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Adolf’s Online Strategy

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Week 9: Workshop Challenge

The Challenge

This week's workshop challenge is split into two tasks. See the titles below for the task details.

Task 1: Research User-Centred Design Processes or Tools

1. Research three user-centred design processes or tools that can be used to discover a core need or problem e.g. customer journey maps, service safaris, a day in the life, cultural probe, double diamond.

2. Select one process and write a short 100-word description to illustrate how it can be used to discover an insight or challenge.

Surveys

The first of my three research methods to look into is surveys. It's easier to create a survey online using Survey Monkey or similar, but in comparison to taking down information face-to-face, they can appear anonymous to those targeted which could bring some suspicion and therefore reluctance to take part.

The problem with face-to-face surveys is that we're quite reluctant to stop and take part, avoiding the clipboard-wielding team mingling on the high street like a game of Pac-Man. Could this be down to busy lifestyles or just a lack of wanting to take part? I know I try and avoid any I see.

Interviews

Next, interviews. As with surveys, the originator needs to be trusted by the participant and some connection between each party can offer better results.

Finding information by interview would bring better, more spontaneous answers as the subject gives their answer in real-time. If the interview is asking for an opinion, rather than knowledge of facts then the information is first-hand, negating the need for research to back up answers.

Starting the interview with straightforward questions that the participant can answer easily; just taking down their name or asking a general question about something they enjoy will lessen and nervousness they might be feeling.

Once the subject is relaxed and sees that they're not being quizzed or tested, that you're just after opinions on a subject, they become more responsive. Conducting an interview informally, more as a chat about the subject rather than question after question brings out more information. Making a sound recording, rather than notes during the process, means you as the interviewer can be more involved and less like an administrator of the event.

A day in the life

Next, Ethnographic Research, time spent with a subject from within their own community to gain a perspective on what it's like to be part of it; a study of peoples' lives from the same perspective.

Spending time with people can bring in type types of information; a story or experience from the point of view of the subject. For instance, they can tell you first-hand about experiences or memories of an event, and also offer answers to any of your own questions.

Spending time there brings your own observations and your own point of view around the subject, allowing you to create a story or a narrative to fit alongside the other information gained during your stay.

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This week's workshop challenge is split into two tasks. See the titles below for the task details. Task 1: Research User-Centred Design Processes or Tools Research three user-centred design processes or tools that can be used to discover a core need or problem e.g.

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I chose to explore Empathy Maps and the empathy experience for the design tool task for this week's workshop challenge. And for the social campaign, I looked to creative agency, Mother New York and their collaboration with the New York Public Library's Insta Stories. You can find both of my write ups on my blog: https://bit.ly/2zqRQMC

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Starting a new brief is always exciting. I enjoyed learning more about Service Design and deeper dives into the offerings of IDEO.org an agency here in San Francisco and one that I've been a fan of for a long time.

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This week's lecture involves a review of the field of service design.

WHAT IS SERVICE DESIGN?

Service design is a field that aims to solve problems that are:

1. User centered: approached through the eyes of the customer (end user, audience, or subject)

2. Co-creative: all stakeholders and end users are considered and uses a variety of expertise to approach the problem

3. Sequenced: utilizing a series of interrelated actions

4. Evidenced: making note and acting on the key moments in the customer's journey

5. Holistic: the entire environment is considered

The core component to service design is people: for people and with people. Designers can play an important role in services design as they are seen as natural problem solvers, are honest, willing to collaborate, experiment, and be transparent with regard to a focus on the benefit of any given solution for the intended audience.

There are many tools that can be employed within the field of services design. Below are a list of four that I chose to explore for this week's Workshop Challenge:

Empathy is critical to any design solution. How can a designer truly know how to solve a problem if they are unable to know the impact of the problem for the audience in the first place? The use of the empathy map and empathy experience overall provides the designer with direct input by placing themselves in the shoes of the customer (end user, audience, or subject). The empathy map can be useful to synthesize the data collected in the field. The tool creates a segmentation of actions: say, do, think, and feel into quadrants for evaluation and assignment. Each data point collected gets assigned a place on the map based on the appropriate, relevant action. Insights can then be gleaned from the patterns that may appear, contradictions or disconnects, or surprising revelations once the exercise has been completed. An example of the Empathy Experience referenced from Matt Cooper-Wright in the Medium Design Research Methods involves a case study in search of insights for a particular cancer drug. The research team wanted to gain insights to the experience of the patients taking the drug. What they found was that each patient interviewed had a different response or unpredictable experience for each interaction with the pill. To empathize with the subjects, the researchers were given pill packs filled with different flavored jelly beans with extreme differences in flavor. This provided the team to have a greater understanding for the patient experience and therefore help to create better solutions. "Designing from a position of deep empathy is both inspiring and humbling."

The Card Sort or Issue Cards is a technique used to engage in a deeper conversation between researcher and subject. In addition to a regular of a set of interview questions, the cards can be used to inspire input from the subject in a more self-directed way. This provides the opportunity for greater empathy and more nuanced responses as the subject may (or may not) interact with the cards in a way that provides additional insights or details on a more personal level. It can also be useful in mitigating out any subjectivity on the part of the researcher as the cards are placed in the hands of the subject to evaluate and respond.

Hypothesis Generation (or How Might We questions) involves using insights that are already know and turning the perspectives into actionable provocations. The "how might we" questions used in this exercise help the researcher to extend point of view to frame and open up the design challenge.

"How" suggests that we do not yet have the answer. "How" helps us set aside prescriptive briefs. "How" helps us explore a variety of endeavors instead of merely executing on what we "think" the solution should be.

"Might" emphasizes that our responses may only be possible solutions, not the only solution. "Might" also allows for exploration of multiple possible solutions, not settling for the first that comes to mind.

"We" immediately brings in the element of a collaborative effort. "We" suggests that the idea for the solution lies in our collective teamwork.

