Understand Your Festival


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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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Understand Your Festival

  2. 2. WHERE HAS THIS COME FROMFestival 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 organisationsstart 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 thinkingand 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. 3. UNDERSTAND YOUR FESTIVAL IN DETAILPurpose: Customer Journey Map: 3 days (Spend a day pulling together your customerThe purpose of this pack is to get to grips with journey maps from material you collected, orwhat your festival experiences feels like for people inviting customers in to tell you about theirwho use it and deliver it. Use this pack to develop experiences and time disseminating what thisan idea of the experience and define what could means)be better or added to make your festival trulyinnovative. Persona: 2 days (Spend time pulling out who the characters are ofTime Frame: your service)We recommend you run this project over the Asset Map: 2 dayscourse of 4-8 weeks. (Pull together a workshop of relevant people and organisations to take an asset based approach to your festival)Tools: User Values: 1 days50 Things: 1 day (This exercise could take place over a day)(Choose an activity to focus on) POPI: 1 weekShadowing: 1 week (Spend time discussing the problems/opportunities(Try following someone involved in delivering the you spotted and organising this information toservice you are focusing on) create service principles to move forward)Observation: 2 days Clustering(Spend time observing in the places involved in (Incorporate in the above)your focus) BrainstormCultural Probe: 2 weeks (Incorporate in the above)(Give yourself time to brainstorm the content of theprobes, send them out, and receive them) Idea (Incorporate in the above)Vox Pop: 4 days(Spend a day on the streets, aim for 5 vox pops per Votinghour and the rest of the time editing the footage (Incorporate in the above)into mini video clips or a mash up of the materialyou collected) Evaluation Tool: Varied (Evaluation could be lengthy/short depending onService Walkthrough: 1 day the depth of your project)(Take a day to walk through the service withsomeone and get all your photos downloaded Brief: 3 daysafterwards and printed off) (Give yourself some time to write the brief, don’t rush it)Stakeholder Map: 1/2 day(Bring your project team together to look at who’sinvolved in running/operating/delivering andmaking decisions on services)
  4. 4. 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.
  5. 5. 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
  6. 6. 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.
  7. 7. 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
  8. 8. 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.
  9. 9. 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
  10. 10. 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
  11. 11. 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
  12. 12. 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.
  13. 13. 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
  14. 14. 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?
  15. 15. 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
  16. 16. 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.
  17. 17. 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
  18. 18. 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”
  19. 19. 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.
  20. 20. 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
  21. 21. 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.
  22. 22. 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
  23. 23. 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.
  24. 24. 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
  25. 25. 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?”
  26. 26. 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
  27. 27. 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”
  28. 28. 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
  29. 29. 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!
  30. 30. 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
  31. 31. 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”
  32. 32. 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
  33. 33. 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”
  34. 34. 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”
  35. 35. 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
  36. 36. 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”
  37. 37. A process to help you dig deeper on how yourfestival is used and delivered. This will help you to improve it and build new offerings on top of it. Includes; 50 Things Shadowing Observation Cultural Probe Vox Pop Service Walkthrough Stakeholder Map Customer Journey Map Persona Asset Map User Values POPI Clustering Brainstorm Ideas Idea Voting Evaluation Tool Brief find out more at design.festivalslab.com FESTIVAL DESIGN DNA An initiative of Edinburgh’s Festivals