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Full Toolset



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

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



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    Full Toolset Full Toolset Document Transcript

    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE ESTABLISHESTABLISH & COLLABORATE “GETTING EVERYONE ON BOARD AT THE START IS CRUCIAL TO A USE ME TO: GOOD PROJECT”Establishing a project and gettingpeople on board is sometimesdifficult. • Create a project team.One way to find opportunities forfestival cross collaboration work is YOU WILL NEED:using the ‘Calendar tool’ to outlinewhere festival organisations could • A basic questionnaire template work together to collaborate on which you can tailorresearch or development of new • Email’sideas for Edinburgh festivals. • EventbriteCommonly most people will say‘I don’t have time’ or ‘My diary isfull this week’. Fighting againstbusy schedules and a lack of will isdifficult.Either (a) run a competition or call toaction around organisations relevantto your cause.Or (b) make it a compulsoryexercise, part of the daily to do.Look for people who are keen tocome on board with your projectand give time to it.Holding an event prior to launchor creating a sign up page on yourwebsite is an ideal way forward togenerate interest.
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE ESTABLISHGET OTHER PEOPLE ON BOARDNo matter how big or smallyour idea is it’s important you USE ME TO:gain support, enthusiasm andconfidence from your colleagues • Build a team of like minded and peers. Sometimes this is tricky people who are willing to so this is a tool to help you along invest time and energy in your the way. This is a blank template ideathat you can pin up on your officenotice board, mail around tocolleague or hand out over coffee. YOU WILL NEED: • Infectious enthusiasm and It asks you to specify exactly whatyour idea is in 140 characters and patiencethen complete a wanted ad. Forexample: “looking for individualswho are open minded, risk takingand excellent communicators.”It is your job to sell the idea of beingpart of this project - what will I getout of it? What will I learn? Howmuch of my time will it take up?It’s important in the early stages “WORK WITH PEOPLE WHO AREwhen trying new ways of working tohave an open minded team who arewilling to try things a bit differently. EXCITED TO BE PART OF YOURBuild yourself an engaging gettingpeople on board tool, and set aunique task (i.e draw yourself and PROJECT”see how people respond )
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE ESTABLISHSTAKEHOLDER MAP “WHEN WE MAPPED EVERYTHING(For starting projects, different from mapping stakeholders on project) AROUND THE FRINGE WE SAWA stakeholder map is usefulat the start of the project to USE ME TO: COUNTLESS OPPORTUNITIES”understand what other festival • Plan project relationships and cultural organisations and see the bigger picturecould be part of your project.Furthermore, it forces youto consider other influential YOU WILL NEED:stakeholders such as Trip • Post itsAdvisor and Stage Coach • PensTravel. • Open mindA map of stakeholders can bevisualised using concentriccircles with close relationshipsbeing mapped in the centreand distant relationshipstowards the outer circles. Thisis a great way to step backand look at who you want topull closer into the project andquestion how you will do this.
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE ESTABLISH “PUTTING YOUR THOUGHTS DOWN ON THE TABLE AS A GROUP HELPS YOUPROJECT START - ALTER ASSUMPTIONS UNDERSTAND WHERE PEOPLE ARE COMING FROM”We all make assumptions in our USE ME TO:daily lives and it’s difficult notto judge a book by it’s cover. • Create a mutual understand of viewsThis activity is about gathering • Start a projectthe team together and asking • Inform what needs everyone to share their discoveredassumptions around a topic inan open, frank and honest way.This is a great way for everyone YOU WILL NEED:to express their opinions and • Paper & pensprejudices around an idea. • The project teamIt helps the team understandwhat they need to focus on inthe next stage of the project.This is particularly good at thebeginning of a project or whenmore people are joining theproject team.
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE ESTABLISH EVENTS/PLATFORMS/TOOLSTART A BLOGDuring a project, a regularly updated attempting to use service designblog is a fantastic means of dynamic for the festivals, e.g. It is importantengagement with the rest of the to use service design to identify thecultural sector. It is also a great way fall through points from a customerto document the progress of your perspective to avoid focussingproject and communicate with other resources on unnecessary changes toteam members/interested parties. a particular process.You may have plenty to say but if your Don’t forget that you can embednot sure what to communicate, here images, quotations, links and videosare some things you could include: in your blog post, as this will make it more visually interesting (photographsSuccesses - and how you achieved of prototypes, workshops etc)them, e.g. Results of shadowing afestival customer. USE ME TO:Failures - and possible reasons/solutions, e.g. The single mum • People like to hear what you focus group was poorly attended, think. People like opinions. because it was held during the school Write with passion and holidays. everything else will fall into Learning - perhaps something youdidn’t know, e.g. That it’s important place. YOU WILL NEED: “A BLOG REALLY HELPED US GET EVERYONE ON BOARD ANDto find out if other festival teams aresurveying schools at the same timeas you. • A wordpress blog • ImaginationProgress - did you meet yourmilestones/targets this month? If not,why not? Or did you exceed them? REACH A WIDER AUDIENCE”Warnings - to help anyone else
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE ESTABLISH EVENTS/PLATFORMS/TOOLBRAND YOUR PROJECT “ONCE WE HAD BRANDED OUR PROJECT IT BECAME A REAL USE ME TO: THING TO SHARE WITH OTHERS”Branding a project gives theimpression and look and feel of itbeing a ‘real’ project. It brings it • Make a project look or feel to life! This can be useful before completethe project is at a finalised stage.It can also be useful for keeping YOU WILL NEED:consistency throughout thedifferent project documentation. • Your imaginationThis doesn’t always have to bedigital. You could, for example,get a stamp of the project titlemade online?Why not use the colour orangein everything you produce for theproject?Thinking about the brand atinitial stages is also beneficial asit saves time and resources at alater stage when other aspectstake priority.Think about how this brand tiesin with the brand of the festivalyou are designing for!
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE ESTABLISH EVENTS/PLATFORMS/TOOLPROJECT KICK OF MEETINGFace it. Projects are temporary designed festival programs for the pastorganizations. People come together 12 years”on projects as strangers. You’re notlikely to change that. What you can do Invite every person to say what theyis make sure people share a context, want from the project. Encourage themhave intentions that are aligned, and to be selfish. Set the example of sayinghave a relationship that allows them to what you want. Make no promises thatsuccessfully coordinate action together. each intention can be satisfied only thatThe best way to do this is to have a collectively you will look for ways toproject kick off meeting. explore those intentions.What would you do in those meetings? The kick-off meeting gets you startedHere’s a proposal for an agenda. well. The conversation you have that day provides the context for navigatingOpen the meeting with a statement of in the unfolding of the project. You’llthe value that will be realised by the find that you and your team memberscustomer. Why is this an important will frequently refer back to theproject for the customer? Seriously conversation you had that day. Howconsider having the customer in the about sharing your agendas on yourmeeting. If that is not practical, then project blog?get the customer on the phone. Forexample, “This project will enablecustomers to plan their day at theFestival more efficiently”. USE ME TO: “MAKING SURE WE SPENT ENOUGHReview the promise(s) to the customer. • Start your project • Introduce your team members TIME GETTING TO GRIPS WITH THEExactly what will you provide and bywhen? to each other PROJECT WAS SO IMPORTANT TO IT’SFor example, “We want to create anew web platform that integrates with YOU WILL NEED: SUCCESS”google calendar by the end of 2012.” • An agendaTell everyone on the team why each • The project teamperson is on your team. What talentsare you calling on? For example, “We • Space to meethave brought Ann in because she has
    • DISCOVERTHE INTERVIEW LITEThis tool is a great way to meetpeople 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 outfrom them. For example if you aretrying to improve the process of YOU WILL NEED:applying to be an act in the FringeFestival, interview an act who • Someone willing to be found the experience brilliant and interviewed.another who found it frustrating. • Equipment for recording your interviewInterviews can be conducted • Prepared open questionwith customers, staff and otherrelevant stakeholders. Ideally,you should visit the person youwould like to interview in theirown environment and use acombination of questions andobservations to generate the “I TALKED TO SOMEONE ABOUTinsights you want and need.You can document your WHY THEY DIDN’T COME TO OURinterview via audio recordingsand photographs - this meansyou have rich visual information FESTIVAL”to present back to the projectteam. A lite interview usually lastsbetween fifteen and thirty minutes.
    • INTERVIEW (LITE)This tool is a great way to meet people associated with your idea and talk to them in an informalsetting. It’s best to carefully consider who you should interview and what you want to find outfrom them. For example if you are trying to improve the process of applying to be an act in theFringe festival, interview an act who found the experience brilliant and another who found itfrustrating. 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
    • DISCOVER50 THINGS “50 THINGS REALLY SHOWS HOW HARD IT CAN BE FOR A CUSTOMERThis tool is a great way to putyourself 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 taskeveryone in the project withcompleting this activity. YOU WILL NEED:They then have to write down a • An activitylist of 50 things related to their • Pen and papertask. What happened? How didthey feel? What did they hear?For example if you are tryingto improve the way finding ofa particular festival, task theteam with finding their way tothe toilet with vision restrictedglasses. (You can do this usingtape, buying a cheap pair ofsunglasses and colouringthem in etc) Then ask themto write 50 things about thatexperience.
