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UX Design for Virtual Reality

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How This Course Will Help Your Career

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    What would you *do* with the  power to change your reality? What *happens* when you combine creativity,  technology and endless possibilities?   - Whether it's a business-to-business experience or whether it's a consumer experience or a game, VR offers the potential for *deep magic*. And I say "the potential," again, because it depends how you use it. - Join us on a journey to discover the full  potential of VR

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    and how to revolutionize user experiences through design. Learn how to apply UX design principles to create immersive and user-centered VR experiences. - You know, in movie-making, how they introduce the main character is really critical. And movie-makers do that in a really clever way. But in VR, you *are* the character in a way, so this is the co-authoring of that first-person viewpoint. The user and the narrative are intertwined. Master the fundamentals of virtual reality and apply them to create your own VR projects.

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    - But *storytelling mechanics* can be brought into serious or consumer VR pieces. Why do we use storytelling? It's because  storytelling narrative techniques can give the user cues, it can help spark emotions, and it can also induce immersion. Explore the new frontier of UX design and  transform the future of user experiences. 

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    - Remember, the enemy here is *boring* and we don't  want to bore our users with such a cool technology.  - Enroll now and become a skilled VR UX designer  shaping the future of digital interactions.

Enter the world of Virtual Reality (VR)—the new frontier of UX design! Immerse yourself in this fascinating course that will equip you with the skills, knowledge, methodologies, and best practices to design compelling, user-friendly and memorable VR experiences with UX design. 

What You Will Learn

  • Gain insights into VR’s exciting landscape and how to transfer UX design principles to this medium. 

  • Grasp the iterative design process, and how to transition from 2D to 3D design paradigms.

  • Master user research and user testing techniques for the VR environment.

  • Discover how to design for presence and immersion through key VR elements such as storytelling, sound design, spatial audio, and emotion design.

  • Learn about the world of social VR, the metaverse and their amazing potential. 

  • Explore interface and interaction design, and how to design user-friendly and engaging interaction in immersive media. 

  • Examine the importance of comfort, safety, and inclusivity in VR, encompassing physical, mental, and emotional domains.

  • Conceptualize, create, and refine VR prototypes. Learn the skills to critically evaluate VR designs with heuristics and usability testing so that they align with industry best practices. 

Virtual reality is a multidimensional universe that invites you to bring stories to life, transform digital interactions, educate with impact and create user-centric and unforgettable experiences. This course equips you with the skills and knowledge to embrace the possibilities and navigate the challenges of virtual reality.

UX Design for Virtual Reality is taught by UX expert Frank Spillers, CEO and founder of the renowned UX consultancy Experience Dynamics. Frank is an expert in the field of VR and AR, and has 22 years of UX experience with Fortune 500 clients including Nike, Intel, Microsoft, HP, and Capital One.

In UX Design for Virtual Reality, you’ll learn how to create your own successful VR experience through UX design. Informed by technological developments, UX design principles and VR best practices, explore the entire VR design process, from concept to implementation. Apply your newfound skills and knowledge immediately though practical and enjoyable exercises.  

In lesson 1, you’ll immerse yourself in the origins and future potential of VR and you’ll learn how the core principles of UX design apply to VR. 

In lesson 2, you’ll learn about user research methods, custom-tailored for the intricacies of VR.

In lesson 3, you’ll investigate immersion and presence and explore narrative, motion and sounds as design tools. 

In lesson 4, you’ll delve into interface and interaction design to create your own user-friendly, compelling and comfortable VR experiences.

In lesson 5, you’ll gain insights into prototyping, testing, implementing VR experiences, and conducting thorough evaluations.

After each lesson you’ll have the chance to put what you’ve learned into practice with a practical portfolio exercise. Once you’ve completed the course, you’ll have a case study to add to your UX portfolio. This case study will be pivotal in your transition from 2D designer to 3D designer. 

Gain an Industry-Recognized UX Course Certificate

Use your industry-recognized Course Certificate on your resume, CV, LinkedIn profile or your website.

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Our courses and Course Certificates are trusted by these industry leaders:

Our clients: IBM, HP, Adobe, GE, Accenture, Allianz, Phillips, Deezer, Capgemin, Mcafee, SAP, Telenor, Cigna, British Parliament, State of New York

Is This Course Right for You?

This course is suited to a wide range of professionals and is a practical handbook for anyone interested in UX design for virtual reality experiences.

In particular, this course will benefit:

  • Designers looking to develop their skills in an exciting, rapidly-evolving medium.