Insides Out is an approach to circular design thinking that involves taking a part an everyday product to "build empathy and understanding around the implications of disassembly and recover of materials and parts." IDEO has created a Circular Design Guide to help people evolve to a new, innovative, and critical way of solving problems, ones that address the issue of today and focus on creating the solutions for tomorrow. Insides Out is one of many tools in this new way of design thinking that creates a pathway to identifying new ways to solve problems, create solutions, and help the global community. The dismantling of an everyday item provides an opportunity to ask critical questions such as:

Which materials and components could be recovered from this device and reused?

Does the manufacturer produce individual parts if you needed to replace only a battery, for example?

Is it economically viable to disassemble them in the way you have done?

If not, what needs to change to make it so? You might like to consider a range of interventions such as product design, business models, reverse cycle or policy enablers.

Ultimately, the goal is to identify ways to create a more circular solution that mitigates the need to simply throwing it away, keeping a focus on our needs for sustainability and thinking differently about the products we create.

REFERENCE:

Card Sort. (n.d.). Retrieved from https://www.designkit.org/methods/24

Card Sort. (n.d.). Retrieved from https://www.designkit.org/stories/50

Dam, R. F., & Teo, Y. S. (n.d.). Define and Frame Your Design Challenge by Creating Your Point Of View and Ask "How Might We". Retrieved from https://www.interaction-design.org/literature/article/define-and-frame-your-design-challenge-by-creating-your-point-of-view-and-ask-how-might-we

Hypothesis Generation. (n.d.). Retrieved from https://servicedesigntools.org/tools/hypothesis-generation

Issue Cards. (n.d.). Retrieved from https://servicedesigntools.org/tools/issue-cards

Falmouth University (2018). Society & Purpose | Lecture. History and Futures GDE720 19/20 Part-Time Study Block S2 (Falmouth, UK: Falmouth University)

Manzini, E., (2015) Part 1: Social Innovation and Design, in Design, When Everybody Designs: An Introduction to Design for Social Innovation [ebook], Cambridge, Mass: MIT Press. Available from: https://ebookcentral.proquest.com/lib/falmouth-ebooks/detail.action?docID=3339947. pp. 7-74

Romanoff, M. (2017, February 9). "How Might We" Questions. Retrieved from https://dschool.stanford.edu/resources/how-might-we-questions

Stickdorn, M., Schneider, J., Andrews, K. and Lawrence, A., (2011) This is Service Design Thinking: Basics, Tools, Cases [ebook], Hoboken, NJ: Wiley. Available from: https://www.dawsonera.com/abstract/9789063693169 ., pp. 68-79, 88-93, 108-115, 124-135.

TEDx, Carol A. Wells, (2015) Can Art Stop a War and Save the Planet? https://www.youtube.com/watch?v=bQKNkmuZ7V8

Service Design Tools: Communicating Methods Supporting Design Processes (2009), . Available from: http://www.servicedesigntools.org/repository

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GDE720 W9 | Lecture Review - AttaGirl Design

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Society & Purpose This week's lecture involves a review of the field of service design. WHAT IS SERVICE DESIGN? Service design is a field that aims to solve problems that are: User centered: approached through the eyes of the customer (end user, audience, or subject) Co-creative: al

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In my post, I have my 100 word task about journey mapping and my chosen campaign. I had 3 I was interested in exploring, but I felt the last one was the most human centred and relatable to current events.
https://jazzstew.wordpress.com/2020/04/18/service-design-society-purpose/

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Here's my 300 – 400 word description about Karma Cola and how I think they have used service design. There is a mockup at the end of the blog.

Full blog here.

Thanks and enjoy!

Peace out! ✌️

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Just finished uploading my response to Week 9's challenge.

For the first part of the challenge I chose the '3-hour brand sprint' whereas for the second part I looked at Dove's Real Beauty campaigns.

Link to blog here: http://lindsayaquilina.com/how-can-graphic-design-bring-about-change-to-society-for-the-good/

Enjoy <3

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Looking into the Double Diamond and 'Empowering SAP to lead the revolution against plastic' project by DK&A

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My week 9 blog post is now up – had a lot of fun looking into the Cadbury campaign and was particularly pleased that their brand manager responded to me reaching out 😊

https://alicemarlow.home.blog/2020/03/30/week-9-service-design-and-saving-the-world/

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Catching up!! For Task 2 of the Workshop Challenge I am looking at the recent Cadbury & Age UK collaboration to tackle loneliness – removing the words from the chocolate bar wrappers to raise both awareness and money for the charity.

This campaign highlighted the fact that around a quarter of a million elderly people in the UK regularly go a whole week without speaking to anybody. The words were removed from the wrappers to make a statement and catch people’s attention, hoping to remind them to reach out to an elderly friend or relative who may be lonely.

Cadbury also donated 30p from the sale of each of the limited edition bars to Age UK.

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Task 1 blog post here: https://rachelwise240483.wordpress.com/2020/03/27/user-centred-design-processes-and-tools/

Task 2 blog post here:
https://rachelwise240483.wordpress.com/2020/03/27/service-design-and-social-issues/

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During my research I came across this AIGA article about satire. The artist collective Slavs and Tatars are analysing the relevance of satire today "where reality is stranger than fiction".

In the article they talk about how the role of satire has changed through the years and there research aptly named Pickle Politics.

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In the middle of a quiet residential neighborhood in Berlin, a green storefront opens into the studio of artist collective Slavs and Tatars. There's a room with a large shared work table, where members of the collective work from laptops, and a room with floor-to-ceiling book shelves looking out onto the street. And in the center is a spare room with some peculiar stainless steel furniture that I'm told will soon be the Pickle Bar, set to open next summer. The room can be cordoned off by pulling shut large plastic paneled blinds adorned with an enormous advertisement for Pickle Juice, rendered in an electrifying Gatorade-esque graphic language.