    • 50 THINGSPick 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 wayfinding of a particular festival, task the team with finding their way to the toilet blindfolded in avenue. They then have to write 50 things about that experience. 1 26 2 27 3 28 4 29 5 30 6 31 7 32 8 33 9 34 10 35 11 36 12 37 13 38 14 39 15 40 16 41 17 42 18 43 19 44 20 45 21 46 22 47 23 48 24 49 25 50 FESTIVAL DESIGN DNA
    • DISCOVERCONTEXTUAL INTERVIEWThis tool is an extension of the USE ME TO:interview lite tool. A contextualinterview 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 arange of people for a particularproject in order to achieve a YOU WILL NEED:broad array of insights. Findingthe right people in a short • • Someone to interview A place to interview them “SPENDING TIME WITHspace 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.
    • CONTEXTUAL INTERVIEWSThis tool is an extension of the interview lite tool. A contextual interview is spending time with aperson in their own space and asking them loosely structured questions. You should considercarrying out a range of interviews with several different types of people for a particular project inorder 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 are FESTIVAL DESIGN DNA
    • DISCOVER “WE SPENT TIME ON THE HIGHOBSERVATION “BIHIYVLJJFLIUAOYGLNUHAPITU STREET OBSERVING PEOPLE GVPAJBV;BBIBZIYOYOCUYVHZCV DURING THE FRINGE” USE ME TO: HBJHBZLFYH”Observation is a cheap andeasy way of conducting newresearch. • Create user personas • Find out more about Using our eyes, stepping customersback and watching customers • Understand how a physical engage with a service can space worksreveal key information and • Spot problems and enrich quantitative research. opportunitiesUnderstanding how usersmove in a physical space, their YOU WILL NEED:habits, the clothes they wear, • Your eyesthe bag they carry all build up • Pen and papera picture of who our customersare.All it requires, is for you to takea step back and observe.
    • OBSERVATIONObservation is a cheap and easy way of conducting new research. Using our eyes, stepping backand watching customers engage with a service can reveal key information and enrich quantitativeresearch. 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
    • DISCOVERSHADOWINGShadowing is the action USE ME TO:of following someone tounderstand what it is like to live • Gain insights from a their life. This can be done over different point of viewthe course of a day, week, orlonger. • Understand customers and “SHADOWING A BOX OFFICE MANAGER staff’sShadowing can be done in • Motivations/needs • Understanding what needs TOLD ME SO MUCH ABOUT THEa subtle way by followinga member of staff as they to change • Influence new ideas for PROBLEMS THEY FACE AT PEAK TIMES”undertake their job, or you may improvementwant to try asking questionswhile you shadow. YOU WILL NEED:The point of shadowing is to • Notepad and penunderstand 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 audioand visual and when you havereturned to the studio there isplenty of material to analyseand use in communicatingsome of the sticking points ofthe service.
    • SHADOWINGShadowing is the action of following someone to observe and understand what it is like to livetheir life. This can be done over the course of a day, a week, or longer. Shadowing can be donein a subtle way by following a member of staff as they undertake their job, or you may want to tryasking questions while you shadow. The point of shadowing is to understand first hand what it islike 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
    • DISCOVER “WE SENT OUT CULTURAL PROBES TO FESTIVAL CUSTOMERS TOCULTURAL PROBE UNDERSTAND MORE ABOUT THEIRA cultural probe is a small describe how they feel along a EXPERIENCES”kit that is sent to a targeted timeline. They could be sent auser. The results help you text throughout intervals in theunderstand their life or day to capture photographs ofexperience of a service without where they are, or what theya 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 tasksor images a user must capture. • Gather user insightsIt builds up a visual picture • Create a visual picture of that creates a more in-depth people’s livesunderstanding of a user’s lifeor experience. Cultural probesare about scratching the YOU WILL NEED:surface of peoples thoughtsand 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 deviceto be engaging and capture • Relationship // Stakeholder nuances that traditional map.engagement methods overlook.For example a user couldbe set a diary to documenttheir day and use stickers to
    • CULTURAL PROBESCultural probes are about getting underneath peoples skin and really understanding their life. Thekit should be designed to be engaging and capture nuances that traditional engagement methodsoverlook. For example, a user could be sent a diary to document their day and use stickers todescribe how they feel along a timeline. They could be sent a text throughout intervals in the dayto 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
    • DISCOVERRELATIONSHIP / STAKEHOLDER MAP “WE MAPPED OUR CUSTOMERS RELATIONSHIPS TO UNDERSTANDA stakeholder map canbe 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 picturerelationship map we can alsolook at individuals and therelationships they have with YOU WILL NEED:organisations, friends, families. • Post itsA map of stakeholders or • Pensrelationships can be visualised • An open mindusing concentric circles withclose relationships beingmapped in the centre andfurther away relationshipstowards the outer circles.This is a great way to stepback and look holistically at anindividual or group’s influencingfactors.
    • RELATIONSHIP / STAKEHOLDER MAPA stakeholder map is useful at the start of the project to understand what other festivalorganisations and other cultural orgs who will be part of your idea. Furthermore, it forces you toconsider other influential stakeholders such as Trip Advisor and Stage Coach Travel. This is agreat way to step back and look at who you want to pull closer into the project and question howyou 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 k th u thin If yo will e ther t of lo ertain ea be quit nt of c our eme ss y mov le acro work - p peo as you res, or ent u map ego fig repres el to us bies jel lyba . them FESTIVAL DESIGN DNA
    • DISCOVER “WE USED GENERATIVEGENERATIVE TOOLS TOOLS TO STOP PEOPLE IN THE STREET ANDSometimes talking to people USE ME TO: GATHER THEIR OPINION”isn’t easy, and sometimes theydon’t want to talk. • Inspire and inform new ideasGenerative tools are more of • Synthesise user a method than a tool. This personalities into categoriesis about creating physical • Maintain a customer objects that act as prompts to centred processencourage people to engage • Test ideaswith you. Engagement tools aresometimes 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 theirfestival experience if they couldwave a magic wand!
    • GENERATIVE TOOLSSometimes talking to people isn’t easy, and sometimes they don’t want to talk. Generative toolsare more of a method than a tool. This is about creating physical objects that act as prompts toencourage 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
    • DISCOVERVOX POPPINGThis 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 topicwould go to a festival?” Usually • Gain feedback on your ideathe interviewees are in publicplaces, and give spontaneousopinions in a chance encounter YOU WILL NEED:— unrehearsed and not • Confidenceselected in any way. • Recording EquipmentThe results of vox poppingare unpredictable and usuallythe material needs edited.Although the two can bequite often confused, a vox “IN JUST 60 SECONDS WE HAD GOTpop is not a form of a survey.Each person is asked thesame question; the aim is toget a variety of answers andopinions on any given subject. A SNAPSHOT OF WHO WAS VISITINGThe interviewees should be ofvarious ages, genders, classes OUR FESTIVAL AND WHY”and communities so that thediverse views and reactionsof the genera public will beknown.
    • VOX POPPINGThis technique is a way to generate “man on the street” interviews in response to a particularquestions such as “What is the one reason you would go to a festival?” Usually the interviewesare in public places, and give spontaneous opinions in a chance encounter — unrehearsed andnot 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 You film r you ovie or yer n iM ia Pla ily o ed t eas ows M pload i d 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
    • DISCOVERA DAY IN THE LIFEThis tool is great way toexperience someone else’s USE ME TO:lifestyle out with the service/festival. This helps you designfestival experiences that meet • Gain user insights • Discover latent user needs “SPENDING A DAY IN THE LIFE WITHthe latent needs of your targetaudience. You could spend a • Gain contextual understanding PEOPLE WITH NO AGENDA ALLOWED USday in the life with customers orstaff or members of the public. YOU WILL NEED: TO SPOT OPPORTUNITIES FOR OURAlthough always ask permissionfirst! • Visual/audio recording FESTIVALS””This can be done as an isolated devicetask 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 segmentsomeone lives and the design of anew product or service. It’s a greatstarting exercise to get the projectteam out the office and witnessingreal life in a focused way.It is ideal to document thisprocess with photographs andchronologically lay this out backin the office. The team can laterannotate the events of the day.Alternatively it can be filmed andedited into a short movie.
    • DAY IN THE LIFESpending a day with someone else is a great way to experience their lifestyle. This helps youdesign festival experiences that meet the latent needs of your target audience. You could spend aday in the life with customers or staff or members of the public. Although always ask permissionfirst! 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
    • DISCOVEREMPATHY TOOLSEmpathy tools are ways of USE ME TO:understanding what it is like tobe in someone else’s shoes. • Understand the user’s experience firsthandEmpathy tools can be • Empathise with the usersimply made and used • Gain deeper user insightswhen undertaking differentethnographic techniques withinthe discovery period of the YOU WILL NEED:development process. • To make an empathy toolFor example, wearing a heavy • Props/dress up box/bag, or carrying extra weight to materials/costumes etcsimulate being pregnant helps • Use your imagination to the project team empathise and make the experience as understand what life is like from realistic as possibleanother person’s perspective.Try undertaking the serviceexperience using an empathytool and document how youfeel at every stage. “I HAD NEVER CONSIDERED WHAT IT WAS LIKE TO BE PREGNANT AND VISIT A SHOW”
    • EMPATHY TOOLSEmpathy tools are ways of understanding what it is like to be in someone else’s shoes. Empathytools can be simply made and used when undertaking different ethnographic techniques withinthe discovery period of the development process. For example, wearing a heavy bag, or carryingextra weight to simulate being pregnant helps the project team empathise and understand whatlife 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
    • DISCOVERSERVICE WALKTHROUGH “WE SPENT TIME PICKING UP TICKETS WITH OUR CUSTOMERS USE ME TO: AT THE BOX OFFICE”Walking through an experiencewith someone is great wayof capturing how they feel • Gather visual evidence of during it and where you can how a festival worksmake 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 forsomeone, organise spendingtime with them from bookingthe ticket to taking the bus to YOU WILL NEED:picking up their ticket to seeingthe show. • A customer who is willing to work with youTry and take photographs along • Recording equipment the route from beginning to (camera/audio)end, this will give you visualdocumentation of how theexperience feels as a whole.Remember to capture the detailas well.How does your customerinteract with the touchpoints ofthe festival? Is it easy for themto find the box office usingsignage? Does the website workwell? How do they respond tothe printed ticket?
