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CONTENT DUCATI: AN INVESTIGATION OF THE SPACE
OF INTERFACE AND THE DESIGN OF USER EXPERIENCE.
A thesis submitted to Parsons School of Design, a division of the New
School University, New York, in partial fulfillment of the requirements
for the degree of Master of Fine Arts in Design and Technology.
Melissa MacQuarrie
May 2005
Thesis Faculty: Stephanie Owens, Anezka Sebek
Writing Faculty: Barbara Morris
Thesis advisor: Karen Sideman
Additional advisors: Allen Jones, Dave kanter, Dave Carroll, Katie
Salen, Colleen Macklin
CONTENT DUCATI: AN INVESTIGATION OF
THE SPACE OF INTERFACE AND THE DESIGN OF
USER EXPERIENCE.
ABSTRACT OF CONCEPT
Content Ducati is a web project that investigates the space of interface and
the design of user experience via careful analysis of target community
needs, lifestyles and habits. The intent of the project is an attempt to bring
something new to the table in terms of designing access to information on
the web. The goal is developing a system that is intuitive and engaging, that
responds to the identity of the user and compels the user to explore.
The project uses analysis of Ducati riders as a tool for developing the user
experience. It seeks to translate their identity; the affinity for design, their
most common attribute.
This system uses the design aesthetic of the Ducati motorcycle as a process
for delivery of information, so as to provide users with an experience that is
unique and engaging, inspiring and entertaining.
The engine looks to the information hierarchy of the Ducati website version
November 2004, as a base for compression of content. The material is
compressed via analysis of target user needs, then repurposed.
Current methods for designing experiences demand perimeters on text.
The project is, in itself, an experiment in the design of interface. It looks to
the field of experience design as a resource for designing methods for user
pathways and immersive environments. The mission of the project is to
create the illusion of “traveling thru space” to access content. This is
achieved through the use of graphical animation, narrative interaction,
transitioning and programming.
Research involves traditional models for web design, current models of web
based experience design, investigating the design aesthetic of the
motorcycle as well as the lifestyles, habits and characteristics of users in
order to define community needs.
The end result is an interactive, cinematic experience of the Ducati design
aesthetic, that presents a means of improving internet based user
experiences. The project includes site form and functionality, usability
testing, and community user feedback to ensure its overall success.
Predicts experiential web design will be a trend of the future.
ACKNOWLEDGEMENTS
I would like to express my gratitude to my family, friends and fellow
students for their continuous support during the creation of this
thesis. Thanks to Rick Ochoa, for his resourceful perspective in the
field of information technology and assistance with sound design. I
also want to extend my most sincere appreciation to all of my advisors
for their advice, inspiration and dedication to helping me find
solutions to my design questions. Special thanks to Stephanie Owens,
Barbara Morris, Anezka Sebek, Karen Sideman, Allen Jones, Colleen
Macklin, Katie Salen, Dave Kanter and Dave Carrol.
TABLE OF CONTENTS
PRELIMINARIESTitleAbstractAcknowledgementsTable of ContentsList of Illustrations
CHAPTER 1. INTRODUCTION…81.1. Motivations…81.2. Overview of this Thesis…12
1.2.1. Target Users And Context…131.3. Contributions of this Thesis…14
CHAPTER 2. BACKGROUND/RESEARCH2.1. Introduction…152.2. Traditional Web Models of Information and Interface Design…16
2.2.1 Overview…162.2.2. Microsoft Bob…162.2.3. Usability, Jakob Nielsen/Donald Norman…172.2.4. Interface Culture, Steven Johnson…172.2.5 Conclusion…18
2.3. Current Web Models of Experience Design…182.3.1 Overview…182.3.2. Marcos Novak…18
2.3.2.1. Novak’s Ideologies of Space…222.3.2.2. Example: Marcos Novak,Trans architecture2.3.2.3. Basqiuat: Icons and Culture…25
2.3.3. Nathan Shedroff…252.3.4. Mark Stephen Meadows…262.3.5. IDEO, Tom Kelly…272.3.6. R/GA …282.3.7. Conclusion…30
2.4. Design Aesthetic of the Ducati Motorcycle as applied to Experience Design…30
2.4.1. Pierre Terblanche…312.4.2. Community and User Research…322.4.3. Ducati Rider Community…342.4.4. Ducati Racer Community…352.4.5 Conclusion…35
2.5 Precedents…352.5.1. Nike Design by Nature…362.5.2. VWPhaeton…38
2.6 Conclusion…40
CHAPTER 3. METHODOLOGY…413.1. Introduction…413.2. Foundations for Creating Design Solutions for Experience
3.2.1. Investigating Ducati: Overview…433.2.2. Investigating Information Design…43
3.2.2.1 November 2004 Ducati Website3.2.2.2 Topic Overview and Outline…45
3.2.3. Investigating Ducati Culture and Community…473.2.4. Investigating General Usability, Incorporating user Feedback…48
3.3. Methods for Designing the interface of the Ducati Experience…493.3.1. Immersive Environment as a Method for Experience Design…49
3.3.2. Design Aesthetic as a Method of Experience Design3.3.4. Library of Technical Mechanics…P52
3.4. Preliminary Experiments for Design Solutions…P543.4.1. Re-structure of Ducati Information Design.
3.4.1.1 Site Map: Versions for Fall 2004…P553.4.2. Interface Design, Navigation and the Immersive Environment…P56
3.4.2.1 Versions for Fall 2004…P56 3.4.3. Response to Project Proposal…P573.4.5. Actualizing the Experience of Environment…P58
3.5. Prototype Solutions…P603.5.1. System Overview…P60
3.5.1.1 User Pathways, User Flow, and Navigation3.5.1.2 Site Map: Final…P61
3.5.2. Site Form and Function: Pre-Alpha…P633.5.3. Pre-Alpha Usability Testing, User Feedback…P633.5.4. Site Form and Function: Alpha…P643.5.5. Usability Testing, User Feedback…P663.5.6. Site Form and Function: Beta…P67
CHAPTER 4. FINDINGS/ EVALUATION (Discussion and Analysis)4.1. Thesis Review…P68
CHAPTER 5 CONCLUSION … P755.1. Conclusion …P755.2. Future Directions …P75
CHAPTER 6. Bibliography…P786.1. General Research …P776.1.2 Books …P786.1.3 Journals …P796.1.4. Websites …P79
6.2. DUCATI Specific Research …P796.2.2 Books… P806.2.3 Journals…P806.2.4 Websites…P80
APPENDICESAPPENDIX A. Works Cited … P81APPENDIX B. Ducati User Group … P85APPENDIX C. Ducati Character Document … P86APPENDIX D. Glossary… P88APPENDIX E. Wire-frame Document / Page Map… P89APPENDIX F. Ducati Monster List Review…P116
LIST OF TABLES AND FIGURES
Figure 1a, 1b,1c, and 1dScreen shots of Microsoft Bob. Web resource: http://www.tspa.org/win123-17.html March.2005…P18
Figure 2Marcos Novak’s Example of Trans Architecture. http://www.mat.ucsb.edu/~marcos/Centrifuge_Site/MainFrameSet.html…P24
Figure 3. Davinci’s Last supper ……P24http://faithinsights.jesusanswers.com/TheLastSupper,(restored)Leonardo%20Da%20Vinci.jpg
Figure 4“Photo of Pierre Terblanche with the Triple 9”. Cathcart, Alan & Cook, Mark. Ducati 999.P12. David Bull Publishing 2003 …P31
Figure 5Photo of Dr.Fabio Taglionihttp://www.ducati.com/heritage/protagonisti/protagonisti_taglioni.jhtml
Figures 6a-6hNike.com: Nike Lab, Design by Nature. November, 2004 …P36
Figure 7a-7fwww.vwphaeton.com: Volkswagen Phaeton. 2004. Homepage. …P39
Figure 8a-8fDucati.com November 2004. P40
Figure 9:Melissa Macquarrie. “Information Design Topic Map” P46
Figure 10a &bMacQuarrrie, M. “Main Menu Interface ”. November, 2004…P56
Figure 11MacQuarrrie, M. “Hierarchy for Mechanics ”. November, 2004…P51
Figure 12MacQuarrrie, M. “Site Map: Version Fall 2004”. November, 2004…P56
Figure 13a, 13b, 13c, 13dMacQuarrrie, M. Usability Study: Steps 1-4. December, 2004…P57
Figure 14.MacQuarrrie, M. Sitemap: final organization of information…P60
Figure 15a- 15eMacquarrie, M. Screen shots of final interface…P67
CHAPTER 1. INTRODUCTION
1.1 Motivations
Most interface design solutions for web-based applications developed
today, present content via a traditional use of linear flow. Users
access information through series of pre-determined, consecutive and
relatively flat pages. The goal of the vast majority of current web
design is to provide website visitors or application users with easy
access to a host of information that they might find useful. Marketing
research has determined that effective websites and applications
provide the user with an immediate assurance that their time is not
being wasted searching through mountains of information to get what
they want. If a user cannot find what they are looking for instantly,
chances are that they will leave the site. Web designers work
diligently to interpret the needs of users, creating outlines of
information via tables of text menus, to insure that the user can
access all possible avenues of information, at first glance. The
tradition supports the assumption that a web site is essentially a
series of pages, to be read as one might read a book or newspaper,
reading the stories on the front page, and flipping to the main pages
to continue the story and get more information. While the
experience of reading a newspaper can vary significantly when you
consider it may entail reading the Sunday paper curled up on the sofa
with a cup of coffee vs. reading standing-up on a crowded subway;
traditional web site design, like newspapers, focus on information
gathering and distribution to enhance the users overall experience.
By concentrating mainly on information access, traditional web design
restricts the potential to offer the user a broad multimedia
experience.
With the advancement of multimedia technologies (i.e.: Flash,
Photoshop) there is a new trend developing in which designers are
searching for ways to present information that is not dependent on
the architecture of pages. It could be a design where interaction
means more than simply clicking on a link to get more detailed
information or using a rollover menu to see various topics available.
This trend looks to the advancement of the graphical interface design
to provide the user with a more engaging and exciting experience and
a more intuitive and responsive interaction.
Product marketers often look for creative solutions to provide
consumers with a way to experience (e.g. touch, smell, ride) their
products, in order to more effectively market (i.e. to create desire for
consumers to purchase) those products. Web designers are looking to
create user interface design that make websites and applications a
place where consumers can gain some of the experience of owning the
product, and thereby increase the volume of products or services
consumed.
This thesis looks beyond a world of relatively flat, linear pages. Is not
the web an interactive environment, shouldn’t the translation of that
description be literal? Why do we look at the web as if it were a piece
of paper, instead of a digital realm where anything can happen? This
project defines a graphical space that users move into and through in
the pursuit of information.
With a background as an e-learning designer and developer, I believe
that creating interactive environments to host content is a far more
viable solution for developing engaging user experiences, than using a
design based on a system of pages. I argue that interaction with the
Internet should not be assembled as an experience of reading a book
or a newspaper, but rather it should be a virtual space that users
move within and through to access information.
Current design trends in web design cater to the belief that what the
user is saying is, “Just help me find what I want before I get
frustrated and leave the site!” The user knows what to expect, and
doesn’t want anything else. I believe there presently is a latent need
for a more progressive design solution that assumes the general user is
familiar with the current trends of accessing on-line information and
actually does want something more, though they may not be aware of
it. This project caters to the assumption that the general user is
familiar with using the internet and wants something new. Perhaps
instead the user is saying, “Give me something that makes me want to
be there, makes me want to explore, something compelling and
entertaining, offering experience of the product in addition to the
information I have set out to find.”
There are solutions to be found in the creative manipulation of
graphical interface and digital motion, which can give depth and
dimensionality to the form and function of the web. By exploring the
design of interface as an experience, my project aims to provide users
with a new and better way to access to information.
1.2. Overview of this Thesis
...By changing space, by leaving the space of one’s usual sensibilities, one
enters into communication with a space that is psychically innovating. For we
do not change place, we change our nature.
Gaston Bachelard,
The Poetics of Space, 1964 (1)
Content Ducati is a web project that investigates the space of
interface and the design of user experience via careful analysis of
target community needs, lifestyles and habits.
The intent of the project is an attempt to bring something new to the
table in terms of designing accesses to information on the web. The
goal is developing a system that is intuitive and engaging, that
responds to the identity of the user and compels the user to explore.
The project explores and demonstrates how the use of graphic
metaphors for immersive environments can be a means of improving
internet based user experiences.
The project looks systematically to the analysis of Ducati riders as a
tool for developing the user experience. It seeks to translate their
identity; the affinity for design, their most common attribute.
In traditional web architecture, users access content through a series
of pathways mapped to the home page and navigation. In experience
design, users access content via a cinematic, interactive environment.
This system uses the design aesthetic of the Ducati motorcycle as a
process for delivery of information, so as to provide users with an
experience that is unique, inspiring and entertaining.
The engine looks to the information hierarchy of the Ducati website
version November 2004, as a base for compression of content. The
material is compressed via analysis of target user needs, then
repurposed. Current methods for designing experiences demand
perimeters on text.
Major components of my research are identifying traditional models
for web design, identifying current models of web based experience
design, investigating the design aesthetic of the motorcycle as well as
the lifestyles, habits and characteristics of the user in order to define
this community’s needs.
The project is, in itself, an experiment in the design of interface. It
looks to the field of experience design as a resource for designing
methods for user pathways and immersive environments. The mission
of the project is to create the illusion of “traveling thru space” to
access content. This is achieved through the use of graphical
animation, narrative interaction, transitioning and programming.
The end result is an interactive, cinematic experience of the Ducati
design aesthetic, that presents a means of improving internet based
user experiences. The project includes site form and functionality,
usability testing, and community user feedback to ensure its overall
success.
It is my belief that experiential web design, using metaphors of
immersive environment and narrative interactivity will be a trend of
the future.
1.2.1. Context/Target Users
The main context for this project is the use of these design solutions
NORTH AMERICAN target audience.It could be featured as an
experiential site, promoting hot topics. It could also be used with a
Kiosk in dealer stores, or could even be used in combination with a
CD-ROM based catalogue to accompany their print materials; or within
Kiosks (interactive web-based applications) placed in Authorized
Dealer Stores.
Target Audience: male and female Ducati Enthusiasts, Riders and
Racers; Ducati communities: UsDesmo; a Ducati Desmo owner’s club
for the United States, DucatiCorse, the public image of Ducati’s racing
subsidiary. Authorized Dealers, Ducati Director of Design, Pierre
Terblanche.
1.3. Contributions of this Thesis
This thesis challenges the trends of current, proven web design
techniques, without disregard for the many viable reasons for their
establishment. The goal is an attempt to invent new techniques and
strategies for web design via the analysis, interpretation and
organization of experience, information, interface and aesthetic.
This thesis evaluates the phenomenon of Ducati in terms of culture,
tradition, design, sound, marketing (both web and print) and the
identities of Ducati communities of riders, racers and enthusiasts. It
strives to create a more effective and engaging virtual forum for the
presentation of image, identity and interactive experience. The
contribution to the human condition lies in giving this specific
community a product that excites, engages and identifies with them
on a deep, emotional level. This thesis contributes to the field of
design by the translation of the magical, physical aesthetic of the
Ducati Motorcycle into a virtual environment, and by using that
aesthetic to evoke an identifying passion in the target user.
The project strives to be an interactive, cinematic experience of the
Ducati design aesthetic and industrial engineering. It offers the
suggestion of a new way in which we can view and interact with
internet based content and thus changes the way we perceive
designing for the web. In terms of technology, this thesis contributes
to the field of information design by presenting a unique navigational
structure for the presentation of experiential based content. This
structure takes the traditional concepts of “home page or main menu”
and “navigational panel” and merges them into one. In this thesis, the
navigational system is built directly into the graphical metaphor of
environment on the homepage.
The information from the original November 2004 Ducati site, has
been thoroughly examined and evaluated to determine a hierarchy of
importance and relevance based on the target community needs. The
information design this prototype, gives us example as to how
information design can be evaluated, isolated and reduced, making it
applicable to designing interactive experiences.
CHAPTER 2. BACKGROUND/RESEARCH
2.1. Introduction
The design of a web-based application is formed by the combination
of the design of information, the design of the graphical user
interface, the design of programming and the analysis of usability.
This chapter outlines the background research of traditional web
models of information design and interface navigation in order to
demonstrate current trends and the reasons behind what these
methods are and why they are supported in the industry.
This research is important to my inquiry because it serves as a
foundation for understanding what pathways the industry has taken
and why these pathways were successful or not.
By examining the beliefs and research of industry leaders, I define
the current state of design assumptions and techniques for the
medium my work attempts to address, enhance and improve, in
order to provide users with transcendence beyond traditional
techniques of access to information.
The research outlines the process of Traditional Web Models of
Information and Design, Current Web Models of Experience Design
Design Aesthetic of the Ducati Motorcycle as applied to Experience
Design, Community and User Research and Precedents
2.2. Traditional Web Models of Information and Interface Design
2.2.1 Overview
This section discusses traditional models of Web design. It examines
the interface used in the devlopment of Microsoft Bob, and outlines
the Ideologies and examples of industry leaders in usability,
interface and information design; Jakob Nielsen, Donald Norman,
Robert Jacobson and Steven Johnson.
The investigation examines how traditional industry standards are
being implemented based on the findings of key researchers and
writers.
Figure 1a: Microsoft Bob Splash Screen
Figure 1b: Microsoft Bob Log-in
Figure 1c: Microsoft Bob Public Family
Room
2.2.2. Microsoft Bob
In early 1995 Microsoft released a software program called “Bob”
designed to replace the desktop of Windows 3.1 and 95 with an
interface designed mainly for novice users. Microsoft Bob was an
alternative graphical “shell” for Windows.
Intended for home computer use, Microsoft Bob was a “social
interface” that used sound effects and pictures used “rooms of a
home”. * (2) The software opened with a Splash Screen [Fig. 1a]
that used cartoon-like, bulleted list of balloons to choose options
from instead of pull-down menus and dialog boxes and used a
metaphor of a “Front Door” [Fig. 1b], for the log- in screen. The
default interface follows using the graphical metaphor of being in a
“Public Family Room” [Fig. 1c & 1d]. Double-clicking certain items
in the room run Bob’s programs.
This software, though supported by a massive add campaign, was not
successful due to a number of reasons. Most computers at the time
did not meet Bob’s minimum hardware requirements. * (2) The
graphical interface did not appeal to the target masses, the overall
criticism being the system was “too cute, and “had annoying
character user guide.” It was felt that Bob was not useful enough to
justify its initial sale price of almost $100. * (3)
Microsoft Bob demonstrated a great advancement in programming
technology in 1995. The “home” atmosphere and “personal guides”
were the first attempt to “humanize” the computer experience outside
the realm of children’s educational software.
In my project, the system uses animation of light and form moving
across the screen in response to lack of interaction of the mouse with
screen. When user interaction is idol the system prompts the animating
light. This use of animation in itself is a prompt to the user to engage.
The rollover states, giving users access to other sections of the site are
designed to be much larger than the actual icons used on the screen,
thus wherever the user moves the mouse, a graphical rollover will
appear. An assumption is made here that the average user in 2004 is
inherently more web savvy than the average user in 1995 and that the
user will realize by design that these are the avenues to explore
throughout the screen. The access points provided are simple and
minimal so as to not overwhelm the user and provide instant
understanding as to the number of access option. The use of light
presents a more subtle and fundamentally less annoying technique than
an elaborate metaphor of the character guide.
A contemporary interface, supported by current technology should be
intuitive enough to notice if a user is not engaged with the mouse and
the screen, particularly when used with an interface where information
being accessed is limited by the use of the graphical metaphor, so as to
not loose the user who may not be sure as to how to engage.
At the inception of Microsoft Bob in 1995, the internet was just
becoming mainstream, people were in the process of developing a
general familiarity with using the internet. In 2005, the general average
user knowledge has advanced far beyond what it was then.
The technology that exists today, supported by upgrades in Flash,
DreamWeaver, Photoshop can serve in place of the customized engines
that were hand built to carry interfaces like BOB. Ducati Enthusiasts are
people known for their openness to experiences that are less
ubiquitous, more challenging and original. Perhaps the time is now.
2.2.3. Usability, Jakob Nielsen/Donald Norman
Jakob Nielsen, Ph.D. and Donald Norman, Ph.D. are members of Nielsen
Norman Group are user experience pioneers, advocating user-centered
design and usability before it became popular to do so. Nielsen was
named the “The Guru of Web Page Usability” by the New York Times;
Norman was named “The Guru of Workable Technology” by Newsweek
Magazine. * (4)
Nielsen believes that the highest priority in designing for the web is the
download time. In Jakob Nielsen’s web article Alertbox for March 1,
1997, he states: “Every Web usability study I have conducted since 1994
has shown the same thing: users beg us to speed up page downloads. In
the beginning, my reaction was along the lines of “let’s just give them
better design and they will be happy to wait for it”. I have since
become a reformed sinner since even my skull is not thick enough to
withstand consistent user pleas year after year. Traditional human
factors research into response times show the need for response times
faster than a second.”
In an interview conducted by www.webreference.com regarding his
book Designing Web Usability, Nielsen offers insight into the theories of
his research. He created the book to present a unified argument for his
principle of simplified Web design that focuses on serving the user. He
states “the old medium of the book is still the best approach to telling a
long story and proceeding linearly through an argument to build up to a
conclusion.” Neilson advises web designers to “discover the three main
reasons users come to your site and make these things extremely fast
and obvious to do.” He stresses the use of a minimalistic navigation
system as a valuable design technique. He feels that good-looking
visuals are important in establishing credibility, but designers should
avoid graphically rich designs, because of their effect on response
times. * (5)
In his book, Homepage Usability: 50 Websites Deconstructed * (6)
Nielsen outlines his principal guidelines for homepage design and his
research on homepage statistics. He outlines common metaphors used
in Homepage design, such as the magazine, artwork, building lobby,
newspaper, brochure and notes a metaphor can be misleading if it
dominates a users thinking. Goals of homepage design stress
“communicating the site’s purpose: it must communicate in one short
glance, where users are, what the company does and what users can
do in the site” as well as “provide a clear way to find information
about the company.” Web Users generally scan written content, so it
should be condensed and easy to gloss over quickly. The navigation
should reveal the most important content of the site, so that users
have a good sense of what there by looking at the top-level categories.
“Users should not have to click on things just to find out where they
are.” * (5) Graphics and animation should be used to show real
content, not just to decorate. Graphic design most often hurts
usability when it’s used as a starting point for home page design.