The soon-to-be Pickle Bar, and the various pickle-themed works within are part of the artists' ongoing Pickle Politics research, which uses the idea of pickling and fermentation-an act of simultaneous preservation and deconstruction-as a frame for examining history, politics, and geopolitical relations. The graphics on the room divider, for instance, are a play on the recent phenomenon of pickle juice being repackaged and sold as a sports drink-a Western appropriation of a drink long used as a hangover cure in Eastern Europe. They've also applied the concept of fermentation to the nationalist rhetoric in Poland and as a counterpoint to ideas that arose from the Enlightenment Period.

"It's a stupid medium, pickles, and it's a way of using humor," says Slavs and Tatars' Payam Sharifi, standing in the empty proto-Pickle bar, which will offer vodka and fermentation parings and feature standup comedians. "There's nothing more pedestrian than a pickle, right? And yet through this very simple idea of fermentation and pickling, you can unravel much more complex things."

"The subject of satire was really a question for us. We were asking: 'What is the relevance of satire today?'"

It's an apt description of the work of Slavs and Tatars in general, which tends to use satire and humor to both break down complexities and draw parallels across cultures. Founded in 2006, the collective is dedicated to exploring "an area east of the former Berlin Wall and west of the Great Wall of China," through publishing, exhibitions, lectures, and performances. The group has exhibited from Warsaw to Zagreb, Vienna, Seoul, New York and Paris. In June, it had its curatorial debut with the 33rd Ljubljana Biennial of Graphic Arts, which again, focused on the subject of satire.

According to Sharifi, the biennial became a chance not only to survey other artists and designers employing satire in their work, but also to probe how effective the genre is in a contemporary context. "The subject of satire was really a question for us," he says. "We were asking, 'What is the relevance of satire today?'"

Satire has long been used in art, design, and literature as a method of speaking truth to power-of pricking people's consciouses, particularly in times of political strife or authoritarian rule. As Sharifi points out, some of satire's power lies in its ambiguity: the best satirical language is so clever and so coded that the butt of the joke can't quite work out that he's the punchline. Satire has bite-or a briny acidity, depending on who you ask-and unlike more palatable jokiness, it's long been associated with subversion and societal upheaval. As George Orwell once wrote, "Every joke is a tiny revolution."

Within the context of the biennial, entitled , Slavs and Tatars also drew a connection between satire and graphics, both of which they consider to be important in their accessibility. Started in 1955, the Ljubljana Biennial was significant for bringing together artists and graphic designers from both the East and the West of the world during the Cold War, primarily through its emphasis on graphics and printed materials, which could be created cheaply and relocated easily. Similarly, satire can be considered a form of "popular philosophy," as the collective puts it in intro to the biennial catalog; a genre resolutely "for the people." "These two historical G-spots of the Biennial, if you will-the geopolitical and graphic-retain their currency, if in a more dissonant manner," it writes.

There's also, of course, satire's association with political cartoons and printed journals. Slavs and Tatars looked toward Simplicissimus from Germany, Punch from the UK, Molla Nasreddin from the Caucasus region, and Slovenia's Pavliha for curatorial guidance. Nejc Prah, who designed the biennial's identity, took inspiration from the early 20th century Slovenian satirical newspapers Osa (meaning wasp), Bodeča neža (silver thistle), Jež (hedgehog), and Rogač (stag beetle). Picking up on a common thread in all of the titles-spikes, stings, and pricks-he created a visual language that subtly conveys the jab of a joke, featuring a hedgehog-like character as something of a branding mascot.

"Today, when anyone can create a meme on their phone, we wanted to test the waters and ask, 'What are the limits of satire?'"

Just as the affordability of print provided fertile grounds for these satirical journals in the last century, the accessibility of software and the ease of publishing on social media platforms has allowed for an increase in satire today-and in meme form in particular. "We noticed an interesting phenomenon, which was that we're now witnessing this kind of proliferation of satire online in the same way that we saw in the early 20th century with political satire journals," says Sharifi. "Today, when anyone can create a meme on their phone, we wanted to test the waters and ask, 'What are the limits of satire?'"

To answer the question, Slavs and Tatars looked outside of what's traditionally thought of as satire in art and design, and even beyond those who consider themselves as artists. One of the projects featured in the biennial centered around the German book collector, art historian, and Marxist activist Eduard Fuchs, whose patronage of and scholarship in caricature helped frame a discourse around the rise of fascism in Germany. In biennial project No More Fuchs Left to Give, book dealer Arthur Fournier and scholar Raphael Koenig present selections of the lithographs Fuchs published, including ones that directly impacted philosopher and critical theorist Walter Benjamin and his influential ideas around mechanical production.

The show also includes new works by artists like Martine Gutierrez, who last year received acclaim for project Indigenous Woman. In the 124-page fashion magazine, she served as the sole model, refashioning herself for each ad and fashion spread in style of performative self-portraiture in the vein of Cindy Sherman. Another of the show's standout entries is the media artist Ferdinand Kriwet's text-based works: aluminum "text-signs" and cardboard buttons that feature various plays on words. His texts are arranged in a circle as if on badges, with words flipped and bleeding into each other to create funny and poignant portmanteaus. This focus on language is also echoed in the work of Hamja Ahsan, who won the biennial grand prize, and his book Shy Radicals: Antisystemic Politics of the Militant Introvert.

For Slavs and Tatars, part of the drive behind their approach of looking far and wide-before digging deep into work that the artists themselves might not even consider satire-was that it seemed to them that satire as a genre is somewhat losing its edge. Sharifi points to shows like S aturday Night Live and other late night TV programs, and suggests they've lost their potency as political reality becomes more absurd than their satirical portrayals. As a counter to this phenomenon, the curators included the show Top lista nadrealista ("The Surrealists' Top Chart"), considered "Yugoslavia's answer to Monty Python." Running from 1984 to 1991, many of the show's satirical plot points-i.e. a Croatian-Serbian domestic squabble that turns into an armed battle in their home-foreshadowing the Yugoslav Wars in the 1990s.

"For people living in Eastern Europe or the Middle East, it's nothing new for reality to be outstripping fiction," says Sharifi. "It's not a new phenomenon, and satire has been very effective in the past, during communism, and still today." By contrast, he sees satirical TV shows in the United States more as therapy than effective satire, and finds they can be reinforcing of norms, especially when they imply that everything was fine before Trump took office.