    • SERVICE WALKTHROUGHSWalking through an experience with someone is great way of capturing how they feel during itand where you can make improvements or spot opportunities for innovation. Try attend a festivalshow with someone, organise spending time with them from booking the ticket to taking thebus to picking up their ticket to seeing the show. Try take photographs along the route frombeginning 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 youWho are yo go try u? you ideos, raor 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
    • DISCOVER EVENTS/PLATFORMS/TOOLCUSTOMER DAYThis tool is about choosing a USE ME TO:day in your calendar when yourorganisation will open up its • Meet your customersdoors and invite customers in! • Gain the trust of the stakeholders you are They will be given the chance designing forto meet colleagues and better • Gain real feedback on your understand how festivals work. ideas and current service Transparency builds trust. offeringsTrust is at an all-time premiumgiven today’s economy. This YOU WILL NEED:initiative demonstrates therespect your organisation has • An agenda for the customer for your customers. day • A range of customers to It offers customers the inviteopportunity to get to know your • Recording equipmentorganisation better. It makesyour festival more human, andyour colleagues more involved. “ALL WE DID WAS INVITE OUR CUSTOMERS IN AND HAVE LUNCH WITH THEM AND TALK TO THEM ABOUT GOING TO FESTIVALS”
    • DISCOVER EVENTS/PLATFORMS/TOOL “MY EYES WERE OPENED TO ALLTECH DAY THIS AMAZING TECHNICAL STUFF WEA Tech Day is about bringingin people who are experts in USE ME TO: COULD BRING IN TO OUR FESTIVAL”the field of technology and • Develop new ideasinnovation. • Be inspired by disciplines that differ from your ownBring in people to talk about • Understand the impact technology, give short technology can have on presentations, discuss projects your ideas and servicesand even do some hands ondemonstrations. YOU WILL NEED:By seeing the possibility ofwhat technology can do, it • A space to hold the eventcan open a whole realm of • A mix of people to invitepossibilities and give you ideas • Food and drinkfor improvement.
    • DISCOVER EVENTS/PLATFORMS/TOOLASSET MAP CLASSAsset mapping is based on the USE ME TO:idea that you don’t know whatyou need until you know what • Understand what you you have. currently have • Understand where the gaps It is an approach you can use areto bring all the positive assets • Discover untapped of your organisation to the resources that you have surface. access tooBy holding a session onasset mapping you can work YOU WILL NEED:corroboratively with the peopleyou invite to really explore the • A spacedepth of the assets in your • An agendafestival. • 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”
    • DEFINE “WE WORKED WITH CUSTOMERS TO MAPCUSTOMER JOURNEY MAP THEIR JOURNEYS FROM THEIR HOMES TO THE SHOW, IT SHOWED US NUMEROUS PAINCustomer journey mapping USE ME TO:(or sometimes referred toas user journey mapping, POINTS” • Gain user insightsor just journey mapping) is • Discover latent needsabout capturing a customer’s • Evaluate existing servicesexperience of a service on • Communicate new ideaspaper. It breaks down theexperience step by step byrecording interactions with YOU WILL NEED:touchpoints (ticket machines, • A long sheet of paper (or a websites, staff, waiting areas). journey map template) • Post its & pensMost importantly, it considers • Red & green for positive & how the customer feels at negative experienceseach stage of the journey. Thisallows you to analyse whatareas of the service might needimproved.Customer journey mapping canbe done using personas and‘walking’ the personas throughthe service. An even betterway to map a journey is withthe customer themselves. Byasking them what they did andhow they felt, you gain a richinsight into their experience.
    • CUSTOMER JOURNEY MAPStart by thinking about all of the places that your customer visits, all of the elements of the service that they come into contact with. It’s sometimes easier to start in the middle of the story and work backwardsand forwards, drawing each stage. Think about the emotions that your customer experiences at each stage of their journey, pinpiont these on top of your drawings against the + and - signs e.g. “frustrated”“confused” “excited” Link these together to show the emotional journey undertaken. Take this completed tool on to help you with a P.O.P.I. excercise. FESTIVAL DESIGN DNA
    • DEFINEPERSONA “WE MADE CHARACTERS OF OUR FESTIVAL CUSTOMERS TO USE ME TO: HELP US UNDERSTAND THEIRPersonas are based on fictionalcharacters whose profilesummarises the features • Inspire and inform new of an existing social group.This means the personas ideas • Synthesise user NEEDS”assume the attributes of the personalities into categoriesgroups they represent: from • Maintain a customer their social and demographic centred processcharacteristics, to their own • Test new ideas against needs, desires, habits and realitycultural backgrounds. Theyare designed to help you see afestival experience from lots of YOU WILL NEED:different perspectives. • To observe users • Customer insight The tool will prompt you to give informationthe persona a name, a photo, • To get this information you age, occupation and tell their will to conduct interviews, background story. talk to customers/staff, use quantitative information to The persona should tell us create customer segmentswhat that person does day today, what does their life looklike, what are their personalitytraits? Use a key quote to sumup that person’s thinking, thismakes a persona quick andeasy to understand.
    • PERSONA Fill in the blanks:Image / portrait / sketch NAME AGE DRAW HERE OCCUPATION / BACKGROUNDS CHARACTERISTICS“ MOST LIKELY TO ” LEAST LIKELY TOWhy would they attend your festival?What would they say? FESTIVAL DESIGN DNA
    • DEFINEUSER VALUES - BREAKING DOWN FINDINGS AND NEEDS MORE “LISTING USER VALUES PUT OUR IDEAS INTO PERSPECTIVE”User values is as literal as it USE ME TO:sounds. At its most basic,it is designed to help you • Create meaningful service in understanding what your experiencescustomers values, generally or • Understand usersfrom your service as a whole.These insights can be gathered YOU WILL NEED:through interviews using • Pre-made templates of generative pre-made values. hypothetical values • Space to talk to userTest these with users, place • Capturing device (camera/them in order of importance post its)and include some blank • Media Portraittemplates so customers canhave their own say and feelinvolved in the process.
    • USER VALUESUser values is all about understanding what your customers value. These insights can begathered through interviews using generative pre-made values. Test these with users, place themin order of importance and include some blank templates so customers can have their own sayand feel involved in the process. Use the spaces below to write the values that you would like to test your users with, remembering to keep some blank for them to fill in themselves. Cut out! er emb raph Rem otog er h to p the ord cord puts d re ch user as an ea in, that values erson r thei as the p . well selves the m FESTIVAL DESIGN DNA
    • DEFINEMEDIA PORTRAITPictures speak louder than USE ME TO:words. • Converge research about A media portrait is a collection usersof images on a page that • Explain user needs to depicts a user’s life. Using stakeholdersmedia portraits communicatesvery quickly what a user’s lifelooks like. YOU WILL NEED: • Media collected from These ‘portraits’ can be used researchthroughout the development • Magazinesprocess to keep the project • Pen & Paperteam focused on designing for • Gluethe user.Media portraits can be builtup slowly over time as thediscovery period develops.Also, the project team can workon them as an exercise, pulling “HAVING VISUAL PORTRAITStogether media that has beencollected and using magazinesto create them. OF OUR CUSTOMERS REALLY BROUGHT THINGS TO LIFE”
    • MEDIA PORTRAITSPictures speak louder than words. A media portrait is a collection of images on a page thatdepicts a user’s life. Using media portraits communicates very quickly what a user’s life lookslike. These ‘portraits’ can be used throughout the development process to keep the projectteam focused on designing for people. Media portraits can be built up slowly over time as thediscovery period develops. Also, the project team can work on them as an exercise, pullingtogether media that has been collected and using magazines to create them. Build your media portrait on a board or piece of cardboard so that you can easily move it around and put it away at the end of a design session. Think ab friend out your u s and s ... family ers bbies ... nd ho life style a your users about Think acter eir char Think about th ... sonality Think about and per caree their w r... ork lif e and FESTIVAL DESIGN DNA
    • DEFINEP.O.P.I. (PROBLEMS/OPPORTUNITY/PRINCIPLES/IDEAS)POPI is a framework for driving USE ME TO:the development process. • Tell a story about how your POPI enables you to work work evolvedthrough insights and research • Drive forward a projectto create principle statements. • See the big picture • Create well crafted principle Ideally, this can be used as statements a framework to discover anddefine stages of a project andbe used as a point of reference. YOU WILL NEED:It is an activity to converge lots • A wallof research into a vision. • Some post its • People involved in your POPI can be used to lay project findings and ideas on a wallspace so coherent storiesand patterns can be easilyidentified. “WHERE DO WE FOCUS OUR EFFORTS ON DEVELOPING THE FESTIVAL EXPERIENCE?”
