Ideation Method: Three-way Comparisons

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Three-way comparisons are a convergent ideation method designers use to map their assumptions and tacit knowledge about familiar domains to new domains. They compare three related items in all possible combinations to uncover hidden attributes, understand the problem domain better and find insights to use innovatively.
“Resemblances are the shadows of differences. Different people see different similarities and similar differences.”
— Vladimir Nabokov, Author and poet whose works include “Lolita”
See how to use three-way comparisons to reveal powerful design opportunities:
We'd like to make tacit things, things we know, *explicit*. One of the ways to do that is through making comparisons, to look at the distinctions between things. So, let's look at simple comparisons. The simplest one is just to look at two things. It might be two documents; it might be two systems; it might be two solutions to the same problem – perhaps two different kinds of menu in the system we're looking at.
So, you look at them and then you just ask simple questions: What's the same? What's different between them? And it's the difference which is often the interesting things. It's easy to – when you say they're the same – you know – these are both fruit; that doesn't tell you that much. But what's so different between an apple and an orange? What's so different between the kind of menu you get on a phone as opposed to the kind of menu you get on a web page? And by talking about those distinctions and those differences, you start to *make sense and understand things about them*. So, sometimes that can happen on simple two-way comparisons.
Sometimes, a *three-way comparison* can be a bit more helpful. So, when you have two things to compare, sometimes it's easy to fall back into standard differences. So, again, with my apple and orange, I might just say, 'Well, this is a citrus fruit and this isn't.' or something like that. So, I have a set of standard categories. This is sort of top-down reasoning, going from book knowledge, rather than from sort of bottom-up reasoning. Three-way comparisons can help here sometimes to actually say, 'In what way is this like this but different from something else?'
And sometimes you can deliberately play with this, try different orders so the obvious answer is taken away from you. The origins of this are in repertory grid techniques which are used for personality tests. And they're used to ask people three-way comparisons as a way of sort of finding out about the way their personality is. However, you can use it for all sorts of kinds of technique. You can use it yourself to look at techniques and ask yourself this question,
or you can use it with your users. So, here's an example we'll go back to the apples and orange. So, I've brought my fruit bowl, if it can't fall out. And in my fruit bowl I've got some grapes, I've got an orange, I've got an apple. What you might do is say, 'Okay, I've got an apple and orange. How are an apple and orange similar to one another but different from grapes?' And you could probably already start to think of answers yourselves. We have different answers because this is about exposing our tacit distinctions.
So, you might apply this – if you're working with fruit manufacturers, you might ask this question, but obviously for user experience, this might be two different, three different menu systems. And so, for these apples and oranges I might think about something like *size*. So, these are bigger than – well, certainly than an individual grape, not necessarily than the whole bunch, but an apple and orange are bigger than single grapes. You might use size as a distinction. But you notice it's interesting even there, I've started to have to talk about some
subtlety in here, which is often the case. Do you eat one or many? So, typically when you have an apple or orange, you just have one apple or one orange, but when you have grapes, you usually don't have just one grape – you usually have several, partly because they're smaller. But actually, because they're smaller, we're already seeing interesting relationships. Obviously, if you have something small, you eat more of them. I've said they're not in wine – okay, you know, you make wine out of grapes. That's an odd one because I could say that – you know – apples you can make cider with, all sorts of things.
But obviously, I think grapes are so closely associated with wine in my head, that seems sensible for me given my distinction. So, this is obviously exposing not just what these differences are, but actually about the *way that I see the world* – the categories I impose on the world. So, we expose the categories that we have there by making these distinctions. And so, one of the interesting things is when you have – if you just do it one way round, obviously you can again sometimes drop into standard links,
and perhaps in my head I put apples and oranges closer to themselves than I do to grapes. But I can break that by deliberately mixing things up. So, now I can say, 'Okay, given an orange and a grape or oranges and grapes, how are they more similar to one another than they are to apples? How is an apple different from them?' So, now I can't use the set of distinctions I had before, so I'm forced to think of new ways. So, again, if I was doing my menus and buttons and web links,
I'm going to start thinking, 'How is' – I can't remember, I have to put labels on these, but – you know – 'How is my web link different from my buttons and menus?' But then having done that, I shuffle them around and I can't use the same distinctions. I've got to think of new differences. Being in Britain, I think about things that I associate more with being things that are grown in Britain. I still think of apples as a typical British fruit. Now, it's interesting – so, before I was thinking about the eating qualities of these,
when I was doing another comparison. Now, I've been forced to think about where they're grown, and also that this was not a hard distinction; notice – you know – this was more easily grown. And probably it's more like I've created a dimension where apples are at one end and oranges another and grapes sitting in the middle. I've sort of – so, having said that I eat one of the other fruits, I've sort of put these into another similar category, saying, 'Well, actually, when I open the orange, there's multiple
segments, just like there's multiple fruits here; whereas the apple is an apple.' – you know. If you cut it up, the core inside is segmented but the actual flesh is continuous. So, that's another distinction. And then, of course, you force yourself again. You say, 'Okay. Okay, I've done the other comparisons. What about putting apples with grapes and oranges on their own?' And, again, I found a different set of distinctions there. For some reason, when you go to visit somebody in hospital, you tend to think of bringing apples or grapes, but not so much oranges – even though an orange has got lots of vitamin C in it.
