cooper

Journal   A blog about design, business and the world we live in.

Personas

What are personas?

In 1994, Cooper invented the concept of personas, which became a lasting design principle not only at the company, but throughout the world of interaction design.

  • User archetypes – represent the specific needs of many individuals
  • Based on behavior patterns observed in research
  • Tools that allow us to drive our ideas from data about real people
  • Can be used broadly to enhance any touchpoint with a user

Where do personas come from?

It's important to note that personas are based on research. Researchers identify patterns of thought and behavior while avoiding idiosyncrasies of any single individual. Typically, personas are based on qualitative, ethnographic research methodologies, conducted with enough users that researchers are able to identify clear patterns.

How are personas different from market segments?

Market segments and personas are powerful complementary tools that help businesses define and develop products. Market segments provide a quantitative breakdown of the market, while personas provide a qualitative analysis of user behavior. Market segments measure behaviors, while personas help us understand them. For example, market segments can help a product manager determine the size of the market that can benefit from a particular product or feature, while personas will help determine how to make the product or feature delightful. Depending on the domain, market segments and personas may overlap significantly, or they may not overlap at all.

Popular posts about personas

Recent articles

Design the Future of Radio

According to popular belief, radio is dead.

It’s not; it’s just taking a different form. Instead of families gathering around a radio to hear the nightly news, people are staying informed by listening to the “All Things Considered” podcast or following Fareed Zakaria on Twitter.

So how does a radio program make the transition from on-air to online and define their role as journalists in the digital age? And how can designers influence how radio content is generated, shared, and consumed?

In the June UX Boot Camp, through experimentation and exploration, participants will redesign how listeners interact with radio content. They’ll conduct this examination through a radio program you may have heard on your local public radio station: Marketplace Money.

American Public Media’s Marketplace Money is a weekly public radio program airing locally on KQED that looks at matters of personal finance with wit and wisdom. In this particular UX Boot Camp, students will work with American Public Media's Marketplace Money to transform the experience of radio. They'll come up with new tools and models for engagement that encourage multi-platform participation, crowd-sourced content, and an entirely new type of relationship between listeners and show host.

Sound like a challenge you want to solve? Save your spot now.
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Push (no, shove!) your practice forward

Announcing our 2013 Cooper U class schedule!

It’s that time again: New Years resolutions scribbled in notebooks, jammed packed yoga classes, fridges suddenly full of healthy grub to make up for creeping holiday waistlines. For most of us, those resolutions start out with a roar and end, well, with a wimpy fizzle. That’s why it’s critical to commit to specific plans now while you’ve got that New-Years-I’m-gonna-conquer-the-world hutzpah. Even if you don’t conquer your whole list by December, at least you can check a few things off with pride. The most important thing about resolutions is simply that they get us moving forward.

Cooper U collage

Enter Cooper U. We can help you with that momentum problem. We’ve got a fantastic line up of classes this year that can help you hone your design leadership, interaction design, and visual interface design chops. And, if you need practice on a real-world problem, we have an incredible lineup up of UX Boot Camps coming.

So, let us make actualizing resolutions easy for you. Try these on for size, and see which one(s) sparks your New Year’s fire most:

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Design with Empathy

Learning patience and rigor pays off for one UX Boot Camp student, and ultimately the Edible Schoolyard Project.

Guest Post by Mark Lancaster, Cooper UX Boot Camp student

This October, at the UX Boot Camp, we were charged with creating a design solution for the Edible Schoolyard Project (ESY Project). The ESY Project is an integrated school nutrition program that gives students an opportunity to learn a variety of life skills by extending the classroom into the kitchen and garden. Starting and running a local program is financially and logistically difficult; not only is money, land, and equipment needed, but also skilled instructors, community support, and a comprehensive curriculum. The ESY Project needed a solution that would assist worldwide programs with their growth and resource development. We had 4 days to come up with a design concept. "Boot Camp", as it turns out, is a decent description.

