Part of the Festival Design DNA project from the Edinburgh Festivals Innovation Lab. See design.festivalslab.com for full context & details

1. 1.
DISCOVER
{A PROCESS TO EXPLORE MORE ABOUT YOUR FESTIVAL,
WHAT PEOPLE NEED AND WHAT ELSE IS GOING ON
OUTSIDE OF YOUR ORGANISATION}

2. WHERE HAS THIS COME FROM
Festival Design DNA is a project produced by Snook for festivalslab.
It is both a set of practical tools and an exciting new conversation
about what happens when cultural professionals and organisations
start to think like designers and work to make the experiences they
create better from a person-centred point of view.
festivalslab or the Edinburgh Festivals Innovation Lab works with
and for the twelve Edinburgh Festivals on how to use new thinking
and new tools to the experience of the world’s festival city even better
for audiences, creative talent and festival organisations.
Snook is a Glasgow-based service design and social innovation
agency focusing on transforming the way services are delivered in
Scotland, ensuring people come first.

3. STAGE ONE: DISCOVER
Discovering Festival Customers: Opening Up Gaps In Your Festival:
This stage is about finding out who your customers This stage is about understanding where there are
are and developing new customer segments. significant gaps in your provision or problematic
areas. Tackle them head on rather than ignore
Big Challenges/Festival Experiences: them.
Use this stage to tackle those big challenges you Scanning The Festival Horizon:
face and look at the total experience of your
festival. Is there a wicked problem you should be
Use this stage to develop your understanding
solving or an experience you’ve always wanted to
of what is happening outside of your festival
deliver?
experience. You might want to look at what others
are doing both within and outwith a festivals
context.

4. DISCOVER
THE INTERVIEW LITE
This tool is a great way to meet
people associated with your idea
USE ME TO:
and talk to them in an informal
• Gain a far more holistic
setting. It’s best to carefully
understanding of the people
consider who you should interview
you are designing for
and what you want to find out
from them. For example if you are
trying to improve the process of YOU WILL NEED:
applying to be an act in the Fringe
Festival, interview an act who • Someone willing to be
found the experience brilliant and interviewed.
another who found it frustrating. • Equipment for recording your
interview
Interviews can be conducted • Prepared open question
with customers, staff and other
relevant stakeholders. Ideally,
you should visit the person you
would like to interview in their
own environment and use a
combination of questions and
observations to generate the
“I TALKED TO SOMEONE ABOUT
insights you want and need.
You can document your
WHY THEY DIDN’T COME TO OUR
interview via audio recordings
and photographs - this means
you have rich visual information
FESTIVAL”
to present back to the project
team. A lite interview usually lasts
between fifteen and thirty minutes.

5. INTERVIEW (LITE)
This tool is a great way to meet people associated with your idea and talk to them in an informal
setting. It’s best to carefully consider who you should interview and what you want to find out
from them. For example if you are trying to improve the process of applying to be an act in the
Fringe festival, interview an act who found the experience brilliant and another who found it
frustrating.
What 5 questions do you want to cover with your interviewee?
What did you find out?
r
you
hat re and
ut w a
P ull o ndings your
n fi nto
mai these i ase.
take ition ph
n
defi
FESTIVAL
DESIGN
DNA

6. DISCOVER
50 THINGS “50 THINGS REALLY SHOWS HOW
HARD IT CAN BE FOR A CUSTOMER
This tool is a great way to put
yourself in someone else’s
USE ME TO: TO ACCESS OUR FESTIVAL”
shoes. • Gain a new perspective on
experiences related to your
Pick one activity that is relevant idea
to your project and task
everyone in the project with
completing this activity. YOU WILL NEED:
They then have to write down a • An activity
list of 50 things related to their • Pen and paper
task. What happened? How did
they feel? What did they hear?
For example if you are trying
to improve the way finding of
a particular festival, task the
team with finding their way to
the toilet with vision restricted
glasses. (You can do this using
tape, buying a cheap pair of
sunglasses and colouring
them in etc) Then ask them
to write 50 things about that
experience.