I think part of the reason is about *messiness*. You know – these are good lunchbox foods. You know – you can eat your apple; you can pull off your peel. It's harder, unless you get those easy-peel oranges, to have an orange in your lunchbox because when you cut it, it spurts everywhere. And – oh yeah – that was another thought, what I thought was these two I eat the skin of. You can eat the skin of an orange, but most people don't. So, you notice what we've done here is we've *pulled out a whole different set of distinctions*.
We've got things about the nature of the flesh in the fruits; we've got the nature of the skins; we've got the size of them; we've got where they're grown. It's a whole lot of different things we're understanding about fruit by doing these sets of comparisons with these three fruit. Typically, the closer the things are you're trying to do these comparisons – that's whether you're doing a two-way comparison or a three-way comparison like this –
the *closer* things are to one another, the *more interesting you get the results* because you're forced to make finer and finer distinctions and that exposes more interesting things about the domain. So, comparing buttons and menus, if you're not careful, you'll fall again into standard categories. Comparing two relatively similar menu systems with each other, you probably start to get some more interesting distinctions out that help you learn about your domain. So, yes, I was giving an example here – oranges and apples;
maybe you learn more about fruit than if you compare an orange with a car, because an orange is a fruit, a car isn't. So, the closer they are, the harder it is to fall into standard distinctions. Having said that, maybe you'll find some interesting things if you look at an apple and say, 'Is an apple more like a tractor or a train?' And this is, I guess, close to sort of bad ideas thinking. Or – you know – sometimes you're asked perhaps, 'What fruit are you like?'
You know – if you go around the people you know in the office, if you were going to give each person a fruit that represented them, which would it be? And then ask yourself *why*. So, if I'm going to say an apple is more like a tractor, is that because tractors are more agricultural? Or maybe I think it's more like a train because perhaps as a child if I went on train trips, I always had an apple to eat while we were on the train. So, by making these, again, closer is often better, but sometimes you make those wild comparisons – you also end up with some interesting things.
A vital skill underpinning a designer’s creativity is to bring tacit knowledge out into the open where it can be analyzed and insights shared. Sometimes, we have deep-held assumptions about designs, concepts, etc. These can range from an item’s smallest qualities up to critical factors of the mental model users adopt when encountering problems in context. If we take things for granted, we might overlook crucial points. That’s why it’s essential to isolate errors in how we envision design-related matters, and hopefully pinpoint previously unheard-of ways to access users.
Whenever we compare similar things, we can clearly map what makes them distinct as we systematically examine each’s qualities. The simplest way is to compare two items; by asking what’s similar and different, you can quickly compile a list. So, by identifying and discussing the distinctions between (e.g.) a menu on a webpage versus on a phone, you can make sense of the various characteristics of each.
However, a three-way comparison can help you uncover far more. This approach comes from the repertory grid technique used to map personality traits. It’s especially useful for exposing and expressing qualities which might otherwise lie buried under assumptions and bias. For example, you might compare a dropdown menu with a cascading menu with a pie menu. By starting with “How is A like B but different from C?” you proceed through different orders of comparison (e.g., “How is C like A but different from B?”). Consequently, you’ll force yourself to stretch beyond those obvious standard differences and engage the subjects more open-mindedly. In our video example, distinctions include:
Grapes are smaller – one serving contains more of them.
Apples are contiguous, whereas oranges are segmented.
Oranges are the “messiest” to eat.