Graphic design should help lend a sense of priority to the interaction
by drawing the users attention to the most important elements on the
page. * (6)
Nieslen’s research is critical to successful web design; all of his work
points towards truly resolving the technical effects of usability needs.
His work done in developing design guidelines for the web is
fundamental in creating effective web design. There are no graphics
on Nielsen site: http://www.useit.com, based on the fact that
graphics tax usability, an effective technique to support his
methodology. The site, however, sacrifices its design appeal in its aims
to support this ideal. The result in this case is that itlacks finesse; his
choice of font and font size could be adjusted to increase the appeal
of the site to the user. Though Nieslen’s work is brilliant in its
understanding what the user audience wants and needs, it also
sacrifices the role of the design of experience.
Donald Norman’s expertise is in understanding the relationship
between people and technology defines the social and human
components of design, experience, and everyday life. Norman claims
that logical analysis is not a good way to predict people’s behavior (nor
are focus groups or surveys): observation is the key. * (7)
In his book “The Design of Everyday Things” he states the fundamental
principles for designing for people are (1) providing a good conceptual
model that allows people to predict the effects of there actions and
(2) making things visible; the relationship between the users
intentions, the required actions and the results sensible, non arbitrary
and meaningful.
The principal of mapping is used in determining relationships between
two things, between controls and movements and results that concur.
A device is easy to use when there is visibility to the set of possible
actions. Good design takes care, planning thought. It takes conscious
attention to the needs of the user. There must be a close and natural
relationship between the control and it function. * (8) These principles
apply to designing user interfaces, as users need to know what they
are doing and where they are within a site in order to feel
comfortable. Norman believes that design needs to balance aesthetics,
usability, ease of manufacture. Trouble occurs when one dominates all
of the others. (9)
In the case of the current Ducati site, the focus on designing access to
an abundance of information dominates the access to emotionally
provocative design, so inherent in its product. Through an overall
reconsideration of the current Ducati Web site, my project offers
solution that provides a better balance of user access to aesthetic,
information and experience.
2.2.4. Interface Culture, Steven Johnson
According to Steven Johnson interface serves as a mediator between
the computer and the user. As culture adopt interface technology, new
visual languages grow. “ As the infosphere continues its exponential
growth, the metaphors used to describe it will also grow in both scale
and complexity. If interface medium is indeed headed toward the
breadth and complexity of genuine art, it will borrow extensively from
pre-existing traditions: art and architecture, the cinema and the
novel.” * (10)
This project attempts grow the concept of visual metaphor, using
elements of narrative in creating transitions that respond to the user
interaction. Metaphors and transitions are created based on the design
aesthetic of the content and analysis of user needs.
2.2.6 Conclusion
In conclusion, traditional interface design requires that the needs of
the user audience are met instantly. Defining a metaphor for a target
user that is too broad, will often lead to unsatisfactory results.
Interface design is compromised by user demand for instant access. The
general consensus is less is more, speed is better than beauty, and
making the user wait is poor design. Mapping the relationships within a
site, making those connections clear and easy to understand is an
important practice. All the while knowing, that interface culture is a
living organism in itself, always changing, requiring new solutions in
information design.
The Information Design in my project evaluates the November 2004
Ducati web site and current marketing materials and determines the
best ways to condensed and re-distributed content in order to provide
users with better access to information. The condensing or crunching of
information is important in this project because designing experience
in a web based environment requires that content be reduced to it’s
absolute essentials. It’s not about giving the user access to everything,
but rather knowing the target user so well, that they find the
exploration gives them information that they want.
2.3. Current Web Models of Experience Design
2.3.1 Overview
Experience design has only recently been defined as a discipline and is
actually the combination of many different disciplines, including
digital media, graphic design, narrative story telling and interaction
design. It is referred to as “experience” design, because this type of
design seeks to offer the user a compelling experience in addition to
the pursuit of learning about a product. The success of the design
experience is dependent on accurately judging the needs of the
community; what they like, who they are, as well as feedback from
direct user interaction with the project. Experience design is an
immergent discipline that defines the parameters of developing
interface by the habits and lifestyles of its users. The design itself is
created specifically for the needs of community. In this project the
experience design uses a metaphor of an environment as a system for
content presentation, navigation and interaction. The metaphor of
graphical environment will be used as a tool for creating dynamic show
places that support a quality interactive user experience.
2.3.2. Marcos Novak
2.3.2.1. Novak’s Ideologies of Space
The first thing we learn from Marcos Novak is about depth of virtual
space. The metaphor of being submerged in a digitally created
environment is visually bold and engaging. He creates an interference
of a 3D world within in the 2D space of a monitor screen.
In order for Experience Design to be successful the above conditions
must be met programmatically. The translation of depth and light
must fill up the whole screen, immediately, upon launch of the url.
See Fig. 2, Marcos Novak’s Example of Trans Architecture.
2.3.2.2. Figure 2. Marcos Novak’s Example of Trans Architecture
Figure 3. Davinci’s Last supper
Through Novak’s sensibility, we establish a freedom in space, the
user knows they have entered a virtual “world”.
Perspective is a knife.
What Da Vinci proved in the “Last Supper” Fig. 3, Novak proves in
this body of work: “Trans architecture”. In demonstrating that now
designers use a digital transfusion of light to define the 3d space as
well as the 2d space that Leonardo defines. Here we define a new
world where art, defined as a perception of dimension of a
historical culture, breaks its mold, dawns a new era. How long did
it take for Da Vinci’s masterpiece to be understood by a 15th
century audience, a lifetime? As Da Vinci has in worked out for us
in terms of line, Novak has it worked out for us in terms of light.
Novak offers us solutions for light, shape, perspective and shape, but
what about the icon? The logo? Text can tend to break up the
metaphor of environment, so designers need to use text precisely
and moderately, icons need to be used to represent sections. How
can we understand the methodology behind creating the icons, who
is the Guru of icon methodology? One key player that comes to mind
is Jean-Michel Basquiat.
2.3.2.3. Basqiuat: Icons and Culture.
How does one “transcend”, represent to audience, the icons of a
culture? Jean-Michel Basquiat demonstrates a solution that can be
derived from his body of work: folklore, HBO, Mayan Hieroglyphs,
Caves of Lascaux. Icons of a culture represent family history, folklore
and hieroglyphs.
“Crowns, Halos, and Heroes
The crown was Basquiat’s signature motif. In some paintings, the
crowns top nameless, generic figures. But more often, Basquiat
crowned his heroes. These included renowned jazz musicians, such
as Charlie Parker and Dizzy Gillespie, and celebrated athletes,
among them Joe Louis, Sugar Ray Robinson, Cassius Clay (Muhammad
Ali), and Hank Aaron. Like the royal titles that famous African
American musicians have sometimes adopted as nicknames—such as
Duke Ellington or Count Basie—Basquiat used crowns, as well as
halos, to ennoble his icons.” (11)
Basquiat’s methodology for creating icons can be used to define
icons for the Ducati culture, the less ubiquitous, glimpse of
something unique and catching to the eye. Icons are important to
experience design because they can be used as a tool for condensing
information.
2.3.3. Nathan Shedroff
As discussed by Nathan Shedroff, in Experience Design 1,
“Experiences are the foundation for all life events and form the core
of what interactive media has to offer. An experience requires an
attraction, an engagement and a conclusion.” (12) The concept of
attraction in this project will be the dynamic of the 3-dimensional
environment, the user will engage with the product itself in order to
obtain information about its components. The concept of
engagement will use the aesthetic of design to compliment the
access of information. The conclusion will be offering the users a
unique information design where they walk away from the
experience with additional, exciting information that they may not
have anticipated.
Shedroff also explores how the concept of a “takeaway” is
important to the design of experience. Author Douglas Coupland
describes a “takeaway” as “that one memory of earth that you’ll
take away with you when you die that proves you were alive.”
Takeaways are an exercise that help use derive meaning from the
things we experience. (13) By discovering, exploring and
deconstructing the essential attributes of the Ducati community,
each environment will examine what the use will take away with
them, via the experience of the site.
The success of the experience design lies in the interactive
gifts the provided by the design of interface, developed in context to
the user. The experience design of this project is dependent on the
design aesthetic of the Ducati Motorcycle in order to engage and
attract users, to leave a lasting impression and to leave them
wanting more.
2.3.4. Mark Stephen Meadows
Mark Stephen Meadows believes that narrative exists to convey
perspective. He states: “Interactive narrative is the most ambitious
art form existing today because it combines traditional narrative
with visual art and interactivity. Strangely enough these three art
forms share an important feature: They allow information to be
understood from multiple perspectives.” (14)
The defining of perspective is a relevant factor in my project,
because it is my goal to have users travel or move through space in
order to access content. The environment that the user travels
through, should appear to have depth and dimensionality; creating
an illusion of the existence of a “Z-axis”. The environment should
make the user feel immersed as they travel through.
Meadows defines four steps of interactivity; Observation,
Exploration, Modification and Reciprocal Change. The user assess
the system, then interacts, the system changes in response to the
interaction, the system changes the user. If its interactive, and the
user is engaged, the system offers change to the user. Repetition
generates patterns. The user learns a pattern once and expects it be
the same at every juncture, offering a multiple set of perspectives.
These definitions are put to use in my project. I ask the user to
explore, yet once they learn a navigational technique; it remains
constant through out the course of investigation.
The Experience Design in this project is supported by the graphical
metaphor of an environment, created from the design of the body of
the Ducati Motorcycle. The interactive narrative uses the metaphor
of traveling through the space in its design. The user moves through
the illusion of 3d space within the context of a 2d screen, on the way
to accessing information. It demonstrates how an environment can
be used as a method for designing experiences.
2.3.5. IDEO, Tom Kelly
Tom Kelly is the general manager of the design firm IDEO, an award
winning design firm, known for cutting edge product design and
services, fostering a culture and process of continuous innovation.
(15) Kelly is an important contributor to the field of experience
design, as creating innovative experience is the heart of his work.
In his book, “The Art of Innovation,” Kelly goes into great detail
about the step involved in creating experience driven products. He
suggests that in developing experiences, one has to investigate and
analyze all of the increments of the user scenario, truly embracing
the user. He advises designers to think about the processes involved
in making products in order to find elements of the experience that
can be brought to life.
“Innovation sometimes starts with a small improvement. But a
better-designed experience often comes about when you can
transform a niche product to something broader that resonates with
your customers.” (16) Kelly suggests that we make experiences
entertaining, geared toward establishing a human connection.
Humans crave good experiences, by turning a product into an
experience, it is possible to reach a market that you may not have
known existed. Designing experiences is about figuring out new ways
to connect with people. He advises that in designing an experience,
we need to be careful to strike a balance between what you wish to
do and doing too much.
Kelly offers designers the room to “fail forward,” breaking the rules
is often the key to innovation. He pushes us to investigate our user,
understanding the actual experience of interaction with products in
order to bring innovation to the table.
Kelly’s advice and techniques are found in the analysis of the Ducati
community, through observation, literature and interview. His view
of the importance of creating experience based design, gives an
extra boost of support to the goals in developing my prototype.
2.3.6. R/GA
R/GA is an award winning web-design firm that, like IDEO has
invested a lot of engery considering new ways to present innovative
solutions for the web. R/GA’s main philosophy in design is guided by
3 basic principles: be strategic, be creative, and be collaborative.
R/GA is important in terms of my thesis due to their development of
the NikeDesign site, as it is a good example of a site that uses
experience design in its development process. I discuss this project
in detail in the Precedents section of this paper. The NikeDesign
website was one of the first sites to take designing web bases
experiences to a new level. The design community was impressed.
HOW Design Correspondent, Gil Kaufman, describes in great detail
the processes and methods R/GA pursued in the development of the
site:
“The design team didn't initially fret about targeted age groups,
demographics or sales initiatives; instead, they worried about how
to capture the hearts and eyes of early adopters. They wondered:
"What if you could (virtually) hold a shoe, spin it around on your
screen and peel it apart layer-by-layer?" "What if you could build a
custom shoe from the sole up, choosing the color and style of
everything from the shoelaces to the stitching on the side?" "What
does comfort look like? What does it feel like?" More important,
they wondered, "How do we represent it on a computer screen?"
The RG/A team, lead by art director Rei Inamoto, (18) used
innovation as its focus. They used brainstorming sessions to find ways
to talk about products that were new, searching for ways to connect
to the user on an emotional level. They wanted to tell a story in a
non-traditional, non-linear way. They looked to new disciplines, such
as film and spatial design to find solutions to their design problems.
The R/GA, Nike example supports the innovation that my project
strives to emulate in many ways; trying to visualize product design
and aesthetic in a new way, translating those discoveries into a
computer screen, wanting to tell as story, but not a linear one. The
task of looking to bring something unique and progressive to the
table in terms of design.
2.3.7. Conclusion
Designing experiences is an immerging field that demands we as
designers ask new questions, from new perspectives. It demands that
beyond everything else, we understand our target user, so well that
we help them see themselves in a new way, in a way they didn’t
expect, and in a way that inspires, entertains and educates them.
It stresses the objective of providing the user with an experience of
product, instead of simply direct access to information. Experience
design makes its sale in the artistic translation of the experience of a
product, in order to affect the user on an emotional level. It offers
us something unique, compelling and new, satisfying the basic
human condition for fulfillment, for new and rich experiences.
Figure 4. Photo of Pierre Terblanche
with the Triple 9
Source: 999 Book
Why is the Pierre Terblanche idea
important? Because it uses the
design aesthetic of the Ducati
motorcycle as a tool for Design.
Figure 5. Photo of Dr.Fabio Taglioni
2.4. Design Aesthetic of the Ducati Motorcycle
A major aspect of the experience design in this project is
supported by the design aesthetic of the Ducati Motorcycle.
Translating the visual aesthetic and its attributes is an important
and valuable method of translating the Ducati experience.
2.4.1. Pierre Terblanche
An important and influential part of my research was that of
Ducati Design Director, Pierre Terblanche. I was fortunate enough
to attend Terblanche’s lecture “The Art of the Italian Motorcycle”
which featured the new Triple 9 (999), on November 19, 2004 at
the Lars Anderson Auto Museum in Brookline, Massachusetts. As
Rodin is to sculpture, Terblanche is to moto design. Terblanche,
originally from South Africa, has worked in Advertising/Marketing
and designed Volkswagen interiors prior to working for Ducati. He
has spent the last 16 years with Ducati and has signature on
basically all of the motorcycles that Ducati currently makes. His
lecture was a brilliant synopsis on the process and methodology
behind creating great industrial design. When asked why he
became a designer, Terblanche admits he has no choice; he is
compelled to design. He has remarkable talent for producing an
aesthetic quality for the otherwise comparatively brash mechanics
of a motorcycle, an aesthetic that in truth evokes loyalty and
communion with its consumer. He showed sensitivity for the
ergonomic needs of the community and his successful accommodation of
those needs into the motorcycle design. The lecture gave overview to
the history of Ducati, from 1949 to the present, giving credit to
Dr.Fabio Taglioni, Fig . 5, the legendary creator of the original
SuperSport. Terblanche explored the designs of the 916 model,
known as everybody’s favorite, the 888, the Paso 2, known as the
one that got away, the Supermono, the 900 SuperSport, and the
currently most infectious Ducati design, the Triple 9 (999).
When Ducati asked Terblanche to create this bike, their direction
was “make it red, fast and sexy…” the rest was up to him. His
approach to the design included using a narrow and sensual shape
and form, with a decidedly “see-through” interpretation for the lines
of the bike frame and its glossy components.
With the design of the 999, Terblanche used a process of selecting
and narrowing down the form, establishing key decisions as to what
will be seen, and what will not be seen, with the aim of creating the
ultimate experience for the motorcycle rider. As he spoke of his
sketches, I could imagine the dust of wild horses rushing from within
the forms and faces of his designs. I could feel the figures of
beautiful women, woven into the shapes and curves of the
motorcycle frame. The aesthetic experience of the design
guarantees the rider a transcendence; the experience of riding to
flying, the power and exhilaration of running horses, the use of the
machine to achieve a feeling of freedom and flight. In this project,
the research on Terblanche’s vision will be interpreted and used to
support the identity of the Ducati Community and the design
experience of my prototype. The design aesthetic is in itself a tool
for interpreting to the community of Ducati Enthusiast.
2.4.2. Community and User Research
Understanding the community as a function for design is a driving
factor in my project. The Terblanche lecture was serendipitous to
establishing real communication and contact with community
leaders and members. The event was attended by an (estimated)
200 men and 30 women, mostly Caucasian, middle to upper income
individuals, coordinated by John Rossi, US DESMO Northeast
representative. All of the people attending were extremely pleased
to be a part of it; all of them were fascinated by Terblanche’s
presentation.
As stated by George Giffin, a Track day Instructor and card-carrying
Ducati lover since 1972, “Passion is best felt when you are around
Ducati owners, the first time owner or the collector. It is hard to
find a Ducati owner that changes to a different marquis and if you
do, you’ll probably see him coming back to the fold soon… this was a
once in a lifetime event for me… There are motorcycles that are
faster that may even handle better but none with the beauty and
uniqueness of Ducati”. Giffin’s statement articulates a common
theme expressed by the Ducati community. It was apparent that we
all shared the same passion, that we were members of the same
tribe: the affinity for a design aesthetic, the common bond.
As stated by John Rossi: “My two favorite pastimes are Downhill
Skiing and Motorcycling and there's no substitute and no 12-step
program on earth that would prevent me from doing either sport.
Three words summarize my first track day experience: fear,
exhilaration, and addiction. ”
Another central resource for identifying the Ducati community has
been the DucatiMonsterBoard.com. This is an on-line public forum
where Ducati Monster enthusiasts can engage in conversation about
Ducati. This community generously provided feedback and
articulated their views on the aesthetic and fascination with Ducati.
I posted my question and within hours was directed to over 50 user
responses.
One response from a Ducati enthusiast describes this aesthetic: “The
other day, I was looking at my Monster from the side and realized
that she looks like a beautiful woman laying on her side with her
back facing you. The tank resembles an upper torso and broad
shoulders, the seat- the arch of a trim waist, and the tail-
voluptuous hips.”
The aesthetic is formed from the mechanics of the bike, the delivery
of the function within the form; a personal and subtle
communication from the designer to the user that translates fantasy
in a mechanical product that the user can interact with and benefit
from. It translates an extravagant experience brought on by the
industrial mechanic of the bike. The general consensus is that Ducati
creates passion and loyalty in its users. For more information on key
responses that help form the perspective of the community please
see APPENDIX C. Ducati Character Document … P86
As a result this research, I have identified the three most important
Ducati communities as Ducati, the main public image of Ducati,
USDesmo the main public image of United States riding community,
and DucatiCorse the main public image of Ducati’s racing subsidiary.
Each of these uses a specific iconography to appeal to and identify
with its users. This iconography is used through out the design of
interface and navigation in this project to connect with users. The
project uses these community identities help to organize and design
information.
2.4.3. Ducati Rider Community
Evident traits and characteristics common to these Ducati
Communities, a.k.a. the Ducatista, are defined as: an emotional
sensitivity to the aesthetic design of the motorcycle: its sensual
form and structure igniting passion for its balance of beauty and
power, its physical dimensions and capabilities; an affinity for
originality and independence: “things that are slightly left of
'standard' are more interesting”; a desire for the experience of
adrenaline, flight, power, speed and transcendence and an affinity
for the camaraderie found in the exchange this experience with
other like-minded people who hold this perspective.
2.4.4. Ducati Racer Community
The Racing community in this country as well as in Europe,
encompasses passion. Scores of Ducati Enthusiasts follow the AMA
race circuit, shipping their own Ducati motorcycles to the events,
traveling in packs, wearing Ducati shirts with pride. At the March
2005 Daytona200, there were only two riders on Ducati at the
Superbike event, versus the mass numbers of Honda’s and Yamahas.
Neil Hodgson, on the Triple nine placed second. Ducati fans love
these kinds of statistic, small in number, but still make the grade.
The race community and ride community bond to the Triple nine
(999). It is the Ducati masterpiece, full of grace and power, capable
of tremendous performance.
2.4.5 Conclusion
Understanding the community supporting the Ducati product, how
their lives are transformed by the lifestyle and tradition and the
expressions of their particular point of views are used in the
development of the interface design in this project. Images and
metaphors are created specifically for the appeal of this audience.
Further discussion of how this project uses the experiences, habits,
and lifestyles of its members within the distribution of content, the
design of information and interface is presented in Chapter 3:
Methodology.
2.5. Precedents
“We know that there are consumers out there using [the
Web] that are looking for the latest and greatest products
that bring something new to the table in terms of design, “
says Brian Finke, Nike’s director of digital brand marketing,
about the task assigned to New York City based design firm
R/GA in summer of 2002. We wanted to deliver an
experience that was unique and engaging, inspiring and
entertaining.” (19)
Figure 6a
Figure 6b
Figure 6c
2.5.1. Nike: “Design by Nature”
Nike: “Design by Nature” is a great example using experience
design to promote product. The design uses the concept of a
graphical environment, visually ubiquitous and organic with
simple, beautiful animations and sound to support an on-line
experience that hosts content; in this case, information
about sneakers. The user is explores a visual world that is
designed to promote the experience of the using the product
itself. The design experience, gives that user a more fluent
and exciting interaction with the product.
The user enters Nike.com and chooses the Nikelab section.
The Nike lab section features 3 exhibitions: Restoration, Art
of Speed, and Design by Nature. This entry point leads to the
featured exhibitions. A graphical spot light effect clings to
the mouse and highlights each of the exhibition graphics as
the user rolls over them. When the user clicks “view all” the
3 graphics reduce size and can be seen together side by side
[Fig. 6a & 6b]. Once in this menu, rolling the mouse off of
the graphics reduces their size, rolling the mouse over the
graphic pulls it forward in a larger size [Fig. 6c].
Figure 6e
Figure 6f
Figure 6g
Figure 6h
Clicking Launch “Design by Nature” brings us to a new
environment of falling leaves, against the sky [Fig. 6e],
which lands us in a new environment inspired by
nature.
This environment is a collage of leaves and foliage
[Fig. 6f] with moving ants, ladybugs, blades of grass
moving and the sounds of chirping frogs and ambient
music. A caterpillar scrolls across the screen and offers
us menu options: inspiration, research, evolution and
design. “Inspiration” Content is “Inspired by barefoot
runners, Nike set out to understand the strength of the
natural foot.” The experience is of being in a meadow,
a grassy field, exploring the details, finding
information hidden within the design, activated by
exploration.
Clicking “Research”, moves the graphic background to
the right, and shows a new design, content outlines
scientific research [Fig. 6g, Fig. 6h].