7. 50 THINGS
Pick one activity that is relevant to your project and task everyone in the project with complet-
ing this activity. They then have to write down a list of 50 things related to their task - What hap-
pened? How did they feel? What did they hear? For example, if you are trying to improve the way
finding of a particular festival, task the team with finding their way to the toilet blindfolded in a
venue. They then have to write 50 things about that experience.
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25 50
FESTIVAL
DESIGN
DNA

8. DISCOVER
CONTEXTUAL INTERVIEW
This tool is an extension of the USE ME TO:
interview lite tool. A contextual
interview is spending time • Uncover the unknown
with a person in their own unknowns.
space and asking them loosely • Gain a deep understanding
structured questions. of behaviour, needs
problems, desire and
This technique comes from motivations. The output
ethnography methods where of an interview is rich and
ethnographers could spend meaningful observations &
months or years living and insights that build a story on
observing different people from the participant. The stories
a variety of cultures. can be supported and
emphasised by images &
You should consider carrying video clips.
out a range of interviews with a
range of people for a particular
project in order to achieve a
YOU WILL NEED:
broad array of insights. Finding
the right people in a short •
•
Someone to interview
A place to interview them
“SPENDING TIME WITH
space of time can be difficult.
Try and think of an incentive to
•
•
Prepared questions
Recording equipment SOMEONE IN THEIR HOME TOLD
US SO MUCH ABOUT THEM”
secure the right participants.

9. CONTEXTUAL INTERVIEWS
This tool is an extension of the interview lite tool. A contextual interview is spending time with a
person in their own space and asking them loosely structured questions. You should consider
carrying out a range of interviews with several different types of people for a particular project in
order to achieve a broad array of insights.
Who are you interviewing? Name, age and the first thing you find out about them:
Use this space to lay down questions before meeting your interviewee, or to captue notes
and sketches during the interview.
ke
to ta
Ask s of
to e
pho you ar e
o n ak
pers &m re
the viewing captu
r u e
inte that yo ir hom
e u
sure ils of th that yo .
m
deta e place ing the
h
or t tervie w
in
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FESTIVAL
DESIGN
DNA

10. DISCOVER “WE SPENT TIME ON THE HIGH
OBSERVATION “BIHIYVLJJFLIUAOYGLNUHAPITU
STREET OBSERVING PEOPLE
GVPAJBV;BBIBZIYOYOCUYVHZCV
DURING THE FRINGE”
USE ME TO:
HBJHBZLFYH”
Observation is a cheap and
easy way of conducting new
research. • Create user personas
• Find out more about
Using our eyes, stepping customers
back and watching customers • Understand how a physical
engage with a service can space works
reveal key information and • Spot problems and
enrich quantitative research. opportunities
Understanding how users
move in a physical space, their
YOU WILL NEED:
habits, the clothes they wear,
• Your eyes
the bag they carry all build up
• Pen and paper
a picture of who our customers
are.
All it requires, is for you to take
a step back and observe.

11. OBSERVATION
Observation is a cheap and easy way of conducting new research. Using our eyes, stepping back
and watching customers engage with a service can reveal key information and enrich quantitative
research. All it takes, is taking a step back and observing.
Look at how users move in a physical space, their habits, the clothes they wear, the bag
they carry. All of this builds up a picture of who your customers are.
re interesting:
that we
gs I saw
10 thin
tos
pho , but
Take u go s
o
as y to be a le.
er sib
emb as pos act
em te
r
re in to
disc le beg they
p
Peo ently if ey are
r
diffe that th ed.
w
kno watch
be ing
FESTIVAL
DESIGN
DNA

12. DISCOVER
SHADOWING
Shadowing is the action USE ME TO:
of following someone to
understand what it is like to live • Gain insights from a
their life. This can be done over different point of view
the course of a day, week, or
longer.
• Understand customers and “SHADOWING A BOX OFFICE MANAGER
staff’s
Shadowing can be done in
• Motivations/needs
• Understanding what needs
TOLD ME SO MUCH ABOUT THE
a subtle way by following
a member of staff as they
to change
• Influence new ideas for
PROBLEMS THEY FACE AT PEAK TIMES”
undertake their job, or you may improvement
want to try asking questions
while you shadow. YOU WILL NEED:
The point of shadowing is to
• Notepad and pen
understand first hand what it is
• Audio/visual capturing
like to deliver or use a service.
device. (Camera,
The outcome is an in-depth
dictaphone, mobile phone
understanding of the good and
app)
bad points of a service.
Take notes, capture audio
and visual and when you have
returned to the studio there is
plenty of material to analyse
and use in communicating
some of the sticking points of
the service.

