final presentations should include:
• a title
• brief but broad overview of your team's concept/approach
• justifications for your key design decisions (the conceptual and practical, both formal and functional)
• clear, detailed & comprehensive images that showcase all design components (both before and after use) and the designs being used by kids
final presentations should answer:
• How did you address the client goals?
• How is way finding experience facilitated?
• How is your design delightful?
• How is your design informative?
• How did you address/incorporate user testing feedback?
keynote
approximately 5-7 minutes
prototypes
Bring real map prototypes to (1) pass around during crit, (2) for me to grade, and (3) for Nelson to take with them for their internal decision making process.
4/1/12
project 3: important questions to explore
• What is a map? does it represent space, time, ideas
and/or experiences?
• How can design prompt/enable families to explore/discover the Nelson-Atkins sculpture park? is the experience linear? non-linear?
• Can the map/design become or include an interactive art making activity (e.g. draw, write, stamp, fold, pretend, wear, hold, solve, etc.) that occurs either during event/in location (e.g. at art tent or parade) or after event/at home?
• Can all information be presented on a single page (e.g. folded french brochure/poster)? does it necessitate multiple/assembled components or dimension?
• How can you translate the physical world (of sculptures, pathways, & buildings) to printed format (e.g. representational, reductive, symbolic, iconic, typographic, abstract, etc.)?
• What learned/cultural conventions of map reading/using (e.g. north compass) are important to rely on? to break?
• Do you depict relationships between objects or themes with geographic accuracy or without regards to context/scale?
• How much information is crucial to facilitate an experience? how might it be displayed, distilled or edited?
• What design aesthetic might appeal to the audience? the client?
and/or experiences?
• How can design prompt/enable families to explore/discover the Nelson-Atkins sculpture park? is the experience linear? non-linear?
• Can the map/design become or include an interactive art making activity (e.g. draw, write, stamp, fold, pretend, wear, hold, solve, etc.) that occurs either during event/in location (e.g. at art tent or parade) or after event/at home?
• Can all information be presented on a single page (e.g. folded french brochure/poster)? does it necessitate multiple/assembled components or dimension?
• How can you translate the physical world (of sculptures, pathways, & buildings) to printed format (e.g. representational, reductive, symbolic, iconic, typographic, abstract, etc.)?
• What learned/cultural conventions of map reading/using (e.g. north compass) are important to rely on? to break?
• Do you depict relationships between objects or themes with geographic accuracy or without regards to context/scale?
• How much information is crucial to facilitate an experience? how might it be displayed, distilled or edited?
• What design aesthetic might appeal to the audience? the client?
project 3: navigation experience
“To delight means to present an audience with something that is different in its point of view, but achieves a clarity in communication. It makes others see the world in new and different ways.” F. Chimero
“A design isn’t finished until somebody is using it.” B. Laurel
project brief
Design a “map” that prompts/enables/assists children and their families to explore/discover/celebrate the Nelson-Atkins sculpture park during their annual summer family event.
objectives
• Tailor a communications strategy that is both delightful & informative – for kids ages 6–8
• Represent the event theme — “hand built” – in concept, function
and aesthetic
• Engage in a design process that includes rapid prototyping, user testing and client presentations
• Demonstrate the ability to visualize physical space and temporal information in print
• Propose a solution that is realistic and economical to produce
• Incorporate all necessary/provided content – schedule of events, logo, thank you sponsors. (download assets here)
• Facilitate a wayfinding/navigational experience – through the Nelson sculpture park – that prompts users to visit/interact with specified locations and events (see map):
Extra notes: Your contribution will be one component in a greater system of event planning, promotions, signage, etc. The World's Fair exhibition will be going on a the same time and while the event is not about the World's Fair there are some common threads.
schedule
Note: the dates indicate section 02 first (MW am), section 01 second (WF pm).