Figure 6j
Figure 6k
Figure 6l
Figure 6m
The “Evolution” section, gives a new background, with
animations of insects you might find in the grass.
Content talks about the new sneakers flexibility [Fig.
6j and Fig. 6k].
The “Design” section displays the different type of
features sneakers in the modified environment inspired
by nature. The caterpillar changes into a butterfly,
after clicking on the second menu options and remains
a butterfly as the user continues to scroll [Fig. 6l and
Fig. 6m].
The environments used here are a visually compelling,
luscious and organic display, with subtle and
appropriate animations in each scene and a sound
script that is simple and looping, adding to the feel of
the environmental experience. Lost in the visual
escapade, the user is transported into a virtual world
that is much more about the experience of being on-
line and being engaged with the site, than it is about
the sneaker itself. The design utilizes technology to
create the experience that moves beyond the
traditional concept of a page; the environment
captivates and engages the user.
The experience design in this project will use the
interface metaphor to entertain and provide attraction
and engagement but will also present ways that uses
can rapidly and clearly access content information.
Figure 7a
Figure 7b
Figure 7c
Figure 7d
2.5.2. VWPhaeton
The website used to advertise the Volkswagen Phaeton
is another important precedent for my work. This site
uses the graphical metaphor of stars in a galaxy to
showcase product information about the car. The main
interface provides users with options for the home
page entry point, “Your Journey” option which track
where in the site the user has been, pan and zoom
options and a Map search option. The home page
explains what the site is about: “The Phaeton is built
in a transparent factory. The walls are glass, glass the
doors are open. This site has no sections, no sub-
menus, no tables. Your journey is up to you.” [Fig. 7a].
The user clicks the ‘Begin here’ option to begin the
journey. The site responds by removing the homepage
graphic and reveals a set of stars. Holding the mouse
over the stars reveals information options [Fig. 7b].
Clicking on the individual star readjusts the graphical
interface and gives the user a unique perspective of
the galaxy. The site is constantly zooming in or out
depending on the user interaction. This web site is an
excellent example of an interface that actually
responds to the users touch [Fig. 7c and Fig. 7d].
Figure 7e
Figure 7f
When the user clicks on one of these information
options (stars), graphical and text information are
revealed. These items are designed to create a
futuristic look and feel to the information design [Fig.
Fig. 7e, Fig. 7f].
The graphical illusion of 3-dimensional galaxy space is
developed to make the user feel like they are on a
mission through space. The site continues to expand
and reveal more stars, with more information topics. It
is a beautiful and creative flash solution that emulates
the experience of space.
2.6 Conclusion
The above precedents reflect unique solutions for accessing internet
based content that focus on the user experience. Although this trend is
becoming more accepted as a means of innovative web design, it is
still far from the norm. Few designers are given the opportunity to be
this creative; it is hard to predict the budgets used or the number of
people working on these projects. Nevertheless, as we move into the
future, with the progression of the average user knowledge, the
growth of access to broadband and wireless, and the movement away
from the restrictions of designing for a 56k modem, these types of
navigational systems will gain more popularity and acceptance.
CHAPTER 3. METHODOLOGY
3.1. Introduction
This chapter outlines the analysis of the principles and procedures of
inquiry in my project. It is divided into 4 main sections: Foundations
for Creating Design Solutions with Experience, Identifying Key factors
of the Ducati Experience, Preliminary Experiments for Design
Solutions and Prototype Solutions.
The processes outlined in this methodology explain the progression
of interpreting of the Ducati experience from the physical world of
racing and riding Ducati Motorcycles to the virtual world of
experience design, in order to provide users with transcendence
beyond traditional techniques of access to information, as well as an
exciting and engaging translation of the design aesthetic of the
Ducati Motorcycle.
3.2. Foundations for Creating Design Solutions for Experience
In my background research I have outlined and identified how the
current industry trends are defined, according to Jacob Neilsen,
Donald Norman, Robert Jacobson and Steven Johnson.
I have also discussed the importance of the emergent field of
experience design as defined by Nathan Shedroff and Tom Kelly, and
have articulated its importance to designing solutions for new user
interactivity.
With these principles defined, my next steps were an initial
investigation of the company of Ducati, in terms of Information
Design, defining how this information needed to be organized so that
it could be easily accessed within the framework of experience
design; the investigation of Ducati in terms of culture, identifying
the common characteristics of the Ducatisita in order to accurately
assess interface design and user navigation of the project; and
organizing and collecting specific feedback from my user audience,
in order to guide the design process and ensure the accuracy of the
project’s overall design.
3.2.1. Investigating Ducati: Overview
Founded in 1926, Ducati builds racing inspired motorcycles,
characterized by unique engine features, innovative design,
advanced engineering, and overall technical excellence. Ducati has
won thirteen of the last fifteen World Superbike Championship titles
and more individual wins than the competition put together. The
company produces motorcycles in five market segments, which vary
in their technical and design features and intended customers:
Superbike, SuperSport, Monster, Sport Touring and Multistrada. The
company’s motorcycles are sold in more than 60 countries
worldwide, with a primary focus in the Western European and North
American markets. (20)
This year, Ducati sold approximately 30,000 bikes worldwide, of
which under 4000 are sold in the United States. (20) Ducati sales
statistics are relatively small in comparison to the large number of
community organizations devoted to Ducati that exist worldwide.
The exclusivity is intentional, like Ferrari, Ducati wants to be known
for superior design and uniqueness, rather than the numbers sold.
The dichotomy between the numbers of community members and
the number of bike sold yearly presents, to me as a designer, an
opportunity here to improve Ducati’s strategies for representation.
Ducati’s desire to remain non-ubiquitous makes them a great client
for testing new ideas of user interface methodologies. The brand is
established in the general public is one of style and originality.
Cutting edge mentality is obvious in their design of motorcycles and
in their marketing materials. Ducati users buy into an affinity with
the uniqueness of design. They are a target audience that is
interested in innovation, entertainment and indulgence. The
translation of the Ducati experience directly applies to the goals of
experience in this project. The product in itself, with its powerful,
sleek form and seductive lines, translates the gift of an exciting
experience.
Figure 8a: Ducati Homepage
Figure 8b: Racer Section
Figure 8c: Bike Section
Figure 8d: Bike Section
3.2.2. Investigating Ducati Information Design
3.2.2.1 November 2004 Ducati Website
The Ducati website was updated for 2005 in November of 2004. It
conveys a general, informational experience of the motorcycles and
community, iconography and photographs, information on this site is
clean and well distributed with in each the topic sections. Although
this is an example of effective information design, the site uses a
traditional page-by-page format and linear flow. The site appears to
have outgrown its original information design and seems almost ‘full
to its capacity’. The design of this site incorporates an abundance of
exciting photographs on the community and the motorcycles, but
there is no use of graphical metaphor to display content.
The site opens with the Ducati Homepage, which presents a general
overview of everything that is in the site. The information is
organized into feature sections of Racing, Bikes, DucatiWorld, and E-
store, and uses a header navigational system of Company, Bikes,
Heritage, Racing, DucatiWorld and E-store. The Homepage also
features many links to important features through out the site,
presented within main topic headers [Fig. 8a].
Clicking on the Racing section brings us to forum that features
DucatiCorse, National, SBK (Team Ducati) and MotoGp. Other
features include: Latest News, Achievements, Photo galleries, Video,
Sounds, Wallpapers, Screensavers, and information on Racers [Fig.
8b].
Clicking on the Bikes section brings the user the main gallery of
bikes, giving the user access to information about every model that
Ducati offers, via a main navigational section that animates each of
the models within the same table [Fig. 8c and Fig. 8d].
Figure 8e: Bike Section
Figure 8f: Rollover Information
Clicking on a particular model, in this case, the Monster
620, brings the user to a forum of the specific bike [Fig.
8e].
From this page the user has access to any information one
may need about the motorcycle itself, by interaction with
the links on this page. By clicking on Chassis, a new page
opens up with the technical specs. By clicking on Features
a new popup of the bike gives user information via
rollovers [Fig. 8f].
Each of Ducati’s models can be accessed by an information
set based on this design. The user has access to a plethora
of information, but there is no design experience woven
into the interaction. The photos used are sleek and
professional, which creates excitement in the user.
The site considers every possible option for user access to
information, but limits the user access to the experience
that is defined by their products, therefore overlooking
where successful marketing requires the communication of
some aspect of the consumer experience with the product
to gain new customers.
Why is providing too much information in some cases
ineffective? The user tends to get overwhelmed, becomes
distracted and experiences anxiety over having too many
options.
3.2.2.2 Topic Overview and Outline
Through strategic analysis of the site and of Ducati marketing
materials and the purposes of condensing informatation for use in
the designing of experience in this prototype, I have established an
alternative menu topic outline that simplifies and reorganizes their
material into four major topics: DUCATI, Bikes/Design;
DUCATICORSE, Racers; USDESMO, Riders and E-SHOP, On-line
Shopping.
The topic map below [Fig. 9] provides a visual overview to the
organization of this content.
Figure 9: Information Design Topic Map
Topics presented within the umbrella of DUCATI, will include bikes
and design aesthetic, sound and heritage.
Topics presented within the umbrella of DUCATICORSE, will be
information on bikes and racers, passion, community, community
events and authorized dealers.
Topics presented within the umbrella of USDESMO, will include bikes
and riders, touring, community, community events and authorized
dealers.
E-SHOP will define the online shopping section. The shopping section
will also be used to the promote feature information within all
sections of the site, as well as present actual Ducati gear and
accessories.
Each of the four main topics uses a unique graphical metaphor for
environment that is created based on the specific intentions of the
section, in pursuit of identifying with the community of interest. Sub
sections use variations of the established metaphor to enhance
interpretation and provide variation.
3.2.3. Investigating Ducati Culture and Community
In section 2.6 of this document I discuss research conducted on
identifying what the characteristics are of the Ducatista. Their
lifestyles, their habits and the common bonds shared by this
community.
At the Pierre Terblanche lecture, as discussed in section 2.4.1, it
seemed true that everyone there shared the same passion, that they
were members of the same tribe. The affinity for a design aesthetic,
created the common bond.
These characteristics of culture and community can be summarized
as an emotional sensitivity to the aesthetic design of the motorcycle,
an affinity for originality and independence, a desire for the
experience of adrenaline, flight, power, speed and transcendence,
as well as an affinity for the camaraderie found in the exchange this
experience with other like-minded people who hold this perspective.
Figure 10a. Image of the project’s interface Design
Figure 10b. Image of the project’s interface Navigation
How does the design of this interface in this
project support this community’s lifestyles and
habits? These user traits can be translated into the
interface design by designing in unique, creative
and unconventional ways; “things that are slightly
left of 'standard' are more interesting”. Providing
the user with graphical navigational systems that
function within the metaphor of environment.
The project uses the sensual form and structure of
the body of the motorcycles to ignite a sense of
passion in the user. It translates the physical
dimensions and capabilities of the bike and
experience of the bike by use of the design
aesthetic. [Fig. 10a & Fig. 10b]
Creating dynamic and visually compelling
environments that present content in a way in
which the user would not anticipate, to awe and
excite the user through the design of interactivity.
Ducati is a great company to use for experience
design because of the characteristics of the
community support the design of non-traditional
interface techniques.
The Interface in this project has been designed to
challenge current industry trends, to meet the
needs of an audience that is looking for a more
intuitive and exciting interaction with web based
products.
3.2.4. Investigating General Usability, Incorporating User
Feedback
In my initial attempt with the project’s development, I contacted 30
general users via email asking them to look at two web sites,
Nike.com/NikeLab and Ducati.com and to give general feedback on
their experience with these interfaces.
The Nike lab site, a more progressive interface example, uses a
design metaphor of construction markers, tunnels, futuristic 3D
environments, digital motion and sound to present product. It uses a
gradual placement of menu topics based on user interaction. The
Ducati site is more traditional and straightforward, with an opening
header graphic supporting specific brands and icons to access
information on each page, no motion graphics, and no hidden
agendas.
The general summary of user feedback was that investigating
motorcycles was inherently more exciting than sneakers. Users felt
the Nike experience was exciting, visually more compelling and
dynamically entertaining, though very difficult to access direct
product information. Some users even found this interface
inherently aggravating, waste of time. The response for the Ducati
site was that it was more clear in presenting content, the user could
access any information from any where in the site, but that it was
overwhelming; presented too much information.
The feedback establishes a need for re-assessing the information
design of the Ducati. People use the Ducati site to explore bikes,
racing, events and communities, to shop and to locate dealers.
Each reiteration created for this project has been put through
usability testing by Ducati Community members. Testers are given
links to the prototypes and surveys are used to analyze the
interactive experience and the experience of the design. Feedback is
incorporated in order to insure the accuracy and success of the
design.
3.3. Methods for Designing the interface of the Ducati Experience
3.3.1. Immersive Environment as a Method for Experience Design.
An experience is defined by Merriam-Webster as the conscious events
that make up an individual life, the events that make up the
conscious past of a community or nation or mankind generally,
something personally encountered, undergone, or lived through and
as the act or process of directly perceiving events or reality.
The Experience Design in this project is supported by the graphical
metaphor of environment, the illusion of 3d space within the context
of a 2d screen. It demonstrates how environment, the graphical
design suggesting a sense of place, can be used as a method for
designing experiences.
Each of the four main topics use a unique metaphor for environment
that is created based on the specific intentions of the section, in
pursuit of identifying with the community of interests.
Why is the use of an immersive environment as a method for
experience design a good idea? Visual metaphors of environment
supporting the illusion of depth of field and 3d space create a new
world for interaction design. Ideas for scenarios such as “Feel the
Power of the torque, bringing the front wheel off the ground”,
“Imagine your life on tour, the world as it looks from the point of
view of the rider” can be translated through the use of a graphical
metaphor. Movement of light and sound strategically placed within
the interface design can direct the users eye and mouse over the
screen. Sound is used to support the illusion of space and is designed
to respond to user interaction. Text and image will be incorporated
after establishing the metaphor of space. This technique is used to
make the user feel like the site is responding to their touch.
The concept of the user "traveling thru a site”, exploring the
details takes us away from the interpretation of the site being a
page. Icons in environment direct the user activity in a passive
way, allowing for the experience of the product and community
to be more at the forefront of the user interpretation as they
access information. Ducati is a great company to use for the
implementation of these techniques because the defining
characteristics of the community support this methodology.
Figure 11. “Hierarchy for
Mechanics ”
3.3.4. Library of Technical Mechanics
HTML, Flash Based Mechanics
A Library of Technical Mechanics is being used to support the
interactivity with in the experiments. These experiments will
be developed in Flash, a handy resource of effective animation
techniques will be used to create excitement and provide
consistency of the design. Each environment will explore the
use of color, light, movement, modes of interaction,
iconography, sound, text and images [Fig. 11].
System Response to Cognitive User Exploration
The graphical design of the general user interface must support
a cognitive sense of user exploration. User exploration needs to
be instantly obvious, engaging to my target users, specifically
those who define this project’s “Nike Goddess”, the
quintessential form of the perfect user: George, 55, Ducati
Rider, Track Day Instructor, and Lifetime Ducati Enthusiast and
John Rossi, 40, Ducati Rider, US Desmo Representative. Access
to content needs to be not only obvious, but also engaging and
better than what Ducati has now. The system needs to appear
intuitive, as if it is always responding to the users touch and
exploration.
System Response to Idol Time
This system uses animation of light moving across the screen in
response to lack of interaction of the mouse with screen. When
user interaction is idol the system prompts the animating light,
which in itself is a prompt to the user to engage. The rollover
states, giving users access to other sections of the site are
designed to be much larger than the actual icons used on the
screen, thus wherever the user moves the mouse, a graphical
rollover will appear.
An assumption is made here that the revealing of one roll state
will prompt the user to explore. The access points provided are
simple and minimal so as to not overwhelm the user and provide
instant understanding as to the number of access option. The
use of light presents a more subtle and fundamentally less
annoying technique than an elaborate metaphor of the
character guide.
The whole system has to be sensitive to lack of user
interaction. If some one has not clicked in a certain amount of
time, the system senses that and automates them into the
<<Gallery>>. This sensitivity can be developed within Flash
action script. I won’t have time to build out this entirely, but I
will incorporate the metaphor though out the site as applicable.
Use of Sound
The design of sound and the subtly of incorporating sound in this
piece is important. Use of sound needs to be incorporated only
when it is entirely appropriate as to avoid the interpretation of
being annoying. Actual recording of the Ducati Sound will be
incorporated into the piece.
Treatment of Text
The whole idea of the graphical metaphor is broken with the use
of text, yet text is imperative in some cases. The traditional
methods of the “chunking of text” is an inadequate way of
describing what needs to be done here; it is an attempt to not
use text at all, as it reminds us of a page. Text is distracting to
the exploration of the environment. This is because text
deviates from the “atmosphere of the environment”. The use of
text should be minimal as possible. Places where lots of text is
needed to support the information surrounding a topic should be
placed outside of the environment metaphor and designed in a
way that more closely resemble pages we will find in fine print
design that do not reflect a system developed via html forms
and tables.
Use of Icons
Icons, graphical symbols used to identify topic sections can break the
feel of “being immersed in an environment”, thus breaking the
concept of experience. The Icons have to be dealt with carefully, to
give the user enough visual identification, so as to provide clear
identification to the information to be accessed as well as fit into
the graphical illusion.
Use of graphical transitions between sections.
Clicking on an icon brings users to a new section. In order to support
the illusion of being immersed, there has to be a graphical transition
used to visually move users through the environment. When the
graphical environment changes abruptly, resembling the loading of a
new page, the metaphor of experience is broken.
Use of Pre-load.
Pre-loading of Flash files can be implemented during these
transitions. It’s like an invisible way to load graphic files while the
user is distracted by the visual transition happening on the screen.
3.4. Preliminary Experiments for Design Solutions
This section outlines the design solutions proposed and presented for
review of the Parson’s community in terms of Thesis approval for fall
of 2004. It shows my initial design of information and the use of
immersive environment for the access of content information.
Response from the community is interpreted and strategies for further
development are outlined.
3.4.1. Re-structure of Ducati Information Design.
Information Design in this project evaluates the current Ducati web
site and marketing materials and determines the best ways to
condense and re-distribute content in order to provide users with
better access to information. The condensing or crunching of
information is important in this project because designing experience
in a web based environment requires that content be reduced to the
absolute essentials.
My first attempts at establishing the wire-frame suggested a menu
topic outline that simplified and reorganizes material into four major
topics: DUCATI, USDESMO, DUCATICORSE and E-SHOP. These topics
would be accessed via an intro splash screen that provided users with
3 possible avenues navigation to access information. The main
navigation would lead the user to the 4 main topics, from which many
levels of submenus could be accessed. The first alternative for
navigation was to be a user guide or “Tour Guide” feature that
automatically directed the user through a series of predetermined
pages, based on the site’s most important features. The section
alternative for navigation was to be a system of blocs that gave users
access to any page in the site at any time. This concept is illustrated
in the following diagram. [Fig. 12] Site Map: Version for Fall 2004
3.4.1.1 Figure 12: Site Map: Version Fall 2004
Figure 12. Initial organization of information, image of wire-frame hierarchy.
Figure 13a. Step 1
Figure. 13b. Step 2
Figure. 13c. Step 3
Figure. 13d Step 4
3.4.2. Interface Design, Navigation and the Immersive
Environment
3.4.2.1 Versions for Fall 2004
The section of the project that was built out for the December
review was my initial version of the Motorcycle gallery. This
metaphor used white lines in black space to create the illusion of
environment. It uses the idea of "balance", movement thru the fog,
a gallery of lasers, each bike is a character with something to say
about the ride in the fog over the hill a windy two lane road,
specifics about how the bike handles and feels. It is the precursor
to the gallery I have built for the final project. The user
interaction in this metaphor was outlined in the following steps:
Step 1 [Fig. 13a]
FOG, and lasers: User interaction makes fog dissipate.
Step 2 [Fig. 13b]
Spiro-graph of lines and perspective defines 3D illusion of space for
bikes. Main menu loads into screen. User clicks on “SuperSport,
views Triple 9 (999
Step 4 [Fig. 13c & Fig. 13d]
User interaction with bikes themselves reveals specific
information. User interaction within the graphical interface,
including images with the bikes will provide direct access to the
content, users are looking to find. A user will find the site has lots
of choices, lots of unique ways to experience the site as a whole,
as well as providing direct access to important specific content
information. Content design is strategic, to surprise the user and
support and environment with exciting and engaging interactivity.
3.4.3. Response to Project Proposal
Overall the response to the project was good. Users generally felt
that the use of an immersive environment was a better avenue for
accessing Ducati content, but there where other aspects of study
which would require attention in order to make the project
successful. Main concerns were that the way I constructed the
project and presentation restricted the use of environment in
exchange for a clean organization of web marketing, and that a
further investigation of environment as to how it can be applied to
interface was needed. Actualizing and interpreting the user flow,
and understanding the use of flow in terms of experience was
noted as a crucial technique that need to be understood and
articulated in terms of this project.
Other concerns were articulating the design aesthetic and the need
to demonstrate progression in the creation of alternative devices
for user navigation.
3.4.5. Actualizing the Experience of Environment
In response to the feedback received in the final review, I went
ahead and began documenting actual environments. I conducted
many visual studies of the urban landscape in order to understand
how the elements could be used to support engaging and exciting
experiences. I documented driving through the manicured
communities of palm trees in Naples, Florida. I examined city
streets and the changing of street lights in consecutive flashes of
red and green. I studied the paths of airplanes overhead, I studied
the movements of blinking light and progression of loading giant
freight ships at the port authority. I studied the racetracks in
Daytona and in Vegas, collecting information on the details of
environment. I analyzed size differences of objects from different
perspectives on the horizon. One major observation was the size
difference of the cranes of the Port Authority and the Statue of
Liberty. When viewed head on the crane were much larger than
lady liberty. When viewed from a rooftop, with the exact same
direction, lady liberty is the same size, if not slightly bigger, than
the cranes on the horizon. This unique angle of perspective in
used in developing the transitions in space defined in the project.
Although the collection of this data was important to the
understanding of the visual interpretation of space, I was advised
that the true nature of the Ducati experience was with in the
aethetic of the bike itself.
I needed to nail down my user experience in terms of user path
ways and user flow, I needed to finalize the sitemap that
illustrates that flow, and articulate the design aesthetic that was
to be used in the translation of Ducati Experience.
3.5. Prototype Solutions
My project went three major revisions in the thesis concept
development stage and through out the creation of the pre-alpha.