13. SHADOWING
Shadowing is the action of following someone to observe and understand what it is like to live
their life. This can be done over the course of a day, a week, or longer. Shadowing can be done
in a subtle way by following a member of staff as they undertake their job, or you may want to try
asking questions while you shadow. The point of shadowing is to understand first hand what it is
like to deliver or use a service.
Take notes, capture audio and take photographs. When you have returned to the studio
there is plenty of material to analyse and use in communicating some of the sticking
points of the service.
Where are you?
Who are you shadowing?
Do they know that you are there?
Where do they go?
What do they see?
Do they talk to anyone?
What do they touch?
What else is happening around them (sights, sounds, smells)?
How long do you shadow for?
FESTIVAL
DESIGN
DNA

14. DISCOVER “WE SENT OUT CULTURAL PROBES
TO FESTIVAL CUSTOMERS TO
CULTURAL PROBE UNDERSTAND MORE ABOUT THEIR
A cultural probe is a small describe how they feel along a EXPERIENCES”
kit that is sent to a targeted timeline. They could be sent a
user. The results help you text throughout intervals in the
understand their life or day to capture photographs of
experience of a service without where they are, or what they
a member of the project team are doing.
or designer being involved.
Kits often include a camera or USE ME TO:
audio device and a set of tasks
or images a user must capture. • Gather user insights
It builds up a visual picture • Create a visual picture of
that creates a more in-depth people’s lives
understanding of a user’s life
or experience. Cultural probes
are about scratching the YOU WILL NEED:
surface of peoples thoughts
and behaviours and really • To design a toolkit and a
understanding their life. bag to package this
• Disposable camera or
The kit should be designed digital capture device
to be engaging and capture • Relationship // Stakeholder
nuances that traditional map.
engagement methods overlook.
For example a user could
be set a diary to document
their day and use stickers to

15. CULTURAL PROBES
Cultural probes are about getting underneath peoples skin and really understanding their life. The
kit should be designed to be engaging and capture nuances that traditional engagement methods
overlook. For example, a user could be sent a diary to document their day and use stickers to
describe how they feel along a timeline. They could be sent a text throughout intervals in the day
to capture photographs of where they are, or what they are doing.
Think about making this visually engaging. Brand it as your project, package it, think about
how it arrives with your user, and how they unpack it.
Some points to consider when making your kit:
Who is going to be doing it?
Where would be best for them to complete it?
How long should it take?
Does it need to be documented across days?
Think about whether a lot of writing is necessary.
Can your user upload their own photos?
Do you need to develop films?
Are you collecting video or audio content?
How long do you need to consider for posting items back?
Should you provide an incentive e.g. coffee vouchers?
FESTIVAL
DESIGN
DNA

16. DISCOVER
RELATIONSHIP / STAKEHOLDER MAP “WE MAPPED OUR CUSTOMERS
RELATIONSHIPS TO UNDERSTAND
A stakeholder map can
be used to look at who is
USE ME TO: WHAT INFLUENCES THEM”
involved around your theme • Plan project relationships
or project. If consider it as a and see the big picture
relationship map we can also
look at individuals and the
relationships they have with
YOU WILL NEED:
organisations, friends, families.
• Post its
A map of stakeholders or • Pens
relationships can be visualised • An open mind
using concentric circles with
close relationships being
mapped in the centre and
further away relationships
towards the outer circles.
This is a great way to step
back and look holistically at an
individual or group’s influencing
factors.

17. RELATIONSHIP / STAKEHOLDER MAP
A stakeholder map is useful at the start of the project to understand what other festival
organisations and other cultural orgs who will be part of your idea. Furthermore, it forces you to
consider other influential stakeholders such as Trip Advisor and Stage Coach Travel. This is a
great way to step back and look at who you want to pull closer into the project and question how
you will do this.
A map of stakeholders can be visualised using concentric circles with close relationships
being mapped in the centre and further away relationships towards the outer circles.
at
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If yo will
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ea
be quit nt of c our
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mov le acro work -
p
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u
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el to
us bies
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.
them
FESTIVAL
DESIGN
DNA

18. DISCOVER “WE USED GENERATIVE
GENERATIVE TOOLS TOOLS TO STOP PEOPLE
IN THE STREET AND
Sometimes talking to people USE ME TO: GATHER THEIR OPINION”
isn’t easy, and sometimes they
don’t want to talk. • Inspire and inform new
ideas
Generative tools are more of • Synthesise user
a method than a tool. This personalities into categories
is about creating physical • Maintain a customer
objects that act as prompts to centred process
encourage people to engage • Test ideas
with you. Engagement tools are
sometimes not about speaking,
and you learn a great deal from
YOU WILL NEED:
watching someone complete
• Customer insight
an exercise.
information. (To get this
information, conduct interviews,
Think of them as conversation talk to customers/staff, use
starters. For example, make quantitative information to create
a sign asking people what customer segments.)
they would change about their
festival experience if they could
wave a magic wand!