    • P.O.P.I.POPI enables you to work through insights and research to create principle statements.Ideally, this can be used as a framework to discover and define stages of a project and be used as a point of reference. It is an activity toconverge research into a vision. POPI can be used to lay findings and ideas on a wall space so coherent stories and patterns can be easilyidentified. PROBLEMS OPORTUNITIES PRINCIPLES IDEAS FESTIVAL DESIGN DNA
    • DEFINEPRINCIPLE STATEMENTS “GOOD SERVICE DESIGN PRINCIPLES ARE LIKE USE ME TO: MINIATURE, ROBUST, FLEXIBLECreating principle statementsis designing a criteria for thefunctions a design or project • Guide the development BRIEFS”needs to fulfil. processPrinciple statements can be • Synthesise findingscreated at different stages in the • Delve deeperdevelopment but are a good wayto move forward after synthesisingproblems and opportunities and YOU WILL NEED:conducting further reasoning intothe issues. Principles are usually • The project teamcommunicated in short sentences • Post its & pensor even one word which can befollowed by a longer description.Principles are created to provokemore discussion and should bekept creative.Think of them as what a usermight say after using your service.For example your principles maybe, ‘easy to use’, ‘bespoke’,‘flexible’, ‘personalising yourexperience’. You might wantsomeone to say, “The servicewas really easy to use, it gave meflexibility to build my own festivalitinerary and create a personalisedexperience.”
    • PRINCIPLE STATEMENTSCreating principle statements is designing a criteria for the functions a design needs to fulfil.Principle statements can be created at different stages in development but are a good way tomove forward after synthesising problems and opportunities and conducting further reasoninginto the issues. Create your principles as short phrases or one-word statements, these can be supported by explanatory sentences. them cut in, hem ese t Fi ll th d have he a n dt e out you an you ar p ne ar ne evelo whw o d team inuing t idea. t con service ant to he r t you ight w before m You it these e. s g revi ery sta de liv FESTIVAL DESIGN DNA
    • DEFINECLUSTERINGClustering is a very useful and USE ME TO:often essential tool to useafter a group ‘idea generation’ • Group ideassession. • Structure your project • Divide tasksThe outcome of these activities • Make sense of idea is often a vast amount of generationpossible ideas and directions.It is really useful to group YOU WILL NEED:together ideas by commonthemes, consistencies or • A large wallimportant relationships. • Post its for headings/titles • Camera to capture the This method can begin to processstructure the next steps of aproject, begin to divide tasksand can eliminate the roleof one person taking chargeof the group as everyone’sideas cluster together. Forexample, you may cluster yourresearch under themes such as “WE HAD SO MANY THOUGHTS THAT‘accessibility’ or ‘venue’. WRITING THEM ONTO POST ITS AND CLUSTERING HELPED US TO FIND PATTERNS”
    • CLUSTERINGClustering is a very useful and often essential tool to use after a group ‘idea generation’ sessionor to help you cluster themes, especially when this includes a lot of reserach. The outcome ofthese activities is often a vast amount of possible ideas and directions. It is really useful to grouptogether ideas by common themes, consistencies or important relationships. Think about grouping by actions to be taken, things still to find out, ideas to develop, principle ideas and statements. Find the biggest wall you can, and spread your ideas across it. that e sure raph Mak hotog e p r you rs befo ff t e clus as o y our the ide these ng d taki all. Ad ur w o the es to y g . ima ct blog e proj FESTIVAL DESIGN DNA
    • DEFINEBRAINSTORM “BRAINSTORMING ALL OUR IDEAS TO IMPROVE OUR USE ME TO: FESTIVAL WAS EXCITING”A brainstorm exercise iswhen everyone in the room isencouraged to add ideas onto • Come up with ideaseither a wall or paper. The best • Include everyone in the projectway to do this is to use post its toadd a small sketch or title of anidea. The purpose is to allow anallocated time to come up with YOU WILL NEED:as many ideas as possible. This • Pens & post itsrequires a few basic rules. • A large sheet of paper or a wall1. Set a timer and stick to it.Depending on the circumstancesyou might want to do short burstsof 1 to 5 minutes. You may wantto give an hour.2. Everyone must contribute.3. Draw in chunky pens (thismeans everyone can read it).4. Every idea counts (no matterhow eccentric).Even if an idea is about a flyingpig that takes your customersfrom one venue to another, it stillcounts. Returning to ideas likethis can uncover those nuggets ofbrilliance!
    • BRAINSTORM IDEASA brainstorm exercise is when everyone in the room is encouraged to add ideas onto either a wallor paper. The best way to do this is to use post its to add a small sketch or title of an idea. Thepurpose is to allow an allocated time to come up with as many ideas as possible. This requires afew basic rules. Set a timer and stick to it. Depending on the circumstances you might want to do short bursts of 1 to 5 minutes. You may want to give an hour. Everyone must contribute. Draw in chunky pens (this means everyone can read it) Every idea counts ( no matter how silly ) get y to our t wa y A grea ps and to u is ays r gro -up you wrmed ed 50 w ind call Give ow n m ercise emon. arge ex al ,al as d o an ueeze inutes quickly q to s ves 5 m and as ays rsel er 0w you t of pap alise 5 n - the e u she an, vis a lemo c e e you squeez nventiv to e i r. mor e bette th FESTIVAL DESIGN DNA
    • DEFINEIDEA VOTINGEver been caught in an USE ME TO:argument over which idea isthe best? • Choose a route forward • Overcome barriersFinding it hard to get the groupto move forward and choosean idea or principle to take on? YOU WILL NEED: • A pack of sticky dotsSticky dots is a way of quicklyand efficiently making a moveforward. It is a democratic wayof decision making.Take 3 dots each and chooseyour three favourite ideas. Atthe end, take forward the ideawith the most votes.The likelihood is that you willreturn to other ideas as theproject develops,REMEMBER! “TO REMOVE ARGUMENT WEDon’t be too precious! VOTED WITH DOTS. SIMPLE DECISION MAKING”
    • IDEA VOTINGEver been caught in an argument over which idea is the best? Finding it hard to get the group tomove forward and choose an idea or principle to take on? Sticky dots is a way of quickly andefficiently making a move forward. It is a democratic way of decision making. Take 3 dots eachand choose your three favourite ideas. At the end, take forward the idea with the most votes. Find the biggest wall you can, and spread your ideas across it, giving yourself room to move them around. that e sure raph Mak hotog e p r you rs befo ff t e clus as o y our the ide these ng d taki all. Ad ur w o the es to y g . ima ct blog e proj FESTIVAL DESIGN DNA
    • DEFINE EVENTS/PLATFORMS/TOOLNEWSLETTER “WE USED A SIMPLE NEWSLETTER TO COMMUNICATE USE ME TO: OUR PROJECT UPDATES”A newsletter is a great wayto communicate your projectto internal colleagues and • Tell the story of your work to external, interested parties! the rest of the world • Inspire and excite others Always remember, the to explore the design like purpose of a newsletter is to approach you are usingcommunicate, not to see howmany times you can sendreaders scrambling to find a YOU WILL NEED:dictionary. • Any publishing softwarePeople like stories. Tell thestory of what you are doing,why you are doing it and whatyou are learning and don’tover-complicate it. Keep yourwriting casual, nontechnicaland conversational.
    • DEFINE EVENTS/PLATFORMS/TOOL “IT WAS JUST AMAZING HAVINGCO-DESIGN SESSION CUSTOMERS, STAFF, ORGANISATIONSA co-design session is a USE ME TO: DESIGNING TOGETHER AROUND ONEfantastic opportunity toinvolve a range of different • Explore potential directions TABLE””stakeholders in the design for your ideaprocess itself. • Gain inspiration • Create a sense of shared Co-design is a core aspect of ownership around this the service design philosophy. processIt can involve anyone fromstaff, designers, customers andexecutives. YOU WILL NEED:Together, you’ll work • A spacecollaboratively to examine and • An invitationinnovate ideas. • A structured agenda • Paper & PensTry putting on a workshop • Post itsto bring people together and • Generative toolsgenerate ideas to some of your • Recording equipmentproblems or insights.
    • DEFINE EVENTS/PLATFORMS/TOOL “WE BOOKED A SIMPLE VENUE AND LET OUR SLIDES TO THESHOWCASE EVENT TALKING”Holding an event is a great way USE ME TO:to get people on board withyour project. • Gain feedback on your work so farInvite a range of speakers to • Focus the future direction of talk about the issue you’re your worksolving, or topic you’refocusing on and showcase thework you’ve done to date. YOU WILL NEED:You can also use this event to • An invitationraise funding, grow your critical • A venuefriends and network for the • A range of finished and project. incomplete aspects of your process to show offYou’ll also get good feedback • A short presentation of your on the work so far. Try to keep process (optional)a record of all the questionsyou are asked and visitthese when the project teamreconvenes.Use something simplelike Eventbrite to send outinvitations, and write acompelling description aboutthe event to entice people tocome along.