  • Entrepreneurs who want to diversify or elevate their offerings with virtual reality experiences.

  • Product managers in search of ways to deepen their impact and improve the overall experience and results of their products and services.

  • Anyone with the enthusiasm to explore a new frontier of design and create experiences with endless possibilities. 

Learn and Work with a Global Team of Designers

You’ll join a global community and work together to improve your skills and career opportunities. Connect with helpful peers and make friends with like-minded individuals as you push deeper into the exciting and booming design industry.

Course Overview: What You'll Master

  • Each week, one lesson becomes available.
  • There's no time limit to finish a course. Lessons have no deadlines.
  • Estimated learning time: 16 hours 14 mins spread over 7 weeks .

Lesson 0: Welcome and Introduction

Available once you start the course. Estimated time to complete: 1 hour 44 mins.

Lesson 1: Journey into UX for VR

Available once you start the course. Estimated time to complete: 2 hours 59 mins.

Lesson 2: VR User Research Essentials: From Analysis to Action

Available anytime after Apr 20, 2025. Estimated time to complete: 2 hours 26 mins.

Lesson 3: How to Design for Immersion and Presence in VR

Available anytime after Apr 27, 2025. Estimated time to complete: 3 hours 41 mins.

Lesson 4: How to Design Interactions and Interfaces for Immersive VR

Available anytime after May 04, 2025. Estimated time to complete: 2 hours 23 mins.

Lesson 5: From Idea to Interaction: VR Prototyping and Testing

Available anytime after May 11, 2025. Estimated time to complete: 3 hours 0 mins.

Lesson 6: Course Certificate, Final Networking, and Course Wrap-up

Available anytime after May 18, 2025.

How Others Have Benefited

Dean Lodes

Dean Lodes, United States

“The course was well-designed and taught. The knowledge base is very high and well-shared.”

Nilay Gomkale

Nilay Gomkale, India

“The instructor showed clear experience and insight that they shared through the course, conveyed along with excellent examples.”

Marion

Marion, Switzerland

“It is very rich and we learned a lot. I especially appreciated the resources at the end of each lecture.”

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    Use your new skills in your existing job or to get a new job in UX design. Get help from our community.

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UX Design for Virtual Reality
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UX Design for Virtual Reality

1.2 - The Past, Present and Future of Virtual Reality

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    Well, I'm a fan of both – basically VR and AR are the two major categories, and the rest are specializations. I'm a fan of both. I think living in an artificial world is really engaging. I've been doing it for 20 years. Let me explain that. I have been seeing this in research laboratories for about 20 years and experiencing it in wonderful, wonderful experiences. And it isn't yet up for real time; it's just getting there, just beginning;

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    it's got a few more years to go, but I believe that's going to be very important. It's already important for *training* people. It's already used in medicine, for example. And it's already used in repair – learning how to repair things. *Augmented* is also very very valuable because with virtual reality, it's your *own new world* with augmented, I'm *the real world* but I have things, so augmented is really great for people trying to repair something

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    because I go to the thing that is broken and there on top of it I can see instructions or arrows pointing to what I should look at next and so on. But again it's just – at Apple, when I was at Apple 20 years ago, we were doing this; we were already trying to do this, but the technology wasn't good enough. And I think that it's going to be very powerful.

UX Design for Virtual Reality

1.4 - The Journey of the UX Design Process in VR

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    Steven Spielberg famously once said that, "I think we're moving into a dangerous medium with virtual reality." He said, "The only reason I say this  is because it gives the viewer a lot of latitude not to take direction from the storytellers  but to make their own choices of where to look." And what he's talking about is the shift from third- person storytelling or third-person experiences

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    to *first-person experiences*. Remember that word 'agency' – of giving the user *control*, of letting them choose their own adventure with the story. And at first when Steven Spielberg said this, I thought he was saying that VR was dangerous and that this was dangerous. But I think what he meant was that it's dangerous because you as the designer potentially might not do this well and the user can get lost or you don't guide them anymore;

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    they might fall off the experience. So, it's important to do what we can to give our users that deliberate first-person experience and to design their agency appropriately, their control. I like to say where AR (Augmented Reality)  offers a touch of magic, VR offers the potential for *deep magic*. And I say 'the potential' again because it depends how you use it.

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    Remember, the enemy here is *boring* and we don't want to bore our users with such a cool technology.
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Ready Player One

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UX Design for Virtual Reality

2.2 - How to Understand User Needs in Virtual Reality

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    Your first instinct with VR is probably to  just dive right In because it's so exciting. That is a normal instinct, so I would forgive  you if that's how you would approach VR.   I did the same thing myself *until* I realized that all the good practices of UX process apply to 3D experiences.

