This document proposes a "Centralized Partnership" approach for design organizations that combines the benefits of centralized and decentralized models. In a centralized partnership, there would be a centralized design team led by a director and placed within the marketing organization. This centralized team would partner closely with product/marketing teams, involving designers throughout the entire project lifecycle to ensure cohesive and user-centered solutions while empowering designers and allowing for speedier output. The document outlines qualities needed for an effective design organization, such as a clear team charter and vision, user empathy practices, delivering high quality design work at all levels of scale, and fostering a collaborative work environment.

1. *Inspiration largely derived from Org Design for Design Orgs, Merholz/Skinner, 2016
A CASE FOR
DESIGN*
A PROPOSAL
From Little “d” to Big “D”
SEPTEMBER 24, 2018

2. DESIGN AS CRITICAL FUNCTION
A SHIFT THAT HAS BEEN UNDERWAY AS
RECENT AS 2012
GE established UX Center for Excellence. IBM committed
to hiring 1,000 designers over 5 years. Capital One
acquired Adaptive Path, Accenture acquired Fjord and
McKinsey acquired Lunar. Not to mention, IDEO and
Design Thinking is referenced everywhere.
WHY DESIGN?
Bottom line efficiency gains from streamlining has it limits.
Top line innovation is where growth lives. Empathetic,
inventive and iterative aspects of design thinking practices
are key to discover the insights that lead to 10x
opportunities.
A formalized design practice can be just as strategic as
technology, ensuring that the focus remains on solving the
right problems.
POWER OF DESIGN: MORE THAN JUST
PROBLEM SOLVING
Problem solving is only the tip of the iceberg. Analytical
approaches typical in science and engineering are
reductive and insufficient for solving problems in complex
systems. A leveling up of problem seeking and framing
skills are necessary to establish focus on problems worth
solving.
A greater focus and investment in design can
● enhance the ability to discover and realize new
business value,
● improve the understanding of the overall value
proposition to disparate audiences, and
● ensure a consistent and coherent experience
across all touch-points.
RMG 2018
A CASE FOR DESIGN

3. POTENTIAL OF DESIGN: MORE THAN JUST MAKING THINGS PRETTY
Design is happening everywhere, all of the time. It is often treated as an event or a step in the process (Figure A). There are
benefits to be gained by incorporating design throughout the entire lifecycle of all activities (Figure B).
Reframe design to be broader than just artifact generator in service of marketing, communication, sales and development to
include the understanding of relationships between people (customers, partners, employees, leadership).
RMG 2018
A CASE FOR DESIGN
Management
Marketing / Sales
Design
Development / Implementation
Support
Management
Marketing
Design
Development
Support
Implementation
Sales
Figure A Figure B

4. Artifacts should not be considered on their own, but as tools in a larger “Service Design” ecosystem. The ask then changes
from “I need a 1-Pager to leave behind at a meeting” to “How best can I make a lasting impression on person X in situation Y at
stage Z in their journey that will spread and inspire them to act in _____ way”
At the heart of Service Design is the Customer Journey. Mapping a customer’s interactions across different departments
provides a deeper perspective on service delivery and exposes impediments along their traditionally fragmented or siloed
journey. Project based teams can address this discontinuity but they need standardized tools, techniques rules of
engagement to be most efficient and effective. This is where design and design thinking can play a pivotal role.
EXPANDED ROLE OF DESIGN
Continuous delivery of products and services requires that designers be brought into the process early on and not just
handed briefs and requirements downstream from product management/marketing. To make sure a empathetic perspective
is embraced, Design should have equal representation along with Business, Product, Sales and Marketing.
Typically, design would compensate for the lack of early inclusion through the discipline of UX by developing a set of
methods (research, testing, personas, workflows, wireframes) and fostering user-centered mindset to manage complexity.
However, it has become clear that these practices are useful in the definition as well as the execution of a product / service
and drive greater business value. Design is part of the conversation of what should be built, not just what can be built. It
should play a role from idea through to final offering and be woven into every aspect of service experience, from marketing
to support.
RMG 2018
A CASE FOR DESIGN

