systematic approach by the student. If it’s real the assumption that the design conjugates intuition and technical knowledge, this system will bring solid insight to future intuitive assessment in image evaluation.

Bibliography

Jennifer L. Aaker, “Dimensions of Brand Personality, “ Journal of Marketing Research, August 1997, pp. 347–356

Lury, Celia. (2004), Brands: The Logos of the Global Economy. Routledge

Kapferer, J.N. (1992), Strategic brand management: new approaches to creat- ing and evaluating brand equity. Kogan Page, London, U.K.

Kapferer, J.N. (2004), The new strategic brand management (creating and sus- taining brand equity long term) (3rd ed.). Kogan Page, London, U.K.

Mark, Margaret. Pearson, Carol (2001), The Hero and the Outlaw : Building Extraordinary Brands Through the Power of Archetypes. McGraw Hill Professional

Martins, Jose. (2006), A Natureza Emocional da Marca — Construção de Empresas Ricas. Editora Campus, Rio de Janeiro