 UxchickenPictured from L to R: Eric Seiberling, Doug Mays, Mary Desmond, Mark Lancaster, and Frances James

The first two days we spent a healthy amount of time researching and developing what psychologists call behavioral profiles or "personas". I had made personas before in my design career, but not nearly to the extent and depth that Cooper's Kendra Shimmell coached us. At times, I honestly thought, "Alright, enough about personas, we need to start drawing up some solutions!" Instead of jumping into drawing screens, we were pushed to look into the psyche of each persona and at times almost perform method acting; trying to understand the problem from the point of view of the persona. It was this intense concentration on understanding the situation from the perspective of the people involved that eventually led our group to create the narrative of Jordan; a 19 year old alumni of the ESY Project. 

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Interaction Design for Monsters

Whew. That was close. As every year, there’s a risk that we’ll be overrun with with zombies, werewolves, vampires, sasquatch(es), and mummies before the veil that separates the world seals tight for another year. But a quick tally around the Cooper offices shows that here, at least, we all made it. Hope all our readers are yet un-undead as well. While we’re taking this breather, we’re called to reflect a bit on this year’s interaction design for monsters.

Monsters are extreme personas

One of the power of personas is that they encourage designers to be more extrospective, to stop designing for themselves. Monsters as personas push this to an extreme. It’s rare that you’ll ever be designing technology for humans who can’t perceive anything, can’t speak any modern language, live nearly eternally, shape shift, etc. But each of these outrageous constraints challenges designers to create a design that could accommodate it, and often ends up driving what’s new or special about the design.

But then again...

Some of the constraints of the monsters are human constraints writ large (or writ strangely).

  • Juan wasn’t a useful person in and of himself, but his users exercised flash mob requirements of real-time activation and coordination. Are there flash mob lessons to learn?
  • Emily was fighting a zombie infection, but real-world humans are fighting infections all the time. Is there something we can use for medical interfaces?
  • Metanipsah has no modern language and a mechanical mental model, but most of us have mobile wayfinding needs at one time or another.
  • The Vampire Capitalists behind Genotone took the long view, reminding us of burgeoning post-growth business models.

So maybe they’re great personas after all, guiding us to great design because they’re extreme, just like the canonical OXO Good Grips story, where designing for people with arthritis led the design teams to create products with universal appeal.

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WereSafe

Poor Alexi Devers: Bitten by a "dog," then finding himself naked in a park on the morning after the next full moon, a pulpy mess of unidentifiable victim, dewey and glistening on the ground around him. News stories that day confirm that a terrible murder has taken place by a rabid "dog," and Alexi looks up from the paper with the wide-eyed stare of the recently diagnosed. What will he tell Debbi, his girlfriend? How will he keep her safe? Fortunately for him, after a Google search and a few false leads, he discovers WereSafe, a service for people with "dog" problems just like him. It's expensive, sure, but what choice has he got? One web form and credit card number later, he's joined the service and a special package is on the way.

The WereSafe service has two main service aspects. One to keep the monster contained, and the other to hide the problem from the innocent.

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Genotone: An exposé on a sinister VC business model

As Halloween approaches, and the veil between worlds grows wan, threadbare, and permeable, Cooper turns its collective attention to the spirit, spook, and creature population. Last year we sought to understand them from a Goal-Directed perspective. This year we take the next unholy step and design software, devices, and services around these personas. Today we return to Vladmir and Anton, our conflicted vampires.


Antone grew up in southern Louisiana in the late 1700s, the son of a wealthy landowner. After his childhood sweetheart died, he gave up all hope for life. He told his troubles to a young gentleman who came through town, who promised him an end to Antone’s misery. Instead, he was turned to a vampire, and forced to live a life of eternal suffering, unable to visit his family ever again. Today he broods away his evenings in his family’s decaying plantation.

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iZombie? A zombie self-diagnosis and self-destruction app

As Halloween approaches, and the veil between worlds grows wan, threadbare, and permeable, Cooper turns its collective attention to the spirit, spook, and creature population. Last year we sought to understand them from a Goal-Directed perspective. This year we take the next unholy step and design software, devices, and services around these personas. Today we revisit Emily.