Revisions were based on analysis of information design in terms of
what were Ducati’s most important topics of information and
providing user access to coherent navigation within the
construction of an interface designed on the principles of aesthetic
and experience.
This section gives an overview as to the processes and methods
considered and implemented in its development.
3.5.1. System Overview
The system opens with a main screen, the “homepage” or “main
menu”, which gives users access to 5 main categories of interest.
WHAT USERS GET:
Each environment uses an animating menu option designed to fit
the metaphor to give users traditional access to any section of the
site.
User guide; the Ducati goddess
This option gives users access to the site in two ways. The first
provides users with an automated guided tour to the best features
of the site. The second is a visual overview or clickable sitemap
that gives users direct access to any topic section in the site.
Racers; Ducaticorse
In this section users get information about individual racers, events
and communities along the way. The environment metaphor used
here is the Las Vegas motorcycle racing circuit.
Riders; US Desmo:
In this section users get information about events and communities
along the way. The environment metaphor used here is streets of
NYC.
Gallery; Virtual Lasers
In this section users get access to all of Ducati Bikes, interacting
with the bikes gives you information about them and links to
Dealer. The environment metaphor used here is a virtual gallery of
lasers that are used to host the five model lines of Ducati
motorcycles: Monster, Multistrada, Sport classic, Sport touring, and
Superbike. With in this gallery section, there is access to two sub
sections that features Pierre Terblanche, (Design and Heritage)
and access to Authorized Dealers. The designs of the subsections
are modified to reflect the personality of Terblanche, Director of
Design and the featured Dealer.
This concept was modified significantly in the final project. Instead
of the metaphor of lasers, beautiful environment built out of a
system of gears was developed. This added to the believability of
the transition from the Gallery icon, which resembles a “building
made up of strange parts of gears.”
E-Shop
In this section users get a shopping environment that let’s them
scroll and browse products, the environment used here mimics
driving down a street in Naples Florida. The experience is intended
to provide the illusion of shopping amongst the palm trees and
sunshine.
3.5.1.1 User Pathways, User Flow, and Navigation
There are three ways that users can interact with the sections in
this site. The user guide provides two specific pathways: the
automated tour and the clickable sitemap.
The overall experience of information is provided via the
navigation on the main menu, using a left to right hierarchy of
information. From each section, there is an unique menu system
that gives access to the other sections of the site. Each section
prompts the user to continue, which keeps them on the
recommended pathway.
prompts the user to continue, which keeps them on the
recommended pathway.
3.5.1.2 Site Map: Final
The clickable sitemap gives users access to any section of the site,
providing the option of leaving the recommended pathway, if
desired. See [Fig. 14] below.
Figure 14. Sitemap: final organization of information, image of wire-frame navigational hierarchy.
3.5.2. Site Form and Function: Pre-Alpha
Based on feedback from the Fall 2004 final review, I analyzed and
rebuilt the project wire frame and navigation. I based on the
graphical interface on the design aesthetic of the Ducati
Motorcycle merged with the environment metaphor that I scripted
for each section.
My first step was to determine the user flow through out the site,
articulate the design aesthetic, define the interaction and
accentuate the concept of experience. With the actualization of
information design and visual aesthetic, I was faced with the task
of defining the experience, making the distinct interpretation of
the experience clear to the audience, and integrating a
navigational system that would support the metaphor in order to
make the user feel comfortable, identifying instantly what they
were involved with, how they would access information.
3.5.3. Pre-Alpha Usability Testing, User Feedback
I decided against submitting the pre alpha to user testers outside
of the Parsons community because the initial response I received
made it clear that my group of general Ducati community users
would not clearly understand the navigation used to demonstrate
the flow of the user pathways throughout the site.
Response to Pre Alpha:
Visual direction of using the body of the bike as a metaphor for the
environment was met with positive response, but that it lacked the
sound, the 3D, and the experience?
Karen Sideman suggested I turn my user guide into a “You are
here” map and incorporate the methodology of navigation into
every page. She also assisted me in dividing up the screen real
estate more effectively.
Her comment was to nail down the experience, the designer and
the user must agree. “Experience: to me, part of having an
experience would be an organized awareness of the thing while it
is happening. Some little part of you watches yourself having the
experience and notes that fact. If the experience is metaphorical,
then this awareness needs to be quite forefront. While using that
Nike site, some part of the experience actually includes the little
voice that says: Oh, I am supposed to be walking around in a
meadow looking at little details.”
The question was proposed: What is the little line that should be
going through the user’s mind when they visit your site? What,
literally, is the experience they are supposed to be having?
The need to overtly articulate this idea to users became a driving
factor in the project development. The nature of the experience is
not open to user interpretation. The designer and the user must
agree on what the experience is, or it won't be a useful
navigational guide.
Solving this issue has proved to be a very difficult part of the
design process.
3.5.4. Site Form and Function: Alpha
The initial project form was presented in HTML. Upon review, it
was decided that the changing of HTML pages, broke the metaphor
of being immersed in the environment. The transitions between
screens, used to support the metaphor of experience, can’t be
developed within the page template structure. The idea of
experience requires that the user visual transition between topic
sections. Thus, from this point forward the site was built
completely with Flash.
It was during this time, that I struggled with the elements of
narrative metaphor and information design. How did I use one to
support the other? How did I actually create the illusion of being in
“Being in a strange, beautiful world of the Ducati Motorcyle,
exploring the details, to access information?” And more
importantly, how do I arrange an exploratory informational system.
How can I transition my user through space? What defines an
immersive, intuitive interaction of the web. I had the design
aesthetic in progress moving along swiftly, I had determined the
narrative scripts for each of the metaphors I wanted to use. How
do we program access through space?
I spun my wheels. I ran in place. I tried desperately to find the
solution in order to determine of user pathways and got
desperately caught in trap of thinking linearly. The project’s intent
was along the z-axis. It was important to the project, that the
experience, the metaphor of being in a space, traveling thru a
space, not be broken by traditional navigational structures. And at
the same time, the navigational system had to support user access
to content. I built a series of interfaces, supported by a Flash
engine, that used graphic intense time- based animations to
conduct the narrative. The result was a beautiful collage of images
that kept reminding us that the interface was a flat page. I
devised the narrative structure and access to content in the Racer
and Rider sections. Both of these solutions failed, because we lost
the metaphor of the body of bike in the transitions.
Another issue here, was giving access to any section of the site,
any point. I had revised the sitemap in this project 4 times. It was
imperative that we leave that option out of the picture so that we
could isolate navigation in the main interface. I found my self
thinking about the way the sitemap would work in terms of
programming all the possible transitions. The solution instead
became a reflection of the initial interface, from which we could
utilize previous user learning.
Finally we realized the solution for integrating the one metaphor:
the body of the bike. This is the main access level, with five
options. Clicking on the Goddess Icon, leads to the user guide, the
racer leads to the Corse section, the rider leads to the USDesmo
section, the Building leads to the gallery and the Palm tree leads
to what will be the shopping section. It became apparent that this
interface needed to be cut into sections, and physically enlarged
to create the illusion moving thru space. This discovery occurred in
the final weeks of development.
Though this discovery freed the project into full-scale production,
the engine had to be completely reprogrammed. This put a major
strain on the build out of the whole project.
Once the technique of graphical transitions were incorporated, it
became more apparent as to how to build the interactivity on the
secondary level screens, in a way that supported the narrative.
It became a mutli-layered, animating system of a base level
information hierarchy, opening to a secondary level, the main level
more intuitive, the secondary levels, more exploratory. The base
level serving a 5-option topic menu, as one navigational system,
leading to 5 submenus, each using an individual navigational
system, with common tasks associated by common graphic
identifiers.
This delay in production, meant the project was not ready to
viewed and tested by my user groups for the Alpha.
3.5.5. Usability Testing, User Feedback
I submitted the project, late in the semester to my group
of user reviewers and the Ducati Monster Board on-line
community, knowing there were major issues with the
navigational system, but needing to ask the community
there response on the project. Overall the users were
confused by the navigation, but felt that the design
pursuit of the project was compelling and engaging.
Many responses made tribute to the design aesthetic and
the project was met with great interest and response. It
was apparent that once the user could understand the
process of navigation, the experience of being on the
site was exciting, compelling and unique. The intent of
the design aesthetic was right on.
Figure 15a: Goddess Section
Figure 15b: Racer Section
3.5.6. Site Form and Function: Beta
The final project resulted in a main interface that uses
an initial animation to let users know what is click able
on the screen. Rolling your mouse in a figure 8 over the
screen, activates the rollovers. Each rollover state uses
animation to convey content.
When a user chooses an option, a transition animation is
used to create the illusion that the user is moving
through space to access another level or vantage point.
The transition to the new vantage point is used to keep
the metaphor of “being in the strange, beautiful world of
the body of the bike, exploring the details, and accessing
content”.
In each of the secondary level options the metaphor is
altered, projecting a unique narrative, and a system of
operation is incorporated. This navigational system is
built in flash, it uses it own narrative of blinking lights,
and is incorporated into the metaphor for consistency.
Interaction within these sections: the scenarios open up
Figure 15c: Rider Section
Figure 15c: Gallery Section
Figure 15d: E-shop Section
with an animating sequence that highlight the click-able
option; interacting with the screen activates animations;
transitions are used to make the site feel as if it
responds to the users touch.
The information hierarchy is comprised of the five main
topics. Each of these topics opens up to an environment
with five or three options. The gallery section has more
options for this system would be used as a showcase for
bikes. From the gallery section and the e–shop section
you have access to the dealer information.
The sitemap icon gives the user access to each section,
from each section.
CHAPTER 4. FINDINGS/ EVALUATION
4.1. Thesis Review
My thesis review opened with the question: “Why did you get to
design a marketing website for Ducati as a thesis?”
This question pointed to an issue in my presentation of context. In
the process of its development, the project had moved away from
the original idea of the context being a redesign of the Ducati web
site. Instead, its purpose would be as an alternate, exploratory
system for accessing content. It could be hosted as a link off the
Ducati site that would give users a new way of accessing the latest
and greatest hot topics.
At mid term, the need for a revision of context became apparent.
Designing an immersive experience for web projects requires so
much compression of content, that it cannot replace the fluid
access to any possible information choice, like that, which currently
exists on the Ducati site. This project could be used in addition to
the current site. It could be featured as an experiential site,
promoting the latest news. It could also be used with a Kiosk in
dealer stores, or could even be used in combination with a CD-ROM
based catalogue. Because I had not clearly articulated that
expression in my abstract, which I handed out to reviewers in the
event that things were unclear, the context of the project was
misunderstood.
Let’s clarify what has been utilized from Ducati. From my
standpoint as the designer, this thesis has never been about
addressing Ducati marketing needs. Rather, it has to do with using
Ducati as a resource for content information, design aesthetic and
user profiling. This thesis has much to do with moving the user
through space to access information. Ducati is the real world
example to which I can apply my methods of approach.
This is an example of an alternative navigation system to what
currently exists on the Ducati web site. The point here is example of
an information system that strives to present the illusion of
traveling thru space to get to content. It provides a visual and
interactive narrative in order to create a unique and compelling
user experience.
Anezka Sebek points out “the problem with this thesis has always
been the tug of war between my pursuit to make something
commercially viable (which utilizes my experience with information
design in software production) and the pursuit to make a new kind
of interactive, three dimensional, audio and motion video
experience on the internet. The idea of a motorcycle site with this
kind of aesthetic is right on. The problem is not having the
programming experience or the time to fully articulate and execute
commercially viable (which utilizes my experience with information
design in software production) and the pursuit to make a new kind
of interactive, three dimensional, audio and motion video
experience on the internet. The idea of a motorcycle site with this
kind of aesthetic is right on. The problem is not having the
programming experience or the time to fully articulate and execute
the second pursuit.”
For the first pursuit: Anezka notes that this thesis project only
attains the parameters with which I am already familiar from my
industry experience. Let’s, make those commercial goals clear.
Let’s take one step back from the project as it stands and look at
the project as a systematic study of an e-commerce engine. I see
the system built in a way that moves beyond what I used in my
experience commercially.
An e-commerce or e-learning engine is a system designed for
distributing and accessing content. It is compiled though four
separate work groups, project management, instructional design,
graphic design and programming. This project demonstrates resolve
on each of the fronts. The demands in production and execution are
significant.
This engine looks to the information hierarchy of the Ducati web
site as a base for compression of content. This system uses the
design aesthetic of the Ducati motorcycle as a process of delivery
for content. This system uses analysis of Ducati riders as a tool for
developing the user experience. It seeks to translate their identity,
providing a unique and engaging viewer experience.
The system in itself is an experiment in the design of interface, that
looks to the field of experience design as a resource for designing
methods of user pathways. The mission of the project is to create
the illusion of “traveling thru space” to access content.
Along with the design aesthetic and target community analysis, I
have taken the Ducati website as a source of content for the
analysis of information design, for purpose of restructuring it so that
it can be used in the creation of an experiential site. The number
one community attribute is the affinity for the design of the Ducati
Motorcycle. The translation of that affinity is created in the main
interface. The goal of using the design aesthetic of the bike, to
engage users is a major component of this thesis. The translation of
that design aesthetic from the physical to the virtual was a driving
it can be used in the creation of an experiential site. The number
one community attribute is the affinity for the design of the Ducati
Motorcycle. The translation of that affinity is created in the main
interface. The goal of using the design aesthetic of the bike, to
engage users is a major component of this thesis. The translation of
that design aesthetic from the physical to the virtual was a driving
factor in this thesis, and may be the most successful. Users on the
Ducati Monster board were thrilled about this aesthetic. They loved
it.
An experiential web site, has to move the user thru space, entice
the user to explore, give people rewards for their exploration and
respond the user touch. It has to notice if the user is not using the
mouse, triggering animation that entice the user to explore. The
site also has to make sense in terms of navigation on the whole. This
is where the analysis of the Ducati site is important because it
forces the parameters of the navigation. There has to be a balance
between asking the user to be a learner, and making the learning
easy and understandable. There has to be a balance between
beauty and form.
The process of selection of topics, reduction to the most crucial
components, and developing the hierarchy of access to topics was a
major consideration. The isolation of information was based on the
discovery of what’s most important based on analysis of the user.
Content has to be reduced, choices have to be limited, by the
designer, in order to create an environment that a user explores to
access content. Users explore an environment as an alternative to
flipping through pages. It demonstrates a method of designing for
the web where the strategy used in the process of design is the
metaphor of a movie.
The quest of this thesis moves from trying to bring a system that is
designed through a metaphor of book, to that of a movie. Its is an
actualization of thinking about web design from a new perspective,
an experiment in what can be gained from that perspective, and in
turn an attempt to change the way users perceive things. This style
of thinking, “asking how do we design for the web so that it more
closely resembles a cinematic experience,” is at its beginning
stages, but is being demonstrated in the design of web sites that
require innovation. Companies like R/GA, IDEO are at the forefront
of this movement. Designers creating web sites “that demand to be
unlike the rest,” look to analysis of target user scenarios, in the
designing of interaction and the user experience. They evaluate
stages, but is being demonstrated in the design of web sites that
require innovation. Companies like R/GA, IDEO are at the forefront
of this movement. Designers creating web sites “that demand to be
unlike the rest,” look to analysis of target user scenarios, in the
designing of interaction and the user experience. They evaluate
their specific interests, needs, habits and lifestyles in order to
invent a new way of looking at presenting content information.
Analysis of the target user scenarios becomes the source of
innovation found. In subjecting the project to the Ducati public for
review, the overwhelming response, in lieu of it’s current
navigational issues, was the design aesthetic. The Ducati community
not only identified with the graphical interface, but they were
excited and inspired by it. (I presented the project on the
DucatiMonsterBoard.com, an on-line Ducati community. Over 550
people read the debate. I would estimate over 50 people actually
went to the site. Over 30 people, reviewed it and posted their
response.
Though the project has much more to accomplish in terms of the
clarity of access with the interactive narrative. The actual building
out of the concept from the engine to the interface is an
accomplishment in terms information design and scale of
production. It has far stretched the boundaries of my own
programming capabilities, as well as proposes a solution, created
front to back from a design perspective. Large companies, with
multiple teams of developers, that I have worked for, have spent
years developing software engines for content management
systems. This project shows a similar solution can be created using
an engine created in Flash, through the vision of a unified design
perspective.
A key issue with the project was the consistent believability of the
interactive narrative through out the project. Barbara asked that I
speak about the interactive narrative used in the project, pointing
out that this intent was unclear. Katie asked how the secondary
level navigation fit the metaphor. Stephanie's issue was that my
project does not strongly suggest what I've set out to do, the
metaphor, the narrative keeps breaking; the navigational system
doesn’t make itself clear to the users. These comments point out
that the metaphor of “being in a strange, beautiful world built from
the body of the bike, exploring the details, and accessing
information” has to be believable all the way through the site. With
metaphor, the narrative keeps breaking; the navigational system
doesn’t make itself clear to the users. These comments point out
that the metaphor of “being in a strange, beautiful world built from
the body of the bike, exploring the details, and accessing
information” has to be believable all the way through the site. With
the obvious breaks in the metaphor in the secondary level, the
success of the project is challenged. I consider the metaphor
believable from the mainmenu, through the transitions, to the
secondary levels. The secondary levels are full of content
placeholders, so the narrative is broken, thus my users and
reviewers don't know what they are looking at.
Let’s look at the pursuit of the second goal, to make a new kind of
interactive, three dimensional, audio and motion video experience
on the internet, as a way to evaluate what actually needs to happen
with the site to carry out this thesis.
To recap, the main issue with the project is that the intent of the
project is not clear to viewers upon entering the site. Though the
main interface interaction is relatively easy to understand, as well
as the transitions to secondary levels, the interactive narrative
structure of the navigation is unclear in the secondary level screens,
thus breaking the metaphor and breaking the idea of experience. In
order for this project to work the user has to understand where they
are, (in the strange, beautiful world of the body of the Ducati
motorcycle) and what they are doing (exploring the details to access
information) at all times.
In order to accomplish this, further accomplishments need to be
made in terms of interactive narrative and programming. The
narrative structure used in the second level navigation needs to be
reassessed. The metaphor of “a city of blinking lights” that could be
incorporated into the metaphor of the body of the bike, would add
cohesion to this system. The animation of lights would be unique for
each different task. The site asks you to explore at first, and asks
you to learn how to navigate. Once you learn something, that same
technique is used consistently through out the site, and you
shouldn’t have to learn it again. The navigational structure needs to
be more intuitive and clear to the user. In the case where the icon
of the plane doesn't fit, incorporating flashing arrows, in the
opposite direction for triggering movement out, could be used as
something simple and something that just about everyone would
understand.
be more intuitive and clear to the user. In the case where the icon
of the plane doesn't fit, incorporating flashing arrows, in the
opposite direction for triggering movement out, could be used as
something simple and something that just about everyone would
understand.
Upon entering a secondary level screen, the viewer needs to be
shown what areas and objects are click-able. Further analysis for
proposing metaphors for the pathways of interactivity is needed.
This can be accomplished by using the same intro highlighting
technique that was used on the main menu. When entering the main
menu, the roll states for each click-able topic animate across the
screen. The technique must be incorporated into all second level
topic sections.
Though understanding how to navigate in this system is this projects
biggest issue, the navigation is successful in its use of transitions.
Graphical, animating, time-based transitions are used to make the
user feel that they are moving though the space (the body of the
bike).
Creating the illusion of “zooming in” and “zooming out” was a great
achievement in terms of visualizing how transitions thru space can
be programmed in Flash. This timely endeavor, is in itself is a major
accomplishment in the project. This technique makes the user feel
as if the site is responding to their touch. This solution needs to be
incorporated into every secondary level screen. When the user
clicks on the animating access points to get content, the screen has
to respond. Second level transitions have to have a clear way in and
a clear way out. The user clicks an option, the graphical metaphor
changes perspective, the user accesses another option, the system
responds with a change of perspective and so on.
Through analysis the user experience I have put together a spec
brief for programming. As for the goals of programming moving
forward, the project would benefit from an analysis of techniques,
from the standpoint of a seasoned veteran of Flash programming.
The programming in this project was a major accomplishment for
me. My ability to create and visualize dynamic imagery in
Photoshop, far out ways my ability to program in Flash. The system
currently relies to heavily on the beauty of the graphical interface,
where it could more so rely on the great techniques Flash
programming offers us. Click-able objects could be programmed to
cling to the mouse, mouse-overs need to trigger subtle and
Photoshop, far out ways my ability to program in Flash. The system
currently relies to heavily on the beauty of the graphical interface,
where it could more so rely on the great techniques Flash
programming offers us. Click-able objects could be programmed to
cling to the mouse, mouse-overs need to trigger subtle and
interesting animations that would trigger user interactivity.
Navigational elements need to engage and attract the user with as
much intrigue as the graphical elements. The metaphor of
“traveling thru space” would be used in the further incorporation of
unique and interesting flash techniques.
The site needs resolution to its download issues. This issue can be
easily addressed through the use of pre-loaders.
The site needs resolution to it’s use of a sitemap. The sitemap
idealistically would be used to give users anywhere in the site, from
anywhere in the site. This was a major point of concern and
discussion with both Karen and Stephanie. And it was an issue that I
personally struggled very intensely with. The question being, how
do we give that option to users, without breaking the metaphor of
“being in the strange, beautiful world of the bike”; “how do we
keep the entire being, easy to understand as a whole?” The sitemap
option I have incorporated pops users to the main interface, and
starts the transitions to the option they have chosen, again breaking
the narrative. What should happen here is that the system should be
programmed to know where the user is, move out of that section,
and move into the next. This user pathway structure can be built
with action script, though the tracking system used to support this
technology, would require much more additional research and
assistance advanced level programmers.
5.1. Conclusion
One point that has been my consistent battle, through out the thesis
process; visualizing, articulating and refining. We can consider this
project as a lesson in clarity. In the aspects where the project fails,
let us consider it an act of failing forward, so that we can use the
result to learn from the pursuit in developing new methods for
interface design. In lieu of it errors, in interactive narrative and
programming, the project is a compelling visual experience that
evokes excitement and interest in the community it seeks to
interpret.
Along with the design aesthetic and target community analysis, I
have taken the Ducati website as a source of content for the
analysis of information design, for purpose of restructuring it so that
it can be used in the creation of an experiential site. This is also an
achievement in terms of information design. This engine looks to
the information hierarchy of the Ducati web site as a base for
compression of content, then analyzes what is most important in
order to redistribute the information in a form that can be utilized
in an narrative design experience. The process and result show
intelligent reformat that better service the experiential demands of
the project. The information design in this system is successful in its
use of time-based, animating transitions and its use of second level
Flash based navigational structure.