5. AN EFFECTIVE DESIGN
ORGANIZATION
SENSITIVE MANAGEMENT, VISIONARY LEADERSHIP AND WELL-RUN OPERATIONS
Most people have never worked with a truly effective design team. Most designers have never been part of a fully actualized
team and don’t know how to realize their own potential.
Effective Design Teams
Qualities needed for design to take on an expanded role are
I. Foundation: Set of well defined core tenets that drive behavior and establish purpose
II. Output: Quality deliverables across a set of capabilities
III. Management: Inspiring and empowering aspects of running a team
RMG 2018
A CASE FOR DESIGN

6. Foundation
1. Team Charter
Shared sense of purpose to establish their identity and the impact they wish to have in order to 1. Attract and excite
talent and 2. Signal what to expect to the rest of the organization.
2. Focused, Empowered Leadership
Clear ownership for how the team should work, make decisions that benefit the team and ensure respect for team
members. It should be 1. focused on mentoring, building and operating the team and the figurative and literal
environment where design can thrive, 2. have autonomy to ensure team is most effective and efficient by prioritizing
work and establishing best practices and 3. have the support of and access to executive leadership that demonstrates
the importance of design for the organizations success.
3. Authentic User Empathy
Clear practices for how to gain true understanding of the people you wish to serve that goes beyond basic research
and standard testing practices to produce designs with the greatest impact.
4. Understand, Articulate and Create Measurable Value
Must understand and speak to how design contributes to business success and is not just for design sake. Must be
able to measure the return on the investment of design. (Possible examples here).
RMG 2018
A CASE FOR DESIGN

7. Output
5. Breadth: Support Entire Journey
Must have access to and be involved in end-to-end customer journey thus requiring wide range of design expertise
to management complexity from Graphics, DataViz, Brand Identity & Storytelling to UX, IxD and IA. Single design
teams ensures cohesive experience throughout journey.
6. Depth: Deliver at All Scale Levels
From Portrait to Pixels:
○ Stratosphere (10k ft): Integrated view of company’s value proposition, brand characteristics (5%)
○ Strategy (1k ft): Planing, vision, objectives, concepts, stories, requirements (15%)
○ Structure ( 100 ft): workflows, renderings, wireframes, brand guides, language/tone (40%)
○ Surface (10 ft): type, color, layout, interface, animation (40%)
7. Quality Standards
Most subjective and hardest to quantify but needs to be communicated through well reasoned and defined
principles to move beyond compromising due to someone’s personal preference or desire to please.
8. Value Delivery over Perfection
Striking the proper balance between quality and delivery. Continuous delivery is not an excuse to deliver bad stuff.
RMG 2018
A CASE FOR DESIGN

8. Management
9. Teams are People, Not Resources
We are not our job titles. Labels are only guidelines. Reporting structures are for communication and mentorship, not
to limit ideas. Instill the value of working smart and hard and then long if/when necessary. Encourage and find ways
to support growth, both individually and collectively.
10. Diversity of Perspective and Background
Avoid groupthink, repeatedly solving problems the same way, limiting exploration by converging on solutions too
soon. Encourage divergent thinking to open problem space and approach challenges from various angles.
11. Foster Collaborative Environment
Create safe spaces for sharing work to deliver best results. Teach authentic, thoughtful, constructive, honest,
empathetic (not polite) feedback. Encourage everyone to speak up for themselves - leaders speak last if at all.
12. Manage Operations Effectively
Remain focused, purposeful and appreciated by ensuring internal coordination, cross-functional collaboration,
appropriate staffing & on-boarding, transparency, measurements and communicate a clear strategy, vision, &
roadmap.
RMG 2018
A CASE FOR DESIGN

9. DESIGN ORGANIZATION STRUCTURE
A “CENTRALIZED PARTNERSHIP” APPROACH
Traditional models are either Centralized or Decentralized/Embedded. Each has associated benefits and drawbacks. A
Centralized approach can be slow and disempowering. Designers in a decentralized environment can grow restless, feel lost
and produce designs that lack cohesion.
A Centralized Partnership is a hybrid approach that attempts to blend the best of both approaches.
Centralized Team
Similar to dealing with external or in-house agency. Lead by a director and typically placed in marketing organization. Seen
and treated as a pool of talent.
Benefits Drawbacks
• Supports design community and culture, engaged
mentorship, growth opportunities
• Disempowerment, lack of ownership due to
impermanence and late inclusion on projects
• Clear design direction, vision, authority, control,
approval
• Us vs them attitude, disenchanted, acquiesce to do bare
minimum leading to devaluing of design
• Designers work on array or projects, expanding their
skills, increases engagement
• Lack of visibility and clarity of priority and timing
externally
RMG 2018
A CASE FOR DESIGN