Emily is in trouble. She narrowly escaped a horde of flesh eating zombies, but was bitten in the process. Now she's suffering under the gradual onset of zombification—cognitive decline, neurodegeneration, loss of motor control, and an increased apetite for delicious, raw, human flesh. She wants to stave off zombiism as long as she can, but she knows that once she's crossed a threshold, she will succumb and attempt to kill her friends and eat her family. What can she do? Enter iZombie?, an app made specifically for zombie-virus-infected humans, distributed by the military for free to all civilians at the first sign of the inevitable plague.

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JuanSpotters

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height="32" />

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JuanSpotters
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View More By This Developer

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By Chris Noessel & Glen Davis

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"http://www.cooper.com/wp-content/uploads/2012/10/viewin.png" width="106"
height="23" title="This...this isn't real." />

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$1.69
Category: Lifestyle
Updated: Oct 19, 2012
Version: 2.3.2
Size: 6.1 MB
Languages: English, Stygian, Qwghlmian
Seller: Cooper
© 2012 Cooper
Rated 4+

"font-family: 'Lucida Grande', 'Lucida Sans Unicode', Arial, Verdana, sans-serif; font-size: 12px; font-weight: normal; line-height: 16px; color:#969696">
Requirements: Psychic sensitivity, resistance to fear-based
paralysis, iPhone 4 & 5

"font-family: 'Lucida Grande', 'Lucida Sans Unicode', Arial, Verdana, sans-serif; font-size: 14px; font-weight: bold; color:#474747; margin-bottom: 5px;">
Description

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"http://www.cooper.com/journal/2011/10/juan_espinoza_class_5_full-roa.html">Real
life ghost Juan Espinoza
roams the lonely train tracks of Bexar county on
full-moon nights, searching for his lost head. Track him and get a chance at
seeing Juan in the (un)flesh with the official JuanSpotters app!
We’re talking a real Class 5 Full-Roaming Vapor. The
app is fully-featured.

  • "font-family: 'Lucida Grande', 'Lucida Sans Unicode', Arial, Verdana, sans-serif; font-size: 12px; font-weight: normal; line-height: 16px; color:#969696">
    Be the first to capture a pic of Juan to earn points!
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    If he’s spotted by someone else, just-in-time directions
    get you to where you can see him for reals!
  • "font-family: 'Lucida Grande', 'Lucida Sans Unicode', Arial, Verdana, sans-serif; font-size: 12px; font-weight: normal; line-height: 16px; color:#969696">
    Once Juan is spotted, you'll get alerts to tell you when you’re on deck for spotting, and a map on how to get there. A
    timer lets you know when your spotting turn is up and automatically tags in the next Spotter.
  • "font-family: 'Lucida Grande', 'Lucida Sans Unicode', Arial, Verdana, sans-serif; font-size: 12px; font-weight: normal; line-height: 16px; color:#969696">
    Want Juan at a bachelorette party? A haunted-house? Halftime? An
    enemy’s corporate headquarters?
    JuanSpotters can lead him right there for an affordable fee.

"font-family: 'Lucida Grande', 'Lucida Sans Unicode', Arial, Verdana, sans-serif; font-size: 12px; font-weight: normal; line-height: 16px; color:#969696">Cooper
Web Site "http://www.cooper.com/wp-content/uploads/2012/10/tinytriangle.png" width="4" height="7" /> "margin-left:30px;">JuanSpotters Support "vertical-align: 1px; margin-left:3px;" src="http://www.cooper.com/wp-content/uploads/2012/10/tinytriangle.png" width="4"
height="7" />

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What’s New in Version 1.4
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In this update, we added support for iOS6 and the new iPhone Ecto!

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iPhone Screenshots

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"float:left; margin-right: 30px;" />

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The Mate-Night Club: You lonely no more.

As Halloween approaches, and the veil between worlds grows wan, threadbare, and permeable, Cooper turns its collective attention to the spirit, spook, and creature population. Last year we sought to understand them from a Goal-Directed perspective. This year we take the next unholy step and design software, devices, and services around these personas. Today we return to Romulus, North American Woodland Ape.

To serve this hairy fellow, we're proud to unveil a new matchmaking service, nailed to the tree by Cooper designers Greg and Glen: The Mate-Night Club.