    • DEVELOPIDEA SKETCH “WE SKETCHED UP A NEW IDEA FOR A TICKET BOOKING SYSTEM. USE ME TO:Sketching your concept orquickly visualising it on screenusing graphic software is a THAT’S WHEN IT CAME TO LIFE” • Communicate your ideas great way to bring an idea to succinctly.life and share with others. • Practice your drawing skills • Visualise IdeasPeople should be able to look • Create a prop for feedback/at it and understand what further discussion.your idea does. It should beaccompanied by as little text aspossible. YOU WILL NEED:Of course, you can use old • An ideafashioned paper and pen to • A drawing mediumsketch your idea too! • Google Images • Graphic editing softwareYou may want to considersketching up a festivalswebsite layout, a leaflet, ordevelopments to the Fringephone app.
    • IDEA SKETCHSketching your concept or quickly visualising it on screen using graphic software is a great wayto bring an idea to life and share with others. People should be able to look at it and understandwhat your idea does. It should be accompanied by as little text as possible. Use chunky pens (Sharpies are great, felt pens are good too.) Draw quickly, and don’t worry about your drawing skills - stick My idea is called: FESTIVAL DESIGN DNA
    • DEVELOPSTORYBOARDWe’ve all seen films, read books,told a joke; stories are one of the USE ME TO:easiest ways to get an idea across. • Communicate an ideaServices benefit from being turned • Develop an idea around how into stories because they happen people use itover time, they have a natural • Think about all angles of a narrative. Using stories allows servicefor central characters (users)supporting cast (staff) and abeginning, middle and end (service YOU WILL NEED:blueprint). • Paper & PensUse a simple template to buildone, like a comic book layout, and • The storyboarding template “I HAD A NEW IDEA FOR THE DELEGATE EXPERIENCE,draw (yes, even stick men) a visualstory. Start in the middle with theoutcome/the value your idea offers STORYBOARDING ALLOWED MEand work on either side if you arestuck where to begin the story. TO COMMUNICATE HOW ITYou might start with the idea of awebsite showing you where venuesare and if they have disabled toiletsor not, but elaborate on this idea bythinking about how the informationgot there, and if people review the UNFOLDS FROM THEIR COUNTRYinformation about the amenity afterthey have used it. Storyboarding willallow you to think this through and TO THE HOTEL””really work up an idea.
    • STORYBOARDINGWe’ve all seen films, read books, told a joke; stories are one of the easiest ways to get an ideaacross. Services benefit from being turned into stories because they happen over time, they havea natural narrative. Using stories allows for central characters (users) supporting cast (staff) and abeginning, middle and end (service blueprint). Start in the middle with the outcome/the value youridea offers and work on either side if you are stuck where to begin the story.
    • DEVELOPPROTOTYPE CHALLENGE LITE (MOCK UP, LEGO, STAGING)Prototyping is a quick way to testyour ideas. We all prototype every USE ME TO:day when we try a new recipe or takea new route to work. Prototyping your • Test Ideasidea may involve cardboard, paper or • Develop ideaslego. It doesn’t matter what it looks • Get user feedbacklike. To use this method you will need • Communicate the idea in your your imagination to bring your ideas headto life. Working with a partner or teamis great for this to run through how anidea might work. YOU WILL NEED:You could run a challenge to really getpeople to make their ideas real in a • Pens & paperworkshop - all you need to do is put • Imaginationdown a box of materials and make itmandatory for participants to showhow their idea looks and feels usingthe materials in the box. Try usingtechniques from the Festivals DesignDNA toolkit like ‘mock up’, ‘desktopwalkthrough’ or ‘staging’ to getpeople making their ideas.Your prototypes should develop “WE MADE OUR IDEA REAL IN UNDER 10 MINUTES.as your idea does. Starting offwith montages of existing servicesand elements that you would like WE PROTOTYPED A NEW APPto include/draw inspiration from,through to more realistic examples oftouchpoints and interfaces. The ideaof a prototype is to test your idea andreceive feedback, so you shouldn’tbe too precious about it. Keep yourprototypes quick and simple. FOR THE FRINGE”
    • PROTOTYPE CHALLENGE (TAKE PROTOTYPES TO USERS)Prototyping is a quick way to test your ideas. We all prototype every day when we try a newrecipe or take a new route to work. Find out what they like and dislike about your idea. Mostimportantly, give users the opportunity to get their hands on your prototype, this is when you findout how they really feel about it. You can either bring your users into your prototype challenge workshop or take your prototypes out to their homes/workplace. YOUR E PROTOTYP g turin o- cap Vide users r you ions to ll t i eac sw ial r totype ke init pro r ma t you l a lot, collec a u reve that yo e sur ata. d this FESTIVAL DESIGN DNA
    • DEVELOP “ONCE WE HAD HANDED OVER OUR APP TO OUR CUSTOMERSPROTOTYPE CHALLENGE (take prototypes to users) IT WAS CLEAR TO SEE WHATPrototyping is a quick way totest your ideas. We all prototype USE ME TO: WORKED AND WHAT DIDN’T”every day when we try a new • Test ideasrecipe or take a new route to • Develop ideaswork. Prototyping your idea may • Get user feedbackinvolve cardboard, paper or lego. • Communicate the idea in your It doesn’t matter what it looks like. headTo use this method you will needimagination to bring your ideasto life. Working with a partneror team is great for this to run YOU WILL NEED:through how an idea might work. • Paper, pens, glue. • Electronic DevicesThis challenge differs from the lite • (Standard Art Attack or Blue Peter version of prototype challenge set)because we bring users in here.You can do this in two ways;1. Bring them into your prototypechallenge workshop. Be clear onwhat the outcomes are and whatyou will be doing.2. Take your prototypes out totheir homes/workplace. Find outwhat they like and dislike aboutyour idea. Most importantly, giveusers the opportunity to get theirhands on your prototype, this iswhen you find out how they reallyfeel about it.
    • PROTOTYPE CHALLENGE (TAKE PROTOTYPES TO USERS)Prototyping is a quick way to test your ideas. We all prototype every day when we try a newrecipe or take a new route to work. Find out what they like and dislike about your idea. Mostimportantly, give users the opportunity to get their hands on your prototype, this is when you findout how they really feel about it. You can either bring your users into your prototype challenge workshop or take your prototypes out to their homes/workplace. YOUR E PROTOTYP g turin o- cap Vide users r you ions to ll t i eac sw ial r totype ke init pro r ma t you l a lot, collec a u reve that yo e sur ata. d this FESTIVAL DESIGN DNA
    • DEVELOPSTAGINGStaging is about acting out your newservice or product in use to help develop USE ME TO:ideas further. Choose a couple of actorsand someone to play the director. • Develop and test new ideas • Bring staff into the development Using prompts like personas, user processcharacteristics, a basic story or a new • Uncover new insights and idea, staff and/or customers can act outservice experiences. opportunitiesParticipants in the staging exercise areasked to interchange between roles in the YOU WILL NEED:scenarios so different perspectives canbe gained and ideas driven forward. It • The project teamis advised to film this exercise so it can • A prompt (template format)be analysed afterwards. You can usethis to demonstrate the concept to your • A video cameraorganisation, product development teamor stakeholders.Staging is a great communication tool,but more importantly a developmentexercise. By acting out the service, thedirector can shout cut to show momentswhere there might be a pain point withyour idea, or where there is a opportunityto change an element of your process. “STAGING REALLY BROUGHT TO LIFE OUR WELCOME EXPERIENCEEvaluation afterwards is crucial to findwhat worked and what didn’t. You cando this using discussion, or the POPIframework to develop thinking aroundhow to improve the offering you havedeveloped. Another alternative is to filmthe staging and watch it back, this allows TO OUR VENUE”you to go more in-depth into the processand design you are suggesting.
