Test Drive Festival Design DNA


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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

Test Drive Festival Design DNA

  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. TRY OUT FESTIVAL DESIGN DNAPurpose For a one day workshop Warm up;The purpose of this pack is introduce Service Servicize (10 minutes)Design to your team or organisation. You cando this by organising a workshop or splitting Discover;the tools up into exercises for your staff to Interview (Lite) (30 minutes)undertake. We want you to get your hands 50 Things (30 minutes)on some of the basic tools that will help youto break down how design can work for your Define;organisation and experience using design tools Customer Journey Map (30 minutes)to look at festivals in Edinburgh through a Persona (30 minutes)service lens. POPI (30 minutes) Brainstorm (20 minutes)Time Frame Develop;We recommend you run a one day workshop, Storyboard (30 minutes)giving about 45 minutes to try out each tool. Prototype Challenge (Lite) (30 minutes)This is an intense and fast paced workshop andcould be split over two days if you’d rather work Deliver;at a slower pace. Blueprint (Lite) (30 minutes) Service Evidencing Poster (30 minutes)Alternatively, you could breakdown each WWWWWH (30 minutes)section of Design, Discover, Develop, Deliverinto half day sessions for your staff to do overthe course of two days.Re-framing the questionsAs this is a hands on workshop wherepeople are having a go for the first time, werecommend setting up a challenge with a roughtheme like improving customer experienceduring the Science Festival. Design yourworkshop around this theme so the tools can beused in different contexts.
  4. 4. SMALL SERVICE DESIGN PROJECTAGENDA:This is the ‘do it in a day process’.Each stage of the Service Design process could run for 2 hours.This could be just a whole day workshop or it could split in to different workshops, depending onyour team size.Hour 1: Begin the day with an introduction to the days activities, what each should involve and what you aim to achieve. 20 minutes. If you want to add more context to the day and Service Design, you can download the slide deck on http://design/festivals... “Servicize” 20 minutes Servicize is an activity that helps people get their thinking caps on at the start of a workshop.Hour 2 & 3: “50 things” 1 hour “Interview lite” 1 hourHour 4 & 5: “Customer journey map” 1 hour “Persona” 30 minutes “Popi” 1 1/2 hoursHour 6 & 7: “Brainstorm ideas” 45 minutes “Storyboard” 1 hour “Protoype challenge lite (mock up, Lego, staging)” 2 hoursHour 8: “Blueprint lite” 1 hour “Service evidencing poster” 45 minutes “Wwwwwh” 10 minutesRemember to have fun! FESTIVAL DESIGN DNA
  5. 5. TIMELINE FOR YOUR TESTER DAY ing nc ide ) Ev ite (L ice ew erv rvi 4.3 - Blueprint Lite te -S n -I 4.2 1 1. H WW WW -W 4.1 4 1 DELIVER DISCOVER 1.2 - Fifty Things 2.3 - Prototype Challenge (Lite) 3 2 DEVELOP DEFINE 2.1 -C us tom 2.2 er -S Jo u tor yb rne 2.2 oa yM 3.1 rd ap -P -B ers on rain a sto 2.5 - POPI rm ide as
  6. 6. i- sihze cer-v ESERVICIZ nto a servic e idea i ject or an an ob f tur ning rocess othe p FESTIVAL DESIGN DNA
  7. 7. 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.
  8. 8. 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
  9. 9. 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.
  10. 10. 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
  11. 11. 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.
  12. 12. 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
  13. 13. 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.
  14. 14. 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
  15. 15. 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?”
  16. 16. 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
  17. 17. 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!
  18. 18. 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
  19. 19. 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.
  20. 20. 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.
  21. 21. 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”
  22. 22. PROTOTYPE CHALLENGE (LITE)Your 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.You could .... Model it: working in 3D is Build it: buy a domain or a great way to construct use a wordpress site. the look and feel, and change your ideas quickly. Roleplay it: a quick and Diagram it: this might help easy way to test people’s to explain the component reactions to your ideas. parts of your idea. FESTIVAL DESIGN DNA
  23. 23. 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”
  24. 24. 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
  25. 25. 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
  26. 26. 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
  27. 27. 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?
  28. 28. 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
  29. 29. A day process you can take your team through to understand and learn more about service design for the festivals Includes; Interview (Lite) 50 Things Customer Journey Map Persona P.O.P.I Brainstorm Storyboard Prototype Challenge (Lite) Blueprint (Lite) Service Evidencing Poster WWWWWH Servicize find out more at design.festivalslab.com FESTIVAL DESIGN DNA An initiative of Edinburgh’s Festivals