Grapes are to wine as apples are to cider – the priority you give helps define how you see the world.
By making these distinctions, you expose the categories you’ve involved. Also, when you list these inherent qualities, categories, etc., it’s far easier to spot new differences more easily and (potentially) new contexts of use.
© Yu Siang and Interaction Design Foundation, CC BY-SA 3.0
1. Pick three designs/products in the domain you’re interested in. (One of these can be your own if you work in that domain.) They should be similar, so you/your users must put effort into considering differences between them. If, for example, you’re designing a new user interface menu and you want to understand the domain better, you can choose three existing menu types for comparison: dropdown versus cascading versus pie.
2. Compare each design to the other two. Here’s where you identify your own assumptions. Write down how each differs from the others. For example, from comparing how the dropdown differs from the cascading and pie menus, you notice a dropdown menu is horizontal and simpler.
Keep going as long as possible. If stuck, try considering a different dimension in which to compare the menus.
3. To make comparisons involving your users: Sitting down with one user at a time, show them the different designs and ask them to compare these: e.g., “Please list as many ways as you can think of how a dropdown menu is different from a cascading menu and a pie menu.”
Write down what each user lists as different. Users will likely soon get stuck, but encourage them to persevere by assuring them that no comparisons are silly. You can also encourage them to compare the designs in other dimensions which they haven’t considered yet. (Note: As users can find this hard, it’s best to keep adding users until no new attributes are mentioned.)
4. Consider the lists of attributes in relation to the domain you want to design for: After making comparisons, you’ll have three lists of attributes (one for each design). If you’ve involved users, you should combine the users’ lists, so you have a list for each design that summarizes what every user said.
Therefore, in the menu example, you have a list of attributes for each type of menu. Now go through each list and analyze how well this type of menu would work in your particular user interface. Do any attributes make it a good fit? Do any make it ill-suited? Have your users got any negative assumptions about a design that might make it problematic? Could you change the menu types somehow to make them fit better?
Overall, remember that making three-way comparisons means you can dig deep beneath the biases and assumptions that we usually never voice because they seem so self-evident. This might be the deciding factor behind whether you accidentally sink time into an unremarkable idea or you pinpoint vital insights early on to power a truly innovative design.
Photo by Pixabay from Pexels
Our Creativity course includes three-way comparisons (and template).
This Smashing Magazine piece presents insightful angles on making more detailed comparisons.
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Here's the entire UX literature on 3-Way Comparisons by the Interaction Design Foundation, collated in one place:
Take a deep dive into 3-Way Comparisons with our course Creativity: Methods to Design Better Products and Services .
The overall goal of this course is to help you design better products, services and experiences by helping you and your team develop innovative and useful solutions. You’ll learn a human-focused, creative design process.
We’re going to show you what creativity is as well as a wealth of ideation methods―both for generating new ideas and for developing your ideas further. You’ll learn skills and step-by-step methods you can use throughout the entire creative process. We’ll supply you with lots of templates and guides so by the end of the course you’ll have lots of hands-on methods you can use for your and your team’s ideation sessions. You’re also going to learn how to plan and time-manage a creative process effectively.
Most of us need to be creative in our work regardless of if we design user interfaces, write content for a website, work out appropriate workflows for an organization or program new algorithms for system backend. However, we all get those times when the creative step, which we so desperately need, simply does not come. That can seem scary—but trust us when we say that anyone can learn how to be creative on demand. This course will teach you ways to break the impasse of the empty page. We'll teach you methods which will help you find novel and useful solutions to a particular problem, be it in interaction design, graphics, code or something completely different. It’s not a magic creativity machine, but when you learn to put yourself in this creative mental state, new and exciting things will happen.
In the “Build Your Portfolio: Ideation Project”, you’ll find a series of practical exercises which together form a complete ideation project so you can get your hands dirty right away. If you want to complete these optional exercises, you will get hands-on experience with the methods you learn and in the process you’ll create a case study for your portfolio which you can show your future employer or freelance customers.
Your instructor is Alan Dix. He’s a creativity expert, professor and co-author of the most popular and impactful textbook in the field of Human-Computer Interaction. Alan has worked with creativity for the last 30+ years, and he’ll teach you his favorite techniques as well as show you how to make room for creativity in your everyday work and life.
You earn a verifiable and industry-trusted Course Certificate once you’ve completed the course. You can highlight it on your resume, your LinkedIn profile or your website.
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