10. Decentralized / Embedded Team
Happens when centralized approach leads to delays, subpar work, unsatisfying outcomes. Designers work within product/
marketing teams. Head of design is only consultative and strategic but no authority over hiring or creative direction.
• Encourages consistent user experience, clear end user
expectations across org
• Create efficiencies, no redundant roles, lower
headcount/costs
Benefits Drawbacks
• Speedier, iterative output • Focus on one problem for long time, design becomes
stale, repetitious
• Empowered designers, participate throughout lifecycle • Designers become lonely, lack community, struggle to
be understood
• Greater ownership of outcomes • Little if any cohesive design culture, experience, isolated
decisions don’t always broadly translate
• Higher quality output, iterate and refine to end, no
handoff
• Duplicate efforts, inefficiencies, each group creating
own experiences
• Marginalize user research, tougher to justify beyond
quick efforts
RMG 2018
A CASE FOR DESIGN

11. Centralized Partnership
Designers report up through single point but not treated as a pool of talent.
● Team Makeup
1. Organized as skills-complete teams dedicated to specific aspects of the business
2. Work at every Scale Level (Strategy, Structure, Surface), regardless of overall size.
3. 2-7 Members, split when larger than 7
4. Don’t need to be as deep as overall design org
● Team Leadership
Can scale up and down to oversee entire end-to-end experience. Understand clear business objectives to produce
high quality, appropriate solutions. Coach, diplomat, salesperson
1. Manage down: coach, guide, mentor
2. Manage across: coordinate cross-functionally, work is integrated with larger whole, push back on unclear/
unreasonable requirements
3. Manage up: explain rationale behind design decisions, present point of view, articulate vision …
4. No people management
● Team Organization
1. Clear Mandate. Partnership with what part of business, product team?
2. Organized from perspective of user-experience/customer journey, not mirrored from partner structure
3. Committed to the partnership and not shuffled around until significant outcome or time (9-12 mo)
4. Clearly communicate design operation and ‘rules of engagement” with partnership
RMG 2018
A CASE FOR DESIGN

12. Reporting Structure
Where does the design org belong in the larger organization? It started in IT (website was domain or IT) and then to
Marketing (when website moved under purview of Marketing).
● Ultimately, the Design Organization could operate on par with Product & Marketing Organization
● When Design lacks critical mass, presence and level of maturity, operating as a team within Product & Marketing
Organization is most appropriate.
● However, to whom it reports is secondary to ensuring that it operates
○ As a single operating entity,
○ Has a mandate to infuse their work throughout the entire customer experience
○ Has empowered leadership to direct the team and activities to deliver the mandate
Roles & Team Composition
Roles are not arbitrary but are written to respond to the needs of the organization and comprised of the following expertise:
● Product: UX, UI, IxD, Visual, IA, …
● MarCom: Graphic, Communication, Brand Experience, …
● Leadership: Head of Design, Design Director, Creative Director, …
RMG 2018
A CASE FOR DESIGN

13. Proposed taxonomy addresses the expanded role of design. Abstract job titles make operations easier and allows for career
growth but no two people with the same title are 100% interchangeable.
I. Individual Contributors
• Product Designer (UX/UI)
a. Interpret software complexity into form that is accessible and understandable.
b. Must have baseline understanding of how technical issues affect design
c. Structure Level (UX): workflows, wireframes
d. Surface Level (UI): layout, colors, type, icon
e. Rare people excel at both, look for one type or another
• Communication Designer (Information / Graphic Design)
a. Distill essence of company’s personality into visual representations
b. Works with all media, grounded in color, composition, type, imagery
c. More analytical minded lean toward information design
d. Strategy Level: Brand characteristics, vision for whole company
e. Structure Level: Brand standards, guides, communicate complex concepts
f. Surface: Type, imagery, layout: words and images
RMG 2018
A CASE FOR DESIGN