The number one community attribute is the affinity for the design
of the Ducati Motorcycle. The translation of that affinity is created
in the main interface. The goal of using the design aesthetic of the
bike, to engage users is a major component of this thesis. The
translation of that design aesthetic from the physical to the virtual
was a driving factor in this thesis, and is the most successful. The
Ducati community identifies with the graphical interface with as
much intensity as the interface seeks to identify with them. The
translation of the design aesthetic is achieved, despite the issues
with navigation, which points to its success.
People relate to experiences that they can identify with. This
contribution has been achieved via constant and persistent analysis
of the Ducati community: the design aesthetic of the Ducati
motorcycle, successfully used as a process of delivery for content.
motorcycle, successfully used as a process of delivery for content.
The main accomplishment is seen in the methods developed here
for designing user pathways, the mission of creating the illusion of
“traveling thru space” to access content and that the pursuit of
looking to the field of experience design as a resource, was an
excellent decision, that produced great results.
5.2. Future Directions
As the project is yet to solidify some major concerns, the goal
moving forward is to complete the build out of the second level
navigation system, increase the ease of use of the system, and
finalize the piece in time for the show. This will be a piece that I
will continue working on in the future, as my pursuit as an interface
designer is to provide new ways design can improve interaction on
the web. With the completion of the project, the goal is to use the
project as a tool for analysis and development of process, method
and user experience.
CHAPTER 6. BibliographyGeneral ResearchBooks
IDEO. Extra Spatial. Publisher: Ideo 2003
Book and cards dealing with building interactive environments, this company creates products, and design that are
incredibly useful to the content and form of my thesis.
Shedroff, Nathan. Experience Design 1. Publisher: New Riders Publishing 2001
This book explores and explains the concept of design experience, a valuable resource for my interface experiments
in experience design. P28
Meadows, Mark Stephen . Pause & Effect, The Art Of Interactive Narrative. Publisher: New Riders Publishing 2003
This book explores and explains the concept of interactive narrative, a valuable resource for understanding user
flow and design ideas. P2
Preece, Jennifer. Online Communities: Designing Usability And Supporting Sociability. Publisher: John Wiley & Sons;
1 edition 2000
This book offers an excellent framework for considering how to design for internet communities. Her ideas on
community-centered design, emphasizing usability and sociability are a valuable consideration for my project.
Jacobson, Robert. Information Design. Publisher: MIT Press; 1 edition 2000
This book analysis’s on information design is critical in developing my project in terms of understanding how
content needs to be presented.
Nielsen, Jakob. Homepage Usability: 50 webistes Deconstructed Publisher: New Riders Publishing 2002
Norman, Donald A. The Design of everyday things Publisher: Basic Books 1988, 2002. P13, P151
Johnson, Steven. Interface Culture. Publisher: Basic Books 1997…P18
Clayton, Michael. Cross Country Riding. Publisher: E.P. Dutton NY 1997
Egan, Peter. Leanings; the best of Peter Eagan and Cycle World magazine. Publisher: MBI Publishing Company, 2002
DUCATI BOOKS, see Ducati Specific research below.
MAGAZINES
T.W.O [Two Wheels Only) Magazine. July-December 2004. Publisher: Haymarket Publishing
T.W.O Magazine is a great resource for Moto Community interests, really well done British Moto Mag.
Issues: November 03- January 05
EMERGENT SYSTEM ARTICLES
Seaman, Bill. Emergent Constructions: Re-embodied Intelligence Within Recombinant Poetic Networks.
<http://faculty.risd.edu/faculty/bseamanweb/web/webreadytexts/reEmbodied.html>. 2003
Seaman asks to what extent can we "re-frame" aspects of the consciousness of the artist, via specific modes of
"translation" of operative poetic processes and poetic elements of image, sound, and text, within functional
computer-mediated networks? Like Seaman, I am interested in interactive art works that exhibit "intelligent"
responsiveness to viewer input.
Seaman, Bill. Hybrid Architectures - Media/Information Environments.
<http://faculty.risd.edu/faculty/bseamanweb/web/webreadytexts/hybridarchitectures.html>. 2002
Seaman suggests that as the use of computers proliferates through and across the entire environment, the nature of
the computer/ human interface as well as the metaphors via which it operates, will surely go though a dramatic
series of changes. Computers will become increasingly portable and powerful. The need for easy to access mobile
connections of data storage will necessitate coherence between various networks for disparate purposes. This
article is important because it attempts to articulate Hybrid Architectures.
Manovich, Lev. The Poetics of Augmented Space: Learning from Prada. <New media research/articles
http://www.manovich.net/>. 2003
Manovich’s discussion of “augmented space” describes the overlaying layers of data over the physical space. It
presents a conversation of the emerging thought trends of virtual space, the moving image in that space and the
concept of video installations as laboratory for the future.
WEB SITES
Nike.com. September 2004 <http://www.nike.com/NikeLab>.
Nike: Design by Nature. November 2004 <http://www.nike.com/nikelab/usa/episode_3/index.jhtml>.
These sites use the ideologies of a design experience to deliver content in the form of environment. Many of the
techniques used here are closely related to the type of experiments I will create.
Soulbath.com. December 2004 <http://www.soulbath.com/clickhere.html>.
This site uses a 3-D metaphor of a gallery space to host content of digital media projects. The gallery metaphor of
levels changes perspective based on user interaction. This is a great example of using 3-dimensionality and
interactivity to present content.
VWPhaeton.com. September 2004 <http://www.thephaeton.co.uk/universe/index.php>.
This FLASH example uses an interactive 3-Dimensional metaphor of a galaxy to showcase product.
Immersence.com. Osmose 1995. September 2004 <http://www.immersence.com/>.
Osmose is an immersive interactive virtual-realty environment installation with 3D computer graphics and
interactive 3D sound, a head-mounted display and real-time motion tracking based on breathing and balance.
Osmose is a space for exploring the perceptual interplay between self and world, i.e. a place for facilitating
awareness of one's own self as consciousness embodied in enveloping space. This is important to my project as this
project truly explores the concept of virtual space.
Creolab.com. September 2004 <http://www.creolab.com/>.
This animation example relates to the intentions of my thesis in terms of interactive creativity and design.
Futuralaboratories.com. September 2004 <http://www.futuralaboratories.com/> and <http://www.a-track-
tion.com/>.
This Flash example relates to the intentions of my thesis in terms of interactive creativity and design.
BMWFilms.com. September 2004 <http://www.BMWFilms.com>
This example relates to the intentions of my thesis in terms of narrative and product placement.
Homestarrunner.com. October 2004 <http://www.homestarrunner.com/homester.html>.
This animation example relates to the intentions of my thesis in terms of interactive space.
Axis-media.com. October 2004 <http://www.axis-media.com/>.
This animation example relates to the intentions of my thesis in terms of creative design of space.
Dzinemotion.com. August 2004 <http://www.dzinenmotion.com/>.
This animation example relates to the intentions of my thesis in terms of creative design of space.
Electronicmiracles.com. September 2004 <http://www.electronicmiracles.com/indexem.html>.
This Flash example relates to the intentions of my thesis in terms of creative design of space.
Humptyvision.com. August 2004 <http://www.richardhumptyvission.com/>.
This animation example uses a unique representation of content and motion graphics.
Glass Engine. Ed. Phillip Glass. August 2004 <http://www.philipglass.com/glassengine/#>.
This Flash example uses a progressive, alternative and unique interface design.
Copernica. Ed. NASA. October 2004 <http://www.hq.nasa.gov/copernica/>.
The NASA Art Program has commissioned original artworks chronicling the wonders, risks and triumphs of space
exploration. In Copernica, we explore a new universe created from a sampling of this art collection. Zooming into a
star leads to artwork.
Analemma: The infamous figure 8. Ed. Perseus Group. October 2004 <http://www.perseus.gr/Astro-Solar-
Analemma.htm> and <http://www.perseus.gr/Astro-Tips-Analemma.htm>.
Animation example that uses a concept of zooming in and out to display content.
Trollback.com. October 2004 <http://www.trollback.com/>.
Website example that relate to the intentions of my thesis in terms of interactive creativity and design.
MEDIA DESIGNERS
PrayStation.com. Pandora’s box 7, 8, 9, and Design Graphik ii c. Ed. Joshua Davis. October 2004
<http://ps3.praystation.com/pound/v2/>.
Davis focuses on experiments dealing with spatial construction. His involvement with the Nike site and his
determination to challenge the way we see interface makes him a valuable resource to my project. Davis is a hero.
Nathan.com. Ed. Nathan Shedroff. October 2004 <http://www.nathan.com/>.
Nathan’s approach to experience design provides insight and ideas that are crucial to my thesis development.
Shedroff has a brilliant perspective on experience design.
Ben Fry Website. Ed. Ben Fry. October 2004 <http://acg.media.mit.edu/people/fry/anemone/applet/>.
Fry creates fabulous code generated graphic experiments. They present alternative ways of generating graphics.
IDEO: Designers of environments and interactions. Ed. Ideo. October 2004 <http://www.ideo.com/ideo.asp>.
This company creates products, and design that are incredibly useful to the content and form of my thesis.
DUCATI SPECIFIC RESEARCH
BOOKS
DUCATI. DUCATI2001. Publisher: Ducati. 2001
This credits in this book are in Italian. This book was not made for public view. It was some kind of gift to the
dealers thing, I was not able to isolate it source.
DUCATI/DUCATICORSE. 2002 World Superbike Championship: Publisher: Ducati. 2002
This credits on this book are in Italian.
Cathcart, Alan & Cook, Mark. Ducati 999, The Birth of a Legend. David Bull Publishing, 2003
This book contains important information about Pierre Terblanche, Director of Ducati design and his
newest bike, including sketches and processes.
Guilio, Decio & Carugati, Riccardo. Ducati, Design in the Sign of Emotion. MBI Publishing Company, 2003
This book contains important information about Ducati history and motorcycles.
Rafferty, Tod. Ducati. MBI Publishing Company, 2000
This book contains important information about Ducati history and motorcycles.
Falloon, Ian. Ducati:Desmoquattro Superbikes. MBI Publishing Company, 2002
This book contains important information about Ducati history and motorcycles.
Falloon, Ian. Ducati:SuperSport. HaynesPublishing, 1998
This book contains important information about SuperSport history.
Walker, Mick. Ducati: 4-valve and V-twin, the complete story. The Crowood Press Ltd, 1999
This book contains important information about Ducati history of engines and motorcycle.
Bianchi, Lugui & Masetti, Marco. Motoclismo tells the story of Ducati. Published by Motoclismo, Italy
1997.
JOURNALS
“Ducati 999: Birth of a legend.” Bullpublishing.com. October 2004 <http://www.bullpublishing.com/cgi-
bin/web_store/web_store.cgi?page=11b.html&cart_id=7505261_1215342>.
This article contains an important quote from Ducati Creative Director, David Gross as well as a detailed
account.
WEB SITES
Ducati Monsterboard. October 2004. <http://www.ducatimonster.org/smf/index.php>
This site is a great resource for finding Ducati information and connecting with other Ducati Enthusiasts.
US Desmo. October 2004. <http://www.usdesmo.com/>.
Desmo Owner Club for the United States, this is a great resource for finding out about events and community issues.
DUCATI.com. September 2004- present. <http://www.DUCATI.com>.
Retail marketing website specific to my thesis. This is the actual site I am using for the real world execution of my
project.
TRIUMPH.com. October 2004. <http://www.triumph.co.uk/default.aspx>.
Retail marketing website specific to my thesis. This is an example of what the competition is doing.
SUZUKI.com. October 2004. <http://www.suzuki.com/index_flash.php>.
Retail marketing website specific to my thesis. This is another example of what the competition is doing.
ABOUT.com. November 2004. <http://motorcycles.about.com/od/basicsofmotorcycling/g/def203.htm>.
Used for direct definitions of parts in glossary
Ducati Index. November 2004. <http://www.cowin-tech.com/ducati/DisplayClubs.cfm?Action=All&CountHit=Yes>.
This is a directory of 59 Ducati clubs, located worldwide.
APPENDIX A
PRIMARY SOURCES
WORKS CITED (annotated in the following order
(1) Bachelard, Gaston. The Poetics of Space. 1964 Osmose Website 1995. http://www.immersence.com/
(2) Unknown author, Article on Microsoft Bob. http://www.tspa.org/win123-17.html
(3) Unknown author, Article on Microsoft Bob. http://toastytech.com/guis/bob.html
(4) Neilsen, Norman website, article on Neilsen.http://www.nngroup.com/
(5) Unknown author, article on Neilsen. http://www.webreference.com/new/nielsen.html
(6) Nielsen, Jakob. Homepage Usability: 50 webistes Deconstructed Publisher: New Riders Publishing 2002
(7) Unknown author, article on Normand. http://www.jnd.org/
(8) Norman, Donald A. The Design of everyday things Publisher: Basic Books 1988, 2002. P13
(9) Norman, Donald A. The Design of everyday things Publisher: Basic Books 1988, 2002. P151
(10) Johnson, Steven. Interface Culture. Publisher: Basic Books 1997…P18
(11) Unknown author, Brooklyn Museum of art, web article. http://www.brooklynmuseum.org/ exhibitions/2005/basquiat/
(12) Shedroff, Nathan. “Experiences”. Experience Design 1. P4. New Riders Publishing 2001
(13) Shedroff, Nathan. “Experiences”. Experience Design 1. P28. New Riders Publishing 2001
(14) Meadows, Mark Stephen. Pause and Effect, The Art of Interactive Narrative. Publisher New Riders, 2002.P2
(15) Kelly, Tom. The Art of Innovation Publisher: Double Day/Random House, Inc. 2001. Jacket.
(16) Kelly, Tom. The Art of Innovation Publisher: Double Day/Random House, Inc. 2001. P20
(17) Unknown author, R/GA website. http://www.rga.com/large.html
(18) Kaufman.Gil. Article on Nike for How Magazine: http://www.howdesign.com/dc/features/labexperiment1.asp
(19) Kaufman.Gil. Article on Nike for How Magazine: http://www.howdesign.com/dc/features/labexperiment1.asp
(20) Ducati.com. Ducati motor holding announces first nine months 2004 results. November 2004. P2.
<http://www.ducati.com/temp/images/PDFPressReleaseEng_1361_1941065822.pdf.
APPENDIX B
DUCATI TARGET USER GROUP
JOHN ROSSI: US DESMO REPRESENTATIVE, Ducati Rider/Racer
Rossi is an avid street and track rider whose experience spans more than 30 years. His agility as a rider and
mechanical proficiency evolved from the 1970’s Maico and CZ motocross bikes he rode in the rugged Anthracite coal
region of Northeastern Pennsylvania. Over the ensuing decades, Rossi’s motorcycling horizons have expanded from
distance touring and daily commuting on his BMW twin to more spirited on-track endeavourers astride a Ducati.
“Three words summarize my first track day experience. Fear, exhilaration, and addiction.
My two favorite pastimes are Downhill Skiing and Motorcycling and there's no substitute and no 12-step program on
earth that would prevent me from doing either sport.”
Rossi has made head camera shots of his rides, he was also filming the Pierre event for his article, all would be
excellent resources. Rossi and I have been in communication on the event an are currently working on collaborating
on his article on Terblanche for the US Desmo Leanings Mag, as well as incorporating design for the USDESMO Web
site into sections of my thesis project.
PIERRE TERBLANCHE: DIRECTOR OF DESIGN, Ducati Rider.
Via Cavalieri Ducati 3
40132 Bologna, Italy
Tel: 0039/051/6413388
Fax: 0039/051/6413344
Design Aesthetic Guru
GEORGE GIFFIN: GENERAL SALES MANAGER, Lakes Region Audio, Ducati Rider.
9 Gilford East Drive
Gilford, NH 03249
Tel (603) 524-4717 EXT25
George is a card carrying Ducati lover since 1967, a track instructor at the Laudon Race track; instructing for over
11 years. He has owned a 1973 750 Sport, a 1999 SuperSport and a 1999 996.
JOSEPH G TORTORA: Principal SUPER MOTO INTERNATIONAL, Ducati Rider. [Dealer]
815 Middle Country Road
St James, NY
11780
T: 631.584.4347
Work email: [email protected]
Personal email: supermoto8.aol.com
TORTORA and his team brought up 5 bikes from their NY Show room to the Lars Event from New York. ST James is
about 2 hours north west of Brooklyn in Long Island. Bob and Joe did not know each other, but they of course had
stuff to talk about.
ROBERT ORTOLANO: Ducati Rider, Track Racer, Technical Consultant, World Traveler
ORTOLANO owns a 750, a 990 and 996. Track racer with over 50,000 miles on his tour bike.
AVI BRAND: DEALER, Gold Coast Motorsports/owner, Ducati Rider. [Dealer]
Avi owns the Ducati Dealership out in New Hyde park. When I got there he met me and pulled out a Monster 620
dark for me to sit on… I almost died… maybe that’s what they do to all of their customers, but I felt blessed… He
said his favorite bike is the triple 9
I love his dealership… the photos I got were amazing, the bikes were so gorgeous. I can’t put it into words, how
those bikes make me feel, it’s the design, the form of the mechanical design that reaches out to you like wild
horses, just waiting to pull your chariot, just waiting inside the shiny candy body, the blood of the trellis frame.
Currently working on getting Avi involved in this project.
APPENDIX C
DUCATI CHARACTER DOCUMENT
Character Profile General Descriptions
Things that are slightly left of 'standard' or 'normal' more interesting....
A motorcycle is much more than just simply transportation, more of 'toy'…
Aesthetics, Perceived uniqueness, Physical dimensions, Capabilities.
DESIGN of the Monster hits the spot for me… It uses a bunch of visual cues to attract the eye.
It is a design in contrasts really, a trellis frame which is comprised of straight lines and sharp angles coupled with a
number arches and curves that seem to surround it… the proportions (visually) are also comfortable to look at… the
size, placement of the tank vs. the curves of the seat and the tail section…the headlight, etc.
As for the uniqueness... I've always liked to have things that were not so ubiquitous
FUN AND (NOW) UNIQUE
'UN COMMON'
It is sometimes hard to pinpoint exactly what it was that attracted someone to something like a motorcycle, I can't
think of a list of attributes against which I compared motorcycles when I was shopping around.. I saw the monster, I
liked it, I bought it... sure, it had to meet certain criteria but I made sure they were flexible enough to
accommodate what I wanted. Other bikes didn't really have a chance!
Because when I look at other motorcycles, I see amazing machines. Machines made for transportation, for going
fast, or for looking cool. But when I look at a monster, I see the soul of all of those machines in one simple form.
And I can hear its heart pumping. Can't explain it any better than that.
STYLE - SOPHISTICATION – PERFORMANCE
PERFECT STYLE
ITALIAN STYLE, ITALIAN EMOTION, ITALIAN SOUND, ITALIAN PASSION, DISTINCTIVE, ORIGINAL, SEXY, FAST....
INTELLIGENCE
Ducati People know their bikes, It is funny because Ducati is the only brand I know of that people ask 'why' of. At
our local bike night there are rows and rows of Harleys and Jap bikes. People will walk up and down the rows
looking at bikes and never stop by the owner and ask why they bought it. But I always have people ask me either
why I bought it or what it is. No other bike gets comments/noticed as much as a Ducati does.
Ducati Monster has everything: Style (more like beauty, really), Power curve (torque), Handling, Sound, Speed...
DEAD SEXY
I reply, "If you could date a supermodel, wouldn't you?" Sure, our bike have a reputation for requiring more
maintenance, but what relationship doesn't? Yeah, I think the monster is the best looking bike on the market
YOU ARE A VICTIM OF "FIRST LUST" SYNDROME.
All bikes are built with technical specifications and tolerances as the focus.
Yet some, and very few that I have had the pleasure to ride meet the spec AND reflect the care, focus, pride, and
yes LOVE that Duc's seem to. Anything a human makes with his(Or Her!) hands is reflected in the object. Ducati's
seem to exude the human side of the effort more than the cold numbers.
Folks that ride them seem to agree. Ya just can't put a nail on it. But it is known to be there.
YOU KNOW... THE MORE I THINK ABOUT IT, THE MORE I THINK THE REASON I GOT A DUCATI WAS MOSTLY THAT THEY
LOOK SO INCREDIBLE.
INDIVIDUALITY: I don't discount the Japanese bikes. They do have a lot of speed and if that's what you want then go
for it. BUT..I don't like to be the same as everyone else and all those bikes look the same to me. You throw a
Monster into the mix and then you see Italian style and originality. My 620 is not the fastest but I get comments
everyday.
Anyone who doesn't own a Ducati will never understand.
Not into follow the same styling trends…No originality. I prefer to be different.
They are different sounding, looking, *cough* higher priced *cough* (but worth it) and a different caliber of people
tend to ride them. Its just a d**n good feeling to ride my Monster and see people looking at me, coming up and
asking questions about it. Yea i get the why did you get that, but then i say um well its different, i'm different and
its not a "me too" bike. Call me crazy but i just feel like im in a special class of riders having it. And I can connect a
bit more with those young and um, young at heart
Because it is different!!! Why buy the same bike as everyone else. . That’s why people say with longing "Ohhh, I
love Ducati's". A direct quote from an Architect friend of mine. I told her I just bought one and that's what she
said…She studied in Italy. Now if I were only single...With her looks and that attitude she would look great on the
back of my bike. That made me feel good!!! Besides they handle like your on rails. That's an awesome feeling.
I have a tendency to stray from the herd. Always liked Ducatis, just never figured I'd own one. Fit, styling, handling,
sold just like that. Get asked all the time who's Ducati? Where's it made? Then there's the few who say nothing, but
eye her up and give you the all knowing nod of approval.
We may pay a little more for our eccentricities but it's nice to be different.
SOUL AND CHARACTER
To me the ducati "fits." I got on the yammy and it seemed like a machine, cold and no spirit. I get on the S4R we are
riding down the street and people stop and look they feel the spirit and soul ooozing out of it. Yammy doesn't even
come close.
I was looking around for a bike that was different, wouldn't be so numerous, and had some character
Boil it down and I call it "THE HUMAN SIDE" OF THE BIKE. It appeals to me at a deeper level than the appliances sold
by other marques.
PASSION
Anyway when the time to get one of my own came, I looked at all the brands around; comparing all the numbers for
hp, torque, and $$$. In the end I decided on a Ducati dispite the fact that it was more money for less power. It just
didn't matter to me, because I knew there was a reason that the Ducati from years earlier stood out to me over all
the other crotch rockets I grew up wanting. I really think that the monster is a different kind of bike.