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    Now, let me just clarify – when I say 'user research', there are two sides to user research. So, there's testing – *user testing* – doing  your own, of course, internal testing, a given. And then *user needs analysis* is the second type. And it's actually more powerful than testing because finding out what your actual opportunities and constraints are from your users before you build a thing and then you test it. So, that's why *user needs analysis* is the most important of the two sides.

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    So, why we conduct user research is to  learn about the *domain*, about the *goals*, about the *tasks of our user*. It gives us ideas, by observing what works and what affordances or skeuomorphic ideas, for example, might translate: for example, a door, a virtual door with a doorknob – does that work in VR? And finally *finding your story arc* or those story narrative ideas from your users' work

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    or from their lives and their struggles; that's gold for designing for VR. I mean, basically we use user research to learn about the domain or the area of content that you're working on. And we do this by *interviewing and observing users*. So, testing, we have them go through and test, but that first part of interviewing users and  observing them, so kind of sitting down with them, watching what they're doing.

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    If it's a B2B experience, for example, you want to sit and see how someone does the task and model it in VR and find out how you can make shortcuts and how you can smooth things out and make it even more pleasant. So, when you're doing this first stage of user research, don't worry about the technology yet. Don't worry about how it's going to translate or not translate – just try and understand that space. So, don't worry about the technology when you're doing this, and leverage SME's, Subject Matter Experts, because user research is going to help you understand things like plot

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    and tensions and narrative devices. Make sure, for example, you include people that are new to VR, not just all gamers. Plan also to *test with users at the very end* when you've finished all that and to get that feedback because usually what happens with VRs, it's a work in progress and changes as you go along. Think about *localization or cultural limits*, so make sure that you clarify your personas.

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    Think about cross-cultural confusion or opportunities for improving cultural sensitivity. For example, if you're teaching language, you might not just teach the symbols, but you might try and introduce, what's missing in language learning is *context* – you know – the emotional and social context. That's why it's so difficult to learn languages because you learn in a classroom, but the language is *living* out on the street in that country.

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    It's in an emotional and social context, so VR could bring emotional and social literacy or situations, with those symbols, with that language. You know – maybe you're learning Chinese. Maybe there's like an ancient Chinese story that just sort of appears, the mist in the mountains and there's  a little story that appears related to that character. But bring in cross-cultural aspects.

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    Even think about people that might not be that good at reading. Don't assume everyone's college-educated. Test *speech*, for example, and *accents* across different cultures as well, and other contexts where we've run into limitations.

UX Design for Virtual Reality

2.3 - How to Understand Your VR Users: Techniques for Insights

UX Design for Virtual Reality

2.4 - How to Design for All: Inclusivity in Virtual Reality

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    So, it's important that your immersive  experience is inclusive and that you don't just build it for yourself or for a type of user that you might have in your head. What is inclusive design? Well, a great quote from Annie Jean-Baptiste, Head of Inclusive Design   for Google – she said that product inclusion is the  practice of applying an inclusive lens throughout  

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    the entire product design and development  process to create better products and thus   accelerate business growth. So, inclusive design is something you start from the very beginning   when you're thinking about your VR creation. Who have you left out? Who else do you need to think about? And include and go talk to and understand and bring that experience to your creation.

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    It's not enough to just create a product that is just for, for example, people with legs. So, that's always a reminder for me, to remember that experience of the bias that you can bring, even just from standing or sitting and crawling. And that's why you need to move around when you're designing or coming up with designs for virtual reality. The question with inclusive design is, *Who are we impacting?* Which user? Which community? Which historical, cultural

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    or political context have we learned about, have we thought about, have we included? And even the environmental picture. And just bringing that *cross-cultural experience* is going to make your content more inclusive and more diverse, so even environmental can be a point of exclusion. Like in this piece that was done: 'Traveling While Black'. So, 'Traveling While Black' is a story of this guy, when he was young, he used to travel across the South.

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    And every summer, his family, they would drive on vacation; they had to stay in Black-only hotels. They kept getting pulled over by the police. And so, it's a VR story about this experience to kind of help you  empathize and understand this reality of being harassed while you're Black in the United States. And as Baptiste said, it starts at the very beginning, goes throughout your entire product life-cycle, checking in with users, checking in with subject matter experts,

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    and then all the way to how you market it, so that you're marketing it with diversity and a message of equity, which is bringing everyone in and giving those who are often left out representation. And when we say 'representation', we're talking gender, we're talking age, we're talking disability, of course, with inclusion, we're talking about body size. Maybe country-versus-city type of bias or reality.