"I would argue that satire doesn't have that power today that it had a hundred years ago."

In that vein, one thing that Slavs and Tatars learned from putting together Crack Up - Crack Down is that satire can be pretty conservative, or even regressive, particularly when it's used to suggest going back to the way things were before. With the rise of nationalism around the world, there's been a boom in comedy and satire-but putting out a Tweet or slapping together a meme doesn't exactly pack the same punch as satirical traditions in the past. Sharifi suggests that the glut of imagery today has served to dilute the potential for satire in art and design. "I would argue that satire doesn't have the same power today that it had a hundred years ago," he says. "That doesn't mean that it's irrelevant, it's just that it has to be kind of configured, or expressed, differently."

New and different ways of expressing satire is a clear through line in the works in the biennial. Thanks to Slavs and Tatars' thoughtful and thorough curation, effective satire certainly appears to be alive and well, if in a different forms than it's been celebrated for in the past. Veering from the biennial's origins in "graphic arts" and printed works, Slavs and Tatars considered graphics in their curation less as a medium and more as an "editorial agency," much as they do with their own publishing, performance, and exhibition work.

So where does Sharifi think satire is best found today, if it's lost it's force in visual culture, as he claims? "I believe that poetry and verse are quite important nowadays, and that technology hasn't corrupted them as much as it has visuals," he says, after a pause. "Language still has a kind of polyvalence, which is key to satire and this idea of encryption." He brings up the historical trope of the king who doesn't realize that he's being made fun of by his court jester, and laughs at his own expense. "That's the power of satire," says Sharifi. "So the question is, 'What media, or what positions, today have that level of ambiguity and sort of potency?"

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Is Satire Possible in Art and Design Today?

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In the middle of a quiet residential neighborhood in Berlin, a green storefront opens into the studio of artist collective Slavs and Tatars. There's a room with a large shared work table, where members of the collective work from laptops, and a room with floor-to-ceiling book shelves looking out ont

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This Girl Can (and so can you)

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Tasks

One: Research User-Centred Design Processes or Tools

Research three user-centred design processes or tools that can be used to discover a core need or problem e.g. customer journey maps, service safaris, a day in the life, cultural probe, double diamond.

Select one process and write a short 100-word description to illustrate how it can be used to discover an insight or challenge.

Two: Research Existing Campaign or Service Design Project

Research and select one existing campaign or service design project that tackles a social problem and analyse its effectiveness. Please remember to include information about any user-centred design processes that may have been used and the impact it brought about.

Write a 300 - 400 word description with screen grabs to illustrate your research findings.

New week, new brief!

One: Research User-Centred Design Processes or Tools

Research three user-centred design processes or tools that can be used to discover a core need or problem e.g. customer journey maps, service safaris, a day in the life, cultural probe, double diamond.

User Scenarios

The three tools I have chosen revolve around different parts of the process of the service design process. The first one, user scenarios, begins to imagine why and how a user might begin to engage with the service and give context around the service. Personas are a precursor to user scenarios, and then the scenarios take the personas through the service to question whether it would allow the user to meet the goal. It should avoid stereotypes and unrealistic assumptions, and include story items like a plot, context, motivations and how the service allows them to fulfil that. Breaking down the users' needs like this allows the designers to define suitable requirements for the service that will match the scenarios.

Concept Walkthrough

Later in the design process, the designer will need feedback from potential users so that they can identify what works and what can be improved. Prior to this, the concept might only have been tested within the designers, and a concept walkthrough is an early way in which to test its effectiveness. To make this tool effective, a designer needs mock-ups and images to demonstrate the service to the users. A concept walkthrough is task-specific, rather than heuristic and gives a holistic impression. By slowing down the process and allowing users into the design process at this early point means that each decision can be validated or changed and real-life insight into users minds.

Success Metrics

The previous two tools have been qualitative: gathering information from users. Success metrics are quantitative and measure how users are engaging with the service in real life. The number of users will be higher than can be captured by interviews and can be conducted remotely by questionnaires during and after user engagement. Metrics are vital to how the service is actually serving the users and whether any adjustments can be made to enhance the experience.

Select one process and write a short 100-word description to illustrate how it can be used to discover an insight or challenge.

User scenarios are a tool that begins to imagine why and how a user might begin to engage with the service and give context around the service. Personas are a precursor to user scenarios, and then the scenarios take the personas through the service to question whether it would allow the user to meet the goal. It should avoid stereotypes and unrealistic assumptions, and include story items like a plot, context, motivations and how the service allows them to fulfil that. Breaking down the users' needs like this allows the designers to define suitable requirements for the service that will match the scenarios.

Two: Research Existing Campaign or Service Design Project

Research and select one existing campaign or service design project that tackles a social problem and analyse its effectiveness. Please remember to include information about any user-centred design processes that may have been used and the impact it brought about.

I've always found this campaign to get more women into exercise and sport very inspiring because it shows exercise to be something we enjoy, rather than school PE lessons that most people hate. Exercise is for everyone and is essential to staying healthy. The campaign focusses on different women and reasons why they don't exercise and shows them pushing through that. For the task I'd like to go more in-depth in the campaign to see how they built different personas that lots of people can identify with.

This is my research which I will distil into the description below.

First TV ad aired in January 2015, with hashtag this girl can

Created in response to Sport England's Active People Survey in 2014 that found 75% of women aged 14_40 wanted to exercise in more, with 2 million fewer women exercising than men.