19. GENERATIVE TOOLS
Sometimes talking to people isn’t easy, and sometimes they don’t want to talk. Generative tools
are more of a method than a tool. This is about creating physical objects that act as prompts to
encourage people to engage with you. Think of them as conversation starters.
For example, think about making a sign asking people what they would change about
their festival experience if they could wave a magic wand!
Talk t
o
abou me
t ...
re n
g su i
akin meone g
M so
din
that is recor t
ha rs
team ns t e
y our teractio g & oth
in in u
the re hav you. Yo is on
a
you ions to o put th own
t t
reac t want write d ost-
gh og, or
mi bl
p
d on
yo ur u foun P.O.P.I
t yo se
wha then u
its &
FESTIVAL
DESIGN
DNA

20. DISCOVER
VOX POPPING
This technique is a way to USE ME TO:
generate “man on the street”
interviews in response to a • Find out what the public
particular question such as think about a particular
“What is the one reason you topic
would go to a festival?” Usually • Gain feedback on your idea
the interviewees are in public
places, and give spontaneous
opinions in a chance encounter
YOU WILL NEED:
— unrehearsed and not
• Confidence
selected in any way.
• Recording Equipment
The results of vox popping
are unpredictable and usually
the material needs edited.
Although the two can be
quite often confused, a vox
“IN JUST 60 SECONDS WE HAD GOT
pop is not a form of a survey.
Each person is asked the
same question; the aim is to
get a variety of answers and
opinions on any given subject.
A SNAPSHOT OF WHO WAS VISITING
The interviewees should be of
various ages, genders, classes OUR FESTIVAL AND WHY”
and communities so that the
diverse views and reactions
of the genera public will be
known.

21. VOX POPPING
This technique is a way to generate “man on the street” interviews in response to a particular
questions such as “What is the one reason you would go to a festival?” Usually the interviewes
are in public places, and give spontaneous opinions in a chance encounter — unrehearsed and
not selected in any way.
Consider your questions and how to approach people beforehand. Have questions ready
but don’t be too prescribed, let the stories emerge.
:
I sp oke to
Who
edit
can very
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r
you ovie or yer
n iM ia Pla
ily o ed t
eas ows M pload i
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Win free),
u log.
h ps b arge
(bot ur grou o ch
yo t e
to ber hon .
mem cam/p storage
Re flip
r tr a
you take ex
and
FESTIVAL
DESIGN
DNA

22. DISCOVER
A DAY IN THE LIFE
This tool is great way to
experience someone else’s
USE ME TO:
lifestyle out with the service/
festival. This helps you design
festival experiences that meet
• Gain user insights
• Discover latent user needs
“SPENDING A DAY IN THE LIFE WITH
the latent needs of your target
audience. You could spend a
• Gain contextual
understanding PEOPLE WITH NO AGENDA ALLOWED US
day in the life with customers or
staff or members of the public. YOU WILL NEED: TO SPOT OPPORTUNITIES FOR OUR
Although always ask permission
first!
• Visual/audio recording FESTIVALS””
This can be done as an isolated device
task to gain new ideas for • Notepad & pen to
an organisation by spotting customers/staff, use
opportunities in people’s lives quantitative information to
or to inform a project team how create customer segment
someone lives and the design of a
new product or service. It’s a great
starting exercise to get the project
team out the office and witnessing
real life in a focused way.
It is ideal to document this
process with photographs and
chronologically lay this out back
in the office. The team can later
annotate the events of the day.
Alternatively it can be filmed and
edited into a short movie.