1. 4/2, 4/4: kick-off meeting with Nelson (at Nelson), select partners
2. 4/4, 4/6: review concepts (respond to Qs, visual inspiration, written concepts)
3. 4/9, 4/11: review progress
4. 4/11, 4/13: present design proposals to Nelson (at kcai)
5. 4/16, 4/18: review progress
6. 4/18, 4/20: review prototypes
Saturday 4/21, 2–4pm user-testing day (at Nelson)
7. 4/23, 4/25: workday, implement feedback
8. 4/25, 4/27: review progress
9. 4/30, 5/2: review near-final prototype
10. 5/2, 5/4: final class crit, due for grading
11. 5/7: final presentation to Nelson, map selection (at kcal)
required resources
• Designing for Children by Catharine Fishel, pages 11, 45, 101, 129, 157
• City Maps that engage the senses
• example of rapid paper prototyping by adactio
• basic categorization of map signs
• map design checklists: How useful is Tufte? and More principles of map design
“A design isn’t finished until somebody is using it.” B. Laurel
project brief
Design a “map” that prompts/enables/assists children and their families to explore/discover/celebrate the Nelson-Atkins sculpture park during their annual summer family event.
objectives
• Tailor a communications strategy that is both delightful & informative – for kids ages 6–8
• Represent the event theme — “hand built” – in concept, function
and aesthetic
• Engage in a design process that includes rapid prototyping, user testing and client presentations
• Demonstrate the ability to visualize physical space and temporal information in print
• Propose a solution that is realistic and economical to produce
• Incorporate all necessary/provided content – schedule of events, logo, thank you sponsors. (download assets here)
• Facilitate a wayfinding/navigational experience – through the Nelson sculpture park – that prompts users to visit/interact with specified locations and events (see map):
Extra notes: Your contribution will be one component in a greater system of event planning, promotions, signage, etc. The World's Fair exhibition will be going on a the same time and while the event is not about the World's Fair there are some common threads.
schedule
Note: the dates indicate section 02 first (MW am), section 01 second (WF pm).
1. 4/2, 4/4: kick-off meeting with Nelson (at Nelson), select partners
2. 4/4, 4/6: review concepts (respond to Qs, visual inspiration, written concepts)
3. 4/9, 4/11: review progress
4. 4/11, 4/13: present design proposals to Nelson (at kcai)
5. 4/16, 4/18: review progress
6. 4/18, 4/20: review prototypes
Saturday 4/21, 2–4pm user-testing day (at Nelson)
7. 4/23, 4/25: workday, implement feedback
8. 4/25, 4/27: review progress
9. 4/30, 5/2: review near-final prototype
10. 5/2, 5/4: final class crit, due for grading
11. 5/7: final presentation to Nelson, map selection (at kcal)
required resources
• Designing for Children by Catharine Fishel, pages 11, 45, 101, 129, 157
• City Maps that engage the senses
• example of rapid paper prototyping by adactio
• basic categorization of map signs
• map design checklists: How useful is Tufte? and More principles of map design
3/7/12
when critiquing the matrix...
...things to look out for:
• the “why” reflects brainstorm session (behaviors, characteristics, obstacles)
• the “what” is the product, service or cause. Be specific. And it should already exist.
(e.g. if it's an museum exhibit then have the event title, date, location)
• the “who” is not a repeat of the “what”
• the “who” is the sponsoring organization that has a vested interest
• the “how” relates directly to the “why” and “what” (how = why + what)
• the “how” is your tailored message
• the “where” is another opportunity to tailor to the audience
• the “where” is the channel in which your message will be carried. Be specific. Think creatively. Cross promote.
(e.g. if you are promoting a book store, the advert should not be a bookmark in the store but if you are promoting a cafe, the advert could be on a bookmark in the bookstore - as long as the sub-culture values both books and cafes!)
what's up next:
• select 3-4 concepts to demonstrate concepts
• via pencil sketches
• in approximate proportions to chosen ad format
each sketch should consider:
• targeted channels (address a range of more conventional to outside the box)
• communicate a Reason To Believe in the product/service/cause by tapping into the sub-culture's values/traits/goals
• have a call to action (what is audience supposed to do)
• incorporate common symbols, trusted visual/verbal language, jargon the sub-culture understands (e.g. you might use visual metaphors and visual/verbal puns here)
• an appeal that also resonates with the sub-culture (pathos, logos, ethos)
• the “why” reflects brainstorm session (behaviors, characteristics, obstacles)
• the “what” is the product, service or cause. Be specific. And it should already exist.
