Managing The Design Process oleh Terry Lee Stones Mengoptimalkan penggunaan design grafis dalam cara yang praktis dan nyata. Memahami bagaimana proses kolaborasi yang berlangsung akan perlu mempelajari beberapa bahasa baru, juga tools dan teknik, dalam mengaplikasikan menejemen design dan hubungannya dengan konsep kepemimpinan design

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BOOKCLUB
Managing The
Design Process
Chapter 6 - Chapter 8

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3. SUMMARY
Chapter 1-5
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Applied Creativity
1

5. The Danish Design Centre (DDC) design “ladder” describes four
levels of commitment to design
STEP ONE : Non Design
STEP TWO : Design Is Styling
STEP THREE : Design as Process
STEP FOUR : Design as Innovation
Design’s Importance to Clients
Design is not just for designers. Design is problem solving.

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Big Goals
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Great Design
Finding a balanced
response for each project is
at the heart of increasing
design’s potential for
meeting goals.

7. EMPLOYEE
COMMUNICATION
SUSTAINABILITY
BRANDING OF
EXPERIENCE
GLOBALIZATION
INNOVATION
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THE BIG GOALS

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Design-Centric
Research
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FACTOR TO ASSES
Quantitative Qualitative
Process improvement
Overall cost savings
Reduction in materials and waste
User/community interaction
New market adoption
Customer satisfaction
Brand reputation
Increased aesthetic appeal
Improved functionality
MEASURING DESIGN
TUJUAN RISET (PENELITIAN)
= DARI TIDAK TAHU MENJADI TAHU

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Strategic
Thinking
4

12. Strategy = a plan for how to achieve a goal
DESIGN STRATEGY = integrated, holistic planning process that
examines the interplay between design & business strategy.
➔ Is it aligned with client’s mission and brand values?
➔ Does the strategy position the client as unique among competitors?
➔ How has the target audience responded to the strategy?
➔ Does the strategy showcase unique ideas, features, and functionality?
➔ Has the strategy garnered industry attention?
WHAT IS DESIGN STRATEGY?
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Informed
Risk Taking
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Innovative design
means taking a
calculated risk

14. Assessing Risk
The decision to take a creative risk or play it safe depends on many factors:
● How big is the client organization?
(large company or small organization)
● How high profile is the project?
(small initiatives limited audience or large-scale projects seen by many)
● How fierce is the competition?
(beaten in the marketplace or seated in the top spot)
● What is the product/ service category?
(conservatives industry or trend driven/cutting edge industry)
● What is the client culture like? (as a group or as a brand,
are they dynamic and flexible or drawn to safety and security)
● Who is the client contact? (down to the personality)
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15. Chapter 6
Creative Briefs
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16. Computer scientist have a saying “Garbage in, garbage out”.
It means computers can process a lot of data output, but it will
only be as good as the information that was put into the
system. It’s pretty much the same for design. Without a well
identified objectives rooted in thorough research, a good
design can’t be created.
We may be able to design something interesting and eye-
appealing based on gut instincts, but these solutions are not
grounded in solid understanding, thus they are easily
dismissed by both clients and target audiences.
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CREATIVE BRIEFS ARE STRATEGIC TOOLS

17. HOW TO DO A CREATIVE BRIEF

18. HOW TO DO A CREATIVE BRIEF
1. Develop a list of questions for clients
2. Ask the client to identify the list of people in their
organization who should participate in the briefing process
3. Do a client interview session
4. Takes notes and/or record the interviews
5. Compile and analyze the interview findings
6. Write the creative brief
7. Send the creative brief to the client for approval
8. With client approval, distribute the creative brief to the
design team
9. Both the client and the design team members should
evaluate all design solutions based upon the creative brief
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19. MATCH: Elizabeth Arden Red Door Spas
The tasks include naming product lines, developing packaging,
and designing visual merchandising materials at the salon.
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22. THE 10 MOST IMPORTANT THINGS
TO INCLUDE
IN A CREATIVE BRIEF
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1. Background Summary (The Client)
2. Overview (The Project)
3. Drivers (Goals)
4. Audience
5. Competitors
6. Tone (Approach)
7. Message
8. Visuals
9. Details (Rules, Timeline, and Budget)
10.People (Decision Maker and Person In Charge)