SIMPLICITY IN APPEARANCE AND POWER
SOUND OF THE ENGINE
Man, the sound of the bike, 'specially on throttle close-off, the clutch rattle, and the looks just sold me on it after 5
minutes
I define soul as..."That happy feeling I get inside when I here the engine rev."
ENGINE
I bought it for the desmo engine. I mean, who else can say they have an engine with NO VALVE SPRINGS! I mean,
its a beautiful masterpiece of engineering. Desmodromic... Even the name has a ring to it. Why a monster? Its
cheap (compared to a 996), it goes quick, it goes quick quick, it handles, I can ride with the sportbikes and not be
out of place, I can ride with the hogs and not be out of place, I hate carburetors, and its different.
95 M900:- Staintunes, vented clutch, 14T primary, DP carbon tacho unit, CC frame sliders, Ventura rack, Dart
screen, empty wallet...40,000 kms
But there's just something special about the desmo V Twins that I love. The power delivery, the torque, the sound.
YUM. I've had 900ss, 916, and now M900. They're all YUM.
I dunno, maybe it is just me but this "soul" crap and "character" is a little strange. I have been riding nearly 32 years
and every bike I have owned had character. Soul what the eff is that, do you mean food?
I love the styling of most all bikes, but hey that’s me. Sorry but I guess I am the black sheep.
Still love my Duc and my non character soulless other bikes. (I can call it a duc right?)
I don't know about you guys, but I bought the bike for the super-sweet iron on patches I got with it!
As a boy, I was one of the "oh my god that is a ducati" people. I would see them on TV or in magazines and
think…someday.
Ducati riders: Women love them; Men want to be like them.
APPENDIX D
GLOSSARY
• Experience Design: Experience Design is the intersection of disciplines, such as: interaction design, information
design, visual design, and related methodologies.
• Interface Design: the creation of a way for a customer, client, or visitor to interact with a product. Design of the
interface is critical to the user's successful, positive experience with the product. Interface design encompasses an
analysis of the needs and expectations of the user and the needs and tasks that the product is designed to help the
user perform.
• Information Design: the art and science of preparing information so that it can be used with efficiency and
effectiveness.
• Design Aesthetic: the motivating principles of the beauty of a design.
• Design Scenario: the script or interactive narrative that is used in developing user experience.
• Desmo: Desmo is short for Desmosedici. The Ducati engine’s desmo uses a solution that places the closing rockers
between the valves and moving the opening ones to the outside. The engine has an extremely short valve angle.
Desmo in general means fast and effective.
• US Desmo: Major US Ducati Riders Association
• Ducati Corse: Brand name of Ducati Race Team Developers
• Swing arm: Older motorcycles and some new motorcycles have rigid frames much like bicycles. Thus, the frame is
connected directly to the rear wheel. A swing arm is a movable joint between the frame of the motorcycle and the
rear wheel assembly. It supports the rear wheel and associated suspension components.
• Torque: Torque is a turning or twisting force applied at a distance from the axis of the object.
• Fairing: An enclosure on the front of the bike containing the windshield and affording wind protection to the
rider. Can be attached to the frame and not move or be attached to the fork and move as the handlebars are
turned.
• V-twin: A V-Twin is an engine having two cylinders placed at an angle to each other in the shape of a V.
PRODUCTION SOFTWARE
• Adobe Photoshop, ImageReady, Illustrator, AfterEffects
• Macromedia Dreamweaver, Flash
• Alias Maya
• Reason 2.5
APPENDIX FCONTENT DUCATI WIREFRAME DOCUMENT/PAGE MAP: VERSION 4
This document describes each page in terms of exact functionality and content.
Screen Resolution: 1024 x 768Size: Nec to prevent scroll bars 1003x610
BLUE DENOTES WHAT WILL BE BUILT OUT FOR FINAL PROJECT BUILD-OUTGRAY DENOTES OLDER VERSIONSRED DENOTES QUESTIONS
This was a part of version 3, I decidednot to build this out, but felt it wasimportant to keep it.
INTRO FEATURE PAGESplash opener /Intro Screen
Intro plays one time then launches homepage.
Current state:I would like the interaction to “flip theinterface” from front to back like it doesin REASON, with the bouncing of thewires.
This page will be done at the end. It willbe a grand finale opener.
CONTENT
Universal Links:
Skip Intro, closes page, launcheshomepage.
EDITORIAL NOTE:This will need to be developed lastThis will be the grand finallyenvironment, developed after all ofthe other experiments are well intoproduction, if not partially complete.
FUNCTIONALITYSplash opener /Intro Screen
Scenario showing DUCATI DESMO NEWfeatured product or event automaticallyplays.
User interaction launches home page
time-out, also launches home page.
Built with flash.
BODY LINKS
~ A taste of what is to come…DUCATIDESMO NEW featured product or event
Graphical:
User interaction:
Interface Flip.
0. DUCATI 2005: HOME PAGE/MAIN
MENU
Environment:
User enters into a beautiful, surreallandscape built out of the forms of thebody of the Ducati motorcycle. I will referto this environment as the “ BodyLandspace”
With in this space, the user rolls his mousearound the space, the ideally in themotion of a figure 8. Rollover states to thesites 5 sections appear as the user rollsover them.
Read left to right, the layout of therollover states enforces the order ofimportance of the topics.
Access to Sections/
A woman on a motorcycle
A question: “how do you ride”
A Factory
A Palm tree
CONTENT: “Body Landspace”BODY LINKS FOR ACCESS TO ENTIRESITE
1A. USER GUIDE/ TOUR GUIDE FEATURE“Guide”Icon: Ducati Goddess
1B. SITE MAP FEATURE (I was going toincorporate this idea into the userguide feature, but it distracted fromthe task of the user guide. Karensuggested I put he sitemap option onever page… I think that it should be alink only from the main menu.)
2. DUCATICORSE/RACER X“Racer”Icon: Corse Shield
UPCOMING RACE EVENTSHOT RACERS PROFILESHOT RACE NEWSDEALER
3. DUCATIDESMO/RIDER X“Rider”Icon: Desmo ShieldUPCOMING RIDER EVENTSHOT RIDER PROFILESHOT RIDER NEWSDEALER
4. DUCATI BIKE GALLERYDesign, Tradition, Dealers“Gallery”Icon: Factory/ DUCATI LOGO
MODEL LINE 1MODEL LINE 2MODEL LINE 3MODEL LINE 4MODEL LINE 5
DESIGN: Peirre TerblancheDEALER
5. WORLDDUCATI“e-shop”Icon: Palm tree
HOT ITEM 1: LEATHER JACKETS/PANTSHOT ITEM 2: GLASSESHOT ITEM 3:HOT ITEM 4HOT ITEM 5
6. DEALERDealer locatorDealer example
This screen is a reorganization of themain Ducati topics based onNovember2004 publications and homepage design.
FUNCTIONALITY
The Guide is the first on the left, but tothe top and smaller… this is offered 1st togive the user reassurance that their timewill not be wasted.
The race and ride options are offeredtogether. Race on the left.
The gallery option is presented next.
Then finally the shopping option on
the far right.
BODY LINKSLinks ACCESSIBLE only from this
SECTION:
1. USER GUIDE/ TOUR GUIDE FEATURE“Guide”
6. SITE MAP FEATURE (I was going toincorporate this idea into the userguide feature, but it distracted fromthe task of the user guide. Karensuggested I put he sitemap option onever page… I think that it should be alink only from the main menu.)
User Guide feature is only accessiblefrom the main menu.
1A. USER GUIDE FEATURE
Navigation Alternative 1USER GUIDE FEATUREThis will be offered on the mainmenu pageif you want a tour through the sites bestfeatures.
On the “ Body Landspace” is an Icon of awoman on a Motorcycle, the roll over statestates,“Come fly with with me”“Take me to the Dark side”“Join me on a tour of the site bestfeatures”
TRANSITION:
CONTENTLinks universal to this page:
User interaction:
This gives you the guided tour of thesites 5 best features, “hold my hand”style of auto launching pages.
FUNCTIONALITY
1. Launch overview, here’s where we aregoing to go… CLICK NEXT TO CONTINUE
2. See hottest racer,3. Learn about the on-line Monster-community4. Learn about the triple 95. Learn about Pierre Terblanche6. Showcase products, this way takes youto your local dealer, this way takes you tomy favorite products… jacket and googles.
DASHBOARD/BODY LINKS
Graphic icon: PINK RACER X
Profile: mid 30’s super hot trackjunkie.
Text prompts:
~come fly with me…
“take a tour of the sire with the lovelyGoddess Ducati, she takes you to thedark side Monster 620 dark.”
(Only accessible thru Main Menu??)1B. SITE MAP FEATURE
(I was going to incorporate this idea intothe user guide feature, but it distractedfrom the task of the user guide. Karensuggested I put he sitemap option on everpage… I think that it should be a link onlyfrom the main menu.)
THIS COULD BE CONSIDERED A HELPSECTION…
GIVING USERS AN OVER VIEW OF SITE ANDDIRECT ACCESS.
THIS COULD USE
TRANSITION:
CONTENTLinks universal to this page:
This page gives the user a graphicaloverview of the content in the site.
“Don’t feel like exploring? Click hereand go anywhere in the site that youlike.”
FUNCTIONALITY
Navigation Alternative 2(Only accessible thru Main Menu??)
INTERACTIVE SITEMAP++
NAVIGATIONAL SYSTEM OF BLOCSThis gives you an additional way ofinteracting with the site. Each grid clusterillustrates a series or section of the site.An alternative playful search, seems likeit’s random, then seems like a pattern,then seems like a site map, a small grid ofsquares that lead to specific areas of thesite.Graphical: small grids of squares, locatedas a design feature outside of the userguide and main menu topics.
BODY LINKS
User interaction:
~sitemap…
Graphic of site architecture.
Loose squares, use icons? No usecircles.
SECONDARY NAVIGATION SYSTEM:
DUCATI DASHBOARD
Topic sections accessible from the mainmenu for RACER, RIDER, GALLERY andSHOPPING a use a graphic of themotorcycle from the vantage point of arider looking out over the handle bars as atool for navigation.
CONTENTBODY LINKS
REAR VIEW LEFTREAR VIEW RIGHTMAIN MENU
FUNCTIONALITY
This system gives the user access to:
Back and Next topic sections via clickingon the rear view mirrors.
Access to the main menu through a pushbutton on the dashboard.[Which then gives user access to thesitemap, access to user guide.]
Access to main content topic within thesection through the control panels on thebike’s dashboard.
DASH BOARD LINKS
SUBTOPIC 1 CONTENT TOPIC 1 CONTENT TOPIC 1 CONTENT TOPIC 1
SUBTOPIC 2 CONTENT TOPIC 2 CONTENT TOPIC 2 CONTENT TOPIC 2
SUBTOPIC 3 CONTENT TOPIC 3 CONTENT TOPIC 3 CONTENT TOPIC 3
2. DUCATICORSE COMMUNITYRACING/RACER X
CORSETRADITIONRACER X
EXPERIENCE SCENARIO: Color, shape,light and motion of environment andinteractivity.
Color change: From blue to red
Sound of fans cheering, motorcyclesracing. Captured from Actual race…“voom, a motorcyle speeds by, voom,voom… super fast and shocking
TRANSITION ANIMATION
Moving from the “Body Landspace” tothe “Corse (Racer) Landspace”
Established scenario: “being at therace event.”
2. DUCATICORSE COMMUNITYRACING/RACER X
PASSION+DUCATI CORSEPassion for racing is defined by the designfor CORSE.
RACE WORLDTRACKSNEWSRACER PROFILES
CONTENT: “Corse (Racer) Landspace”BODY LINKS
REAR VIEW LEFT: MAIN MENUREAR VIEW RIGHT: RIDERLINK TO MAIN MENU
LINK TO DEALER
FUNCTIONALITY:
ENVIRONMENT METAPHOR:Race track in VegasFans in the audience
EDITORIAL NOTES:
The experience is presented in theanimation used to transition between themain menu screen and the Racer screen.
The main identifying graphic is theDucatiCorse icon.
DASHBOARD LINKS
This section uses the Secondarynavigational system (looking out overthe front of the Motorcycle into theDUCATICORSE/RACER X “landspace”
DUCATICORSE INFORACE NEWS 1: CALENDARRACE NEWS 2: MOTOGP TEAMRACE NEWS 3: SBK TEAM
HOT RACERS PROFILESRACER 1: Niel HodgsonRACER 2: Eric BostromRACER 3: Troy BalissRACER 4: James Toseland
HOT RACE NEWSRACE EVENT 1: Daytona200RACE EVENT 2: BSB - BRANDS HATCHRACERACE EVENT 3: BSB – TEAM GSERACING TEST IN VALENCIA
HOT RACE INFORACE NEWS 1: CALENDARRACE NEWS 2: MOTOGP TEAMRACE NEWS 3: SBK TEAM
AMA CALENDAR
2005 AMA CALENDAR
Following the American Superbike Championship series? Ducati.comRacing shows you where and when the races will be.
MARCH 12 Daytona International Raceway (FL)Round 1
APRIL 24 Barber Motorsports Park (AL)
Round 2
MAY 1 California Speedway (CA)Round 3
MAY 15 Infineon Raceway (CA)
Round 4
MAY 22 Pikes Peak (CO)
Round 5
JUNE 5 Road America (WI)Round 6
JULY 10 Laguna Seca (CA)
Round 7
JULY 24 Mid-Ohio (OH) Round 8
AUGUST 28: Virginia International Raceway (VA) Round 9
SEPTEMBER 4 Road Atlanta (GA) Round 10
MOTOGP TEAM
CONTINUING THE DREAM2005 will be Ducati’s third year in MotoGP and a year in which theteam will represent the only European motorcycle manufacturerpresent in MotoGP facing up to the Japanese giants with theenthusiasm and passion that distinguishes the marque. TheDesmosedici GP5 will compete in 17 GPs, that make up the 2005MotoGP World Championship, with a series of innovations that willcontinue the dream for thousands of Ducatisti around the world.
-------------------------------------------------------------------------------- 2005 LINE-UPSpain’s Carlos Checa joins Loris Capirossi in the Ducati MotoGP Team,bringing with him many years of experience in the top category ofthe world championship, as well as a burning desire to demonstratehis ability once again. Together with Capirossi, Carlos Checa wants tohelp the team play a starring role in the 2005 season.
SBK TEAM
DUCATI-XEROX SUPERBIKE PARTNERSHIP TAKES ON THE WORLDDucati Corse enters the eighteenth season of World Superbikechampionship racing aiming to repeat the extraordinary success ofthe last two years, which have seen the two factory riders from theBorgo Panigale manufacturer twice finish first and second in theworld’s most prestigious production-based racing championship. Addto this Ducati’s pedigree over the last 17 seasons, in which it has won11 Riders’ and 13 Manufacturers’ titles and more individual racesthan all the other manufacturers combined, and the importance ofthe World Superbike Championship to Ducati becomes clear. DucatiCorse CEO Claudio Domenicali explains: click here
--------------------------------------------------------------------------------FACING THE OPPOSITION2004 champion James Toseland and runner-up Regis Laconi team uponce again for a second successive year to campaign the ’05 versionof the all-conquering Ducati 999 machine, now in a new red andwhite colour scheme in honour of the new sponsor. Following thereturn of Ducati’s traditional Japanese rivals and the arrival ofseveral top riders from other series, the championship will now offermuch stiffer opposition than in recent years.
Paolo Ciabatti, Ducati Corse Superbike Director: click hereHOT RACERS PROFILESRACER 1: Neil HodgsonRACER 2: Eric BostromRACER 3: Troy BalissRACER 4: James Toseland
RACER 1: Neil Hodgson
Born in Burnley, Lancashire, Neil’s earliest memories were that ofplaying in the paddock while his father competed at club races inEngland.
He started riding a TY80 when he was just five years old and hadstarted motocross racing by the time he was nine. He quicklydistinguished himself as a rider of exceptional talent, beforefollowing in his father's footsteps into road racing. Picking up theBritish 125cc Championship title in his first full season, Neil movedup to the world stage in 1993 as the youngest rider in the World125cc Championships.
The following year Neil was hand-picked by HRC to ride one of thecoveted factory-kitted RS125 machines in the same class. Neil'spotential did not go unnoticed and before the season was out he hadsampled the power of a Harris Yamaha in the blue riband 500cc class.A switch to the ROC Yamaha of Team WCM brought him the privateeraward in the 500s, with a best finish of seventh at his home GrandPrix.
After three seasons in GP's Neil was asked to move into the Superbikearena by the Ducati Corse factory team. From 1996 onwards Neildoggedly pursued his dream of winning the Superbike WorldChampionship. It wasn't an easy transition for Neil and at times thechampionship dream seemed to drift further and further away.
He needed to perfect his style if he was to continue riding Superbikesand took the brave decision to return to the British NationalChampionship.
Neil's association with Team GSE Racing would put his career firmlyback on schedule. Famous for discovering and maximising newtalent, GSE's talented technicians and management led Neil to fourthin the series in 1999.
Building upon his incredible progress with the team in their first yearhe then went on to a nail-biting victory in the series in 2000 after anepic, season-long battle with Suzuki rider Chris Walker. Earlier in theyear he had also taken two "wild-card" victories at the UK round ofthe World Superbike series. Those two victories were to be warningshots from Neil. He was back.
he then went on to a nail-biting victory in the series in 2000 after anepic, season-long battle with Suzuki rider Chris Walker. Earlier in theyear he had also taken two "wild-card" victories at the UK round ofthe World Superbike series. Those two victories were to be warningshots from Neil. He was back.
2001 saw Neil back where he belonged. GSE Racing's decision tomove up to the world stage turned out to be the right one andagainst incredible competition made fifth place in the worldrankings. The highlights of his year were a win at Donington Park, alap record at Misano and numerous pole positions and rostrumfinishes.
Another season with GSE in World Superbikes followed in 2002 anddespite not claiming any wins, Neil was a front-runner throughoutthe year, eventually finishing third overall in the standings. Theseperformances were enough to earn him a place in the factory DucatiFila team in the 2003 World Superbike Championship.
Before the 2003 season started, Neil claimed that he was just goingto take each race as it came but after scoring pole position, twowins, and a lap record at the first race of the season in Valencia itwas clear to see that he was out to make 2003 the year in which herealised his dream. His stunning career so far had earned him a placein the best Superbike team in the world and aboard their latestcreation… the Team Ducati Fila 999.
That first win in Valencia was the first of a record-equalling 9victories in succession. He went on to score 13 victories in total from7 pole positions and climbed the podium no less than 20 times. Living2003 to the absolute maximum, Neil’s wife, Kathryn, gave birth totheir first child, Hollie-Jean, just days before he set off for the racein which he was to realise his dream… Assen. His family and closefriends, as well as a massive British crowd, made the trip to Hollandto see their man become champion and they were not leftdisappointed. A fight to the line with his team-mate in race 1 wasenough to lift the title, and a victory in race 2 underlined it. NeilHodgson was World Champion.
Neil’s life suddenly became a blur of Ducati store openings,promotional appearances, interviews, TV chat shows and awardceremonies. His perfect partnership with Ducati had allowed him toprove himself both as a champion and a worthy ambassador to hissport, as well for Ducati to prove their 999 to be a worthy successorto its previous world-beating models.
The timing of Neil’s success with Ducati could not have been better.His Superbike World Championship had run in parallel with Ducati’sreturn to Grand Prix racing and the factory team had stunned theworld with the success of the new Desmosedici. In the second year oftheir MotoGP project, Ducati appointed D’Antin MotoGP Team as anofficial satellite team and one of their Desmosedicis would be riddenby Neil Hodgson. His British bulldog determination had driven him tohis World Superbike dream and was now ready to face a newchallenge. MotoGP 2004.
RACER 2: Eric BostromEric Bostrom BioClick Here to Jump To EB's Quick Facts
Click Here to Jump to EB's FAQ's
Eric Bostrom is so popular on the U.S. motorcycle racing scene thathe’s already acquired not one, but two nicknames: eBoz and BossHog. And if there’s anything that he’s hogging, it’s national titles.Since 1996, Eric has won four U.S. National Championships in fourdifferent motorcycle disciplines.
Now, as lead rider for Ducati in the U.S., he’s looking to capture hismost prestigious crown yet – AMA Superbike. It’s a brilliantcombination: one of the most venerable names in motorcycles withone of the brightest stars in American racing. Eric Bostrom is set togo all the way, and it’s hard to imagine who could upset his plans.Except, of course, for his friend, housemate, training partner, andolder brother Ben Bostrom, who is also one of the country’s premierriders.
Photo Courtesy of Ducati and www.DucatiUSA.comGrowing up on two wheelsEric was exposed to motorcycle racing from a very early age:approximately, birth (for the record, 1976 in San Francisco). Hisfather had been California dirt track champion, and his olderbrothers Ben and Torsten had learned to handle a bike before theywere old enough for kindergarten. Eric wanted to do everything hisbrothers did, but riding for fun wasn’t enough. The Bostrom boysloved to compete against each other – whether it was racing theirbikes or just eating cereal – and they found that they likedcompeting against folks outside the family even better.
By the time he was 20, Eric had won his first U.S. title: AMA NationalDirt Track Champion in the 883 Sportster class. Then the next year,1997, he proved that he could win on asphalt as well as on dirt whenhe captured the AMA Super Twins Championship. He followed thatwith the Formula Xtreme National Championship in 1998. While 1999was an uncharacteristically quiet year, Eric roared back in 2000,taking second in the 600cc Supersport Championship and aremarkable fourth in AMA Superbike. He stepped it up even more for2001, winning the 600cc Supersport outright and improving hisSuperbike standing to second. He repeated his second-placeSuperbike finish in 2002.
Photo Courtesy of Ducati and www.DucatiUSA.comPoised for the winAMA Superbike is an 18-event, points-based contest that covers theU.S. between March and September. Racers cope with everythingfrom the heat of the Midwest to the altitude of Colorado, and theschedule is grueling mentally as well as physically. One of Eric’sfavorite ways to cross-train is rock climbing: he finds the mental andphysical demands very similar to those of racing. Eric and Ben climbas often as possible near their home in Las Vegas, and they evenventure abroad for new climbing challenges.