14. • User Experience Researcher
a. Product design can rely on some intuition / institutional knowledge, but end-to-end Service Design requires
deep empathetic perspective
b. Usually dedicated role when team hits 5-6 members, strong organizational skills with keen attention to detail
c. Understand totality of user experience where insights inform marketing, sales, product, as well as design
d. Generative Research: out in field to frame problems in context and in new ways to stimulate innovative
solutions
e. Evaluative Research: test the efficacy of designed solutions
f. They get everyone involved and spearhead the process -- not done in a silo
• Design Program Manager
a. Traditional role but specific to design when group hits around 10 members, peers of Design Leads
b. Identify priorities, define cross-functional milestones, scheduling, tools, processes
c. Make sure design activities run smoothly,
d. Manage interactions between design and other functions
e. Communicate planning, briefing, meetings, …
f. Excellent communication skills, understanding of design methods and thinking, managerial and influencing
skills
RMG 2018
A CASE FOR DESIGN

15. • Content Strategist
a. Ad firms have long understood importance of having art directors work closely with writers -- Progressive
design orgs integrate content strategists
b. Content, not design, is focus so design shouldn’t dictate form and structure and ask others to fill in boxes
c. Strategy: Define content strategy (voice, tone, …) and ongoing content development to align with brand
strategy
d. Structure: content models, navigation design
e. Surface: write the actual copy -- UI labels and copy to help users accomplish task
f. Generic title/label allows for expanded role across levels and departments
g. End-to-end content experience, as important as product features
• Service Designer (dedicated role not necessary at small scale or at all but skills are important)
a. Experience Maps, Customer Journeys, Service Blueprints
b. Coordinate effort across product teams to ensure coherent solutions that work across roles and contexts
c. Operate at Strategy and Structure levels
• Creative Technologist (dedicated role not necessary at small scale or at all but skills are important)’
a. Vet product designs for feasibility during design process
b. Product designers with software backgrounds have this skill set
c. Consider dedicated role at around 15-20 team members
RMG 2018
A CASE FOR DESIGN

16. d. More concerned with possibility than delivery (role is not frontend developer for this reason)
e. Align with mission of design org, using engineering disciplines to uncover opportunities for clear, coherent
user experience.
II. Design Leadership
Create literal and figurative space for great design and evangelize benefits of design-driven orgs to deliver great
experiences
• Head of Design
a. Creative: Provide creative vision and establish processes and practices, set the bar for quality, brand
definition and experience principles
b. Managerial: Set the teams tone, work environment, growth opportunities, feedback, hiring
c. Operational: Optimize effectiveness, Set means and modes of communication, tools, schedules, meeting
cadence/format, integration and communication across organization, headcount, compensation, physical
spaces
d. Balance Creative, Managerial and Operational to be most effective
• Design Manager/Director (dedicated role when team 10 or more members)
a. Creative leadership and people management
b. Help team members reach potential
c. Previously skilled practitioners and can roll up sleeves and do the work
d. Operate at Strategy, Structure, Surface
RMG 2018
A CASE FOR DESIGN

17. • Creative Director
a. Creative vision and setting creative standards
b. Brand standards, style guides, experience principles, own entirety of end-to-end experience
• Directive of Design Program Management
a. Make things go
b. Strive for efficiency and effectiveness
c. Remove logistical and procedural obstacles
Design Organizational Stages
Stage 1 (2 FTE)
1. Head of Design / Creative Director (HD)
2. Product (PD) / Visual Designer (VD)
3. Leadership experience and output velocity
4. Structural competence and Surface savvy
5. Head of Design establish strategy, vision and
definition
6. Product (PD) / Visual (VD) focused on execution
7. Together create strong starting foundation
RMG 2018
HD
PD / VD
A CASE FOR DESIGN