23. MANAGING TO A CREATIVE BRIEF
Creative brief is a useful tool for getting all members of the design
team on board and ready to work on the project:
• Designers have relevant ground to inform their thinking
• Copywriter has messaging information
• Production managers have milestones and due dates
• Account executive has met and bonded with all client
stakeholders
Everyone has what they need to work, no matter what their
responsibility is.
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24. WHO USES A CREATIVE BRIEF?
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25. GOING WITHOUT A CREATIVE BRIEF
There are times when creative brief may not necessary:
• The assignment is a continuation of a larger program that the
designer has already been working on. In essence, it is a project
that falls within a larger, earlier brief.
• The client trusts the designer implicitly. They have worked
together over the course of many years or many projects, thus the
designer intuitively understands the client really well. This allows
the client to state their problem or goal then give the designer
freedom to design as they see fit.
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26. SPIN! Neapolitan Pizza designed
by Willoughby Design / Kansas City, Missouri
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27. Chapter 7
Aesthetic
Considerations
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WHAT IS AESTHETICS?
Aesthetics comes from Greek
word for perceiver or sensitive.
In philosophical terms, it also
means the study of sensory or
“sensori-emotional” value,
referring to sensibilities of
perception, or the idea of
intuition.
Essentially, how something is
viewed and perceived by a
person causes them to place a
particular value judgment upon it.

29. Aesthetics in design has to do with the deliberate arrangement of
elements (shape, color, typography, etc.) in a way that appeals to the
senses and/or emotions.
The essential of a designer’s work is encoding & decoding messages
(client speak & goals) to move target audience to do something.
Therefore, designers must understand the tastes of target audience,
and then leverage aesthetics to mirror those preferences.
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DESIGN AESTHETIC

30. … of the designer or clients. To
solve visual problems, aesthetics
chosen must tap into those of
their audience. Design decisions
must be argued as appropriate for
a specific context, not just that it
looks or feels good or ‘works’.
Effective use of aesthetic choices
can make a design resonate
deeply with a target audience.
And this resonance creates an
emotional connection.
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NOT PERSONAL PREFERENCES

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Aesthetic Considerations
Study case: Annenberg Community Beach House
by AdamsMorioka, Inc.

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WELL-DESIGNED GOES BEYOND PRETTY
Design at its best uses all the
artistic and aesthetic tools
possible to get the job done.
Aesthetic points to consider:
+ Aesthetic can communicate
function & idea of usability.
+ Preferences are learnt.
+ Color affects people on visceral
level.
+ Emotions are strong
differentiators.
+ People identify & trust certain
personalities.

34. AESTHETIC COMPONENTS

35. MAPPING AESTHETICS
Mapping aesthetics can give designer & client a quick visual reference about
the emphasis being placed on particular aesthetic factors.
It lets designer know if the solutions are different enough to provide range of
choices for client.
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36. AESTHETIC DYNAMICS IN DESIGN
Great aesthetic design lives at
the intersection of four main
factors.
By understanding, then
graphically interpreting the
aesthetic requirements of the
audience they are designing for
is one of must-have key
strengths.
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37. KEY AESTHETIC QUESTIONS

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Aesthetic Considerations
Study case: Modern Dog Design Company/Seattle, Washington
USA