Just because Eric considers his brother to be a training partnerdoesn’t mean that he takes it easy on him in competition. After all,Ben already owns the 1998 AMA Superbike Championship, and Ericsays, “It’s my turn.” That’s no empty boast. Early in the 2003 seasonEric was positively dominating. He won the Pikes Peak leg of theseries by 5.2 seconds on June 1, and that was nothing compared towhat he did seven days later, when he took the Elkhart, Wisconsin,race by a whopping 32.6 seconds in nasty weather. That put him inthe overall series lead as he headed to his favorite track, LagunaSeca, in July. But disaster struck when he was a victim in anunavoidable competition pile-up that ensued when another racer lostcontrol of his motorcycle. The resulting impact sent Eric to theemergency room with a host of injuries and caused him to miss thelast six races, leaving him seventh in the overall standings. He spent
what he did seven days later, when he took the Elkhart, Wisconsin,race by a whopping 32.6 seconds in nasty weather. That put him inthe overall series lead as he headed to his favorite track, LagunaSeca, in July. But disaster struck when he was a victim in anunavoidable competition pile-up that ensued when another racer lostcontrol of his motorcycle. The resulting impact sent Eric to theemergency room with a host of injuries and caused him to miss thelast six races, leaving him seventh in the overall standings. He spentthat time healing his body back to full strength and preparing for his2004 assault at the AMA Superbike title.
Enter Ducati. Eager to reassert their brand on the North Americanscene, the company was looking for someone special to bring theirWorld Superbike technology to the U.S. circuit, and Eric’s focus andfire made him the perfect fit. They signed him in November 2003,and Eric quickly began intensive road testing. He hasn’t stoppedsmiling yet.
And if Eric can take the Superbike National Championship, whatthen? There are other titles to be won. In the U.S., there’s the newRed Bull AMA Supermoto event, which combines aspects of roadracing and motocross. (The first championship was held in 2003, andbrother Ben came away with the prize.) And there’s always theinternational scene: World Superbike and Moto Grand Prix. So manyraces, so little time. And Eric’s philosophy? “Do it all now!”
Photo Courtesy of Ducati and www.DucatiUSA.comRACER 3: Troy BalissTroy was born on the 30th March 1969, the only son of Warren andLorraine and his childhood years were spent on the family farm inTaree, New South Wales, Australia with his sister, Janna.
At the age of six, Troy’s father gave him a “Monkey” bike to ridearound the farm and by the age of 10 he had decided it was time togo racing! For the next four years he traveled the circuits with hisfather racing in motocross and dirt track events.
His love of action sports then led Troy towards surfing and he spentall his spare time on the beach. He met his future wife, Kim, at theage of 18 and his craze for physical fitness made him turn hiscompetitive spirit towards cycle racing.
What kind of cycle racing? All kinds… mountain bikes, speed trials,triathlons. If it had pedals, Troy raced it!
In 1992 the attraction of motorcycle racing was too great for Troy toresist and he returned to motorcycle racing, but this time around hewould try his hand at road racing.
His first races were on his ZXR750 street bike but he thought that hehad better “get serious” and changed it for a 250 Sports Productionbike.
He rode the Kawasaki KR1 in the 250 Sports Production class and wassoon winning club events. By the end of the year he entered a fewAustralian National Sports Production races and won those too. Thiswas fun!
1993 was a busy year for Troy not only because he wanted to moveup to a bigger bike but also because he married his girlfriend, Kim.
Having discovered the thrill of racing on circuits, and being eager tostart moving up the ladder, Troy raced a Kawasaki 600 andprogressed to competing in a few Australian national events by theend of the year.
end of the year.
In 1994 Troy rode the same bike to 6th in the Australian National 600Championship and won the 600 race at Bathurst.
Troy was, by now, proving that he was a force to be reckoned with inAustralia and in 1995 he confirmed that reckoning by taking 2ndplace in the championship.
By 1996 it was time for Troy to move up another step and, with thebacking of Team Kawasaki Australia, entered the AustralianSuperbike Championship and finished an incredible 3rd.
It was in 1997 that the world would see Troy compete in two greatWorld Championship events and recognise his talent and potential.Not only did he improve upon his 1996 placing by finishing 2nd in theAustralian Superbike Championship aboard the Ansett Air FreightSuzuki but, entered as a wildcard, he amazed world class teams byfinishing 5th in both races of the Phillip Island World Superbikeround.
If anyone needed further proof of his abilities, they surely had itwhen the Grand Prix event rolled into town at Phillip Island and,once again as a wildcard entry, Suzuki offered Troy a ride on their250cc machine. Suzuki had struggled all year to have good results inthis incredibly competitive class but Troy immediately qualified it6th on the grid and even battled for the lead before finally finishing6th in the race.
He thought that the GPs might be his next step but for a phone callfrom somebody watching that 250 GP race from the other side of theworld. If Troy thought that he had made it in 1997, then he certainlyhadn’t bargained on the events of the next three years.
Darrell Healey was the Englishman who had been watching the 1997Phillip Island 250 GP from the other side of the world.
As owner of the Team GSE, he phoned Troy directly after the GP andinvited him to move to England to race the GSE Ducati in the BritishSuperbike Championship.
At the beginning of 1998, Troy moved his family to England andfinished 8th in what was probably the toughest NationalChampionship in the world: The British Superbike Championship.
Having settled into the incredibly professional GSE team, Troy wasready for action.
Qualifying in six pole positions and five front row positions (excludingpoles), he scored six wins and 14 podium finishes in all and won theBritish Championship by 28 points.
Troy was British Superbike Champion! Because he had won the serieson a Ducati, his trophy was presented by none other than the WorldChampion, King Carl Fogarty. Next stop: the United States ofAmerica!
2000 was a typical example of how unpredictable racing can be.Troy had already moved from Australia to England and now, inFebruary of 2000, he moved from England to the US in order to ride aDucati for the Vance & Hines team in the AMA SuperbikeChampionship. He immediately impressed with his aggressive ridingstyle and set pole position at his first race in the Daytona 200, butcrashed out during the race. He then moved on to round 2 at SearsPoint and, once again, put the Ducati onto pole position but the racewas cancelled because of adverse weather conditions.
crashed out during the race. He then moved on to round 2 at SearsPoint and, once again, put the Ducati onto pole position but the racewas cancelled because of adverse weather conditions.
By this time, Troy was straining at the leash to show how fast hecould be. He wouldn’t have to wait long… Back in Phillip Island,Australia - the place where it had all started for Troy three years ago- World Champion Carl Fogarty had crashed during the second leg ofthe World Superbike event there. He was badly injured. Troy's phonerang again… he was approached by the Ducati factory in Italy toreplace the injured “King Carl”. As Troy said, “I get a call fromDucati asking if I was interested in the ride. I didn’t need askingtwice!”
Troy crossed the Atlantic again to replace the injured Carl Fogartyand soon astounded the public with a series of spectacularperformances. He and the Ducati Infostrada team would only have towait a few races before he chalked up his first race win at WorldChampionship level.
The win, at the incredibly fast Hockenheim circuit in Germany, wasfollowed by another win in front of a supportive British crowd aroundthe very technical Brands Hatch circuit. Troy was now provinghimself convincingly.
Troy’s first ever visit to Assen in Holland left fans in no doubt thathe is one of the most spectacular riders in the world. Through awfulweather conditions, his battle with the Japanese rider Noriyuki Hagahad TV viewers gasping. On a track that was dry on one side of thecircuit and wet on the other, the two riders swapped the lead cornerafter corner until Troy slid off of his Ducati and walked back to thepit garage.
It was a walk that had become a common sight during 2000 buteveryone around Troy realised that his ability to push the limits isthe trademark of a future World Champion.
Despite missing six races in the 2000 season he had finished 6th inthe World Superbike Championship. Troy’s rise to the top has beenmeteoric but now he faced his biggest step in motorcycle racing: Thefinal step to becoming the Superbike World Champion.
Combining talent, determination and consistency is what is neededto win the World Superbike Championship. And that was exactly whatTroy did. The 2001 season was a fresh start for Troy. From the verystart, he put himself on the podium and continued to stay there raceafter race. And it wasn’t long before he started putting himself atthe very top of the podium. By the end of the season, Troy hadlogged an impressive six wins and nine other podium finishes.
Despite his dominant riding, however, the title was not as easy as itlooked for Troy. In the first race of the 11th round at Oschersleben,he experienced his only technical problem of the year and had towithdraw from the race. This allowed his nearest rival to climb backup in points and threaten Troy’s championship hopes. This disturbingchange of events might have pressurised other riders, but it didn’tbother the Aussie. Instead, Troy put the incident behind him andproceeded to get back on the podium in the second race. This raceday highlighted what is best about Troy: His ability to take each raceas it comes. No other rider comes close to keeping the focus on themoment the way Troy does.
Troy helped Ducati back to the very top in 2001. He scored their100th pole position, helped them win their 10th Manufacturers’ Titleand won their 9th Riders’ Title.
and won their 9th Riders’ Title.
As World Champion, 2002 wouldn’t be any different for Troy. Itwould be another year made up of individual races. It would beanother year in which he was determined to succeed.
The reigning World Champion started 2002 on an incredible notewith six 1st place finishes, putting him into the record books with themost consecutive wins at the start of any season.
Even after his streak was brought to a halt at Sugo - probably thetoughest track to win at for non-locals - Troy resumed his double-winning form at Monza and then again at Lausitzring and Misano. Hetallied an incredible six double-wins, with 14 wins overall in theseason. Troy showed his characteristic grit when he crashed at Brands Hatchand damaged his back and ribs. In spite of the severe beating, he gotback on his bike and rode through the pain to 3rd and 2nd placefinishes. Not even the crash at Assen, which allowed his nearest rivalto slip ahead in the standings by one point, would cause the Aussie’sconfidence to waver: “Now I’ve got to go out and do it all at Imola.”
Imola will be forever remembered. Racing fans around the worldsaw one of the most spectacular races in history at this “winnertakes all” event. Troy Bayliss and Colin Edwards fought twoincredible battles, swapping the lead and sometimes their paint too!In the end there could only be one winner and on that day it wasEdwards.
Troy finished the championship second overall, but no one willforget the grace in which he conceded his title: There was still a bigsmile for all his fans as he stepped up to the podium after this finalrace of the season. Troy’s tremendous efforts throughout the yearhad, however, helped Ducati win their 11th Manufacturers’ Title.
2003 was to be a big year for both Troy and Ducati as they movedinto MotoGP together. The effort invested in the new Ducati MotoGPTeam had been massive and pre-season tests were encouraging. Troywas to have to deal with the pressures of being at the sharp end of aproject in which both the press and fans now expected so much. Fewdoubted that Troy would carry his characteristic “never say die”attitude with him, but apart from it being the first year for theDesmosedici machine, most realised that few riders actually makethe transfer from Superbike to Grand Prix successfully. They shouldnot have counted Troy in that number! Few were disappointed whenthe lights finally turned to green on Troy’s first MotoGP season. Itmay have been a different championship but it was the same oldTroy.
Two front row positions, three podium places and 6th in the WorldChampionship was an incredible start in MotoGP. Just two points inthe series stole 5th position away from Troy and the “Rookie of theYear” award but if the world of Grand Prix had never heard of TroyBayliss before they certainly knew him now. In just the second GP ofthe year and at a circuit he’d never seen before, Troy took the leadin the South African GP at Welkom from the third row of the grid andheld it until one-third distance. He fought tooth and nail withreigning World Champion Valentino Rossi at half race distance andeventually brought the Ducati home in 4th position.
By the next race in Jerez, Troy Bayliss was not only on the podiumbut also on the lips of every race fan around the world. This 34-year-old family man, who had been given the chance to rocket to fame inWorld Superbike, was now doing the same in MotoGP seeminglyoblivious to the fact that he was now rubbing shoulders with thefastest riders on the planet. To Troy, it was just another bike andjust another race and his “just get on with the job” attitudecontinued to win him fans from all around the world.
oblivious to the fact that he was now rubbing shoulders with thefastest riders on the planet. To Troy, it was just another bike andjust another race and his “just get on with the job” attitudecontinued to win him fans from all around the world.
2004 will see him line up with his team-mate Loris Capirossi onceagain. The difference this year is that the team now have a full yearof experience with the Desmosedici and Troy has learned thecircuits. Competing at this level will never be easy, but Troy Baylissis now a contender and the world is ready to watch him fight for hisfirst victory.
RACER 4: James Toseland
PERSONAL STATSNationality: British Born, October 5, 1980 – Sheffield (UK)Marital Status: SingleHeight: 1.75 mWeight: 75 kgHobbies: Playing the piano, training
CAREER STATS
2005: World Superbike Championship (Ducati 999F05)2004: 1st - World Superbike Championship (Ducati 999F04)2003: 3rd - World Superbike Championship (Ducati 998F02)2002: 7th - World Superbike Championship (Ducati 998F01)2001: 13th - World Superbike Championship (Ducati 998)2000: 12th - British Superbike Championship (Honda)1999: 11th - World Supersport Championship (Honda)1998: 18th - World Supersport Championship (Honda)1997: 1st - British Honda CB500 Cup1997: 3rd - British Supersport Championship1996: 11th - Superteen Championship1995: 1st - Junior Road Race Championship1994: Road racing on a 125cc Yamaha1993: Retired from motocross mid-year to concentrate on road racing1992: Inter 100cc Youth Series – Best Newcomer1989-93: Trials
-------------------------------------------------------------------------------- BIO IN BRIEFJames Toseland caused a few eyebrows to be raised in 2004 when hebecame the youngest-ever winner of the World Superbikechampionship. Following in the footsteps of Carl ‘The King’ Fogartyand fellow Brit, Neil Hodgson, the 24 year-old from Sheffield puttogether an extraordinary final part of the season, with two wins andthree seconds in the last six races, to lift the title in the final roundat Magny-Cours.
Despite his relative youth, Britain’s rising Superbike star has moreracing experience than many riders more advanced in age and withhis victory in France, became the third rider to step up from the GSEDucati ‘satellite’ team to the factory Ducati squad, following formerWSBK champions Troy Bayliss and 2003 winner Neil Hodgson.
Early competition in trials and motocross brought an impressive haulof trophies and awards before James set his sights on a career inroad racing. He quickly worked his way up through the ranks of 125ccracing and into Supersport, winning the CB500 Cup on the way. Hisfirst season in British Supersport, at the age of 16, resulted in a thirdplace overall.
In 1998 James was chosen by Castrol Honda to ride the CBR600 in theWorld Supersport Championship. Never one to turn down a challenge,in the next two seasons James finished 18th and 11th overall beforereturning to Britain to ride in the 2000 British SuperbikeChampionship. Despite missing almost half the season through injury,James finished 12th overall and was snapped up by GSE Racing fortheir World Superbike campaign. An impressive thirteenth place inthe 2001 championship, including sixth at Brands Hatch, was enoughto confirm the rider as a permanent fixture on the WSBK grid.
World Supersport Championship. Never one to turn down a challenge,in the next two seasons James finished 18th and 11th overall beforereturning to Britain to ride in the 2000 British SuperbikeChampionship. Despite missing almost half the season through injury,James finished 12th overall and was snapped up by GSE Racing fortheir World Superbike campaign. An impressive thirteenth place inthe 2001 championship, including sixth at Brands Hatch, was enoughto confirm the rider as a permanent fixture on the WSBK grid.
James Toseland has really emerged as a rider over the past twoseasons. In just his second year in WSBK in 2002, he became a regulartop six finisher and scored his first-ever podium finish at Assen, whilein 2003 he ended Hodgson’s winning streak with an impressive win atOschersleben and then earned his first pole position in the finalround at Magny-Cours. After his extraordinary 2004 season, JamesToseland is now more determined than ever to hold onto the #1 platethat adorns his Xerox Ducati 999F05.
HOT RACE NEWSRACE EVENT 1: Daytona200RACE EVENT 2: BSB - BRANDSHATCH RACERACE EVENT 3: BSB – TEAM GSERACING TEST IN VALENCIA
Daytona200
AMA - DAYTONA - RACE
Parts Unlimited Ducati Austin's Neil Hodgson finished a strong secondplace in the first AMA Superbike race of 2005, making for a fabulousracing debut with Ducati's factory team in America. Hodgson and thepowerful Ducati 999 were fast on the fabled high banks of theSpeedway, making an impressive statement at one of the mostnotoriously difficult tracks on the Superbike circuit. Although Neil'steammate Eric Bostrom had a disappointing end to his Daytonaweekend, both riders earned valuable championship points.
Neil says he was pleased with a solid race that saw him chargethrough some of the top AMA riders to earn second position afterdropping to fourth briefly. "I've got mixed feelings now inside," saidHodgson. "I'm happy to get it out of the way and got some goodpoints, and then you're sick because you didn't win. It's like that upand down feeling. I had a bad year last year, so it's nice to get backto where you're battling for the lead and actually enjoying yourrace."
Hodgson turned in impressive and consistent lap times throughoutthe race and even cut into the eventual winner's gap when theleaders hit lapped traffic. Although he made a strong bid for victory,a win at Daytona was not meant to be. "I was comfortable runningthat pace. Every time I tried to push harder, I was tucking the front,though," he said.
By virtue of his second place finish, Neil will head into Barber secondin Superbike points, an excellent start to the season consisting of 11events.
Eric Bostrom was 11th in the 15-lap race. "It was very disappointing,"said Eric afterward. "We tried a lot of changes this weekend, butcouldn't really get faster. I rode hard and the team tried hard andthat makes it even worse for me. They put in a great effort. I'mdisappointed for them and I'm frustrated." Bostrom ran a lonely raceon Saturday, with no real battles for position. "At least the goodthing is we have some testing lined up before the next race atBarber," he said.
Team owner Terry Gregoricka was pleased with the podium finishfor Hodgson. "Neil did a great job out there. We're really happy withhis result but not completely satisfied because we race to win. Still,it was a great start to the season for Neil and will help us to focusover the next weeks. We have even more testing coming up and bothriders will have plenty of track time to get even more comfortable ontheir Ducati 999s."
for Hodgson. "Neil did a great job out there. We're really happy withhis result but not completely satisfied because we race to win. Still,it was a great start to the season for Neil and will help us to focusover the next weeks. We have even more testing coming up and bothriders will have plenty of track time to get even more comfortable ontheir Ducati 999s."
The next AMA Superbike race will be April 22-24 at BarberMotorsports Park in Birmingham, AL.
Results1. Mat Mladin (Suzuki)2. Neil Hodgson (Ducati 999)3. Ben Spies (Suzuki)4. Aaron Yates (Suzuki)5. Jake Zemke (Honda)6. Miguel DuHamel (Honda)7. Jason Pridmore (Suzuki)8. Geoff May (Suzuki)9. Kurtis Roberts (Honda)10. Steve Rapp (Suzuki)11. Eric Bostrom (Ducati 999)
March 28, 2005BSB - BRANDS HATCH RACE
Airwaves Ducati rider for the weekend, Gregorio Lavilla, secured adouble podium finish in the opening round of the BritishChampionship at Brands Hatch, taking second in the championshiptable at the end of the day aboard the Ducati 999F04.March 16, 2005BSB – TEAM GSE RACING TEST IN VALENCIA
GSE Racing have today declared themselves 'ecstatic' with theirprogress following the completion of two days of intense testing atthe Ricardo Tormo circuit in Valencia with their Ducati 999F04s.
3. DUCATI DESMO COMMUNITY/RIDER XRIDING/RIDER XIcon: Desmo Shield
UPCOMING RIDER EVENTSHOT RIDER PROFILESHOT RIDER NEWSDEALER
“ON TOUR”TRADITION + Heritage + History
EXPERIENCE SCENARIO: Color, shape,light and motion of environment andinteractivity.
Color change: From blue to gold
Sound: motorcycle at a stop light,motorcycle speeding into a see of greenlights, moving over a hill into the horizon.
TRANSITION ANIMATION
Moving from the “Body Landspace” tothe “DESMO (Rider) Landspace”
Established scenario: “being on theroad in NYC, 5th Avenue, Brooklyn.”
“ON TOUR”
3. DUCATI DESMO COMMUNITY/RIDER XRIDING/RIDER X
ENVIRONMENT METAPHOR:ROAD IN THE CITY,NO CARSLATE AT NIGHTROWS AND ROWS OF STREET LIGHTS
LIGHT CHANGE FROM RED TO GREEN“CRITICAL MASS”
EDITORIAL NOTES:
The experience is presented in theanimation used to transition between themain menu screen and the RIDER screen.
The main identifying graphic is theUSDESMO icon.
CONTENT: “DESMO (Rider) Landspace”BODY LINKS
REAR VIEW LEFT: RACERREAR VIEW RIGHT: GALLERYLINK TO MAIN MENU
LINK TO DEALER
FUNCTIONALITY:
Content imagery clings to your mouse likefluffy candy.
A lone highway, an abandoned barn, agroup of riders pull over the bikes zoom into park, each bike is a character withsomething to say about the ride in the fogover the hill a windy two lane road,
specifics about how the bike handles andfeels.
DASHBOARD LINKS
UPCOMING RIDER EVENTSRIDER EVENT 1: DUCATI 200RIDER EVENT 2: US DESMORIDER EVENT 3:
HOT RIDER PROFILESRIDER EVENT 1RIDER EVENT 1RIDER EVENT 3
HOT RIDER NEWSRIDER EVENT 1: MONSTERBOARDRIDER EVENT 1RIDER EVENT 3
DEALER
4. DUCATI BIKE GALLERY
EXPERIENCE SCENARIO: Color, shape,light and motion of environment andinteractivity.
Color change: From blue to white lines oflasers.
Colors: black, drk gray, red, yellow, racingflag.
Sound: wind
The experience is presented in theanimation used to transition between themain menu screen and the GALLERYsection.
TRANSITION ANIMATION
Moving from the “Body Landspace” tothe “GALLERY (BIKE) Landspace”
Established scenario: “being in avirtual gallery of lasers”
“ Explore the interactive gallery”
4. DUCATI BIKE GALLERY
ENVIRONMENT METAPHOR:
BEING INSIDE THE FACTORYVirtual Gallery of lasers
Spiro-graph of lines and perspectivedefines 3D illusion of space for bikes.
EDITORIAL NOTES:
This environment uses white lines in blackspace to create the illusion ofenvironment. It uses the idea of "balance",movement thru the space.
Five different main categories, topics fordiscussion: “What people would say aboutthese bikes if they were out ridingtogether”.
The main identifying graphic is theDUCATI LOGO.
CONTENT: “Gallery Landspace”BODY LINKS
REAR VIEW LEFT: RIDERREAR VIEW RIGHT: SHOPPINGLINK TO MAIN MENU
LINK TO DEALER
FUNCTIONALITY
User interaction with bikes themselvesreveals specific information.
Specific to the experience of the bike.