(e.g. if it's an museum exhibit then have the event title, date, location)
• the “who” is not a repeat of the “what”
• the “who” is the sponsoring organization that has a vested interest
• the “how” relates directly to the “why” and “what” (how = why + what)
• the “how” is your tailored message
• the “where” is another opportunity to tailor to the audience
• the “where” is the channel in which your message will be carried. Be specific. Think creatively. Cross promote.
(e.g. if you are promoting a book store, the advert should not be a bookmark in the store but if you are promoting a cafe, the advert could be on a bookmark in the bookstore - as long as the sub-culture values both books and cafes!)
what's up next:
• select 3-4 concepts to demonstrate concepts
• via pencil sketches
• in approximate proportions to chosen ad format
each sketch should consider:
• targeted channels (address a range of more conventional to outside the box)
• communicate a Reason To Believe in the product/service/cause by tapping into the sub-culture's values/traits/goals
• have a call to action (what is audience supposed to do)
• incorporate common symbols, trusted visual/verbal language, jargon the sub-culture understands (e.g. you might use visual metaphors and visual/verbal puns here)
• an appeal that also resonates with the sub-culture (pathos, logos, ethos)
2/29/12
project 2: tailored communication (synthesis)
“Tailoring strategies are critical... because subjective cultural values hugely impact the appropriateness, resonance and the interpretation of a persuasive message.” K. McCoy
brief
Design a persuasive and tailored advertisement – for a product, service or cause that addresses a relevant and timely behavior, obstacle or characteristic – that is targeted to your sub-culture.
project objectives
• Successfully synthesize research and analysis from project 1.
• Showcase excellent conceptual thinking, visual sensibilities and digital craftsmanship.
• Propose and design an appropriate and engaging communications strategy*
*A strategy defines:
• who is the niche audience (your sub-culture)
• the Product, Service or Cause (PSC) being promoted
• the reason the audience values the PSC?
• the sponsoring organization that also values that PSC
• a tailored message (copy and look&feel) that promotes the PSC
• a tailored channel (aka media selection and location) for that message and audience
matrix
5 columns x 10-12 rows = 10-12 ideas (in words).
The column headers are:
1. why: core behaviors, obstacles and characteristics (10-12)
2. what: existing products, services and causes (these correlate directly to #1)*
3. who: sponsors (private or public sector, can be repeated, these correlate directly to #2)
4. how: message (brainstorm possible ideas, these encapsulate #1 & #2)
5. where: singular channel** (list placement, can be repeated)
**channels may include, but are not limited to:
virtual: email blasts, animated web banner ad, webpage take over, etc.
print: newspaper or magazine ad, t-shirts, direct mail or postcard
outside: street banner or billboard, vehicle wrap, guerilla marketing, etc.
inside: point of purchase display, packaging, hang tags, etc.
required readings
• RESEARCH BOOKS
• Visible Signs by David Crow, pages 108-111, 116
• Maximize the Message by Katherine McCoy
• Local Lingo by Alice Twemlow
• Pop Artist by Linda Tischler
deadlines/deliverables
Note: the dates indicate section 02 first (MW am), section 01 second (WF pm).
1. 2/29, 3/2: in-class charrette
2. 3/5, 3/7: review strategy ideas (matrix), lecture
3. 3/7, 3/9: review concepts (sketches)
3/7 required lunch lecture
spring break
4. 3/19, 3/21 — 6. 3/26, 3/28: review iterations (digital)
7. 3/28, 3/30: final class crit with guest:
present ad at scale and in context on 11x17 landscape page
8. 4/2, 4/4: turn-in for grading
brief
Design a persuasive and tailored advertisement – for a product, service or cause that addresses a relevant and timely behavior, obstacle or characteristic – that is targeted to your sub-culture.
project objectives
• Successfully synthesize research and analysis from project 1.
• Showcase excellent conceptual thinking, visual sensibilities and digital craftsmanship.
• Propose and design an appropriate and engaging communications strategy*
*A strategy defines:• who is the niche audience (your sub-culture)
• the Product, Service or Cause (PSC) being promoted
• the reason the audience values the PSC?
• the sponsoring organization that also values that PSC
• a tailored message (copy and look&feel) that promotes the PSC
• a tailored channel (aka media selection and location) for that message and audience
matrix
5 columns x 10-12 rows = 10-12 ideas (in words).