The task was to get more women aged 14_40 exercising regularly

Research done by Sports England Active People Survey

Agency FCB Inferno needed real women what they thought of each response

Gathering lots of information, they looked at what was common across demographics: fear of judgement

Focus groups at this point to analyse this response, which was positive

Wanted to know whether people engaged: "Sport England didn't just want to know how many of a focus group liked it, they wanted to know the semantics of it, what words they were using, how they expressed they liked it. They didn't want their research just regurgitated back to them." DandAD

Ability to empathise with women they were aiming it at

Relatable women - chased down people outside sports centres to get as much variety in the people involved - Personas

Although they wanted to show the barrier they wanted to show people overcoming them

Feedback from the hashtag allowed them to see what women thought

In the past five years, the campaign has helped more than 500,000 women and girls to become more physically active. Guardian

Sports England continue to survey and found that women are still afraid of what people think of them and that they are worried about speaking out about things such as periods and menopause that affect their activity levels

Women not told they have to exercise, they are shown ways in which they can overcome, and the positivity it can bring

Research affected creative decisions: "It found, for instance, that using photographs of women in the context of the activity rather than actually doing it was more effective in promoting it." Guardian

2015 Missy Elliot, I jiggle therefore I am, sweating like a pig feeling like a fox, I kick balls, deal with it, same right I look hot

2017, campaign narrative phenomenal women 1978, Maya Angelou, Women Phenonmally - emphases womanhood, mother, grandmother, up the generations. In everyday situations, a wider range. "Unleash your inner beginner' and 'Take me as I am or watch me as I go'. The mantras are based on research from a survey of 200,000 people that highlighted common worries such as not being good enough, or overcoming stereotypes about what women should or shouldn't do." The Drum "addresses the mental hurdles which people feel when returning to exercise after taking a break, which often makes the idea of exercising all the more daunting."

2020, Me Again,

Write a 300 - 400-word description with screen grabs to illustrate your research findings.

Sports England identified in their biannual survey of 2014 that women were far less likely than men to engage in regular exercise, even though 75% aged 14-40 said that they wanted to exercise more. The campaign This Girl Can was underpinned by five years of research, conducted in a random sampling of households across England with around 175,000 people completing each survey. Each local authority had a minimum sample size of 500 people, to ensure that the results reflect the English population.

With Sports England, agency FCB Inferno conceived a campaign that aimed to get more women exercising. The survey had given them metrics about why women weren't exercising, however, they thought that women would not respond well to being told that they should exercise and so they began to GENERATE HYPOTHESISES. Across different demographics, they found a common theme: fear of judgement; that their bodies or skills at sport would be judged. Later focus groups responded that this was true. They dug deeper because Sports England "wanted to know the semantics of it, what words they were using, how they expressed they liked it. They didn't want their research just regurgitated back to them" DandAD and wrote OBSERVATION NOTES of their focus group feedback.

To find women that people would relate to, FCB Inferno approached people outside sports centres to learn about the barriers that they overcame to be there, because they felt that it wasn't only about showing the difficulties that women face to get into sports, but how women overcame them. From these experiences, they built PERSONAS that felt true to life.

The first campaign in 2015 featured taglines like, "I jiggle therefore I am", "Sweating like a pig feeling like a fox", "I kick balls, deal with it" and "Damn right, I look hot" that emphasised the features of women's bodies and what women were afraid of when exercising. The hashtag #thisgirlcan meant that Sports England and FCB Inferno could get direct feedback and SUCCESS METRICS, and the tag went viral in the days after the release.

The feedback was really positive but some felt that using "girl" was demeaning to older women. In 2017 they released a new campaign that built on the success of the previous one but addressed the criticism. They emphasised the everyday act of exercising with a broader range of women, with Maya Angelou reading her Phenomenal Women poem in the advert. From more research, they created mantras such as "Unleash your inner beginner" and 'Take me as I am or watch me as I go" that highlighted common worries such as not being good enough, or overcoming stereotypes about what women should or shouldn't do, as well as why women start and stop exericse.

In 2020, the campaign released a new advert that centres on the defiance of the women who have had to overcome societal barriers to get active. They used real people that their personas would relate to: a woman with three children who struggled to find time to exercise, a woman with painful periods who felt this stopped her from exercising and a woman whose menopause made her feel the same. The film did not shy away from issues that women feel, and affect their exercise but do not feel they can talk about, and brought them to light so that women can start talking about menopause, about periods and about family. The advert showed these women getting back into exercise with the support of their friends, family and community to show that we can all be part of the solution.

The advert reached over a million views online before it went on air and entirely through digital word of mouth.

Over the past five years This Girl Can has inspired nearly three million women to get more active, and over the next year aims to get 250,000 more. From 2015, the campaign has developed from a set of survey results to continue listening to what people have to say about why they wanted to get more active and what was stopping them. By centring on the women they wanted to inspire have built a successful and engaging campaign.

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Week 9: Service Design and Saving the World

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Tasks One: Research User-Centred Design Processes or Tools Research three user-centred design processes or tools that can be used to discover a core need or problem e.g. customer journey maps, service safaris, a day in the life, cultural probe, double diamond. Select one process and write a short 100-word description to illustrate how it can...

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Chosen process or tool: Mozilla's Open Innovation Toolkit

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Chosen process or tool: Mozilla's Open Innovation Toolkit

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This design process by Mozilla is a community-sourced set of best practices and principles, that is best used within the field of UX design. This process is similar to the Agile methodology, in that human testing is at its foundations. This process is a three-step process: Gather insights, Ideate, and Prototype & test. Through immersing oneself in a problem to better understand new perspectives, insights build up a brief. Using well-proven methods and prompts the designer can then ideate collaboratively upon the brief. The models or prototypes then made can be tested in the real world. This loop can then start again to iterate, improve and move the design forward.

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I've been writing this post in bits this week so it might seem a bit rambling but if you skip to the end, you can find the Workshop Challenge https://theworkshedoes.wordpress.com/2020/03/26/service-design-and-saving-the-world/

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Still lagging a bit behind, but I'll get there hopefully...

This week's lecture was very interesting. I am really into poster design and political satire. It's a big thing in Malta too, from newspaper caricatures to full-on theatre productions. And I really like the work of art movements that were inspired by political affairs.

Will be talking more about this in my blog. Will be researching quite a bit of stuff too.