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    We're talking about *invisible disabilities*, such as neurodiversity, such as autism spectrum or dyslexia. These kind of disabilities – I mean, think about it; if you have a lot of reading in your experience or in your onboarding and it's all text, someone that dyslexia is going to struggle with that. If you have an avatar and all your avatars are skinny and not representing different body sizes, that may send a message that this is just for this certain type of person.

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    Think about ethnic group, and of course race, and more, so that person's experiences and what they might bring to the content that you create, the narrative, the way that you unfold your particular experience. So, the question we ask in inclusive design is 'at what cost?' so the individual or community rights. You know – are we going to harm that person or their identity, their well-being? The Xbox launched in 2022 an inclusive avatar editor.

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    And this allows users to customize an avatar to the way that they might best represent themselves or their identity. Let's talk about *disability* in particular.  Disability has blindness, low vision, mobility disabilities, deaf and hard of hearing, and cognitive. And cognitive is what we now call 'neurodiversity'. That includes ADD, autism spectrum, dyslexia and more.

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    You know, think about what it's like sitting, crawling, kneeling. Think about what you're forcing people to do. Here's a small video from just the frustration of not being able to  reach these objects up on the table. Our user, he's in a wheelchair; he also has low vision and also mobility and disabilities in his hands. As well, he was okay with the controllers. We added padding on the floor. And if you have a VR lab or a dedicated space, I suggest you get some of that

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    soft foam padding that children's areas have, because there's a lot of movement in crawling and rolling around in VR and sometimes you just want to sit down. The power of inclusive design – *Design  for one, extend to many* as Microsoft says. It turns out that 3D sound and designing just the sound part of your experience to begin with can be really, really powerful.

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    And a lot of people in VR forget about the power of sound. So, if you even crafted the sound aspect of your experience first and then added the visual piece, you're going to be stronger because the sound is 50% of your narrative, emotion, navigation, presence. It's a huge, huge important thing. And for folks that are blind, it's the only way they can navigate.

UX Design for Virtual Reality

3.3 - How to Use Narrative as a Design Tool

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    When I first started studying virtual reality  in the mid-1990s, one of the things that wasn't   mentioned was the *power of story* and using story  deliberately as a design tool. Story is a design tool that you can use in any context, whether it's education, health care,

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    industrial settings, consumer, children of course. But it's a universal tool. And the reason is because stories are how our brains work. And I love this quote that says, "Tell me  a story and it will live in my heart forever." So, think of storytelling as *interface*, giving users clues, sparking emotions, guiding discovery, inducing immersion – so, making them feel like they're more there;

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    providing a narrative backdrop to whatever they're doing. So, maybe it's a busy factory, they're learning to assemble, or maybe it's surgery – they're learning to do that. And maybe you have a whispering wind in the background or maybe you have the sound of a gentle clock ticking or a metronome for beat going 'tuh-tuh-tuh' – you know – in the background. Maybe you have lights changing or you have another character approaching you.

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    It might be an AI character that comes up to  you and says something. Whatever it may be, it can provide that kind of encouragement or movement  forward or pull so you bring people – you know –   further down the hallway or down the end of the room or into the other world, whatever it might be.   Think of story as a *UI wrapper*, as something that you use to wrap around the interaction,

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    to provide context or relevancy for the user. So, for example, imagine a button that's like a UI   element, just a button, but imagine a button  with smoke coming out of the top. There's a story there: Why is the button smoking or why is it covered with this fog? We can't do that in 2D. We can only offer things like texturing or shadows or animation. But what if the button spoke to you? What if the button said, "Hey – press me!" – you know.

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    Then that's a narrative hook. It's a way to induce, to pull someone in. And so, that's what we're talking about when we say story wrapper. Now, another thing storytelling does is to potentially *amplify presence*, to give presence a focus, to give your attention the direction  that you're going in, that it might – you know – pull you in in a good way; it might pull you in in a bad way.