The column headers are:
1. why: core behaviors, obstacles and characteristics (10-12)
2. what: existing products, services and causes (these correlate directly to #1)*
3. who: sponsors (private or public sector, can be repeated, these correlate directly to #2)
4. how: message (brainstorm possible ideas, these encapsulate #1 & #2)
5. where: singular channel** (list placement, can be repeated)
**channels may include, but are not limited to:
virtual: email blasts, animated web banner ad, webpage take over, etc.
print: newspaper or magazine ad, t-shirts, direct mail or postcard
outside: street banner or billboard, vehicle wrap, guerilla marketing, etc.
inside: point of purchase display, packaging, hang tags, etc.
required readings
• RESEARCH BOOKS
• Visible Signs by David Crow, pages 108-111, 116
• Maximize the Message by Katherine McCoy
• Local Lingo by Alice Twemlow
• Pop Artist by Linda Tischler
deadlines/deliverables
Note: the dates indicate section 02 first (MW am), section 01 second (WF pm).
1. 2/29, 3/2: in-class charrette
2. 3/5, 3/7: review strategy ideas (matrix), lecture
3. 3/7, 3/9: review concepts (sketches)
3/7 required lunch lecture
spring break
4. 3/19, 3/21 — 6. 3/26, 3/28: review iterations (digital)
7. 3/28, 3/30: final class crit with guest:
present ad at scale and in context on 11x17 landscape page
8. 4/2, 4/4: turn-in for grading
2/15/12
project 1: documentation
Present your research and analysis in a thoughtfully crafted book that meets these criteria:
Audience
designers (yourself, peers, professionals)
Intent
The book functions as a reference document that provides insights that can be used to inform any number of design interventions and communications campaigns intended for this particular sub-culture.
It is also a format to thoroughly showcase all your research methods/process (including secondary research, culture probes, etc).
Content
Conventional book contents including but not limited to: cover, table of contents, introduction, content organized into chapters, visual examples and analysis, properly cited source material, etc.
Form
A well-crafted design that is appropriate to both content and audience.
Production
Select size options from Blurb, page quantity open. Print and bound for final crit/evaluation, Blurb by spring break.
Credit badge
Either download this graphic (insert your names) OR typeset your own using the exact same content. Place credit on back cover.
Final Crit 2/29 (2 weeks)
Also post final statement to blogs.
Audience
designers (yourself, peers, professionals)
Intent
The book functions as a reference document that provides insights that can be used to inform any number of design interventions and communications campaigns intended for this particular sub-culture.
It is also a format to thoroughly showcase all your research methods/process (including secondary research, culture probes, etc).
Content
Conventional book contents including but not limited to: cover, table of contents, introduction, content organized into chapters, visual examples and analysis, properly cited source material, etc.
Form
A well-crafted design that is appropriate to both content and audience.
Production
Select size options from Blurb, page quantity open. Print and bound for final crit/evaluation, Blurb by spring break.
Credit badge
Either download this graphic (insert your names) OR typeset your own using the exact same content. Place credit on back cover.
Final Crit 2/29 (2 weeks)
Also post final statement to blogs.
1/25/12
project 1: methods & analysis
1. research methods
Gather information on your sub-culture via a selection of the following research methodologies:
inquiry (both required)
• 2 in-person interviews
• secondary research
self-reporting/leave behinds (choose 1 or more)
• making prompts
• writing prompts
• camera journals
• culture probes (any method of creative information gathering)
observation/documentation (choose 2)
• still photo survey (actions)
• artifact mining (objects)
• guided tours
• behavioral mapping
• shadowing
2. analyze
Interpret and visualize your findings from above via each of the following analysis techniques:
1. two personas (e.g. novice & expert)
2. visual & verbal audit (communication codes)
3. affinity diagrams (values, traits, goals)
4. task analysis (behaviors, obstacles, decision points)
for your reference
• The Culture Probe
• Develop Personas
• Task Analysis
• Affinity Diagrams
• Todd Selby
Gather information on your sub-culture via a selection of the following research methodologies:
inquiry (both required)
• 2 in-person interviews
• secondary research
self-reporting/leave behinds (choose 1 or more)
• making prompts
• writing prompts
• camera journals
• culture probes (any method of creative information gathering)
observation/documentation (choose 2)
• still photo survey (actions)
• artifact mining (objects)
• guided tours
• behavioral mapping
• shadowing
2. analyze
Interpret and visualize your findings from above via each of the following analysis techniques:
1. two personas (e.g. novice & expert)
2. visual & verbal audit (communication codes)
3. affinity diagrams (values, traits, goals)
4. task analysis (behaviors, obstacles, decision points)
for your reference
• The Culture Probe
• Develop Personas
• Task Analysis
• Affinity Diagrams
• Todd Selby
1/23/12
project 1: design research
“The tools of design research allow designers “to claim and direct the power of their profession.” B. Laurel
“Research is “the act of extending the boundary of a design situation so as to have large enough, and fruitful enough, search space in which to seek a solution.” C. Jones
brief
Research a sub-culture and document your findings in a book.
