Full Toolset


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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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Full Toolset

  2. 2. 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.
  3. 3. 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. 4. 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.
  5. 5. 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.
  6. 6. 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
  7. 7. 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!
  8. 8. 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
  9. 9. 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.
  10. 10. 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
  11. 11. 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.
  12. 12. 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
  13. 13. 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.
  14. 14. 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
  15. 15. 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.
  16. 16. 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
  17. 17. 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.
  18. 18. 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
  19. 19. 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
  20. 20. 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
  21. 21. 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.
  22. 22. 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
  23. 23. 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!
  24. 24. 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
  25. 25. 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.
  26. 26. 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
  27. 27. 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.
  28. 28. 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
  29. 29. 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”
  30. 30. 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
  31. 31. 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?
  32. 32. 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
  33. 33. 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”
  34. 34. 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.
  35. 35. 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”
  36. 36. 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.
  37. 37. 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
  38. 38. 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.
  39. 39. 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
  40. 40. 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.
  41. 41. 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
  42. 42. 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”
  43. 43. 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
  44. 44. 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?”
  45. 45. 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
  46. 46. 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.”
  47. 47. 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
  48. 48. 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”
  49. 49. 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
  50. 50. 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!
  51. 51. 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
  52. 52. 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”
  53. 53. 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
  54. 54. 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.
  55. 55. 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.
  56. 56. 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.