    • STAGINGStaging is about acting out your new service or product in use to help develop ideas further.Choose a couple of actors and someone to play the director. Script this using personas,characteristics, a basic story and the idea, staff and/or customers can act out serviceexperiences. What ne impro eds ved? Scene s r? 1. ed irecto Wh o is th Stickin 2. g poin ts? t’ 3. all ‘cu role is to c pot a ‘pain Their ey s y are ime th e the 4. e very t the servic y, you can ’ in wa point ing. That ts as you 5. itne ss stmen w ju ke ad all ma go. ice, serv s the oment g out te m ctin ica e By a an ind might b r u c here yo e t y ou a r with is whe n point re there e an i g a pa or whe o chan ess. id ea, unity t r proc ort ou ds opp ent of y fterwar t elem ation a ha t. dw ’ Ev alu al to fin at didn ru ci w h is c ed and w ork FESTIVAL DESIGN DNA
    • DEVELOPDESKTOP WALKTHROUGHThe function of a desktop USE ME TO:walkthrough is implied in thetitle - they are walkthroughs • Test ideasthat can be done from your • Bring to life intangible desk. concepts • Develop ideasUsing figurines, complex • Share your thinking with services can be brought to life stakeholdersand visualised in 3D, enhancing • Gain feedback from your paper sketches. customersTypically, the method will usea customer journey and other YOU WILL NEED:‘actors’ to imagine a service. • Plastic figurines, LegoSmall touchpoint props can be • Paper, glue, pens mocked up and a persona can • Camera to capture the process “WE USED LEGO TO LOOK ATbe taken through the service.Do this with stakeholders, orjust on your own to bring to lifea service and question how itworks. HOW PEOPLE WOULD MOVE DOWN THE HIGHSTREET”
    • DESKTOP WALKTHROUGHThe function of a desktop walkthrough is implied in the title - they are walkthroughs that can bedone from your desk. Using figurines, complex services can be brought to life and visualised in3D, enhancing your paper sketches. Typically, the method will use a customer journey and other‘actors’ to imagine a service. Small touchpoint props can be mocked up and a persona can be taken through the service, with stakeholders, or just on your own to bring to life a service and question it. Some points to consider when creating your walkthrough: Who is going to be included in the story? Where do the elements of the story take place? Do you need scenery? What particular points do you want to illustrate? Do you need ‘supporting actors’? How will you mock up your touchpoints? How will you differenciate between existing and new service offerings? How many stories/ people do you want to walk though? Set your scene: think about where you are going to work, how much space do you need? tos ng pho our Taki ch of y a t of e ens tha o s’ m ed t ene be us rd, ‘sc can boa they a story al n . form additio riptions wit h s c n de w ritte FESTIVAL DESIGN DNA
    • DEVELOPMOCK UPYour mock-ups should develop asyour idea does. USE ME TO:Starting off with montages of • Test ideasexisting services and elements • Develop ideasthat you would like to include/ • Get user feedback draw inspiration from, through Communicate the idea in to more realistic examples of your headtouchpoints and interfaces.The idea of a mock-up is to test YOU WILL NEED:your idea and receive feedback,so done cherish it too much. Keep • Pens & paperyour mock-ups quick and simple. • ImaginationThis is an ideal technique to dofrom your desk, or in a workshopscenario.You may find yourself mockingup a ticket with a QR code on it,drawing out a new website whichshowcases events on acrossthe year, or a leaflet that hasinformation on places to eat near “WE DID A SIMPLE MOCK UP OF A FRIENDyour main venue. FINDER FOR HOGMANY, PEOPLE THEN STARTED TO ENGAGE WITH THE CONCEPT”
    • MOCK UPYour mock-ups should develop as your idea does. Starting off with montages of existing servicesand elements that you would like to include/draw inspiration from, through to more realisticexamples of touchpoints and interfaces. The idea of a mock-up is to test your idea and receivefeedback, so you shouldn’t be too precious about it. Keep your mock-ups quick and simple. This is an ideal technique to do from your desk, or in a workshop scenario. You may find yourself mocking up a ticket with a QR code on it, drawing out a new website which showcases events on across the year, or a leaflet that has information on places to eat near your main venue. oes your idea look like? Ideas sketch : what d al? need to make this re What do you tos pho ing of your Tak ch a at of e ans th ’ me sed to nes u ‘sce can be oard, n yb the a stor al writt and y e m on for additi . ‘Rou gh n re o with riptions , captu c des y’ is ok wards. R ead a after er cam FESTIVAL DESIGN DNA
    • DEVELOP “WE TOOK OUR PROTOTYPEEXPERIENCE PROTOTYPE (LARGE) INTO THE VENUE AND ASKED PEOPLE TO TRY IT OUT”During the development of yourservice, it is important to use different USE ME TO:tools to test from different angles. • Test ideasThe service user and provider • Develop ideasexperience a simulation of the final • Get user feedbackservice through it’s touchpoints. This • Gain experiential feedbackdoes not need to be in situ, it canbe in the studio/office context, but itdoes need to involve actual serviceproviders and/or users. YOU WILL NEED: • Service users and providers This type of prototyping is useful for testingto explore the performance of theservice against it’s users. You may • Incentives (sweets, biscuits)want to test a new concierge service • Mock-up/prototypes of for delegates who have been invited touchpointsby your festival organisation. • Camera/Video camera • Pens, paper & post itsWhy not rent a space like the MeltingPot and use cardboard to mock up anairport arrivals space and the insideof the car and materials providedwhen taking the delegate from airportto hotel. Have someone film theexperience and then review it backwith the user. What was brilliant, andwhat could have been better?By bringing it to life is where you willfind most useful feedback to developyour final proposition.
    • EXPERIENCE PROTOTYPINGDuring the development of your service, it is important to use different tools to test from differentangles. The service user and provider experience a simulation of the final service through it’stouchpoints. This type of prototyping is useful to explore the performance of the service againstit’s users. This does not need to be in situ, it can be in the studio/office context, but it does need to involve actual service providers and/or users. Think about the scenes that you want to try out through experience prototyping - sketch them our like a customer journey map to give you some structure. Think about setting your scene: where will you try eed? o you n laces... out your idea, how much space will you need? What What d eople, p p contectua details do you need to include? Props, Who is involved + roles ring o-c aptu e Vide servic rs r you rovide nd p rs a e new will use f th o ring ks use ce offe at wor i h serv you w s a little w sho at need pment. h & w develo e mor FESTIVAL DESIGN DNA
    • DEVELOP EVENTS/PLATFORMS/TOOLMAKE DAY - PROTOTYPE/DEVELOP IDEA SESSIONS “A MAKE DAY GETS EVERYONE ON THE SAME PAGE. THIS IS USE ME TO: ABOUT MAKING IDEAS REAL”The development stage is all aboutprototyping. But sometimes it can bedifficult to do this alone as an individual,or difficult to find the time to run • Build prototypesprototypes and mock up touch points • Get feedbackwith the day to day running of your • Generate excitement around your organisation. projectA make day is about making the spaceand time to bring ideas to life. Theseideas may have come from within yourown festival organisation, using feedbackyou’ve had from customers or working YOU WILL NEED:with the Edinburgh Innovation Lab’s idea • A box of ‘stuff’ (scissors, paper, portal. pens, glue, cardboard, toys, pipe Gather together the people behind the cleaners & objects so that ideas ideas by bringing people from your really can be mocked up and organisation together with outsiders brought to life)who are good at making ideas real with • Paper & Penstheir hands to develop your concept into • Storyboarding templatephysical touchpoints. • WWWWWH templateTo get everyone on board with an idea,use storyboarding to bring it to life andthe WWWWWH template. This could bedone as preparation to the event or as agroup activity together.These artefacts are great to showcaseideas and test them out during this day.End the day with a presentation on whatyou’ve produced so that people really geton board with your concept.
    • DEVELOP EVENTS/PLATFORMS/TOOLINTERVENTION DAYIntervention day is about takingyour idea of how a service could be USE ME TO:improved and making it happen to seewhat the results are. • Test your ideas on a larger scale • Test new methods & techniques This is about understanding where of prototypingthere may be pain points in the serviceyou offer and testing the ideas you haveto improve it or simply testing one ofthose lightbulb ideas you have. YOU WILL NEED: • A planTake for example a ticket booking • An agendaoffice. Assemble a team of people • A clear idea of the goals & aims who have knowledge on how this of the dayworks (ideally someone purchasing aticket, the box office staff, the festivalorganisers) and review what elementsare not working.Then generate ideas to change andintervene in the current way thingsare done. Create a set of questionsyou want to ask yourself around howthe box office experience improvedbecause of your intervention.If the answer is yes, and it did improve, “MAKING AN INTERVENTION WAS QUICK,you will have just successfullyprototyped an intervention, a changeto the service you were offering that EASY AND CHEAP WAY OF SEEING HOWmakes the experience better. Anexample of an intervention mightinclude; altering the process of buying a WE COULD ALTER THE FESTIVALticket. Why not try mobile ticket sellersafter shows in venues? EXPERIENCE”
    • DEVELOP EVENTS/PLATFORMS/TOOLHACK DAYA hack day is an event where developers,designers and people with ideas gather USE ME TO:to build ‘cool stuff’ - the events now runall over the world and are organised by a • Develop new ideaswide variety of people, companies, and • Be inspired by disciplines that even government departments. differ from your own • See the potential of the data you The ‘days’ tend to run for 48 hours overa weekend. The first evening is about holdshowcasing the data, talking through how • Develop new ideas for services to access it and building a picture of what and productsthe aim for the weekend is.The second day is about designing and YOU WILL NEED:coding. People work alone and in teams,produce new applications, phone apps, • A space to hold the eventwebsites & widgets etc which all aim • A mix of people to invite (ensure to use the data in an innovative way. you have coders coming)A local hack day to learn from is Culture • Food and drinkHack Scotland, first held in 2011. Data • Data to open upwas opened by a variety of culturalorganisations, from museums collectiondata to listing information for the Fringe.Two ideas built included a festival datingsite where people are brokered by the “CULTURE HACK SCOTLANDshow they want to see, and a bookfestival app which allows you to see whatauthors look like easily and a space tocapture their signature on your ipad.The model of hack day doesn’t haveto be about coding, it can apply just to PRODUCED OVER 20 BUILT IDEAS IN UNDER 48 HOURS”designing new services / products. Theenvironment, mission and deadline is agreat backdrop to getting things donecollaboratively.