project objectives
• Understand and employ various design research methodologies and analysis techniques.
• Gain a comprehensive understanding of user motivation and define unique audience characteristics, values and cues (for use in subsequent class projects in UX and IA).
• Showcase excellent digital craftsmanship, information organization and visualization.
• Work collaboratively.
deadlines/deliverables
Note: the dates indicate section 02 first (MW am), section 01 second (WF pm).
1. 1/23, 1/25: assign sub-cultures
2. 1/25, 1/27: share secondary research
3. 1/30, 2/1: review field research
4. 2/1, 2/3: present research (5-7 min)
secondary research, interview, field reporting data
5. 2/6, 2/8 — 7. 2/13, 2/15: review analysis
2/15 guest critic
8. 2/15, 2/17: present analysis (5-7 min)
personas, audits, diagrams, visual analysis
9. 2/20, 2/22: review book design directions
10. 2/22, 2/24: review progress (half complete)
11. 2/27, 2/29: review near-final book
12. 2/29, 3/2: final crit (7-10 min)
sub-cultures
avid marathoner, pub trivia geek, urban chicken farmer, roller derby girl, yogi, hipster knitter, motorcycle enthusiast, wiccan, bbq competitor, francophile
resources/required readings
• Audience consent form (required signature from all interviewees)
• Designing for Interaction
• Design Research, Ed. Brenda Laurel, p 22-23 (“Section one introduction”)
• Design Research, Ed. Brenda Laurel, p 30-33, 36-37 (“Ethnography and Critical Design Practice”)
• Visual Communication by Jonathan Baldwin, p 74-77, 96-97• GD305-design-research-lecture
“Research is “the act of extending the boundary of a design situation so as to have large enough, and fruitful enough, search space in which to seek a solution.” C. Jones
brief
Research a sub-culture and document your findings in a book.
project objectives
• Understand and employ various design research methodologies and analysis techniques.
• Gain a comprehensive understanding of user motivation and define unique audience characteristics, values and cues (for use in subsequent class projects in UX and IA).
• Showcase excellent digital craftsmanship, information organization and visualization.
• Work collaboratively.
deadlines/deliverables
Note: the dates indicate section 02 first (MW am), section 01 second (WF pm).
1. 1/23, 1/25: assign sub-cultures
2. 1/25, 1/27: share secondary research
3. 1/30, 2/1: review field research
4. 2/1, 2/3: present research (5-7 min)
secondary research, interview, field reporting data
5. 2/6, 2/8 — 7. 2/13, 2/15: review analysis
2/15 guest critic
8. 2/15, 2/17: present analysis (5-7 min)
personas, audits, diagrams, visual analysis
9. 2/20, 2/22: review book design directions
10. 2/22, 2/24: review progress (half complete)
11. 2/27, 2/29: review near-final book
12. 2/29, 3/2: final crit (7-10 min)
sub-cultures
avid marathoner, pub trivia geek, urban chicken farmer, roller derby girl, yogi, hipster knitter, motorcycle enthusiast, wiccan, bbq competitor, francophile
resources/required readings
• Audience consent form (required signature from all interviewees)
• Designing for Interaction
• Design Research, Ed. Brenda Laurel, p 22-23 (“Section one introduction”)
• Design Research, Ed. Brenda Laurel, p 30-33, 36-37 (“Ethnography and Critical Design Practice”)
• Visual Communication by Jonathan Baldwin, p 74-77, 96-97• GD305-design-research-lecture
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