39. EVALUATING AESTHETIC CHOICES
Presenting a design and
explaining the aesthetic
considerations and creative
decisions in a business/audience
context is a great way to increase
approval ratings.
Selling a design also requires
great presentation and
persuasion skills.
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40. Managing the Conversation:
Make sure to discuss:
+ How the design positions the client in their competitive landscape.
+ The client’s business goals & how the design helps to achieve
them.
+ Audience’s needs, expectations, aspirations, and how this design
works to satisfy them.
+ Overall tone & content and how it supports client’s message(s).
+ Feasibility: on time roll-out and on budget.
+ New opportunities found while developing the design.
AVOID!
+ Minutia of graphic choices
+ Personal preferences
+ Reactions not based on the creative brief
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41. Getting Clients to Participate
Encourage both positive &
negative feedback from client.
Explore their feedback with
concern, professionalism, & open
mind, as they know their business
better.
Client doesn’t speak design &
aesthetic language. We need to
dig deeper for their feedback and
articulate the pluses & minuses of
the design for them.
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42. Avoid the Negatives
The biggest mistake to make is
arguing with client, who paid us to
do the job.
To not get caught in an endless
loop, it’s critical to have clear
feedback in order to know how to
proceed. Important too is have it
up front on how many revisions
allowed for the revisions.
We need to argue & present the
design convincingly and get client
agree wholeheartedly.
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43. SOLICITING FEEDBACK

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Aesthetic Considerations
Study case: Newborn designed by Ogilvy Albania & Kosova /
Tirana, Republic of Albania, Prishtina, Kosovo

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Aesthetic Considerations
Study case: Stanley Wong / Hong Kong, China

47. GETTING AESTHETIC IDEAS APPROVED
Some tips on persuading
● Set the tone
● Summarize the background
● Tell them a story
● Employ relevant buzzwords
● Give them aesthetic solution hook
● Know when enough is enough
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Aesthetic Considerations
Study case: More Singles, Couples and Queens designed by
Voice / Adelaide, Australia

49. MANAGING CLIENT RELATIONSHIPS BY VOICE
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They have very specific & useful
methods to, here are 3 key
points:
1. Communication must be clear,
open, honest, and respectful
2. Explain concepts effectively
3. Partnering with clients and
forming enjoyable relationships

50. Chapter 8
Managing
Expectations
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Client Interactions Mean Expectations
One of the most critical aspects of creating a great design
is managing the client expectations.

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Client Satisfaction
A HAPPY client is a repeat customer.

53. Client Satisfaction
Some things a designer must do
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● Understand their client’s communication style and
speak to them in a way they prefer.
● Clarify the design process including what a client
needs to do and when they need to do it.
● Encourage client feedback at appropriate times in the
development process, and respond to it.
● Corral the client into a specific number of revisions at
specific, logical points in the process.
● Avoid unnecessary confrontations.

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Client Satisfaction
Some things a designer must avoid
● Working without an agreement on the nature of the
project, the timeline, and the exact scope of work.
● Misusing a creative brief.
● Poor communication with the client.
● Annoying the client by not acknowledging their
requests, whatever they are.
● #NODRAMA
● Caving into a client’s request even though they know it
doesn’t ultimately serve their client’s goals

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A designer must determine the expressed and
unexpressed beliefs, needs, and desires that the client has
for the design.

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Managing Expectations
Study case: Saraswat Bank design by Umbrella Design Mumbai
Ninety years
old logo
New Logo

57. 4 Best Practices
For Successfully Managing Client Expectations
1. Identify and define the expectation
2. Educate and empathize with the client
3. Continuously check in and monitor the client
4. Influencing and persuading the client
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Managing Expectations
Study case: CNN Grill designed by Collins, New York USA

59. Communication and Design Management
Clients don’t typically ask a designer question like
● What are your management skills like?
● How well do you organize and execute your work?
● What will it be like to collaborate together to get this
project off the ground and in front of the audience?
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60. Communication and Design Management
What Good Communication Means
● Setting up jobs properly via a contract
● Providing progress reports and meeting notes
● Informing and/or persuading in a series of email
exchanges throughout the project
● Developing a creative brief and design criteria
documents
● Proper billing
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61. Communication and Design Management
Recognizing Design Management
Most clients look at a designer’s portfolio, and if they see a
project that is similar in nature and scope, especially for a
big name client.
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62. Ongoing Design Management
Some things a designer faces in the next phases of work
● Project management
● Organizing project details
● Planning and budgeting
● Assembling an appropriate design team
● Managing creative people as well as clients
● Ensuring profitability
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63. THANK YOU
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70. THANK YOU
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