DASHBOARD LINKS
MODEL LINE 1: DUCATI MONSTER BIKE 1_1 BIKE 1_2 BIKE 1_3 BIKE 1_4 BIKE 1_5
MODEL LINE 2: DUCATI MULTISTRASDA BIKE 2_1 BIKE 2_2 BIKE 2_3 BIKE 2_4 BIKE 2_5
MODEL LINE 3: DUCATI SPORT TOURING BIKE 3_1 BIKE 3_2 BIKE 3_3 BIKE 3_4 BIKE 3_5
MODEL LINE 4: DUCATI SUPERSPORT BIKE 4_1 BIKE 4_2 BIKE 4_3 BIKE 4_4 BIKE 4_5
MODEL LINE 5: DUCATI SUPERBIKE BIKE 4_1 BIKE 4_2 BIKE 4_3 BIKE 4_4 BIKE 4_5
LINK TO DESIGN SECTION DESIGN: Peirre Terblanche
4A. DESIGN: Peirre Terblanche
DESIGN +Sound + Heritage
+ wild horses+ blood of thunder+ the embodiment of the Ducati + form +shape + design
SOUND GALLERY IS INCORPORATED INTOTHIS SECTION
TRANSITION ANIMATION
This Section is accessible through thegallery and uses the same metaphor.
Shift in perspective, within the gallery.
CONTENT: “Gallery Landspace”BODY LINKS (same as gallery)
REAR VIEW LEFT: RIDERREAR VIEW RIGHT: SHOPPINGLINK TO MAIN MENU
LINK TO DEALER
FUNCTIONALITY:
EDITORIAL NOTES:DESIGN +Sound = SOUND GALLERY?
DASHBOARD LINKS
Clicking on a designated section in thegallery opens up the brings you to thedesign section.
Clicking on an x or close button bringsyou back to the gallery.
DESIGN TOPIC 1: OVERVIEWDESIGN TOPIC 2: PIERREDESIGN TOPIC 3: DR. T
5. WORLDDUCATI“e-shop”Icon: Palm tree
EXPERIENCE SCENARIO: Color, shape,light and motion of environment andinteractivity.
Color change:
Sound:
TRANSITION ANIMATION
5. WORLDDUCATI
ENVIRONMENT METAPHOR:Moving through Naples
The main identifying graphic is theSHOPPING icon.
CONTENT: “SHOPPING Landspace”BODY LINKS
REAR VIEW LEFT: GALLERYREAR VIEW RIGHT: MAIN MENULINK TO MAIN MENU
LINK TO DEALER
FUNCTIONALITY
EDITORIAL NOTES:
DASHBOARD LINKS
HOT ITEM 1: LEATHER JACKETS/PANTSHOT ITEM 2: GLASSESHOT ITEM 3:HOT ITEM 4HOT ITEM 5
(DOES ACCESS TO THIS NEED TO BE ONTHE Main Menu??)
6. AUTHORIZED DEALERSLOCATOR
EXPERIENCE SCENARIO: Color, shape,light and motion of environment andinteractivity.
Color change:
Sound:
ENVIRONMENT METAPHOR:???
TRANSITION ANIMATION
Transition: needs to be a uniquetechnique… like a fade to black,Then load Locator screen,
Then transition again, then load
Dealer Feature.
FUNCTIONALITY
EDITORIAL NOTES:
This is a unique screen it can be accessedfrom every page excluding the main menu.
BODY
AUTHORIZED DEALERSLOCATIONS
LIST
FILL IN FORM:COUNTRYSTATEZIP (OPTIONAL)
FUNCTIONALITY:AUTHORIZED DEALER EXAMPLE:GOLDCOAST MOTO
THIS PAGE INCLUDESAUTHORIZED DEALER FEATUREEXAMPLE:
GOLD COAST Motorsports2070 Jericho Turnpike, New HydePark, NY 11040
Owner: AVI BRAND“ON TOUR WITH AVI”
MAP QUEST WITH DRIVINGDIRECTIONS
EDITORIAL NOTES:This would explore how a authorized dealerwould look, as a feature on the Ducati site.
This idea could offer a bartering tool forsomeone like Avi, whose mind I want topossess. Why do I want to possess his mind?Because he owns that shop, and he’s ridden forover 46 years, and his favorite is the triple 9.The image of him, on that triple 9 as hisfavorite because of the way it feels… the powerhe has over that machine…I can only imagine. Ieat that thought like chocolate, I can’t getenough…what it must feel like to be him…I wishI could feel that, have that experience andfamiliarity and resource for experimentationand dedication, a lifetime to ducati.. He had afew select triumphs, very nice, and a fewselect Suzuki…everything else seemed to be aducati or an atv.
DASHBOARD LINKSAUTHORIZED DEALER EXAMPLE
This would be Avi’s personal journey.His personal dedication to a lifetime ofDucati. His shop featured on the Ducatisite.
FeatureNew site design for authorized dealers.Featuring interview with Ducatishowman.
ADDPENDIX F
Response to beta review:
DUCATI MONSTER LIST REVIEWhttp://www.ducatimonster.org/smf/index.php
Overview of Post:
The first post was made on Sunday at noon. By 6:00 pm, 110 people had viewed the posting, 5 people replied, two withactual feedback.
Feedback was monitored through out the day and evening, in the course of the 24 hour conversation, people got reallyexcited, in many cases, thrilled about the graphics and the idea; then as it progressed, it spawned a great usability debatethat finished in the early morning Monday. Over 550 people read the debate. I would estimate over 50 people actuallywent to the site. Over 30 people, reviewed it and posted their response.
On Monday evening I removed the link to the debate and posted the second email. Thanking them for their time and lettingthem know there review was appreciated and incorporated in my evaluation documentation and appendix. By Tuesday at2:00 pm, over 50 people had viewed the “Thank you”.
Talk about generating interest. Talk about an amazing virtual forum and community.
Initial post: (Letter to Ducati Monster List, on-line Community)RE: HOT TOPIC: Ducati People, Ducati Project
Hello Users Ducati,Hot Topic: My DUCATI Thesis failed its’ Friday review, it’s ok. I’ve got this thing, I need your help.
The reason it failed is that the narrative structure of the secondary level navigation system breaks the metaphor of “Beingin a strange, beautiful world of the Ducati Motorcyle, exploring the details, to access information."
My advisor asks why a “moving plane as a back button, what do planes have to do with motorcycles."
I am about to turn the secondary level navigation into a “city of lights.”
But, you people, this is for you. The piece is a tribute to the design aesthetic of the Ducati Motorcycle. I ask you: What doyou want to see? What can I do for you?
Please go to:
http://www.jmax8thesis.com/index_s05.html
click on the Title to launch the project.Move your mouse over the screen in a figure 8Go to the Gallery section; follow the pathway to the Monster.
Click the airplane; go to the goddess section, (a user guide).
This navigational metaphor is where the brake is, what do you wish you were seeing here?
Power to the people,elle
Second Post:RE: Project review
Thanks everyone, for your help. I was really able to isolate the issues through this process. “Think Miguel Galluzzi”…“addsome babes” I have pretty much have everyone covered, except Fiona. (though I rewrote my abstract) I had to turn in mypaper this morning.
I was able to use DML response in the appendix, it worked out really well.
Thank you people; saved this monster… 620… dark. I’ll post a link to the revision in June, if anything just to let youknow.
best,elle racine
DUCATI MONSTER LIST Response
Re: HOT TOPIC: Ducati People, Ducati Project« Reply #1 on: Today at 11:19:56am » cherub rocktoo cool for school
--------------------------------------------------------------------------------you're f*ckin' crazy
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--------------------------------------------------------------------------------Felix GumbinerBoulder, CO
'94 M900 -- louder than your pappy's Harley
To shed all the illusory rights & hesitations of history demands the economy of some legendary Stone Age--shamans notpriests, bards not lords, hunters not police, gatherers of paleolithic laziness, gentle as blood, going naked for a sign orpainted as birds, poised on the wave of explicit presence, the clockless nowever.
« Reply #2 on: Today at 11:34:07am »
--------------------------------------------------------------------------------Hi Felix,
Thank you so much for looking at the project. Although your remark was blunt, I sense that
shedding all the illusory rights & hesitations of history demands the economy of some legendary Stone Age--shamans notpriests, bards not lords, hunters not police, gatherers of paleolithic laziness, gentle as blood, going naked for a sign orpainted as birds, poised on the wave of explicit presence, the clockless nowever... gives you a perspective that is valuable.
Can you be more explicit?
Much thanks,Elle Racine
NOTE ON CHERUB ROCK: aka Felix: took my pipes off...« on: Today at 08:05:57am »
--------------------------------------------------------------------------------...oh my lord, the sound...
i took my sil high mounts off at the manifold that connects the two pipes to the exhaust. not at the header, mind you, so itechnically have an exhaust "system" that's legal in CO (no emissions for MCs)
the sound is unf*ckingbelievable awesome. in netural with the clutch clacking away and the engine sounds like a f*ckinflathead V8...what a beautiful noise.
it's hard to ride 'cause there's no backpressure, and i'm wondering to what extent the lack of backpressure could stress theengine?
i'm leaving the pipes off for now though. just too much fun.--------------------------------------------------------------------------------Felix GumbinerBoulder, CO
« Reply #3 on: Today at 11:45:02am » ducati_tim
--------------------------------------------------------------------------------It is cool that you experiment with different ways of navigating, but you should have the traditional methods ofnavigation as well. People usually like to know that what they click will lead them to where they want to go. Have youthought about adding text to your navigation?
« Reply #4 on: Today at 11:51:26am » thoughtpolice
--------------------------------------------------------------------------------
Quote from: elle racine on Today at 11:34:07am
<<shedding all the illusory rights & hesitations of history demands the economy of some legendary Stone Age--shamans notpriests, bards not lords, hunters not police, gatherers of paleolithic laziness, gentle as blood, going naked for a sign orpainted as birds, poised on the wave of explicit presence, the clockless nowever... gives you a perspective that is valuable.
Can you be more explicit?>>
He could but then he would have to further plagiarize Hakim Bey.
Re: HOT TOPIC: Ducati People, Ducati Project« Reply #5 on: Today at 12:18:38pm »
--------------------------------------------------------------------------------Much thanks, Ducati Tim.
Great point. I can incorporate animating text into the rollover states in the secondary nav, without breaking the metaphor.Like writing on the wall.
appreciate it,
Elle
Re: HOT TOPIC: Ducati People, Ducati Project« Reply #8 on: Today at 01:55:21pm » Narflar
--------------------------------------------------------------------------------I like it, it's some of the pages seem to make sense but the main page doesn't lead you to what you will be going tonext. Also, I can see how the plane doesn't fit. Why not just continue with the flashing arrows but in the oppositedirection for back. Something simple and something that just about everyone would understand. If it's hard to navigate,nobody will use the site
« Reply #9 on: Today at 02:47:12pm »
--------------------------------------------------------------------------------I actually have a headache trying to navigate through that site. it's pretty, but it's not very functional. The thingabout the web is that a good website (to me) is about finding that appropriate balance between beauty andfunctionality. If I'm looking for actual information, I'd prefer something more on the functional side. If I'm looking at awebsite for a modern art gallery, then use metaphors all you want. Does that make sense?
-Alt
« Reply #13 on: Today at 03:55:11pm »
--------------------------------------------------------------------------------
Your graphics are incredible Elle. Particularly the Monster section. Really outstanding. However, I couldn't find Galleryfrom your Content page, and your sitemap icon 'Gallery' brought me back to your abstract. Does it work on Safari, or onlyon Explorer?
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--------------------------------------------------------------------------------Aguy239 NYC
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Bike Info: M1000S i.e. Mellow Yellow
Re: HOT TOPIC: Ducati People, Ducati Project« Reply #14 on: Today at 03:59:50pm »
--------------------------------------------------------------------------------
Check that, Elle. It's working for me now. But I still can't get the Gallery. Your Goddess section is brilliant, with amarvelous soundtrack. And the little runner along the top with the 'back' function is very funny and clever.
Very very cool, all round. But it could be simpler and more intuitive. On the other hand, it's an academic project; youdon't have to sell anything... yet.
Congratulations.
Re: HOT TOPIC: Ducati People, Ducati Project« Reply #15 on: Today at 05:15:49pm »
--------------------------------------------------------------------------------Aguy239 NYC,
Thanks for your comments on the graphics, a main contribution, nice you noticed.
I will incorporate making the navigation more intuitive and clear.
It sounds like you have accessed the gallery section. Essentially from the main blue bike interface you access 5 topicoptions. Clicking on the Goddess Icon, leads to the user guide, the racer leads to the Corse section, the rider leads to theUSDesmo section, the Building leads to the gallery and the Palm tree leads to what will be the shopping section.
Most of the secondary level access to content is still undeveloped and thus unclear. I apologize for the confusion. Whateverthe case, the feedback, at this point is so valuable.
Thanks so much for your response,
~elle
Re: HOT TOPIC: Ducati People, Ducati Project« Reply #16 on: Today at 05:18:30pm » mitt
--------------------------------------------------------------------------------sweet site, but what does it do? I spent 2 minutes hunting around, and I am not sure the intent of the site.
« Reply #19Thanks Mitt,
The intent of the site… the project is an attempt to bring something new to the table in terms of design.The pursuit is to make a new kind of interactive, three dimensional, audio and motion video experience on the internet.
The idea of a motorcycle site with this kind of aesthetic is right on. The problem is not having the programming experienceor the time to fully articulate and execute it. The site asks you to explore at first, and asks you to learn how to navigate.Once you learn something, that same technique is used consistently through out the site, and you shouldn’t have to learn itagain. Obviously there are issues here. My navigation is the major concern right now.
More simply put, I am trying to develop a new way of accessing information on the web. It’s an attempt to provided Ducatiusers with a unique and compelling experience of Ducati related topics.
appreciate your response~Elle
« Reply #17 on: Today at 05:33:09pm » omegared81
--------------------------------------------------------------------------------i liked it. it was...... like eating too many shrooms.
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--------------------------------------------------------------------------------jet kit, open air box, votex clip ons, corban seat, leo vinci cans, 748 front fender, carbon belly pan [long]
"i don't want to go amongst mad people."" you can't help that, we're all mad here."
« Reply #18 on: Today at 05:33:18pm » aguy239
--------------------------------------------------------------------------------
I get it Elle. I'm a bit slow!
I know a huge amount of hard and very good work has gone into this. I know that because I taught a graduate class atParsons a few years ago. The hardest job I've ever had!
Continued good luck with your thesis.
Aguy239 NYC
« Reply #20 on: Today at 06:13:41pm » KnightofNi II
--------------------------------------------------------------------------------ok..the plane....i didn't even see it the first few times i was looking around. (that's why the browsers have backbuttons....cool concept though, just make it stop moving when you roll over it, and make it bigger so it can be seen...also i had no idea where i was going when clicking on a few of the links. the first 2 made sense after i saw where they lead,but the gallery and i think it was a shop of some sort didn't connect to anything in my feeble mind.
and stop using big words. us poor unedumacated, tired, and drunk people dont' want to use a freaking dictionary toread.
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--------------------------------------------------------------------------------02 750 Dark...Sillmoto pipes, FBF airbox, Filter, PCIIIDowned 3 times1 broken handOne of these days I'll learn it's more fun to keep the rubber on the ground.
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C is for Cookie, is good enough for me!
Bike Info: M620ie, matt black, carbon fibre sil low-mounts
Re: HOT TOPIC: Ducati People, Ducati Project« Reply #21 on: Today at 06:31:16pm » cookiemonster
--------------------------------------------------------------------------------Yeah, I do like the little runner on the top, but it is difficult to see at first and without the previous discussion i wouldnot have worked out it is in fact a click-though to the main screen. i am still having trouble navigating the rest of thesite, but the gallery section was fantastic. i really like the changeover effects between the different ducati models.
please let us know when you further progress on this page, as i would be interested in seeing the more refinedproduct.
nice work!
« Reply #22 on: Today at 06:33:08pm » Aguy239 NYC
--------------------------------------------------------------------------------
One final thing, Elle.
For Monster lovers, forget Tereblanche. Think Miguel Galluzzi. Though he doesn't design for Ducati any more, weMonster riders have a lot to be thankful for.
What does the plane have to do with going back? Everything.
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--------------------------------------------------------------------------------Aguy239 NYC
« Reply #23 on: Today at 06:39:08pm » gnew
--------------------------------------------------------------------------------I'm impressed....not sure of how everything works but it is awfully cool.
« Reply #24 on: Today at 06:47:04pm » battlecry
--------------------------------------------------------------------------------This seems like the antithesis of a Philip Greenspun website.
« Reply #25 on: Today at 06:52:12pm » howie
--------------------------------------------------------------------------------Hi, and welcome to the board.
I imagine you got the idea about navigation, so . The graphics are fantastic. A little tuning and I think you have somethinggreat.
« Reply #26 on: Today at 07:07:28pm » DucTape
--------------------------------------------------------------------------------Very aesthetically pleasing, but being so far from traditional navigation (i.e. no text for direction until you mouse over it)makes it hard to find something that you're looking for, assuming I was looking for something.
Also, the Monster is what I would consider a 'pure' bike. All functionality. No extraneous parts (plastic fairings, cruise
control, blah blah blah... [carbon fiber bits excepted])... so the overly-beautiful yet functionally challenging design of
the site somewhat goes against the general philosophy of the Monster. One could certainly make the argument that
this doesn't apply as much to Ducati as a whole, being a 'stylized' company, but just my input as the site relates to the
Monster.
The only problem I have is that the navigation isn't intuitive, and when I click something, I often don't know where it willtake me. This is challenging and great for a 'fun' site, but bad for a corporation.
The graphics ARE beautiful, however. You're definitely on to something. Clean up the navigation and I'd be a regular.Perhaps a thread on your site about babes?
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--------------------------------------------------------------------------------So Far: c/f lower cowl, fully-Stratified exhaust, 14t front, DP open airbox and filter, 1/2 tail chop, slotted sprocket cover,HP-adding 'Corse' stickers and black paint. Minus emissions canister, license plate bracket, reflectors, and passengerfootpegs.Next: Monstrack mirrors, Spareshack II header pipe, c/f seatcover, Nichols flywheel, other random bling...
"We are motorcycle people; we walk tall and we laugh at whatever's funny. We $hit on the chests of the weird..."-Hunter S. Thompson, 1937-2005. "The Song of the Sausage Creature"
« Reply #28 on: Today at 03:50:19am » FionaDucati
--------------------------------------------------------------------------------Hi Elle,
Beautiful graphics no doubt about that. Although, I tend to agree with DucTape. In many ways the Monster is all aboutminimalism... which I kinda get on your website with the city in the desert thing? On a tech-user note, some of yourgraphics zipped by so fast on my computer, there was no hope of clicking them. Kind of like those evil ad banners oncrack.
One last thing, I work with grad students for a living. I hope you don't talk to your committee members like you post orthey might flunk you just to "eschew obfucation."
Keep going, you're probably on something... I mean ONTO something
Fiona
« Reply #29 on: Today at 05:21:00am » de5m0mike
--------------------------------------------------------------------------------I like it and think it's cool that you are trying to do something different.
One thing I noticed was that when I was on the ducati world shop page, the one with the palm trees, I tried to click on"option one" but it didn't go anywhere so I just went back. It wasn't until my second visit to the site that I realized that Iwas trying to click inside the "o" which doesn't activates the button. The courser actually has to be on a physical part of theword for it to work.
Also noticed a glitch on the ducati placeholder page for the ducati dealer. When you scroll over the gas tank of the bike youthink there is a link to take you somewhere but it seems to be just the enter button from the page before it. It justrefreshes the page.
One more thing. I wasn't able to catch two of the bikes on the ducati corse page. I was only able to stop the first one forthe AMA calendar.
BTW I use safari.
Re: HOT TOPIC: Ducati People, Ducati Project« Reply #32 on: Today at 06:18:23am » 908SSP
--------------------------------------------------------------------------------Nice graphicsAwful website, useless
I don't go to a web site for graphic entertainment. I want information and I don't expect or enjoy having to play video game
to get it.
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--------------------------------------------------------------------------------Alex Ortner1036CS908SSP907IE966GP DUE
« Reply #33 on: Today at 07:14:25am » MichaelMoore NOTE: Moore is a monsterboard Administrator. Administratorsmonitor conversations through out the list.
--------------------------------------------------------------------------------Hi Elle,
I'll throw my 2 cents in on your site. First off, you have a wonderful design aesthetic going - the site really looks great.Where I have trouble with it is the navigation and the lack of predictability of user action.
Maybe I'm just an old grump, but I have never really liked sites that think they know what I want to see and when I want tosee it. It rarely works out the way they expect. Unlike a movie, I don't expect to sit passively by and have a website takeme through a bunch of Flash screens or make me follow a certain path to get to information. I think people on the webhave specific goals in mind when they go to a site, and the most successful sites let them get to fulfull that goal as quicklyas possible, and only after they've completed it, entice them with other things to explore.
I think the feedback you've gotten so far has a lot to do with not having a visible means of navigation, nor anypredictability of where you're going to be taken when you click on an object. So the user experience feels random. I'mnot sure how you can integrate predictability and user control in the context of a 'cinematic' navigation scheme, but thoseelements need to be there, OR you need to let people know, "be patient, we're going for a little ride now" and then letthem resume control.
Best of luck!
« Reply #34 on: Today at 01:55:52pm » dj
--------------------------------------------------------------------------------I'll have to agree with Michael on this. Wonderfully done site, great graphics. But personally I wouldn't spend much time onit. There's no way to know where the links will take me, and once I find something, how do I get back? These days I don'tclick on something unless I know what's going to happen. Randomly clicking around a site just puts me off, and being forced
to learn a new navigation method is even worse. Remember back in good old 1995? Everybody was using animated gifs, withflashig light and sounds. Pop-ups were starting to get popular, etc? I hated those sites. There should always be a 'low-tech'version of the site, so that I have the option to bypass all the 'fluff'. I use the internet as a 'tool' primarly, and a sometimeentertainment medium. So, spending a bunch of time taking me through a bunch of stuff, while nice on my first visit,probably won't have me coming back.
I do appreciate how you're trying to find a new way of displaying and allowing for navigation, but you have to be a bitrealistic. When I design a site, I expect the average attention span of my visitor to be 15-20 seconds tops. If they're nothooked by then, they'll probably leave the site.
Just my $.02. Good luck on your project!
-dj
« Reply #35Good point dj -There's a great book called Don't Make Me Think by Steve Krug - it really drives home that most people don't spendmuch time on anything.