Lessons from an Etch-a-Sketch—Implications for HCI
I was in one of Roger Grice’s HCI courses here at RPI last week, and he showed us the “interface of the day,” which was an online simulation of an Etch A Sketch (Etch A Sketch is a trademark of the Ohio Art Company). His point was about the faithfulness it had to the classic Etch A Sketch experience despite being merely a flash application, but I think the original itself is more interesting.
When I have asked acquaintances to think back to when they last used an Etch A Sketch, no on yet has relayed feelings of limitation and frustration with the toy. However, most interface designers would offer a list of violated principles of usability were they shown the design of an Etch A Sketch without having ever seen it before.
The controls are unintuitive; each knob controls an independent axis of movement, but why should the rotation of one move the drawing point up while an identical manipulation of the other moves it right? Even after convincing oneself that the knobs’ respective domains of motion correspond to a particular pair of rotations, the system seems to fight every attempt at controlled, planned movement. Diagonals necessitate careful consideration before starting lest an all-too-easy direction error send the little line veering off in the wrong direction, and curves? Rare indeed are those who can draw so much as a circle, let alone handle the subtlety of anything harder. Practice with an Etch A Sketch seems to yield meager advance in skill at best, despite hours hunched over that little red-framed gray canvas. As a consequence, “art” made on the Etch a Sketch is invariably of amateurish—almost infantile—quality. Yet, it has enjoyed wild popularity and still entertains countless consumers every year. How can an interface so obviously and pervasively flawed accomplish this feat?