23. DAY IN THE LIFE
Spending a day with someone else is a great way to experience their lifestyle. This helps you
design festival experiences that meet the latent needs of your target audience. You could spend a
day in the life with customers or staff or members of the public. Although always ask permission
first!
It is ideal to document this process with photographs and chronologically layout back
in the office. You might want to invite them back after developing photos to ask them a
series of questions about their day.
Draw on top of them to show opportunities for service improvement and alterations.
what did they say?
how are they feeling?
overall experience?
Who is this?
Notes:
FESTIVAL
DESIGN
DNA

24. DISCOVER
EMPATHY TOOLS
Empathy tools are ways of USE ME TO:
understanding what it is like to
be in someone else’s shoes. • Understand the user’s
experience firsthand
Empathy tools can be • Empathise with the user
simply made and used • Gain deeper user insights
when undertaking different
ethnographic techniques within
the discovery period of the YOU WILL NEED:
development process.
• To make an empathy tool
For example, wearing a heavy • Props/dress up box/
bag, or carrying extra weight to materials/costumes etc
simulate being pregnant helps • Use your imagination to
the project team empathise and make the experience as
understand what life is like from realistic as possible
another person’s perspective.
Try undertaking the service
experience using an empathy
tool and document how you
feel at every stage.
“I HAD NEVER CONSIDERED
WHAT IT WAS LIKE TO BE
PREGNANT AND VISIT A SHOW”

25. EMPATHY TOOLS
Empathy tools are ways of understanding what it is like to be in someone else’s shoes. Empathy
tools can be simply made and used when undertaking different ethnographic techniques within
the discovery period of the development process. For example, wearing a heavy bag, or carrying
extra weight to simulate being pregnant helps the project team empathise and understand what
life is like from another person’s perspective.
Try undertaking the service experience using an empathy tool and
document how you feel at every stage.
What journey/ experience will you be testing?
bout:
T hink a asy?
is e
What difficult? to you
?
W hat is thers react different?
oo as
How d you wish w
do
What
FESTIVAL
DESIGN
DNA

26. DISCOVER
SERVICE WALKTHROUGH “WE SPENT TIME PICKING UP
TICKETS WITH OUR CUSTOMERS
USE ME TO:
AT THE BOX OFFICE”
Walking through an experience
with someone is great way
of capturing how they feel
• Gather visual evidence of
during it and where you can
how a festival works
make improvements or spot
• Ideas on how to improve
opportunities for innovation.
particular service interaction
• Empathise with the people
Try attend a festival show with
you are designing for
someone, organise spending
time with them from booking
the ticket to taking the bus to YOU WILL NEED:
picking up their ticket to seeing
the show. • A customer who is willing to
work with you
Try and take photographs along • Recording equipment
the route from beginning to (camera/audio)
end, this will give you visual
documentation of how the
experience feels as a whole.
Remember to capture the detail
as well.
How does your customer
interact with the touchpoints of
the festival? Is it easy for them
to find the box office using
signage? Does the website work
well? How do they respond to
the printed ticket?

27. SERVICE WALKTHROUGHS
Walking through an experience with someone is great way of capturing how they feel during it
and where you can make improvements or spot opportunities for innovation. Try attend a festival
show with someone, organise spending time with them from booking the ticket to taking the
bus to picking up their ticket to seeing the show. Try take photographs along the route from
beginning to end, this will give you visual documentation of how the experience feels as a whole.
Either walkthrough with someone or as someone. Try walking through with/as a single
parent, an elderly gentleman, a family with 3 kids, a French exchange student, one of the
service providers ... how many can you do?
Print out your images and place them in chonological order. Circling all of the touchpoints
you encounter will help to draw out the elements of the service.
what did they say?
how are they feeling?
overall experience? s
rd a are
R eco . if you
Who are yo go try
u? you ideos, ra
or who are v e
ing cam
you with? ptur e your us
ca ak
cuo
to m conspi so that t
n , i
as i ssible ct as if
o a
as p le will
p
peo t there.
o
is n
FESTIVAL
DESIGN
DNA

28. DISCOVER EVENTS/PLATFORMS/TOOL
CUSTOMER DAY
This tool is about choosing a USE ME TO:
day in your calendar when your
organisation will open up its • Meet your customers
doors and invite customers in! • Gain the trust of the
stakeholders you are
They will be given the chance designing for
to meet colleagues and better • Gain real feedback on your
understand how festivals work. ideas and current service
Transparency builds trust. offerings
Trust is at an all-time premium
given today’s economy. This YOU WILL NEED:
initiative demonstrates the
respect your organisation has • An agenda for the customer
for your customers. day
• A range of customers to
It offers customers the invite
opportunity to get to know your • Recording equipment
organisation better. It makes
your festival more human, and
your colleagues more involved.
“ALL WE DID WAS INVITE OUR
CUSTOMERS IN AND HAVE LUNCH
WITH THEM AND TALK TO THEM
ABOUT GOING TO FESTIVALS”