    • DELIVERBLUEPRINT LITE (SMALL)A light blueprint is a great way USE ME TO:to showcase the user journey,the stages of the service and • Display what is in place the touchpoints in one tool. It is within your service to not as detailed as a developed support your user at various blueprint but it shows us the stagesbasic customer journey and • Communicate your service the process of how a service as a whole.or product is delivered and • Document where/if consumed. alterations need to be made • List the touchpoints We work through a lite blueprint involvedin the following way;1. Start with the customer YOU WILL NEED:journey • Pen & paper2. Outline what the processstages are • Blueprint lite template • Post its “A QUICK BLUEPRINT HELPED3. Highlight what touchpointsare used US GET TO GRIP WITH HOW TO4. Consider who would deliverthis backstage DELIVER OUR NEW TICKETING SERVICE”
    • BLUEPRINT (LITE)Service blueprints are a way to specify and detail each individual aspect of a service. They are visual documents that can detail the entire process and actions involved in consuming and delivering a service.It follows a customer’s actions across multiple touchpoints. It can also detail staff actions and back stage ‘invisible to the user’ actions.CONSIDER THE USER’S PERSPECTIVE, SHOW WHAT THEY ARE DOINGCUSTOMER JOURNEY MAPHIGHLIGHT TOUCHPOINTS USED BY THE USERWHO IS INVOLVED IN THE FRONTLINE DELIVERY OF THIS SERVICE?WHO / WHAT ELSE IS SUPPORTING THIS SERVICE IN THE BACKGROUND? FESTIVAL DESIGN DNA
    • DELIVERSERVICE EVIDENCING POSTER (SMALL) “MAKING A POSTER IS A REALLY QUICK WAY TO EXPLAIN USE ME TO: OUR CONCEPT TO PEOPLE IN OURA poster is the perfect way tocommunicate any new service/product/offering your festival • Showcase an early ideaorganisation has created. • • Get user feedback Develop your idea ORGANISATION”By drawing or using • Communicate the value of photographs you can show your ideaexactly what your idea wouldlook like if it was real. YOU WILL NEED:The key is to take a photographof your newly designed poster • Paper & pensin context - this really brings • Camerayour idea to life. • Blu-tack/Sellotape
    • SERVICE EVIDENCING POSTEREvidencing is a way of exploring the proposed touchpoints of a service; how they will look, feeland communicate with the service user. This is about mocking up elements of the service you aredeveloping. It could be a poster, a leaflet, a ticket you receive or a text message. Any element ofthe service which is tangible can be mocked up and photographed in context to bring it to life. What’s your idea called? Use this space to bring your idea to life. Show it as if it is real. FESTIVAL DESIGN DNA
    • DELIVERW.W.W.W.W.H. (Who.What.Where.When.Who.How) “ANSWERING SIMPLE QUESTIONS ABOUT YOUR IDEA USE ME TO: REALLY GETS YOU OUT OF THATWho, what, where, when, why andhow are guiding titles to ensureyou think about your user and the • Communicate your idea FESTIVAL CABIN FEVER MODE”reasons they are using the service • Design a pitch for your ideaor product you have designed. • Begin a project meetingUse it anyway you like throughoutthe process, but during thedelivery stage you can use this in YOU WILL NEED:the final project phase to clearly • The WWWWWH templatecommunicate and pitch your idea. • Pens & paperFor example you can use both ageneral and specific question;Who will use this?Who is our customer base?What is our new festival offeringcalled?What are we delivering?Where does this new festivaloffering happen?Where does this take place?Why would people use our newfestival offering?Why is this valuable?How do people find out about ournew festival offering?How do people use it?
    • W.W.W.W.W.HPOPI enables you to work through insights and research to create principle statements.Ideally, this can be used as a framework to discover and define stages of a project and be used as a point of reference. It is an activity toconverge research into a vision. POPI can be used to lay findings and ideas on a wall space so coherent stories and patterns can be easilyidentified. WHO WHAT WHERE WHEN WHY HOW FESTIVAL DESIGN DNA
    • DELIVER “A BLUEPRINT IS AN INTENSIVEBLUEPRINT EXERCISE BUT SO WORTHWHILEThe Service Blueprint follows a customer’sactions across multiple touchpoints. It is a will deliver this. Work from these and outline all the actions that can take place under each DOING TO UNDERSTAND WHERE YOURdetailed plan which outlines the interactionsthroughout the provided service; the peopleinvolved, the actions, implementations and the group of events. For example, under the buy ticket stage a CHANGES FIT WITHIN THE EXISTING ECO SYSTEM”route taken and then outlines what channel customer activity may be;(web/phone/face to face) that this action takesplace on. ‘User buys ticket from self service machine on the High Street’Using the Festival Design DNA blueprinttemplate outlined is a ‘basic’ walkthrough of By outlining all these actions we can detailwhat most users might go through. In this what touchpoints need to have briefs createdstage of your project, these may be scrapped for them.in favour for more appropriate titles.A blueprint displays not only what is visibleto the user going through the service but all USE ME TO:of the functions that exist around them - thetouchpoints and behind-the-scenes workings. • Display what is in place within These are all aligned, usually chronologically, your service to support your user to the user experience. At this stage of the at various stagesproject, the blueprint is a final document that • Communicate your service as a can be handed over to consultants who will wholebuild and deliver your service. • Document where/if alterations Blueprints can be made collaboratively at a need to be madesession and tidied up later in the office. The • List what touchpoints need best way to start is thinking about how a delivereduser becomes aware, joins, uses, grows withand leaves a service. These are then crossreferenced with touchpoints, like web, print,face to face to document all the elements YOU WILL NEED:of a service. It’s important to remember thatblueprints are often bespoke, and whilst beginwith an initial framework, should be tailored • Pen & paperto the look and feel of the service they are • Guiding titlesdocumenting. • You may want to make this as a digital layout due to scale and This blueprint comes back to your final userjourneys you have developed from both the complexityvarious customers viewpoint and the staff who
    • BLUEPRINT Service blueprints are a way to specify and detail each 1. Start with the customer journey. This is the easiest way to individual aspect of a service. They are visual documents that detail the process of how a service operates can detail the entire process and actions involved in consuming 2. Start to highlight touchpoints involved in the customer and delivering a service. journeys so that you can look at what needs to be created to deliver the service It follows a customer’s actions across multiple touchpoints. 3. You can then generate multiple journeys to start pulling It can also detail staff actions and back stage processes. out different touchpoints as they occur on different channels. FINDING OUT WHAT ARE PLANNING WHAT IS THE FINDING OUT MAKING A RECEIVING GO TO FESTIVAL FESTIVAL MORE EXIT FEEDBACK / WHAT’S ON - THE EXTERNAL PURCHASING THE FESTIVAL USER DOING? FESTIVAL EXISTS DECISION TICKETS VENUE NAVIGATION IN MOTION INFORMATION FESTIVAL FOLLOW UP SCOPING FACTORS? EXPERIENCE CUSTOMER JOURNEY MAP HIGHLIGHT THE TOUCHPOINTS CHANNELS POST SMARTPHONE PHONE EMAIL SPACES PRINT WEBLINE OF VISIBILITY 1 STAFF ACTIVITYLINE OF VISIBILITY 2 SYSTEM ACTIVITY FESTIVAL DESIGN DNA
    • DELIVER “PRODUCING QUALITY SCREENSHOTS AND MODELSSERVICE EVIDENCING (LARGE) HELPED US GET INVESTMENT FOREvidencing is a way of exploringthe proposed touchpoints of a USE ME TO: OUR IDEA”service; how they will look, feel • Test ideasand communicate with the service • Develop ideasuser. It is a methodology originally • Get user feedbackdeveloped by live|work and • Explore your idea involves the creation of objects 3-Dimensionallyand images to gain feedback onthe individual touchpoints. It is ananimated method, gaining tangible YOU WILL NEED:evidence of future ideas and aidsthe designers of the service as • Pens, paper & gluethey can quickly receive feedback • Cameraon concepts. • A location (or graphic software to create suitable background)This is about mocking up • A storyboard you have created elements of the service you are to pull out touchpointsdeveloping. It could be a posterabout your new service to getmore people to the festival, aleaflet explaining how to buytickets from a self service standon the High Street, a ticket youreceive or a text message toadvertise other shows people maylike. Any element of the servicewhich is tangible and can bemocked up and photographed incontext to bring it to life
    • SERVICE EVIDENCING (LARGE)Evidencing is a way of exploring the proposed touchpoints of a service; how they will look, feeland communicate with the service user. This is about mocking up elements of the service you aredeveloping. It could be a poster, a leaflet, a ticket you receive or a text message. Any element ofthe service which is tangible can be mocked up and photographed in context to bring it to life. Think about different ways to bring your ideas to life, test the with your user group or use in a pitch. Model it: Using basic materials; card, Diagram it: Make your idea visible, to scissors, glue, paper means that you can explain the many parts to others. this will quickly construct, share and change your help you simplify it for yourself, and for ides. Don’t be precious! your explanations to others. Act it out: Take on the roles of the various service providers and users. Act the scenarious that they encounter, changing elements as you go. You’ll be surprised how quickly your idea Build it: Make some sketches of a website, starts to alter. buy a domain or work on a wordpress site - with so many themes out there you’ll be sure to find one to fit. FESTIVAL DESIGN DNA
    • DELIVER EVENTS/PLATFORMS/TOOL “OVER 50 PEOPLE CAME TO OUREXHIBITION EXHIBITION. IT WAS A GREATAn exhibition is a great way toset a deadline on pulling final USE ME TO: CHANCE TO INTRODUCE OUR NEWplans together and ensuringthat work remains visual and • Get people on board with your idea SERVICE”understandable. • Gain feedback • Produce the final conceptThis event allows you to bring • Communicate and share the together people who were conceptinvolved in the project, andstakeholders who haven’t butwill be part of the implemented YOU WILL NEED:solution. • A suitably spacious venueYou can use it to gain feedback • Visual materialbut importantly in the final delivery • Invitationsstages, this event can get theimportant people on board youneed, to realise your idea, or getthat extra bit of funding etc.You can show the final endproduct here, either by postersthat have been mocked up, a miniadvert made about it, or the finalblueprint. Remember and showpeople the process of how yougot there, who you involved, this isimportant to get people on board.