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The other reason personas work: The Intentional Stance


Since Cooper invented personas, they've become the de facto interaction design tool across the world. Most folks know the basics of why: They embody salient user characteristics from first-hand user research in a medium that people are good at understanding, remembering, and discussing, i.e. people.


I've been using personas as a design, teaching, and even writing tool for over a decade now and I believe strongly that all that's true. They do embody research. They are easy to remember and use. But I think there's another reason they work, a psychological reason, that's as important to understanding them: they get you to think about design problems in a fundamentally different way.

This effect is not just true for interaction designers, either. Whether you're a developer, product owner, business strategist, or content strategist, the reason they work has to do with the way that you think about the world around you. To explain why, we need to tuck in to a little philosophical thinking. Don't worry, it will be quick and painless.

The philosopher Daniel Dennett proposed that the way people reason about things the world around them changes based on the particular one of three stances they take toward those things.

When we adopt a physical stance, we use our basic sense of physics to predict things, such as when we wonder, “What would happen if I pour sand on a fire?”


When we adopt a design stance, we use our understanding of human intentions as they are embodied in designed objects, such as when we pick up a new tool and wonder, “How did the person who made this intend for it to be used?”


When we adopt an intentional stance, we use a different part of our brain to anticipate how an intentional agent (like a plant, animal, or person) will change their behavior in order to get what he, she, or it wants. When we predict what the tiger that's chasing us will do when we turn to duck in a cave, we're adopting an intentional stance.


When we design, we are trying to optimize systems towards some desired effect. This means that we're taking one of these predictive stances about what will and won't work, i.e., what will let our personas achieve their goals. Which stance is it? I don't think anyone adopts the physical stance when designing. No one perceives users' behaviors as defined by strictly physical forces. But what of the other two stances?

I believe the design stance is the default stance people take when designing, (apologies for the redundant-sounding phrasing) and it's the wrong one. In the design stance you can change the tool to fit the task. Turn the hammer around. Pull off the metal part. Only instead of working with hammers, you're working with your sense of users in the world. This gives rise to problems of “the elastic user” discussed in The Inmates, which is to say that we can cherry-pick whatever aspects of users suit our interests at hand. When we design this way, we serve ourselves and the systems more than we do the people who are using our stuff, and that's a way to ensure that people do not love your product or service.

The intentional stance is the right stance for design, since it respects users’ goals as something largely fixed, and which we have to accommodate with the smartest design possible, or they will change their behavior, and go to a competitor.

Even if this were just philosophy it would make sense, but it turns out that a number of universities including Glasgow Caledonian University and MIT have done some experiments that show that in fact, we do use different parts of our brains in each stance. They've even captured it in functional images. It’s not just philosophy and common sense, it’s actual neuroscience. (For an academic reference, see below.)

Once you understand this "other" reason personas work, a lot of the little nuanced guidelines that I try and instill in young interaction designers and students make sense. Why don't we want our personas to have names like "Cathy Consumer" and "Adam Analyst"? Because no one in the real world would have a name like that. It's is clear that these are fabricated objects rather than real people. Such names get your teams into a design stance where the facts of actual users can be skewed or ignored. Rather, it's best to choose names that could be in the real world but aren't in and of themselves distracting or hard to pronounce. Persona names could belong to a real person, which helps encourages an intentional stance.

For similar reasons, it's why we give personas big photos that don't look like models. It's why we provide some narrative background to them, including education, training, coworkers, or family as the project suggests. It's why we avoid highlighting the data that went into them on their introductory slides. It's why we really only mention that we created them once, and thereafter refer to them as real people. We want them to trigger the sense of living, breathing intentionality in everyone who has a responsibility for accommodating those goals. This gives us the stance that will keep user goals foremost and consistently considered while possible design decisions fare the treacherous waters of the design and development process.

This is the other reason personas just work.




  • If you'd like to read up on Gallagher and Frith's functional imaging experiments, see
    Gallagher, Helen L., and Christopher D. Frith. "Functional Imaging of ‘theory of Mind’." Learning Development and Resource Center. Trends in Cognitive Sciences, Feb. 2003. Web. 16 July 2012.