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    Not all tension is bad. You need tension in a story. That's the basis of stories. It's the tense moments of 'what's going to happen to me?' or to the character or to the scenario or the situation. So, you might want to be thinking about how you can deliberately create more presence when you   need someone to. So, if for example, this was a VR piece and you walked up and everybody was  

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    on their phones and maybe you said 'hello', maybe if you said 'hello' people came up from their   phones and they smiled and somebody said 'hello', a couple of people said 'hello' to you as well, that would change the feeling you had as you did this. If they didn't do that and their heads are all down, it's creating a very different kind of spatial tension because you don't want to upset people, they're kind of there but they're not there, they're away on their phones. And you can see the difference in people that are talking, laughing, reading books versus on their  

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    phones, and what that does in the real world.  Think about that for your virtual environment.   Now, the study of immersion – so, presence is you feel like you're there; immersion is that you   feel like you're getting deeper and deeper into the immersive experience. That's why we call it immersive. So, you have like 20 seconds of use is where you get this idea of cognitive immersion or this feeling of like 'oh, I'm in this. I'm in this.'

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    So, it takes about 20 seconds, which is probably the stretch of time that you have to unfold the narrative, to provide affordances, provide ways for users to understand and interact. It's about that 20 seconds, and that's why you want this to be really smooth and easy and direct in those initial few seconds. And they're not looking and configuring and trying to understand what to do and feeling stupid or feeling

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    so overwhelmed or afraid that they're not getting what they should be doing. The next type of immersion is called *physiologic immersion* – the physiologic, so that's your whole body kind of feeling that immersion into that environment, three to five minutes. Three to five minutes is about halfway the length of a normal kind of VR experience if you're thinking 10 minutes is the average VR experience. It's important when you think about story flow that you avoid

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    the *overloading or underloading* of a user with UI elements. Underloading would be just there's not enough things to do, you don't really know what you should do. So, getting that balance right is really, really important, but think about the story, the flow where you're taking them, what happens next. So, think about narrative as a way to unfold the scene, what I call the *affordance canvas*.

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    That's what the user sees in front of them and  they have these affordances. Think of it more like a cockpit in an airplane or a car where there are buttons, there are steering wheels, there are things that they can interact with to move the narrative forward. So, think of the narrative as a guidance system, a way to help someone get to the next step. So, for example, a little bird might drop in, and the little bird may start telling you things and start framing your journey or framing your tasks. It might be just a big voice in the sky – you know –

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    or maybe the Earth is shaking or ... so wrapping that around a narrative is a way to unfold that canvas, that affordance canvas. You hear me talk a lot about *narrative mechanics* to shape the experience, so that's what story is all about. It's about using those narrative-, those story-type mechanics like a little bird or a big thundering voice, or maybe it's an object that rolls towards you or that drops down in front of you

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    or that you find available to you in your backpack or in your toolkit or on your watch or whatever other types of narrative objects or devices you choose to put in the world. *Narrative mechanics* can be used to create an emotion for a purpose. You could also create a *mood* to add ambiance with a story.

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    So, this is a lot trickier to design specific emotions like discovery or intrigue; the closer you get, the more – you know – health goes up. That's an analogy from a game, for example, from a gaming UI.

UX Design for Virtual Reality

3.5 - Enter the World of Social VR

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    One of the reasons for VR is *social VR*.  This technology can help us collaborate,   communicate, connect better than ever before. At least, that's the promise or the vision of VR. So, the social characteristics are *social  signifiers*, *social behaviors*, *social tasks* and *social presence*. Let's unpack each of these in turn.

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    A social signifier is a pointer; it tells you what the social activity is. One of my favorite images here on social signifiers is the line of shoes, and it means that there's a turn, a queue. You  know – put your shoes in the queue to wait; that's in Thailand. It's great. The other one is – you know – the string of *do not enter*. Or – you know – the pathway, the little brick that keeps you walking in a direction.

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    All these things that we use every day in the real world. *Social behavior* – so, what are  others doing? What's going on with other people? And social behavior is probably one of the most common ones we're familiar with. Like social media – you can kind of see the likes, the activity. But you might do other behaviors in VR, like fly together or something like that. Let's talk about *social tasks* – the question here is how do we do this together?

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    And this is true collaboration, so think about  how people can work together, how they can examine something together, they can problem-solve, how they can help each other, how they can get information to the next person or to the community. Let's go to *social presence* – so, social presence: being together with another person. We've talked a lot about presence: Avatars – being able to see bodies is actually a really big deal. And the fidelity, the clarity of that is really, really important.

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    Social presence can enhance intimacy, with eye contact and physical proximity; the facial expressions of avatars – so, with AI and new developments, you can sort of see what you're actually expressing, your avatar can pick it up. So, smile or sad or head down or – all those little body language cues can help boost your sense of social presence.

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