29. DISCOVER EVENTS/PLATFORMS/TOOL
“MY EYES WERE OPENED TO ALL
TECH DAY
THIS AMAZING TECHNICAL STUFF WE
A Tech Day is about bringing
in people who are experts in
USE ME TO: COULD BRING IN TO OUR FESTIVAL”
the field of technology and • Develop new ideas
innovation. • Be inspired by disciplines
that differ from your own
Bring in people to talk about • Understand the impact
technology, give short technology can have on
presentations, discuss projects your ideas and services
and even do some hands on
demonstrations.
YOU WILL NEED:
By seeing the possibility of
what technology can do, it • A space to hold the event
can open a whole realm of • A mix of people to invite
possibilities and give you ideas • Food and drink
for improvement.

30. DISCOVER EVENTS/PLATFORMS/TOOL
ASSET MAP CLASS
Asset mapping is based on the USE ME TO:
idea that you don’t know what
you need until you know what • Understand what you
you have. currently have
• Understand where the gaps
It is an approach you can use are
to bring all the positive assets • Discover untapped
of your organisation to the resources that you have
surface. access too
By holding a session on
asset mapping you can work
YOU WILL NEED:
corroboratively with the people
you invite to really explore the • A space
depth of the assets in your • An agenda
festival. • A map or visualisation of
your organisation or location
(this can be sketched or
mocked up professionally
on publishing software)
• A wide range of people from
your organisation “LOOKING POSITIVELY AT WHAT
ALREADY EXISTS HIGHLIGHTED
NUMEROUS POSSIBILITIES”

31. 4 1
DELIVER DISCOVER
3 2
DEVELOP DEFINE
EXIT
WRITE A BRIEF (DISCOVER)
At this stage, after getting a
feel for your festival experience,
USE ME TO:
some user needs and what else
• Succinctly communicate your
is happening out there you may
project
want to write a brief to bring other
• Reflect on your work and
professionals in to help you work
process
up the themes and define some of
• Extend the networks who are
the research into tangibles.
interested in your work
Writing a brief can be a difficult
challenge, it’s important you call YOU WILL NEED:
on expertise when necessary. A
good brief should outline what • Any publishing software
you have found out, a summary of
your research and what steps you
would like to take forward. Keep
the brief fairly open at this stage.
You may want to include your
Slidedeck of findings to ask
companies to develop responses
to the brief before hiring a team to
go into the definition stage.
“WE WROTE A SIMPLE BRIEF TO
This brief is more about refining
the research you found and
GET HELP ON WHAT OUR
digging deeper on what it means.
RESEARCH MEANT”

32. 4 1
DELIVER DISCOVER
3 2
DEVELOP DEFINE
EXIT
SLIDEDECK OF FINDINGS
A Slidedeck of findings is ideal USE ME TO:
to present back what you found
during the discovery phase. • Share your findings.
• Get buy in for the definition
Try to not use Powerpoint, and stage
avoid lots of words. What you
want to do is show a visually YOU WILL NEED:
compelling story, bringing
together what you found out • Slideshare if you want to
and the faces behind this publish the findings online
research. • A projector & suitable room
Use the visual material you
generated, people will be able
to relate with it much more
than bullet points or a standard
report.
“OUR SLIDE DECK WAS IDEAL TO
COMMUNICATE THE RESEARCH WE
HAD DONE WITH PARTNERS”

33. A process to explore more about your festival,
what people need and what else is going on
outside of your organisation.
Includes;
The Interview (Lite)
50 Things
Contextual Interviews
Observation
Shadowing
Cultural Probe
Relationship Map
Generative Tools
Vox Popping
Day In The Life
Empathy Tools
Service Walkthrough
Customer Day
Tech Day
Asset Map Class
Brief
Slidedeck
find out more at
design.festivalslab.com
FESTIVAL DESIGN DNA
An initiative of Edinburgh’s Festivals