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE EXITWRITE A BRIEF (DISCOVER)At this stage, after getting afeel for your festival experience, USE ME TO:some user needs and what else • Succinctly communicate your is happening out there you may projectwant to write a brief to bring other • Reflect on your work and professionals in to help you work processup the themes and define some of • Extend the networks who are the research into tangibles. interested in your workWriting a brief can be a difficultchallenge, it’s important you call YOU WILL NEED:on expertise when necessary. Agood brief should outline what • Any publishing softwareyou have found out, a summary ofyour research and what steps youwould like to take forward. Keepthe brief fairly open at this stage.You may want to include yourSlidedeck of findings to askcompanies to develop responsesto the brief before hiring a team togo into the definition stage. “WE WROTE A SIMPLE BRIEF TOThis brief is more about refiningthe research you found and GET HELP ON WHAT OURdigging deeper on what it means. RESEARCH MEANT”
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE EXITWRITE A BRIEF (DEVELOP)At this stage, after developing ideas youmay want to write a brief to bring other USE ME TO:professionals in to help you deliver thesolutions. A brief is to outline the aims,objectives and milestones of your project. • Gain traction within your This brief needs to be thorough and articulate organisationwhat you want, setting parameters on whatis to be delivered. Before sending the brief • Reflect on your processout, try sharing this with other colleagues, this • Succinctly communicate your will help to make sure you are communicating ideaclearly what you want. Remember thatemotive language can be used in a brief, wecan all relate to it and it will allow you to reallyemphasise what you are trying to achieve.This document will become your main point ofreference between you and the development YOU WILL NEED:team. • Any publishing softwareEnsure that this document includes:1. Your aims:What does your design aim to do? Is itto encourage more people to come to thefestival? “WE WROTE UP A BRIEF TO FIND2.Your target audience:Who will use this? What age group, sex,income bracket, location are your targetaudience for this. Include some of your PEOPLE WHO COULD BUILD OURearlier design work, it will help to inform thedevelopment team.3.Your budget and timescale: SOLUTIONS”Even if the figure is ball-park, a budgetestimation helps a company to respond to yourealistically on what can be delivered for theamount you are offerings4. Examples: Show examples of other servicesand products that are similar to your vision
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE EXITWRITE A BRIEF (DEFINE)At this stage, after definingproblems in the festival USE ME TO:experience, or opportunities to be • Succinctly communicate your innovative, you may want to write projecta brief to bring other professionals • Reflect on your work and in to help you work up solutions. processA brief is used to outline the aims, • Extend the networks who are objectives and milestones of your interested in your workproject.Writing a brief can be a difficult YOU WILL NEED:challenge, it’s important you callon expertise when necessary. A • Any publishing softwaregood brief should outline whatyou have found out, a summary ofyour research and what steps youwould like to take forward. Keepthe brief fairly open at this stage. “WE PUT OUT A BRIEF FOR PEOPLE TOYou may want to include yourslide deck of findings to askcompanies to develop responsesto the brief before hiring a teamto go into the development RESPOND TO USING THEMES WE HADstage. This brief is more aboutthe early idea stage leading into PULLED TOGETHER DURING THEdevelopment than producing thefinal products for the deliverystage. DEFINITION STAGE”
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE EXITSLIDEDECK OF FINDINGSA Slidedeck of findings is ideal USE ME TO:to present back what you foundduring the discovery phase. • Share your findings. • Get buy in for the definition Try to not use Powerpoint, and stageavoid lots of words. What youwant to do is show a visually YOU WILL NEED:compelling story, bringingtogether what you found out • Slideshare if you want to and the faces behind this publish the findings onlineresearch. • A projector & suitable roomUse the visual material yougenerated, people will be ableto relate with it much morethan bullet points or a standardreport. “OUR SLIDE DECK WAS IDEAL TO COMMUNICATE THE RESEARCH WE HAD DONE WITH PARTNERS”
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE EXITEVALUATE AND MEASURE “GETTING AN EVALUATOR IN WAS CRUCIAL TO GET SOMEEvaluation can be done here in USE ME TO:several different ways. • Prove what you are doing is NUMBERS BEHIND OUR IDEAS”It might be useful at this stage rightto evaluate the approachyou’ve taken. YOU WILL NEED:Does the way you’ve doneresearch tell you more than • A survey to collect dataprevious ways of conducting • A professional evaluator market or customer research? (recommended)You could also evaluate andbring professionals in to lookat the potential impact of yourideas that you are thinking totaking forward.This may help you to choose ifthere are multiple ideas to goforward with.Contrasting and comparingimpact versus cost is a goodway to move forward whenfaced with many ideas.
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE EXIT “WE PUT ALL OUR IDEAS INTO ONEIDEAS OPTIONS BOOK BOOK AND SHARED WITH OTHERAn idea options book is a USE ME TO: ORGANISATIONS BEFORE MOVINGdocument that can be sharedin your organisation or betweenstakeholders involved in the • Showcase your ideas FORWARD” • Reflect on your work and project to get further buy in and processcommunicate work to date. • Extend the networks who are interested in your workIt is valuable to keep peopleinformed on what you are planningso there is no ‘re-invention’ of thewheel and relevant parties can get YOU WILL NEED:involved with your project from • A process and work to date to other organisations. fill the book with • An idea of the people you The book should be kept simple; want to share the content withgive it an introduction, includelist of who is involved in theproject and brief descriptions andvisuals of ideas you have beendiscussing.You can create a formal,professional version on onlinesoftware such as blurb.com oryou can design and print one yourown using publishing softwaresuch as Microsoft word.Try to prototype and experimentideas for your book with paperand pens first.
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE EXIT “WRITING A FUNDING BIDFUNDING BID HAVING DEVELOPED THE IDEA FIRSTYou might find this is a good USE ME TO: WAS MUCH EASIER THAN STARTINGpoint to create a funding bidto take a project forward after • Get buy in on your project FROM SCRATCH”developing it. • Raise capital for the project • Get senior buy in to your Having developed the idea and worktalked and tested it with usersyou will find that filling out aproposal bid will be easier than YOU WILL NEED:starting from scratch. • A funding bid opportunity • A basic funding bid structure to copy from
    • 4 1 DELIVER DISCOVER 3 2 DEVELOP DEFINE EXITEVALUATION TOOLIn truth, a project doesn’t finish. The‘project’ can be left at two stages here, USE ME TO:either to look for funding to implement thesolution across festivals or to make it real • Gain insight on the impact and then use the design process again to your service has hadevaluate how it works in practice. This iswhat we call continuous improvement.Evaluation can be done here in several YOU WILL NEED:different ways.It might be useful at this stage to evaluate • A survey to collect datathe approach you’ve taken. Does the way • Professional evaluatoryou’ve conducted this project tell you • Customers to interviewmore than previous ways of conductingmarket or customer research?You could also evaluate and bringprofessionals in to look at the impactof what you have delivered. On theflip side, you can get some qualitativeand quantitative feedback at thisstage. Use surveys to gauge customerexperience, perhaps focus on some of theproblematic areas you were solving. Doesyour solution improve the experience? “WE SPENT TIME GOING BACK TO THEQualitative feedback is also important.Can you go back to the same usersyou worked with in the beginning of the SAME CUSTOMERS AFTER WE HADprocess and find out what they thinknow? Do they think the experience isbetter? Capture these on camera, happy DELIVERED THE SERVICE TO MAKE SUREcustomers means more customers. THEY WERE HAPPY”
    • The whole toolset in one bundle for your organisation to use when needed. Includes; Establish and collaborate Get other people on board Stakeholder map Project start-assumptions tool Start a blog Project kick off meeting The interview lite 50 things tool Contextual Interview Observation Shadowing Cultural Probe Relationship/stakeholder Map Generative tools Vox popping Service walkthrough Customer day Tech day Asset map class Brief Slidedeck of findings Customer journey map Persona User profiles Media portrait P.O.P.I Idea voting Newsletter Co-design session Showcase event Evaluate and measure Idea options book Example and case study - slide deck Brainstorm ideas Storyboarding Prototype challenge lite Prototype challenge Staging Desktop walkthrough Mock up Experience Prototyping Storyboard for developing idea Make day Intervention day Hack day Funding Bid Story to tell Blueprint lite (small) Service evidencing poster (small) WWWWWH Blueprint Service Evidencing (large) Deliver storyboard Exhibition Evaluation tool find out more at design.festivalslab.com FESTIVAL DESIGN DNA