18. Stage 2 (5-7 FTE)
1. Grow to meet demand, full skills-complete team,
ability to tackle any challenge
2. 2-3 more Product Designers (PD) to span Strategy,
Structure, Surface scale levels
3. Cover capabilities to perform user research,
interaction design, prototyping, visual design
4. 1 Communication Designer (CD) to cover non-
product visual design for marketing, sales, comms
as well as product design support
5. 1 Content Strategist working across marketing,
sales, comms as well as product design
6. All report directly to Head of Design
RMG 2018
A CASE FOR DESIGN
HD / CD
CDVD
PD CS
PD PD

19. Stage 3: From Design Team to Design Organization (11-12 FTE)
1. Team of more than 7 split in two skills-complete
teams, committed to business function
2. Add UX Research (UXR) and Team Lead (TL)
a. UX Researcher is resource for both teams
b. Team Lead: a PD, CD or CS skillset and
creative authority for their team
3. Team members still report directly to Head of
Design
4. Additional PDs, CDs, and CSs as needed to ensure
dedicated skills complete teams
5. Head of Design becomes more operational and
managerial
RMG 2018
A CASE FOR DESIGN
CDVD
PD PDPD CS
CD
TL PDUXR
HD / CD

20. Stage 4: Coordination to Manage Complexity (20-21 FTE)
1. Add another skills-complete team, increasing coordination by order of magnitude
2. Greater risk of fracturing customer experience
3. Add Design Program Manager (DPM), Design Manager (DM) and Service Designer (SD)
a. DPM: coordinate communication across direct, distinct teams
b. DM: doubles as Team Lead (TL) with people management responsibilities
c. SD: development of overall Journey Maps, Service Blueprints to provide systematic framework for entire
design organization -- also interface with front line roles in sales, engagement, …
Stage 5: Distributed Leadership (47-48 FTE)
1. Basically doubling of organization, requires additional leadership layer, 5-6 teams
2. Add Design Directors (DD), Creative Director (CrD), UX Researchers (UXR), Head of Research (HR), Creative
Technologist (CT)
a. DD: creative and managerial leadership to ensure coherence and coordination
b. CD: peer of DD, bolsters creative leadership and sets quality bar for whole org
c. UXR: expand to be their own team, individuals dedicated to each DD team
d. CT: efficiencies can now be gained by having dedicated design-oriented eng
RMG 2018
A CASE FOR DESIGN

21. DESIGN ORGANIZATION
OPERATIONS
HOW IT OPERATES
Team members are people, not resources. The return on the investment of thoughtful management and professional
development are
• Reputation: Engaged designers produce higher quality work which then makes the greater organization known as a
place where good design happens and is valued
• Retention: Inspired, challenged, and appreciated designers stay put, lowering churn, costs of recruiting and on-
boarding.
• Recruiting: Word of mouth is the most important attraction. Personally, passionately and authentically extol the
experience of working with purpose.
Levels of Perspective and Proficiency
Levels are only used as a means for team members who wish to understand how to grow, evolve and advance in their
professional pursuits. It is merely a design-driven scaffolding that is intended to support individual development.
RMG 2018
A CASE FOR DESIGN

22. Perspective
1. Theme: Orientation and focus of individual development
2. Title: Suggested label for people working at this level
3. Achievements: Concrete accomplishments valued 1st, Years of experience valued 2nd
4. Scope: Depth and breadth of work responsibilities
5. Process: Relationship with broader design and development process
6. People: Relationships on and around team
7. Cross-functional Meetings: Organizational interactions that speak to influence and visibility
8. Core skills: Deepening and expansion of core design skills
9. Soft skills: Interpersonal, reliability, productivity, etc
10. Leadership: Effectiveness of advancing ideas and positions
Proficiency
1. Level 1: Becoming a Design Pro
2. Level 2: Solid Contributor
3. Level 3: Doer to Leader
4. Level 4: Taking Charge
5. Level 5: Complete Design Leader
RMG 2018
A CASE FOR DESIGN