On a different note... I hope you guys are all good and healthy <3

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Starbucks' #RaceTogether Campaign was pretty much a disaster, however it does illustrate the important of putting the customer first when looking at service design.

Blog:  https://lucysmagraphicdesignblog.wordpress.com/2020/03/26/week-9-service-design-campaigns-for-social-change-2/

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Blog post looking at the Billy Chip in Bristol (research into an existing project)

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Blog post looking at the Billy Chip in Bristol (research into an existing project)

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Check it out here

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I decided to go with Prototyping as my process.

Extract;
'A prototype is a rough representation of the final idea, often done to start the creative juices flowing. It is a great way to show an overview of the final outcome using materials like fabric, paper or card...

Here is a link to my blog and the rest of the text.

Enjoy!
Peace out! ✌️

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Found this great video that refers to user design as human design. The problem with it being that once you call it user design you take away the human part of it.

Worth a watch, hope you enjoy!

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What is User Centered Design? — updated 2023

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What is User Centered Design? User-centered design (UCD) is an iterative design process in which designers focus on the users and their needs in each phase of the design process. In UCD, des…

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Can not believe we are here already! Just managed to get through all the content from this week. Loved the watch video from the research material,

'Can Art Stop a War and Save the Planet?'

It's got me thinking about our current virus situation and if there is a way of connecting with people in a similar way. Maybe not as graphic but in a simple illustrative way?
A way to illustrate to people how important the 2M rule is.

2M = Dead
2 close = Spread

The 'dead' part wouldn't mean death to the person but more death to the virus spreading.
(ps. excuse the rough sketch)

Thoughts are very welcome :-)

Thanks, J

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Service Design for Community Good. (extract from 400 word blog)

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Service Design for Community Good. (extract from 400 word blog)

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So, you need a ladder to fix a gutter and you don’t have one, but someone who lives two streets over has one, and uses it once a year to trim his trees. So wouldn’t it be better for the ladder to get some use, the man’s gutters to be fixed, and some local connection and community engagement? There are online platforms (a number of them in fact) that are designed to support this idea of community borrowing. It is known by different names: The Community Library of Things, neighbourhood borrowing, peer to peer lending. The idea is that there is not a need for money to exchange hands, i.e it isn’t a hire scheme, though often there are payment schemes like time banks, or a bottle of wine for a day with the power drill etc.

It makes a lot of sense doesn’t it? In a world of AirBnB and renting your driveway for parking, it seems logical that we as a community would start to get more use out of the things we do own, and foster community building at the same time. So why is it not prolific?
BLOG:
https://ashleighsmithdesign.wordpress.com/2020/03/26/service-design-for-community-good/

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Context mapping is a user centred design tool developed at the Technical University of Delft, NL. Used primarily rto support an interaction designers’ approach, this is a very tacit and rich data gathering method. Take multiple sources of information gathered from you participants. This is to include the self-presented information from them: long verse interview, survey and personal accounts, but also observation of tasks, observation of daily life for participant, consideration of the user’s personal needs but also of the community around them though stakeholder analysis. Also, the collation of self-presentations through social media accounts and consideration of how people wish to be viewed. All of this rich data comes together in a map of the context, and from all of the sources common themes are identifies. This supports and feeds the concept generation phase.
https://www.interaction-design.org/literature/article/probes-for-context-mapping-how-to-design-and-use-them

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Workshop Challenge Service Design Processes 

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Workshop Challenge Service Design Processes 

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Personas & User Profiles
Businesses can identify and create a number of profiles or personas, which might inform how they design and/or market their product or service. By imagining these 'personas', they can attach traits, likes and dislikes, based on market research. The benefits are that the business is acknowledging that not all customers are the same and thereby catering to a range of needs. However, the downside is that people will always be unique and you can't make a persona to fit every single customer. Also, you run the risk of making sweeping generalisations about customer groups which may lead some to feel disenchanted.

Blog post below for research:

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http://schokotrunk.com/2020/03/25/week-9-facienda/

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The process of Customer Journey Mapping falls into the ‘exploration’ stage of Service Design. Conducted from the perspective of the customer, every interaction and touchpoint, every decision and emotion are recorded, whether positive or negative, building up a holistic view of the customer experience. Visually a map can be very interesting as one can include text, images and ephemera however it is a process that can lead to more questions than answers as you identify areas that need to be worked on. It will help to build up customer personas to use in the ‘creation’ stage of your design process.

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The versatile nature of using cards allows space for surprising insights to surface. For example when a language or cultural barrier exists, picture cards can help to uncover insights around the values held by different communities. They allow a researcher to understand the mindset and priorities of their users and can act as a prompt to open up conversations and develop rapport with participants. Much of user-focussed design is iterative and by using card sort, researchers can quickly learn a lot about how their ideas might be received & how they can better align their design to the user’s values.

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Blog post looking at three user-centred research methods

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Blog post looking at three user-centred research methods

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Also contains my 100 word description of the card sort method. View it here.

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Anthony Burrill live talk tomorrow.

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Field guide to User centred design by IDEO

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Field guide to User centred design by IDEO

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They have a copy to download for free when you sign up, i've linked it here for you all it's really extensive. Will be a great resource.

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Here's some more info about the Double Diamond approach (a 4 step project mapping process, created by the Design Council) if you've not seen it in previous modules.

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This four-part guide is for anyone who wants to understand the methods designers use and try them out for themselves. We've grouped 25 design methods into four steps - Discover, Define, Develop and Deliver - based on the stages of the Double Diamond, the Design Council's simple way of mapping the design process.

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https://www.canva.com/learn/cause-marketing/

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For this weeks task I looked at ListeningNYC. I really liked the co-creative aspect of this project. Good variety of tools used to collect data. It even got a 'Right to Know' bill passed in NYC. More on the blog -https://dairet.com/week-9-society-and-purpose/

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Tackling website emissions and greening the web

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Tackling website emissions and greening the web

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The website carbon calculator is a tool to help green the web by measuring a website's carbon footprint.

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Sorry for dropping out of tonight's tutorial Richard, Anna & Tony

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Sorry for dropping out of tonight's tutorial Richard, Anna & Tony

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Really enjoyed talking to you all but clearly clicking on the link to the dancing traffic light tipped my internet connection over the edge!

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Some questions: In using user centred design tools within the graphic design realm are we speaking about a variety of essentially research tools that feed into design process or are they actually design tools? If I am missing the point I'm super curious how these things are used to actively design?

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The best user centred design tool I have used for product design is Context Mapping. Really rich generative tool that aims to capture the entire user experience.
https://www.koosservicedesign.com/blog/the-power-of-context-mapping/

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Written up and visualised, except for my own text and images…

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Week 8: Workshop Challenge

The Challenge

This week we want you to bring together your writing and design into one holistic form and experiment with innovative ways to launch your project.

Please bear in mind that we are looking for original, innovative, exciting and appropriate design ideas. Be brave and ensure this is the focus and you do not attempt to implement a more pedestrian approach.

We accept the format of your publication may not be in a traditional book form. If using digital, performance or installation platforms, for example, please ensure you communicate this clearly within the final presentation.

1. Design a visual synopsis of your publication, to include the following:

1. Front cover (with title)

2. Chapter opener

3. Two double page spreads

4. Back cover (using your previously written short synopsis)

2. Your final design should include your full 3,000-word text and original, self generated images.

3. Write a short paragraph about the methods by which you might fund, promote and launch your project, if you were an independent author.

Words to date

Currently 'The Virus' is stopping my day-in-the-life experience and therefore a large section of the 3000 words is still to be written, the bulk of the essay and image content was planned to come from there.

100 word synopsis.
I've re-written the text from week seven to fit in better with this weeks' task. Originally it was to describe the idea of the article to the group. This week needs it to describe it to anyone who cares to pick it up.
[Edit]

Over the last few years the Market Hall in Shrewsbury has become ever more popular, there's a real community inside, it's now a real 'place to be'.

Completed in 1965, it is filled with a wide range of lifestyles, from traditional fruit and veg merchants, butchers, florists, many have traded there for over 30 years.

Now new traders have set up alongside; a coffeehouse, traditional barbers, organic wine merchant, even artists studios. This is an example of a day-in-the-life of the market, an observational essay with interviews and insights from the wide variety of tenants, backed up with candid images of their everyday goings on.

The Market Hall Shrewsbury. [Edit]

A large Victorian market hall was in a poor state of repair and was condemned as unhygienic, dingy and "no longer fit for purpose". It was the 1960s post-war Britain, the country was looking to a new age.

Within the vista of medieval steeples stands a 240ft tall slender red brick clock tower. In the heart of Shrewsbury is the Market Hall, a indoor market and ground-floor shopping centre officially opened on September 16, 1965. It was hailed "the most modern building in Shropshire", and "a prime example of cutting-edge modern architecture". In post-war Britain, the country was looking to a new age.

Developed by the Second Covent Garden Property Company and designed by David du Rieu Aberdeen[1], a respected architect of his day having designed the former Swiss Centre in Leicester Square[2], the City offices of the Swiss Bank, the redevelopment of Paddington General Hospital and the City headquarters of the First National City Bank of New York.
(Insert Visual examples)
The new Market Hall cost £1 million to build, equal to £16.5m today[3]. (Really?!)

The Pevsner Architectural Guide pronounced the new Market Hall 'a good example of modern architecture'. With modern building materials of concrete, glass and metal being used, Pevsner talks of the "clean lines and simple forms. The town's timber-framed traditions are evoked - the upper storey is jettied out on a reinforced concrete structure and faced with vertical black fins in an echo of close studding.

Despite the credentials of its architect the Market Hall's design was controversial from the start. Its contemporary critics were opposed to the demolition of the old Victorian market hall and predicted the new building would be a 'white elephant'. The new market stood for progress and the previous 'Victorian monstrosity' stood for 96 years.

The building was officially opened by the Lord Lieutenant of Shropshire Viscount Bridgeman whilst the Mayor of Shrewsbury Henry Rhodes Beckett, R.A.F. (retired), claimed: "We have erected something I think we can all be proud of".

The inside of the Market Hall is two-tier, with permanent stalls around the perimeter of the market floor and gallery and in the centre, the traditional Victorian method of trading on benches was still found to be the best, and this method continued for well over two decades. But around 25 years ago the current canopied stalls replaced the benches, and more permanent market businesses took their places.

Over the years the fortunes of the market have fluctuated.
(WAITING INFO ON HOW) (Compare how good things are now with slumps in the past?)
The market was being managed by two sets of agents on behalf of the building's owner, the Scottish Widows Pension Fund, and both sets seemed to be leaving any duty of management to the other.

In 2006, a vacancy was advertised for a new Facilities Manager. Kate Gittins took over. Kate lived locally and had used and championed the market for more than twenty years so when the job for the manager came up, the stallholders insisted she applied. "When I first started, it was running at about 40% occupancy. There was nothing here [on the gallery], it had the cafe in that corner, the cakes in this, maybe another stall along from there. Nobody knew what was going on, the maintenance men were being given the rents by the stalls, the owners where nowhere to be seen".

Her vision was to make the Market central to life in the town, to make it so diverse and untraditionally traditional. They now enjoy 100% occupancy, there's even a waiting list. It's thanks to some significant turning points over the years, one of them being a champagne bar. That certainly aroused interest. That gave the fishmonger the idea to set up his own seafood bar and so it went on...

Then came the Bird's Nest Cafe, creating a fabulous seating area out of willow creating a giant nest. Again, this inspired others to follow...

Now more cafés, artisan producers, vintage sellers, quality gift boutiques, artists and craftspeople are all busy alongside the traditional fresh fruit and veg stalls, family butchers, the florist and the baker. People don't just come to buy goods, it's a place to meet, a place to hang out. A new Gin bar has added yet another dimension to the place, and given it the confidence to launch a series of regular Late Night openings which have been an overwhelming success, raising the profile and introducing the Market Hall to a whole new audience.