23. Theme Level 1 Level 2 Level 3 Level 4 Level 5
Titles Junior Product Designer
Junior Communications
Designer
Junior Content Strategist
Junior UX Researcher
P/C Designer
Content
Strategist
UX Researcher
Senior P/C Designer
Senior Content
Strategist
Senior UX Researcher
Design Manager
Lead Designer
Lead Content
Strategist
Lead UX
Researcher
Principal Designer
Design Director
Creative Director
VP of Design
Achievements Quality portfolio, Recent
Graduate, Roughly 0–2 years’
experience;
Contributed to a
couple of
shipped projects,
Roughly 2–5
years’ experience
Contributed to multiple
of shipped projects,
Roughly 5-10 years’
experience;
Delivered
successful work at
product-area
scope, Roughly
10-15 years’
experience
Has led teams in framing and solving hard problems,
and has driven innovative efforts that uncovered new
value with new kinds of experiences, Roughly 15–20
years’ experience
Scope Solve specific function-level
problems (e.g., add item to
shopping cart)
Given specific
product
capabilities
Lead solution of a
product area
Lead solution of a
undefined
problem spaces
(How might
someone do X?)
Entire user experience (How might we provide a
solution to X problem?)
Process Work within process
established by team lead
Work within
process
established by
team lead
Develop the approach
for tackling a problem
Develop the
approach for
tackling a problem
Establish a philosophy/mindset for how the team
approaches its work (e.g., Double Diamond)
People Part of a team that they’ve been
assigned to
Part of a team
that they’ve been
assigned to
Lead a team that’s been
assigned to you;
collaborate with cross-
functional peers
Creating the team
you need;
defining the
problem with
cross-functional
leads
Establishing organizational structure, roles,
headcount
Cross-Functional
Meetings
Attendance Contributing to
meeting
Drive the meeting Drive the meeting Stakeholder for meeting
Core Skills Strong in one, capable in two
others
Strong in two,
capable in two
others
Expert in one, strong in
two, capable in two
others
Expert in one,
strong in two,
capable in two
others
Expert in one, strong in two, capable in two others
Soft Skills Professionalism Communication
& Presentation
Facilitation, listening Confidence,
assertiveness
… continuation of prior skills
Leadership N/A N/A Strategy, empathy,
compassion
Planning,
mentorship
Vision
RMG 2018
A CASE FOR DESIGN

24. Design Management
The previous levels discussion was not concerned with management but, as the design organization grows, it will need an
overall management philosophy that works to ensure highly effective and efficient operations. Here are some rough rules of
thumb to consider.
● Set Clear Expectations: Set goals and appropriate measures
● Support, Don’t Manage: Assist team in developing their own plans to achieve goals
● Remove Obstacles: Foster communication, collaboration, alternative paths forward
● Go to the Mat: Consider team members’ best interest
● Frequent Feedback: Defined critique and review processes
● It’s not about Design: Deliver great product, not just great design
● Get to Know People: Encourage people to bring their whole selves to their work
● Personal Professional Mission: Motivations and choices that led to this place, time, role ...
Design Community Participation & Leadership
Encourage designers to look for opportunities to be seen as leaders within the organization and the broader design
community. Conduct regular design related seminars and “Lunch & Learns”.
Design Professional Development
Create a guild like atmosphere of masters and apprentices where senior designers assume formal and informal mentorship
roles. Create a budget for trainings, conferences, classes, books, materials, etc.
RMG 2018
A CASE FOR DESIGN

25. Growth and Advancement
Provide opportunities for experience with and exposure to all parts of the organization while maintaining the Central
Partnership operating framework. Nurture and support an individual’s desire to improve their craft and advance in their
careers. Treat levels as benchmarks to measure progress and not as constraints. Set everyone up to succeed but expect
everyone to be responsible for their own success.
Environment
The work environment has a direct impact on the nature and quality of the work produced. The physical and virtual spaces
where design happens must manifest the values of the organization.
Physical: Dedicated Work & Exhibition Space Virtual: Communication & Facilitation
● Environment that supports the culture and
commitment to quality
● Library for Information and Inspiration.
● Dedicated Project Spaces to expose work to others
for ideas and feedback.
● Expand the space to expand the ideas
● Work becomes more physical and tactile by
breaking out of semi-private, digital-only
environments
● Slack for primary communication, email for
secondary
● Asana for managing work activities and projects
● Cloud Drive and Apps for all templates and
artifacts for internal collaboration and limited
external use
● Adobe Creative Suite for more complex
documents and artifacts intended for external
consumption
● Mural.ly and/or Wake for design collaboration
RMG 2018
A CASE FOR DESIGN

26. RMG 2018