--

A Day-in-the-life of the Market Hall

(Don't want to say 'We or I', so? Just narrate what happens, not 'I/We spent a day with...)

(Start as a story: It's (time) and outside the hall...)

--

SIGN OFF

--

The core offering - the butchers, fruit and veg, florist, baker - all the things that say "market", hasn't been forgotten, but it's what else has been woven into this market that gives it its diversity and vitality.

The overwhelming sentiment for the future again is optimism.

[1] https://en.wikipedia.org/wiki/David_Aberdeen

[2] https://en.wikipedia.org/wiki/Swiss_Centre,_London

[3] https://www.inflationtool.com/british-pound/1965-to-present-value?amount=1000000

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This week we want you to bring together your writing and design into one holistic form and experiment with innovative ways to launch your project. Please bear in mind that we are looking for original, innovative, exciting and appropriate design ideas.

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Samply: To visualise customer experience, journey maps, stakeholder maps, and personas: https://www.smaply.com/

Experience Fellow: For ethnography research project: https://www.experiencefellow.com/

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You can open this icon set in AI and use as per our requirements.

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Wow are we really in week 9 already 🤷‍♀️

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Wow are we really in week 9 already 🤷‍♀️

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I hope you are all well.
This week I am looking at Empathy Maps, Service Blueprints and Mobile Ethnography.
Task two - following the last task I really liked Battersea's new campaign #rescueismyfavouritebreed putting a more lighthearted spin on things. Still having a browse but might go with this one. :)
Stay safe :)

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I like to feel connected with designers and creatives by having access to their daily lives e.g. via FreundevonFreunden. in other news, excited about this week's task, I really struggled with the written task these last few weeks.

Hope everyone is doing well considering.

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This is the first thing that popped into my head, might look into it a bit further.

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This is the first thing that popped into my head, might look into it a bit further.

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Read about it a while ago in the Guardian, they're essentially tokens you can give to homeless folks so they can exchange them for food & drink. It started in Bristol so it's nice and local :)

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What is BillyChip®? Give them to rough sleepers and homeless people as an alternative to cash! They can be redeemed in coffee shops and takeaways for food and drink - share a little kindness and compassion whilst also donating to other like-minded charities!

The BillyChip is a unique safe and secure platform which allows the public to directly donate to rough sleepers without the fear of their donation being miss used for drugs or alcohol.

The recipient can redeem a BillyChip in coffee shops and takeaways for the minimum of a hot or cold drink of their choice, many outlets offer more.

Invented by Billy Abernethy-Hope a twenty-year-old ambulance driver from Bristol. Tragically, Billy died before he could see his idea become a reality and as a result, his family launched the BillyChip in his memory.

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Delivering kindness, compassion and a free hot drink to homeless people

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After helping support the homeless at Christmas, Billy, felt disheartened at how little support the general public gave to local homeless people. Many people donate to charity on a regular basis but Billy was surprised what a small percentage of donations were given directly to people living rough on our streets.

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Was thinking about looking at this campaign. It was quite well publicised so there should be information about it: https://www.projecteightyfour.com/

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Take a stand against male suicide. Join the campaign today with CALM.

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Just spotted this. A series of live Instagram talks, with a focus on the creative industries. The line up looks really great. https://livetalkfrom.com/

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Live! is a series of live talks on Instagram with a focus on the creative industry.The coronavirus outbreak has many people, designers and non-designers, working remotely and housebound. The idea is to fight quarantine, boredom and, most importantly, to instill hope. Go to Live! on Instagram to follow the talks. Everything is happening really fast so the list of speakers is constantly updated. All times refer to UK time (GMT), click here to convert them to your time zone. Here is the programme:

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Live! is a series of live talks on Instagram with a focus on the creative industry.The coronavirus outbreak has many people, designers and non-designers, working remotely and housebound. The idea is to fight quarantine, boredom and, most importantly, to instill hope. Go to Live! on Instagram to follow the talks.

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Hello, I am trying to upload some stuff here but am unable to. I can write but cannot upload. Is anyone else having trouble uploading?

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A virtual community of over 500 who want to remotely volunteer their skills. We're here to help create innovative solutions to support others affected by the pandemic.

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Now might be the time to listen to Baz Luhrmann's advice on wearing sunscreen (or at least the rest of it)

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Now might be the time to listen to Baz Luhrmann's advice on wearing sunscreen (or at least the rest of it)

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But on a lockdown afternoon, this is how I put the skills I've learnt on this course to good use.  (Rabble is a sports community I'm part of).
Thought you might like it.

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I liked how the key points throughout the book are already underlined & printed on. As someone who works in a library, I could see that idea being useful across all kinds of textbooks!

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Purpose Awards | Results 2019 | Purpose Awards

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I've always found this campaign to get more women into exercise and sport very inspiring because it shows exercise to be something we enjoy, rather than school PE lessons that most people hate. Exercise is for everyone, and is essential to staying healthy. The campaign focusses on different women and reasons why they don't exercise and shows them pushing through that.
For the task I'd like to go more in depth in the campaign to see how they built different personas that lots of people can identify with.

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Hello and welcome to week 9, which signals the start of Brief 2: Society and Purpose

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Hello and welcome to week 9, which signals the start of Brief 2: Society and Purpose

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This week’s workshop challenge is split into two tasks. Click on the titles below for the task details.

Task 1: Research User-Centred Design Processes or Tools.

1. Research three user-centred design processes or tools that can be used to discover a core need or problem e.g. customer journey maps, service safaris, a day in the life, cultural probe, double diamond.

2. Select one process and write a short 100-word description to illustrate how it can be used to discover an insight or challenge.

Task 2: Research Existing Campaign or Service Design Project.

1. Research and select one existing campaign or service design project that tackles a social problem and analyse its effectiveness. Please remember to include information about any user-centred design processes that may have been used and the impact it brought about.

2. Write a 300 – 400 word description with screen grabs to illustrate your research findings.